SAMAPATHIK TRUST, PUNE, INDIA |
A MEN'S SEXUAL HEALTH ORGANIZATION |
We believe that a healthy and honest attitude towards sexuality related issues is essential to the physical and mental well-being of every individual; and awareness about these issues will pave the way for a healthy nation. |
A 2-act Marathi play that deals with relationships- both heterosexual and homosexual. Its a lovely play with good performances. MUST SEE !!! Directed by Mohit Takalkar. Written by Sachin Kundalkar. Its currently being staged in Pune and Mumbai. Laavni Shows: Rajasa Tumhasathi and Bin Baykancha Tamasha For Show Details Contact: [email protected] The third bell rings after 15 minutes. It's pitch dark now in the A.C hall of Shivaji Mandir. Sounds of Dholki and Ghungroo can be heard from behind the curtains. The fragrance of Gajras and Attar adds to the already created Tamasha Mahoul. All the artists are busy doing last bit of make-up. Today is their 50th show and the chief guest, Sulochanabai Chavan, the legendery Laavnee singer, has just arrived. The programme has started, Gan (Ganapati Prayer) is over and after the initial compering, it’s the time for “Mujra”. 5 dancers draped in traditional White- Red Nauwarre Saree pose on the stage, their backs to the audience. Slowly they start dancing to the music of Dholki, Tuntune and key board. They remove their pallus and everyone can see – sheer beauty. Everyone is stunned, no one can believe his eyes. The gorgeous dancers are all males dressed up as females. It’s the golden jubilee show of the one year old programme “Bin Baykancha Tamasha”. The mesmerizing beauty and dance of Nitesh Jadhav, the royal deference of Prakash Pawar, the vigorous and pulpous Ada of Anil Hankare and the mind blowing performance of Anand Satam – everything leaves you with awe. The supporting caste includes: talented, young and good looking Yogesh Mane, Santosh Kadam, Vicky Singh, Imraan Sehgal, Yogesh Kamble, Kishore etc. Amazing singers like Jayesh Kale, Vinay Koli, Nilesh Petkar who can sing in both male and female voices; Not to forget the orchestra members. Choreographer Anil Vasudevan (Bin Baykancha Tamasha) and Mangesh Bhagat (Rajasa Tumhasathi) have taken great pains. The Mujra is over and the tamasha is shaping up in the form of Gavlan, Jogwa. The audience has by now forgotten about the male identity of the dancers. They are sighing and dying to see the Latkas and Jhatkas of the dancers. Females are keenly observing the perfect get-up, make-up and foot work. The dancer is asking “Aho Sanga Raya , Sanga Mee Kashi Diste?” (tell me darling, how do I look?) and the unanimous answer is “Simply amazing”. “Usala Lagal Kolha”, “Padala Piklaay Amba”, “Maajhya Navaryane Sodliya Daaru” the numbers go on. Theres a small function during the interval. Everyone is eager to hear Sulochanabai. “Its been a couple of years since I last saw such a powerful performance, all the artists are just superb. I can never forget this beautiful show” – that’s it, Baai speaks a lot in these few words. “Rajasa Tumhasathi” is also doing quite well. Pramod Kandalkar started his own show along with Mangesh Mokashi and Vidysagar after he had some disputes with the BBT people. “Karbhari Damana”, “Kheltana Rang Bai Holicha”, “Geli Kuthe Gavana” are some of Pramod’s lovely songs. Once you have seen him performing these numbers, you can't imagine anyone else. Rajasa has very talented and attractive guys like Prashant, Sultan, Sanjay, Prakash apart from the 3 leading artists. Mangesh Mokashi needs special mention. He sings in female voice and simultaneously performs the same number. So it’s a 3 in 1 item where the singing, acting and dancing are done by the same person. People go gaga when they watch him singing “Ya Ravji, Basa Bhavji”. Vidyasagar steals your hearts in “Zombato Garva” and “Patang Udweet Hote”. Two songs that really touch your heart are “Potasathi Nachte Mee” (Prakash Pawar in BBT – depicting the tragic life of lavnee dancers) and “Jhalya Tinhi Sanja” (Pramod, Prashant and Sultan in Rajasa – song of girls waiting for their lover who never comes). Pramod, Prakash Pawar, Mangesh, Vidyasagar have been performing in female names in Lavni and other dance shows. They would get the same or sometimes a greater response than their female co-artists. It boosted their confidence and they decided to start a programme exclusively by all men. Anil Vasudevan took lot of efforts and put in funds and the “Bin Baykancha Tamsha “ started off, the response was minimal in the beginning but it picked up later from publicity by mouth. Everything was going on well, but there was some dispute between the producers and Pramod Kandalkar regarding payment. He decided to quit and start his own production. This was a set back to BBT – Mangesh, Vidyasagar and Sultan left along with Pramod. But fortunately their new venture took off well, and even BBT got some new talented dancers. Most of these guys have full support from the family. Its quite admirable that the parents are proud of their sons draping sarees and dancing. But everybody is not as lucky to have as understanding parents as these. Some of the dads don’t know that their sons dance like females. None of the guys are financially dependent on these shows. They get Rs 200 to Rs 500 per show provided the booking is more than 50%. They have done first 25 shows free and the new guys have to do first 10-15 shows free. They have to take full responsibility of their sarees, jewellery and make-up. Most of the guys are from lower middle class, Maharashtrian families. They are into dance shows, dance classes, Mehendi, beauty parlour; some of them have some private businesses while some work as waiters in restaurants. Some of them are studying in college and their parents are working as factory workers. They have to take utmost care while dancing as females. Style of saree-draping, standing, walking, facial expressions – everything need to be just like females. Their shows are full of energy. The powerful dance, falling on knees, whirls, arch of back, eye brow movemens – everything looks very natural and graceful. They never cross their limits even while performing on double meaning songs. Their dance is sensuous but not vulgar. There's always a debate “ whether Laavni is a classical dance or folk dance” These programmes show us a classical form of Laavni which appeals both to classes as well as masses. Every number calls for a new saree, and once you change the saree you have to change all the accessories like blouse, jewellery, flowers, make-up..that too without any help, entirely on your own. Sometimes some guys can't turn up for the shows due to exams, illness, in such cases, the other guys have to take up their numbers. All are extremely busy during the 3 hours. The audience gets so engrossed in the show that they feel like giving a “once more” to each and every number. And the performers' speciality is that they do new steps, new adas every time they perform. Language is not really a barrier although it makes more impact when you understand the meaning of the songs. Non-Maharashtrians, NRIs, foreigners who do not understand Marathi, have seen these shows and they have enjoyed it thoroughly. The artists are now interested in performing in foreign countries so that they will get some money along with fame. They are waiting for the right opportunity. Let's wish them all the best. |
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