The Chhau dance is a genre of martial dance performed by tribals in the
states of West Bengal, Orissa and Jharkhand. Based on place of origin and
development, this dance can be classified in three subgenres—Seraikella Chhau,
Mayurbhanj Chhau, and Purulia Chhau.
The Purulia Chhau and Seraikella Chhau are more popular than Mayurbhanj
because of their vigour. The major difference among the three is regarding the
use of masks. While Seraikella and Purulia use masks, Mayurbhanj Chhau does
not. The Seraikella’s technique and repertoire were developed by the erstwhile
nobility of this region who both performed it and choreographed it. The Mayurbhanj
Chhau is performed without masks and is technically similar to Seraikella.
Purulia Chhau too uses masks, and in addition it exhibits the
spontaneity of folk art. This is because, unlike Seraikella and Mayurbhanj,
which enjoyed royal patronage, Purulia Chhau was sustained and developed by the
people themselves.
There are a number of explanations for the derivation of the name
“Chhau”. The word is believed by certain people to come from the Sanskrit root
“Chhaya”, meaning shadow. As masks are an integral feature of this dance, it is
thence called “Chhau”, which means mask. Some people believe it is derived from
the local word “chho” which means expressing or doing something with gestures.
Another explanation is that long ago this dance was performed by the military
of the local kingdom in their leisure time. The themes included their heroic
deeds and traditional folklore. They performed this dance for their own
entertainment as well as to encourage themselves. As it was performed in their
camps (locally known as “Chhauni”), the name “Chhau” came from that term.
Chhau is performed mainly in the Spring Festival, “Chaitra Porob” which
lasts for about 13 days, but serious practice goes on through the year. Tribal
men are the performers of this martial dance, mostly from the families of
traditional artistes or from local communities.
The most notable feature of the genre is the dresses and masks. Some
villages are completely dedicated to the task. Here, almost every person is an
expert on the making of masks and dresses. Children are trained in the forms of
the dance from a young age. Chhau involves a display of physical skills,
exercise and immense ly hard work.
It is mainly performed at night in an open space, called “akhada” or
“asor” along with traditional and folk music on the reed pipes “mohuri” and
“shehnai” (locally shaina). A variety of traditional drums provide the
percussion. These are the “dhol” (a cylindrical drum), “dhumsa” (a large kettle
drum) and “kharka”. The themes are based on folklore and episodes from the
Ramayana and Mahabharata.
Besides its importance to culture, Chhau is crucial to the local
economy. There is a global audience for this folk art form, and a large number
of families earn their livelihood by performing and selling masks and dresses.
But the future does not look bright, as a lack of care, an absence of planning
for the business of Chhau and government apathy threaten its growth. Fewer
young people are willing to take up Chhau given the financial uncertainties
that surround it. They prefer to look for jobs that don’t have so much
uncertainty. The only way to ensure the long-term future of this art would be
to make those involved in it financially secure.
A woman selling a
Chhau mask at a shop in Charida village, Purulia, near Bagmundi and the Ajodhya
hills. Most of the villagers are dependent on Chhau for their livelihood.
A craftsman working on a Chhau mask. The mask-makers, who are Sutradhars or wood-carvers by caste, are located in two or three centres in Purulia (mainly in Charida) and practically originated from one centre. They were also known as Dutta and Seal. Their livelihood depend entirely on the Purulia Chhau found only in west Bengal.
Chhau
calls for great athleticism as it is a martial dance that employs mock combat
techniques, stylised gaits of birds and animals and the movements of daily
chores that women perform.
A Chhau dancer waits for the show to begin after worshipping the local deity.
The
orchestra watches the performers practice in the fields after harvest.
It's time for the powder and paint to come on as showtime get closer. The artistes have to do their own make-up as there are no dressers for the job.
A performance in progress.
is a painter and photographer based in Kolkata.
