JALNA

Lavani is a folk dance form from Maharashtra, known for its fast rhythm and energetic movements. In Jalna district, many artists are known for their contributions to two sub-genres of Lavani, namely Bhedik Lavani and the other is Lavani Tamasha.

Bhedik Lavani is a traditional folk performance art found across the Marathwada region of Maharashtra. The term “Bhedik” in Marathi means “to convey information that one may be unaware of or reluctant to accept due to societal norms.”

The performances draw on classical texts such as the six shastras, eighteen Puranas, four Vedas, as well as the Vishnupuran, Ramayan, Mahabharat, Bhaktivijay, and various folk stories. These narratives are presented using the Navras format, which involves expressing nine core emotions in performance.

Bhedik performances are primarily concentrated in the Jafrabad and Bhokardan talukas of Jalna district. They are typically staged during festivals, particularly Holi. The distinctive feature of Bhedik is its presentation of epic narratives in a question-and-answer format, accompanied by music and dance elements that differ from those found in Tamasha, another regional performance tradition.

Shahirs (folk poets) in the Bhedik tradition are known for their ability to narrate a single story for extended periods, often exceeding an hour, while engaging audiences with riddles based on Puranic literature in Marathi. Traditionally, locals say, performances continued throughout the night, with audiences suggesting topics for the performers. This practice led to Bhedik being known as "Andharatlya Lavani" (Lavani in the dark).

Notable performers from Jalna district include Shahir Nijambhai Sheikh, Shahir Ratnakar Kulkarni, the father-son duo Appasaheb and Ramanand Ugale, and the late Shahir Sheshrao Ansar, all of whom have contributed to preserving and promoting this tradition.

Lavani Tamasha is a related but distinct performance tradition featuring songs and dances centred on themes of love, humour, and social commentary. It is generally more theatrical than Bhedik. 

Locals say that Tamasha has long been more popular in western Maharashtra, with a smaller presence in the Marathwada region. Even so, older performers in Jalna district have continued the tradition, particularly in places like Jafrabad, Bhokardan, and Kedarkheda. They recall two well-known Tamasha troupes that once operated in the district, one led by Shahir Appasaheb Ugale, who managed the group for 25 years, and another by Nanasaheb Kolatkar, also known as Parihar.

Among the many performers from the district, Nanasaheb Yadmal from Jafrabad is remembered for his role as a Nachya (a male artist performing female roles) in Tamashas such as Dhondu-Kondu and Bhika-Bhima, which toured across Maharashtra. Similarly, Bhagwan Ingale from a village near Bhokardan performed as Nachya in Jagran and Gondhal ceremonies, while also remaining involved in other local traditions.

Jalna district has a longstanding tradition of Marathi theatre, locally referred to as Natak. These plays often explore social themes and contemporary issues, and are commonly performed during festivals and community gatherings.

In Mantha taluka, locals noted that the village of Helas has maintained a theatrical tradition for over 135 years. During the Ganesh Chaturthi festival, performers from across Jalna gather in the village to stage plays, along with a related art form known as Lalit.

The village of Pimparkhed in Jalna district has a long-standing theatre tradition, which locals say has continued for about 200 years. A theatre festival is held there each year, starting on the second day of Hanuman Jayanti, and draws around 10,000 people from nearby villages. Other villages in the district that regularly stage plays include Sevli, Tad Hadgaon, and Jamb Samarth.

Vasudev is a community who are traditionally folk singers and performers. Their members are prominently devotees of Bhagwan Krishna who travel between villages while singing about his life. They also perform rituals believed to help families regain the favour of deceased ancestors (uddhar). Their performances are primarily based on the Harivijay scripture and serve as both a form of religious expression and their source of livelihood, as they survive on alms given by people.

In contemporary times, some Vasudev performers incorporate themes of social issues and community dynamics into their songs. However, this traditional folk performance art is becoming increasingly rare in both rural and urban settings, raising concerns about its preservation as a cultural practice.

Jagran is one of the oldest folk traditions in Maharashtra and is closely associated with the worship of Khandoba, particularly at the temple in Jejuri. Devotees, often referred to as Waghya and Muruli, perform rituals and songs to invoke the Devta’s presence and seek blessings. Jagrans are typically held during special occasions, including after marriage ceremonies and during religious observances.

Potraj refers to a traditional devotee of Lakshmi Devi, with a significant role in the folk practices of Jalna district. The name is derived from the Telugu word pothuraju. Potraj travels from village to village, singing devotional songs and performing rituals as part of religious observance and to earn a livelihood.

His attire consists of a brightly coloured dhoti wrapped around his waist, and he applies natural colours to his upper body. Additionally, he carries a ‘Chabuk’ (whip), which he strikes against his body during performances to express his devotion to Lakshmi.

In the olden times, rural communities viewed pandemics and disasters as signs of Lakshmi’s wrath due to their sins. To appease her, each village appointed a Potraj, a devoted worshiper of the devi. The Potraj would visit villagers to hear their problems and pray for solutions while whipping himself harshly. In return for his efforts, the villagers would offer him grains and money. 

