CHHAU DANCE
Performed By : Men
Important Places of Observance : Mayurbhanj, Nilagiri & Sareikala
Various Forms : Mayurbhanj Chhau & Dhenkanal Chhau
Orissa has earned name and fame in
the international arena for its famous martial Chhau dance. This variety
of dance is prevalent in the princely states of Mayurbhanj, Nilagiri and
Sareikala (now in Bihar). This dance is performed exclusively by men.
A
War Dance
The origin of Chhau dance is shrouded in obscurity and no historical
document in this context has yet been recovered. Etymologically, Chhau is
derived from the Sanskrit word 'Chhaya', which means a mask but some
scholars are of opinion that Chhau is an independent colloquial Odissi
word, meaning to attack or hunt stealthily.
It is evidently a war dance. The steps and movements, the attack and
defence, the performers, each holding a sword and shield, dividing
themselves into two parties, the drums and their mode of play, the huge
kettle drum known as 'Dhumusa' a must in the orchestra, its reverberating
powerful beats energizing the dancers, all signify that Chhau dance is
unmistakably originated from marital practices.
The Rituals
The rituals connected with Chhau spread throughout the year beginning
from Dussehra. The
initiation ceremony for the newly recruits starts from this day by putting
a red-thread on the wrist. The actual training of the Chhau starts from
the day of 'Sri Panchami' after playing homage to 'Saraswati', the goddess
of learning.
A number of rituals are performed primarily to call upon the divine
blessing. The thirteen 'Bhokatas' (devotees) held from different castes
perform all the connected rituals. The actual performance takes place on
the occasion of 'Chaiti
Parva' (spring festival).
All these rituals have a deep symbolic meaning according to the Hindu
philosophy. From the various rituals interlaced together, it is apparent
that Chhau as an institution was meant to achieve religious, social, and
cultural integration. Shaivites, persons adhering so 'Sakt-cult', Sun
worshippers, Vaishnavites, all are integrated together admirably in a new
festive atmosphere.
This dance, heroic and histrionic in character, is a way of life with the
people living in the princely states of Mayurbhanj and Sareikala. The
royal patronage in development of this art is mainly responsible. The
kings of these states with artistic learnings had participated in dance
performance.
Chhau in general even today serves three-fold purpose:
(1) It perpetuates on art
(2) Maintains the age-old martial customs
(3) Provides on opportunity for the integration of tribal culture with
the culture of the sophisticated society.
The Chhau dance was too hard to include women to play roles
hence; male dancers who are extremely masculine in appearance play women
roles. The use of mask by every character is the specialty of 'Sareikala
Chhau' whereas 'Mayurbhanj Chhau' is totally devoid of it. The Sareikala
Chhau for stylisation appears to be less virile and conditioned by mask.
On the other hand, the Mayurbhanj school of Chhau retains extremely
virility of the original movement with martial trend.
It is a type of dance, which takes utmost care in expressing emotion and
feeling - anger, fear, laughter, wonder or sorrow. The rhythmic variations
of this stance even in the same performance, the linear relating to the
intricate footwork, and the complicated gamut of inspired stances are
vital, charming, subtle and full of sinuous grace.
CHHAU
DANCE OF MAYURBHANJ
Mayurbhanj, one of thirteen districts of modern Orissa Province, was the
biggest among the eighteen erstwhile Princely states annexed to the Indian
union in 1948. For over a century Chhau Dance flourished under the
princely patronage and fostering care of the Maharajahs of the rulers of
Mayurbhanj.
Evolved out of the extent war dances of the area the dance has a unique
character of masculine vitality. Its annual ceremonial presentation formed
an essential feature of the tribal festival
"Chaitra Parva"
held for three consecutive nights. The dancers were divided into competing
groups each trying to excel the other by virtue of their neat performance.
Chhau Dance has a character of its own.
In the process of its evolution and growth it has also freely imbibed
from the prevalent folk and tribal
dances and makes a harmonious blending of classical, traditional,
folk and tribal traditions. Unlike the Seraikala and Purulia styles
Mayurbhanja Chhau has dispensed with the mask. This has greatly influenced
the style and the technique of the dance. In comparison to the other
masked -styles it has a wide range of intricate movements with acrobatic
stunts and beautiful choreographic patterns. Being without masks it has
adopted a style, which retains the virility of the original movements of
the martial craft.
Repertory
Mayurbhanj Chhau has a vast repertory of over hundred dances. Excepting
the earlier dances with heroic characters, thematically it draws
substantially from the 'Ramayana' and 'Mahabharata'. Many themes are also
drawn from the Krishna legend.
In the earlier stage, the Chhau dance had limited items, namely, the "Rookmar"
('Matcha' or the dance of mock fighting). In course of time things of all
varieties with special emphasis on the heroic ones were incorporated. The
dance is more famous for its group numbers sometimes having more than
twenty characters at a time.
Most of the themes of 'Puranic' episodes like 'Mayashavari', 'Kiratia
Arjuna', 'Satarathi', 'Garuda Bhan', 'Dwaparieela', 'Vastra Haran',
'Bhasmasura' etc. The duet dances are but a few. Most famous of them are
'Geeta' and 'Rangapanda'. The characters of these dances are Krishna,
Shiva ('Mahadev'), Rama, 'Parasurama', 'Hanuman', 'Shavara', 'Dandi',
'Jambaban' (Mythological bear hero of Ramayana), 'Indrajeet' etc. The
themes combining elements of tremendous kinetic fury and very fast foot
work with mellowed elegance and lyricism become visual poetry of strong
passions gestured in a style that is free, intense, affluent, dynamic yet
melodious.
Moods And Modes
Keeping with the martial tradition, Chhau Dance in its rudimentary form
had only one dominating mood "Tandava Bhaba" or heroism. The
solo dancers were simply displaying stylised vigorous movements with sword
and shield in hands. The dances were 'Sandhamar' (strong man), 'Dushman
Pachhad' (chasing the foe), 'Pakalanka' (red chilly), 'Bajra Maruni'
(thunder bolt), 'Singha' (to puzzle the enemy, obviously with marital
display) etc.
When themes were introduced and group items were composed the dance has
to widen its moods and modes, corresponding to the demand of the
characters. Consequently there was a need for introducing more female
characters. So, at this stage Chhau had to evolve three modes of rendering
of movements to build up the general aesthetic climate.
The first, "Hatiardhara", meaning holding of an arm for marital
and masculine characters, "Kalibhanga", meaning the pliant end
of a spring for more delicate lyrical and non-martial characters
especially females and "Kalikata", meaning to cut off the tender
spring with a weapon is a judicious mixture of the other two for both male
and female characters.
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