[2] During the wedding ceremony lavanda dancers are a focal point, leading the groom's entourage to the bride's home.
In the first few decades of the twentieth century when the world was witnessing revolutionary changes recognising the rights of the downtrodden, Bhikhari Thakur displayed their constant struggle and survival instinct through agrarian theatre that came to be colloquially known as 'Lavanda Naach',[7] comprising "songs, dance, comedy, satire, pun, banter, parody, and theatre where men impersonate women in performances that last all night.
"[8] Ramchandra Manjhi, the last disciple of Thakur, inherited a great legacy and vast repertoire of Naach Theatre such as Bidesiya, Gabarghichor, Beti Bechwa, etc.
However, the Lavanda Naach diversified over time, transcending the boundaries and parameters established by the scions of Thakur's theatre.
With the rise of multiple sources of entertainment, the folk art form has also been criticised for losing its 'professionalism', allowing objectification and validating it, and becoming an area for abuse.