Jalna Patola is a handwoven textile associated with the Jalna district. It features the double ikat technique, where both warp and weft threads are dyed before weaving, resulting in intricate geometric or floral patterns. These textiles are produced in both silk and cotton, depending on their intended use, and are known for their bright colours and detailed designs.

In the 11th century CE, King Kumarapala of the Solanki Dynasty is said to have worn Patola fabric obtained from Jalna during his daily rituals. Upon learning that the ruler of Jalna was exporting used Patola cloth to other kingdoms, Kumarapala is believed to have waged war against Jalna. Following the conflict, 700 weaving families are said to have migrated from Jalna to Patan, where the Patola tradition continued and developed.

Pottery in Jalna district is made using terracotta and earthen clay, along with fuel and plant waste to increase the durability of the finished products.

In khumbkar (potter) families, women typically work on the potter’s wheel, shaping the necks and upper parts of pots. They also create solid clay items such as toys, diyas (oil lamps), dolls, and large figurines of deities. These items are an important source of income for many potter families in the region.

A dholki, also called ‘naal’, is a two-sided drum often used in folk music and dances, popularly played in Tamashas, bhajans, Lavani, kirtans, and dhun, creating vibrant rhythms that encourage communal participation.

The dapha is a traditional percussion instrument similar to a large frame drum, played with hands, and is commonly used in festive gatherings and cultural events; it adds depth and energy to performances.

Along with the dholki, it provides rhythmic foundations for folk dances and theatrical performances, adding vibrancy and energy that engage audiences.

The sambal handheld percussion instrument made from a gourd or metal, often played in religious and folk contexts. It produces a resonant sound, complementing with the tal in Bhedik performances or Gondhal ceremonies.

The tal, commonly known as manjiras, is a traditional metallic percussion instrument that consists of a set of plates or bells, producing a sharp, clear sound, commonly used in devotional music and performances to enhance the rhythmic quality of the songs. Along with the sambal, it complements the narratives in Bhedik and Gondhal, and also creates a spiritual atmosphere that connects devotees with their traditions, particularly during events like Ganesh Chaturthi and Hanuman Jayanti.

Sakharam Prabhakar Jalgaonkar, known as Appasaheb Jalgaonkar, was an Indian classical musician recognised for his work in the Gharana tradition of Hindustani music. He specialised in khayal and thumri styles and was known for his expressive performances and interpretation of ragas. He contributed to the promotion of classical music through mentorship and performance.

Jalgaonkar collaborated with notable artists including Manik Varma, Ustad Amir Khan, Ustad Allah Rakha, Kishan Maharaj, and Pandit Birju Maharaj. He was among the early musicians to introduce the harmonium in Indian classical music and received the Sangeet Natak Akademi Award in the harmonium category.

Govindrao Jalgaonkar began his training in dhrupad and dhamar under his father, Trimbakrao Jalgaonkar. He later received formal classical music education from Vasudevarao Maharaj Nampallikar in Hyderabad, where he mastered dhrupad, dhamar, and khayal genres.

He performed in cities such as Hyderabad, Indore, Delhi, and Mumbai, and recorded the raga Darwari Kanada Puriya with Master Vice Company. In 1962, he organised a music festival in Bhang Jalgaon, followed by another in Jalna in 1986, both of which attracted performers from across India. Over seven decades, he supported numerous artists and founded the Ambad and Sri Danjayanti Music Festivals, which continue to serve as platforms for classical music in the region.

Rajkumar Tangde is a playwright and performer from Jamb Samarth village in Jalna district. Despite having no formal training in theatre, he has written and staged over 700 performances of his play Shivaji Underground in Bhimnagar Mohalla, which critiques the political use of Chhatrapati Shivaji Maharaj’s legacy in Maharashtra and India.

Tangde’s interest in theatre began in school, where he noticed that most plays were written by urban playwrights and did not reflect rural realities. In response, he began writing his own plays, starting with Phaashi Kunaala (Who Gets Hanged?), focused on literacy, and Hundaabali (Dowry Death), which addressed social customs. These plays were performed in local settings.

In 2003, Tangde became involved with Sharad Joshi’s Shetakari Sanghatana, which broadened his understanding of agricultural issues. This led to works such as Kaay Dila Swaatantryaane? (What Did Independence Give?), focusing on sugarcane farmers, and Aakada, which explored electricity-related challenges in rural areas. His plays are known for their direct approach and focus on social realities, resonating with audiences across Maharashtra.

The Ugale family from Jalna district has a folk art tradition that spans seven generations. Their work includes forms like Bhedik Lavani and Gondhal. They also preserve a collection of lyrics and scripts written in the Modi script.

Shahir Appasaheb Ugale has performed extensively across Marathwada and Maharashtra, continuing the family’s involvement in folk traditions. His sons, Kalyan Ugale and Shahir Ramanand Ugale, contribute to preserving and promoting these art forms through both live performances and digital platforms.

Ramanand Ugale produces the online series Maharashtrachi Lokgani, which presents traditional folk music and has attracted a large viewership. One of the featured songs, Gadi Ghungarachi, has received over 36 million views. Kalyan Ugale teaches at J.E.S. College in Jalna and regularly conducts workshops on folk arts and instruments.