SATARA

Lavani is a folk art form renowned for its rhythmic beats and fast tempo. A standout feature of this dance form is the women dancers’ traditional attire, which includes the long nine-yard sari, known as the ‘nauvari’ sari. This is often complemented by vibrant jewellery and ‘ghungroos’ (anklets).

Traditionally, Lavani has been a dance form primarily performed by women. However, a growing number of male dancers are now entering the field. Among them is Shivam Vishnu Ingale, a skilled performer from Satarkar. Despite encountering resistance from his family, who held the belief that Lavani is exclusively for women, Shivam remained committed to his passion. His dedication led him to set a world record by dancing continuously for 26 hours in Gevrai, Beed, a feat recognized by the Orange Book of World Records.

Dhokra art is an ancient metal casting craft that uses the lost wax technique. Its origins can be traced back to the Mohenjo-daro civilization around 2500 BCE, with the technique observed in artifacts such as the Dancing Girl. Interestingly, it has for long been practiced by indigenous communities in Chhattisgarh, West Bengal, and Odisha and is characterized by detailed folk motifs and handcrafted methods.

Remarkably, a variation of this craft has been developed at Devrai Art Village, an art community in Satara. This adaptation, known as Rock Dhokra, is a patented technique that incorporates brass casting with natural stone.

The process of making this craft is very interesting. It involves shaping beeswax around a selected rock to create the intended form. The piece is then cast in molten brass at high temperatures, requiring controlled conditions to achieve metal and stone fusion. The process includes both technical execution and design considerations to integrate the rock into the final composition.

The Shri Bhavani Museum, also known as Aundh Museum, was built by the Raja of Aundh, late Bhawan Rao Pant Pratinidhi, in 1938. The Aundh Museum, Satara, has 500 miniature paintings of all major schools - Jaipur, Kangra, Mughal, Punjab, Bijapur, Pahadi, and Maratha of the period between the 15th and 19th centuries; it is also probably the only museum in India to have such a large collection.

As the former capital of the Maratha Empire, Satara boasts a rich history. One of its prominent attractions is the Shri Chhatrapati Shivaji Maharaj Museum, also known as the Satara Museum. Construction of the museum began in 1966, and was completed in 1970.

The museum was built to celebrate and preserve Maratha culture and the legacy of its great rulers. It is divided into two main sections: the ‘Maratha Art Gallery’ and various exhibition pieces. Visitors can explore a range of exhibits, including weapons, costumes, artworks, and artefacts used by Shivaji Maharaj. Designed to reflect the culture of the 17th and 18th centuries, the museum features four key sections: the Weapons Department, Carving Department, Painting Hall, and Clothing Hall, providing a comprehensive insight into Maratha heritage.

Shri Shahu Kala Mandir is a cultural venue in Satara dedicated to Chhatrapati Shahu Maharaj, a Maratha ruler known for his progressive policies. The center promotes various art forms including music, dance, and theater.

Devrai Art Village is an art centre founded by Mandakini Mathur and Suresh Pungati which is located in Panchgani. It has, since its establishment, provided many artists and craftsmen with a space to practice their craft, train apprentices, and preserve traditional and indigenous traditions.

The initiative began in October 2008 when three Dhokra artists from Gadchiroli district started working under a banyan tree in Panchgani. The village then went on to develop Rock Dhokra, a patented technique that revives an ancient art in a contemporary manner.

Another craft at Devrai Art Village involves dried gourds, or Tumbas, which are turned into decorative and functional objects. Artists carve Mandala designs, nature-inspired patterns, and folktales onto the surface, while larger gourds are made into wine and beer casks. Some are covered in fabric and turned into puppets, which are used for storytelling performances.

The Aundh Sangeet Mahotsav is an annual music festival held in the village of Aundh in Satara district; it is considered to be one of India’s most “unselfconsciously inclusive classical music festivals”.

