Chhau in brief

1. Chhau is a traditional dance form of India
The origin of Chhau Dance
The district of Purulia was a part of Manbhum. Of the West Bengal district, the history
of Manbhum is the most ancient. Since very ancient period of time , it was through Jainism,
and, subsequently, in Buddhism , that this part of the country came in contact with world
outside. The ruins of Jaina and Buddhist temples scattered throughout the districts bear
testimony of a very ancient culture of this area. Here, Buddhism followed Jainism, as it is
evident from a large number of temples which for some reason or other withstood the onslaught
of Terk invasion. Manbhum.
The origin of Chhau Dance seems to be obscure through attempts have been made a derive it
from various Sanskrit or indigeneous roots. Some believes that it is a corrupt word of Sanskrit
word Chhayameaning shadow. Other believes that the Sanskrit
word Chhadma meaning disguise is the source of the word Chhau. Others are of the opinion
that Chhau being a war dance the word has some or other association of the word
is Chhauni meaning the camp of the soldiers. Chhau is a dance-drama without any dialogue. It
has been stated that the drama on Buddha used to be performed through dance and
music- Nacen Bajracharya gan devi ;Buddha nataka visam hoy...
The musical recitation on the Ramayana, the Mahabharata, and the purans became a part of the
various ceremony. Orthodox Brambhins were imported from the interior of West Bengal, Bihar
or Orissa, by liberal gift of land. Hindu image makers who were settled by the Raja of
Bagmundi invented the technique of the making masks for Chhau dance after their settlement
here.Probably, a system of making masks of paper-pulp by these newly settled artisans. The
mask maker bear the professional surname of Sutradhar meaning a carpenter. Chhau dance
belongs to the tandava form of Indian Classical dance;though, due to its masks and elaborate
costumes it has not been able to fully adhere to the classical principles. Chhau dance was
originally dance of ghost and goblins or the follower of Siva before the shrine of Siva in the
course of his annual worship.this is the basis of Chhau dance of Purulia..
The mask-makers of Purulia and their village
The makers of masks of Purulia Chhau dance are caste Hindus, they come from a high social
group among the Hindus. They live in isolation in one village named Chorida or Chorda in the
district of Purulia, only two miles away from Bagmundi, they seat of a former feudal chief
known as Raja of Bagmundi. About 75 years ago, one family of mask makers migrated from
Chordia to Domordi, another village in the same district,and, started a second centre of mask
making there. But at the latter place, masks are made not commercial purpose as for the purpose
of utilising them for performances organised by the craftsmen themselves. If quality masks are
needed by any party of performers, the buyers have to go to the Chorida, the parent village.
Chorida is a fairly village, inhabited by about 70-75families of Bhumij, 40-45families
of Sutradhar or mask-makers, 20 families of Dom, 20 families of Bhatt,12 families of Gorai, 2
families of upper cast Brambhins, 3 families of Ghasi, one family each of Napit, Matal Mandali
and Rajput. Besides, there are about 50 families of Mura in the village living in its western
fringe beyond a specious traditional Mura cemetary which seems to be in use for a long time.
Ingredients and tools for making the mask are very simple. They are follows: Mud
collected from the bed of a nearby hill stream, torn pieces of paper, rags, glue, made of flour,
small chisel made of wood, wooden hammer, scissors, dye of different shades.
The mask-makers of Chhau of Chorida, generally speaking, do not participate in Chhau dance
performance, because during the season, they earn more money by making mask than by

