“Naka cholu joban hulahuli ga” is what Bhushan Korgaonkar, a blushing 36-year-old writer translates at his home for us — “don’t rub my breasts, they’re ticklish.” Enamoured with Lavani’s intimate genre called khaazgi baithak — Korgaonkar after spending almost a decade researching it — pays homage to Maharashtra’s art form in his book, Sangeet Bari. The reticent chartered accountant tells us, “What interested me the most was, it was written by men and written for men but it was performed by women.” And, here was a woman reporter listening.

Lavani dancer Vijaya Palav performs at an event in Andheri, Mumbai. Pic/Rane Ashish

Lavani lure
In 2008, Korgaonkar along with filmmaker Savitri Medhatul had released a documentary titled, Natale Tumchyasaathi on this dance form. Six years later, he explored his curiosity further, to understand how the 16th century art form has thrived and resisted brahminicisation in the 19th century: “It flourished during the Peshwa era, having the right patronage in terms of art and money.”