In Marathi, the word Tamasha means a grand show, performance, or celebration especially one involving dance. The word originates from the Persian vocabulary meaning ‘to have fun or to play’. It is a mixture of specialized performances like dance, music, or different enactments of roles played by women or girls and singing 'Lavanis'. Known as Lok Natya in modern-day Maharashtra, it is still called Tamasha in the rural part. It is a mobile theatre that goes to different regions of Maharashtra.
This folk-art form is rooted so deep in rural Maharashtra since the 8th and 9th centuries that it is difficult to say when Tamasha was first staged. Over the years, it has influenced other art forms like Ghazals, Kirtan, Kathak.
Dholki and Sangeet bhaari are the two types of Tamasha where the latter is the older and contains more dance and music than drama. Women dress in bright red or green traditional saree wore in a Maharashtrian style called ‘Kachi’ and wear ‘Nath’ (nose pin), Bangles, Ghunghroos while performing. Men wear dhoti, kurta, and traditional caps. Instruments used generally while performing are Dholki drum, Tuntuni (a single string instrument), ‘Daf’ (a tambourine-like instrument with a single leather surface), the metal triangle called ‘Kade’, the Harmonium, and Ghunghroos (ankle bells).
Tamasha also includes love songs 'Lavanis' which makes this art form very popular among the common people. These love songs are the heart of Tamasha. It served as a source of entertainment and morale booster for the war soldiers in the 18th century. In recent times, Lavani has become confined to sensual entertainment often presented in a stereotyped form in Marathi films.
With the rise of the modern Marathi theatre movement in the post-independence era, which was largely “literary drama” form with a Westernized idiom, Tamasha like other prevalent indigenous theatres forms, like Jatra in Bengal and Bhavai in Gujarat, was deemed debased, and corrupt, while being relegated to being only “folk” form. In 2002, the state had 450 Tamasha troupes with approximately 10,000 artists.
The turning away of an urban middle-class audience from traditional forms disrupted the theatrical traditions besides creating a divide between urban and rural theatre. There was a ban on this art form during the tenure of Sri Kher (first CM of the Maharashtra state) due to complaints of vulgarity used. This led to a severe struggle for the livelihood of the artists and their families.
Tamasha Sudhar Smithi was incorporated after the lifting of the ban which framed rules for
performing Tamasha. Rules restricted the audience from touching the performers during the performance and the use of vulgar language.
Somewhere between 1953-55, this art form was sent to the Ministry of Culture for gaining recognition under folk theatre. There are reasons to understand why this art form is on a decline. Firstly, the lack of government support. In comparison to a movie in the Marathi language, Tamasha troupes get very little support and lesser subsidy. The second reason is the lack of an audience. The audience has changed with time. With multiple options for entertainment through the internet, there are few takers of this folk art even in rural areas. The younger audience is just not interested. The artists of this community also lack respect from society. The bold topics and dialogues used by the artists are considered as an entertainment of the lower class. Then there is a dearth of good artists as well. Very few young artists perform and the good ones are always eager to try their luck on TV or Bollywood or a more stable and better paying job. There is only a few left from the older generation who are passionate about the art form and willing to do Tamasha till they can manage. They are fighting hard so that the folk-art can survive. For them, it’s not just a source of living, but the source of life.