2. participating in dance. The Chhau dancers dance entirely out of their love for it and not greed
for money.
The costumes and artificial limbs
It is not definitely known what was the nature of costumes that were used during the formative
period of the dance about two hundred years ago. Nothing can be summarised on this point
from the costumes that are used to-day though they have not yet been thoroughly modernised
in any way. From the statement recorded from the older section of the people of the area of
Baghmundi it is learnt that the costumes were different from what it is to-day. If that is so, then
it must be admitted that there has been a gradual evaluation as far as the costumes are
concerned.
More than one century ago, when the Baghmundi Raj family used to hold the annual dance
festivals, the member of the family used to supply costumes themselves to the dancers and thus
a model of costumes for this purpose was set by them.
The costumes that are used to-day have some special features not commonly met with in any
other art-form in the area or elsewhere in Bengal. They may be described as follows. A piece
of most ordinary trouser made most economically of cloths of different colours for gods and
demons with stripes, each being about six inches apart, is used by the heroes, both gods and
demons, in the course of the dance. Some cases the divine characters possess some additional
limbs like hands, heads and so on. Goddess Durgais ten-handed, Ganesha and Kali are four
handed each and Ravana is ten-headed. Additional limbs are supplied which are made of wood
and adjusted in the human body.
There are certain divine characters like Lord Shiva, Lord Ganesh and a few others who have
other forms of lower garments. Siva would put on a piece of cloth representing a tiger's skin
covering only up to his knees and Ganesha would put on, instead of a trouser, a piece of cloth
in the fashion of a Bengali gentleman. The idea of Ganesha's putting on a piece of cloth in the
style of a Bengali gentleman has been borrowed from the image of the goddess Durga. Siva,
who has to dance as vigorously as other characters, would never sacrifice his loin cloth in the
course of his dance.
Women characters are rare in Chhau dance. Goddess Kali appears with a very tight black
trouser without any stripes, resembling her own skin colour. This is the only instance of a
woman's character putting on men's costume. Kali dances Tandava or men's dance with a
vigorously and wild excitement resembling and even surpassing men's characters. Other divine
women characters’ use Bengali women's cloth according to their status and rank. Durga wears
a magnificent ornamental crown on a deep red base. Demonesses wear unconventional cloths

3. or even short trousers or half pants made of deep black coloured cloth of the most ordinary
quality. The exposed parts of the bodies are dyed with jet black coloured powder and sometimes
anoint their bodies with liquid colours in order to give a realistic look of the characters. There
are characters like sages and Brahmins who put on loin cloth dyed in saffron colour. The upper
parts of the bodies of the dancers have more elaborate costumes both divine and demonic. Each
character wears an embroidered jacket made of either a fine or an ordinary velvet cloth.
Embroidery is done by hands with silky thread and all sorts of cheap articles of attractive nature
like tinsel and imitation pearls and others. There are beautiful designs at the back and at the
two sides of the front or the breast. Minor characters like hunters, sages, ascetics and Brahmins
keep the upper part of their bodies bare or wrapped in some cloth which is white or saffron
coloured according to the situation. At times the hunters wear jackets with feathers of birds
stuck all over in order to give a more realistic colour to the character. The soldiers are minor
characters but they wear embroidered jackets.
The characteristics of Chhau
Chhau dance as it in vogue in the contiguous areas of the three States of Eastern India-West
Bengal, Bihar and Orissa, has a basic character of its own, and if we analysis its basic qualities
we are convinced that it represents essentially the characteristics originating from West Bengal.
After its beginning and development in Purulia district in West Bengal, it was patronized by
almost all the feudal chiefs of the entire Purulia, Ranchi and singbhum district. An individual
patron developed the dance according to his own resources and imagination without injuring
in any way its basic character. The member of the family of maharaja of Seraikella adopted the
practice themselves. Each and every performance begins with a vocal invocation to ganesha.
This is the only ritual part of the performance of Chhau that has been discarded both
in mayurbhanj and in Seraikella.
The heroic element or the Tandava character of the Chhau dance is also a striking feature.
Another characteristic of the dance is Khilan mukhos or replacement of masks. The mask
of Lord Krishna is replaced by the mask of Kali in full view of the audience within the scene
itself.
The Chhau dance technique is based upon 108 postures and movements. Their gaits leap and
Jumps, spiral movements, pad chakra, all have a distinct classical tradition. Chhau dance has
taken its shape from hand gestures and footsteps as depicted in the 'Natyashastra' o Acharya
Bharat.

