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Chhau (Orissa/Bihar/Bengal)
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The origin of word Chhau
is shrouded in mystery. According to some,
Chhau might have originated from
Chhaya (shadow). Another possibility
is that the name sprung from dancing masks
(locally known as Chhau) used by the performers
of Purulia Chhau.
Yet others opine that Chhau has
got its name from chhauni - the camps
organised during military operations. It is
likely that Chhau dancers entertained the
troops resting at these camps during intervals
between battles and campaigns.
The Chhau dance is native to the
eastern parts of India. It probably originated
as a martial art, which is why it comprises
vigorous movements and leaps. During the 18th
and the19th centuries, many of the princely
rulers of Orissa evinced a keen interest in
the development of this art. They maintained
troupes that performed on special occasions
and during festivals.
In a Chhau performance, the depiction
of birds and animals is a distinctive feature;
there are also heroic dances with sword, bow
or shield, by means of which the dancers demonstrate
their dexterity. The themes often revolve
around mythological heroes and warriors from
the Mahabharata and Ramayana.
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There
are three recognized schools or styles of Chhau.
Seraikella
(Bihar) Chhau flourished under
royal patronage. Its vigorous martial character
made it suitable only for male dancers. The
princes were not only patrons but also dancers,
teachers and mask-making experts. The Seraikella
masks are similar to those used in the Noh
dance of Japan and the Wayang Wong
of Java.
Purulia (West
Bengal) Chhau uses huge, colourful
masks, the making of which is a highly developed
craft in the region. The barren region, with
a mainly tribal population, multi-layered influences
of Vedic literature, Hinduism, and martial folk-lore
are the influences which have all blended and
fused to mould the Purulia Chhau dances, conveying
the one and only message - the triumph of good
over evil. |
Seraikella Chhau
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In
Mayurbhanj (Orissa) Chhau
dancers do not wear masks. The Mayurbhanj repertoire
treasures the highest number of dance items,
rarely found in any other dance forms of the
world. The solo items include Dandi,
Mahadev, Sabar Toka, Nataraj
etc while the famous group items are Kirat
Arjun, Mayasabari, Tamudia
Krishna, Matrupuja, Kelakeluni,
Dhajatal, Bainshi Chori, Kailash
Leela among others. The presiding deity
of Mayurbhanj Chhau is Bhairab (a fierce
manifestation of Lord Shiva).The quintessence
of Mayurbhanj Chhau, is visual poetry; it is
set in a style that is free, intense, tempestuous,
yet lyrical.
Chhau draws its themes from
epics like the Ramayana, the Mahabharata while
incorporating folk and tribal elements. The
music accompanying the dance is vibrant and
invigorating. The components of the orchestra
are Mohuri, Chad-Chadi, Dhol
(a drum hung around the player’s neck
and beaten with two sticks), Dhumsa
(kettle drum) and conch shells, to name a few.The
grammar of Mayurbhanj Chhau comprises 6 Chalis
or Topka (basic steps) and 36 uflis
(jumping locomotions). These movements are garnered
from rural household activities, the behavioral
antics of animals and birds besides postures
and poses used in warfare. |
Mayurbhanj Chhau |
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