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{{Short description|Marathi poet}} | |||
{{Infobox artist | {{Infobox artist | ||
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'''Honaji Sayaji Shilarkhane''' (1754–1844 | '''Honaji Sayaji Shilarkhane''' (1754–1844<ref name="Encyclopaedia_Datta"/>), known professionally as '''Honaji Bala''', was a [[Marathi people|Marathi]] poet from [[Maharashtra]], India. Honaji's compositions were sung by his friend ''Bala Karanjikar'', and together the pair was known for their ''"Honaji Balacha [[Tamasha]]"''.<ref name="Vishwakosh"/><ref name="Gavankar"/> He is known for contributions to the field of [[Lavani]] music and several classical Marathi song.<ref name="GhanShyam Sundara"/> | ||
== Biography == | == Biography == | ||
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Honaji composed over 200 [[Lavani]] and [[Powada]]s.<ref name="Vishwakosh"/> He contributed significantly for the development of ''Lavani'' music genre. He was the first to set Lavanis using classical [[Raga]]s and converted [[Tamasha]]s into musical concerts.<ref name="Encyclopaedia_Datta"/> | Honaji composed over 200 [[Lavani]] and [[Powada]]s.<ref name="Vishwakosh"/> He contributed significantly for the development of ''Lavani'' music genre. He was the first to set Lavanis using classical [[Raga]]s and converted [[Tamasha]]s into musical concerts.<ref name="Encyclopaedia_Datta"/> | ||
Honaji's work often promoted female perspective in poetry, and | Honaji's work often promoted female perspective in poetry, and with encouragement from Peshwa [[Baji Rao II]], he composed [[Sringara]] lavanis.<ref name="Vishwakosh"/><ref>{{cite thesis |last1=Gadhave |first1=A.S. |title=Entertainments and Amusements during the Maratha Period |date=1986 |type=M.Phil |institution=[[Shivaji University]] |location=Kolhapur |pages=72-74 |url=http://ir.unishivaji.ac.in:8080/jspui/handle/123456789/2649 |access-date=21 April 2021 |language=en |chapter=4. Rise and Growth of Romantic Entertainment}}</ref> In his historical/mythological ''lavani''s, Honaji followed the lyrical style of [[Shridhar Swami Nazarekar|Shridhar Kavi]] and Mukteshwar, [[Eknath]]'s grandson.<ref name="Vishwakosh"/> | ||
He introduced ''[[tabla]]'' in place of the traditional ''[[dholki]]''. He also developed the ''baithakichi Lavani'', a subgenre, which is presented by the singer in the seated position.<ref>{{Cite book|url=https://books.google.com/books?id=XU8dmAiaZSgC|title=Intersections: Socio-cultural Trends in Maharashtra|last=Kosambi|first=Meera|date=2000|publisher=Orient Blackswan|isbn=9788125018780|pages=197|language=en}}</ref><ref>{{cite book |last1=Ranade |first1=Ashok D. |title=Essays in Indian ethnomusicology |date=1998 |publisher=Munshiram Manoharlal |location=New Delhi |isbn=9788121508070 |pages=175-178 |url=https://books.google.com/books?id=SHNLAAAAYAAJ |access-date=21 April 2021 |language=en}}</ref> He incorporated [[Tanpura|Tambori]] in his performances.<ref name="Gavankar"/> | He introduced ''[[tabla]]'' in place of the traditional ''[[dholki]]''. He also developed the ''baithakichi Lavani'', a subgenre, which is presented by the singer in the seated position.<ref>{{Cite book|url=https://books.google.com/books?id=XU8dmAiaZSgC|title=Intersections: Socio-cultural Trends in Maharashtra|last=Kosambi|first=Meera|date=2000|publisher=Orient Blackswan|isbn=9788125018780|pages=197|language=en}}</ref><ref>{{cite book |last1=Ranade |first1=Ashok D. |title=Essays in Indian ethnomusicology |date=1998 |publisher=Munshiram Manoharlal |location=New Delhi |isbn=9788121508070 |pages=175-178 |url=https://books.google.com/books?id=SHNLAAAAYAAJ |access-date=21 April 2021 |language=en}}</ref> He incorporated [[Tanpura|Tambori]] in his performances.<ref name="Gavankar"/> | ||