This upcoming lavani performance in Bengaluru blends documentary theatre with Maharashtra’s traditions

Experience the world of lavani with Lavanyavati — a bold, immersive journey through Maharashtra’s iconic folk tradition. Presented by Jagriti Theatre in collaboration with The Indian Music Experience Museum, this dynamic performance blends documentary theatre, live lavani, oral histories and archival visuals to explore the evolution of the art form, its cultural shifts and the powerful voices that continue to shape it. Savitri Medhatul, the artistic director of the performance talks about the conceptualisation of the production, how different forms were used for storytelling, steps that need to be taken to preserve lavani and lots more…

What was the initial spark that led you to conceptualise this performance?

I have been working with lavani artistes for almost 18 years and have done multiple collaborations with them. One of the most well-known is Sangeet Bari, which ran for 100 shows. I have also worked on projects for the Serendipity Arts Festival in Goa. Two years ago, the curators of Serendipity approached me about creating a new production with lavani. That became the trigger for me to explore what new possibilities could emerge. My earlier productions focused on specific styles of lavani, but, I felt this time we needed to map its evolution. Lavani has a documented history spanning almost 250 years and as a folk art, it constantly evolves with the times. That journey of change fascinated me and I thought it would be interesting to approach lavani from this perspective. That’s how Lavanyavati came to be.

The show blends live lavani performances, archival material and documentary elements. How did you approach integrating these different forms of storytelling?

The idea was to reflect how documentation itself has changed over time. We start with oral storytelling, then transition into photographs and eventually move into video. This mirrors the evolution of how lavani has been recorded and preserved. Since 2008, I have been documenting lavani, including making a documentary film. I have also collaborated with Paramita Vohra and Agents of Ishq (a multi-media project) , which resulted in a variety of archival material. I found that presenting these different documentation methods as a parallel narrative to the performance created a layered storytelling experience.

How was this collaboration with lavani and tamasha artistes different when compared to your previous ones?

I’ve collaborated with lavani and tamasha artistes for years, including on Sangeet Bari. For Lavanyavati, I brought in longtime collaborators like Akamsha Kardam. My goal has always been to create a shared space where heritage artistes retain access to their art while allowing lavani to evolve. Since Maharashtra lacks a classical dance form, traditional artistes often get sidelined when privileged groups enter the space. Lavanyavati bridges this gap, fostering collaboration between heritage artistes and contemporary performers to keep the art form alive.

Lavani has long been a space for both empowerment and objectification. How does Lavanyavati navigate this duality?

Lavanyavati challenges stereotypes through performance and audience dynamics. Traditionally performed for male audiences, our show welcomes all genders, shifting the power balance. We feature queer performers and artistes from diverse caste backgrounds, breaking historical boundaries. By showcasing lavani’s depth — like a piece on menstruation — we counter its ‘item song’ image. More than dancers, lavani artistes are art entrepreneurs and our show highlights their agency while keeping the performance engaging.

With so many changes, what do you think is needed to sustain lavani in the long run?

Sustaining lavani requires a more stable patronage model. Folk arts depend on audience demand and if people prefer film songs over traditional lavani, artistes must adapt to survive. There’s also a need for audience sensitisation — culture exists because of artistes and they need financial security like anyone else. Tamasha troupes, for instance, struggle with high production costs and debt. To keep lavani alive, we must create a sustainable funding model that supports both its evolution and the livelihoods of its artistes.

Pre-registration required. March 22, 7 pm. At Indian Music Experience Museum, JP Nagar. INR 500. March 25, 7.30 pm. At Jagriti Theatre, Whitefield.

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