The origin story of the Mahotsav is very interesting. It was founded in 1940 by Anant Manohar Joshi, a Gwalior gharana vocalist and court musician of Aundh, in honor of his spiritual guru, Swami Shivanand. The festival is observed on Swami Shivanand’s birth anniversary, as per the Hindu calendar, just before Diwali.

Gajananbuwa Joshi, a violinist and Hindustani classical musician, managed the festival until his death in 1987. In 1981, he established a trust to sustain the event, which has since been organized by his family and supporters. His eldest son, Manohar Joshi, played a significant role in fundraising, while members of the royal family and local legislators have provided logistical support.

As of 2024, the Mahotsav has been held for 84 years. It is known for its historical venue, diverse audience, and performances that uphold the musical values of its founders. The festival attracts musicians, students, and audiences from all backgrounds.

Yamunabai Waikar was a celebrated Baithak Lavani performer and a distinguished artist of the Tamasha tradition. She began her Lavani lessons at the age of 10, and performed on the streets alongside her mother after the family moved to Mumbai in search of a better life. By 15, she had formed her own Lavani group, the Yamuna-Hira-Tara Waikar Sangeet Party, which gained significant fame across Maharashtra.

Yamunabai later received professional training with the Rangu-Gangu Sangeet Party, studying Hindustani music under Faqir Mahammad from Bombay and Akhtarbhai from Kolhapur. The success of her street performances led to her first stage show, which marked the beginning of her stage career. However, her success faced challenges with the rise of cinema and a declining audience.

She was well-versed in classical music, capable of singing thumri, tarana, and ghazals with ailan. Yamunabai later showcased her expertise in Marathi folk traditions of classical Lavani and Tamasha across the country. She was honored with the Maharashtra State Award in 1990 and the Sangeet Natak Akademi Award in 1995. Her contributions to traditional music and dance also earned her the title of Tagore Fellow from the Sangeet Natak Akademi. In 2012, she became the first Lavani artist to receive the Padma Shri, India’s fourth highest civilian award.

Dr. Shriram Lagoo was a distinguished theater actor who made significant contributions to over 250 films, spanning Hindi and Marathi cinema, as well as Hindi, Marathi, and Gujarati plays. He directed more than 20 Marathi plays and transitioned from a practicing ENT surgeon to a full-time theater career at the age of 42.

His theatrical acclaim peaked in 1970 with his role as Ganpatrao Belwalkar in V. V. Shirwadkar’s ‘Natsamrat,’ a powerful portrayal of a retired thespian grappling with family drama, which took a toll on his health. He also starred in celebrated plays such as ‘Kachecha Chandra’ and ‘Himalayachi Saawli,’ leading to his significant role in V. Shantaram’s ‘Pinjra’ (1972), where he played a principled village teacher, showcasing his adaptability to film.

Although Lagoo appeared in numerous Hindi films, including Hera Pheri, Muqaddar Ka Sikandar, and Laawaris. His performance in Gharonda (1977) earned him a Filmfare Award for Best Supporting Actor for his portrayal of a shrewd businessman.

Lagoo received the Padma Shri early in his career in 1974 and continued to accumulate accolades, including the Kalidas Samman from the Madhya Pradesh government, the Dinanath Mangeshkar Smruti Pratisthan award for his contributions to Marathi theater, and the prestigious Sangeet Natak Akademi fellowship. His remarkable career was recognized with a lifetime achievement award from the youth theater group Thespo in 2016.

Vasant Bapat was a Marathi poet who worked as a professor of Sanskrit and Marathi at National College and Ramnarain Ruia College in Mumbai. He participated in the Quit India Movement in 1942 and was influenced by Sane Guruji and the Rashtriya Seva Dal. His notable works include Bijli (1952), Akaravi Disha (1962), Sakina (1972), and Mansi (1977).

His poems reflect a strong awareness of social inequality and injustice, along with a celebration of youth and beauty drawn from nature's illusions and luxuries. After ‘Bijli,’ Bapat's work reveals a passionate effort to revive traditional poetic forms, with a mature expression particularly evident in ‘Mansi.’