4. 'Aharyabhinaya' is an important part of the Chhau dance. The typical musical instruments and
their techniques 'Tal-Chhanda-laya' have given the Chhau dance a different measure.
There is combination of three units: 'Natya', 'Nritya' and 'Nritta' as narrated by Bharata by
holding the mask on head, acting of other characters is important. The stories and themes with
manifold sentiments are expressed by body movements. The existence of vocal tradition of
dance from Guru to disciple is unwritten. The Chhau dance of Mayurbhanj and Purulia have
made the inclusion of folk elements and they created very flexibility in their styles.
The musical sounds of war dance have been moulded in Indian musicology.
Similarities with dance of Bali
It is indeed very surprising to note that there certain striking similarities in technique and also
in themes between some of the items of dance Bali, Indonesia, and Chhau dance in Purulia.
In the themes of Purulia Chhau dance the fight between the good and the evil representing the
god and the devils predominate. The same is the case with dace of Bali also when in particular
the dance are performed by the males. I can mention here two dance of Bali. The one is known
as the Barong dance and the other as the Kris dance. Both are very popular male dance like the
Purulia Chhau throughout the whole island of Bali. Barong dance is also a mask dance like
Purulia and the Kris dance is partly a mask dance though it is likely that it was wholly a mask
dance originally. In Bali, Barong represents the good and his opponent Rangda which is a
mythological monster like Asuras of Indian mythological tradition represents the evil. Like all
the themes of Purulia Chhau the episodes of the Barong dance have also been adopted from the
Indian Epic the Mahabharata. The themes are as follow.
The most remarkable similarities between the dancers of Bali and those of Purulia lies in the
similarity of the costumes specially the costumes of the lower parts of the bodies of the male
dancers of Bali and Purulia. In both the places an identical design of trousers is used or
trousers with whiter or red stripes on zet black or deep red base are put on.
There is one remarkable dissimilarity also. In Bali, the characters which do not wear masks
sometimes speak out some dialogue or prose.
It is no, however, possible at this stage to state clearly the reasons for similarities stated.
Independent development and borrowing from a parent source both are possible.
Gambhir Sing Mura - The famous Chhau artist
Gambhir Sing Mura was born in village of Baghmundi. The name of the village is Pitidari. In
the year of 1930, Mura was born. He was the youngest son of Chhau artist Jipa Sing
Mura.Gambhir Singh Mura was an Indian tribal dancer known for his contributions to the
tribal martial dance of Chhau. At the time of the ‘samanto’ kings, the programme was held in
the night. Two programmes were held in every day. The king's anger was overJipa Sing

5. Mura for his indiscipline nature. He had to left the Chorida village and settled in Pitidari
Tola in the village ofBamni. The little Gambhir spent his life in the forest area. His birth
name was Babu Sing Mura. He lost his father in his young age and became economically
deprived. His childhood spent in his uncle’s house till the age of fourteen. In the year of
1943 he returned to his own house at Chorida. He came in the limelight of Chhau in the year
of 1946. He had no specific trainer. He learned various Chhau art form by seeing others
artists and the activities of animals. His gesture and posture became very quintessential. In
the year of 1972 and 1975 he went to abroad for his perfoemence. There he got lots of
appreciation. He got ‘Padmashree’ in the year of 1981. He was felicitated in front of the
precedent of India Sri Zail Sing in 1982. This award from Sangeet Natak Academy. The
chairman of awards presentation Dr. Narayan Menon said, “ I present to you, Sri, Sri
Gambhir Sing Mura …. For his eminence in the field of dance and his contribution yo its
enrichment. Sir Gambhir Sing Mura receives the Sangeet Natak Academy Awared for Purulia
Chhau dance for 1982”. We lost this famous artist in 1stNovember, 2002.
Chhau dance in the light of publicity
Today Chhau dance has made itself a remarkable popular dance form. No other folk dance
form couldn’t get as much popularity as Chhau in abroad. These three dance styles (Purulia,
Mayourbhanj
and Sheraikella) are not only appreciated in our country, but also in foreign countries.
Generally speaking, beyond the district, the district crossing the provinces, the provinces cross
the country, and the foreign state exceeds the world.
Purulia Chhau

6. Mayourbhanj Chhau dance
Based on the findings, it can be said that the Mayourbhanj Chhau dance first produces its
existence beyond its the region in the year of 1911 when the king of England fifth Jourge Came
to visit in our country. The second break of this Chhau dance form in the year of 1942 when it
was organised in Santiniketan in the front of UdayShankar, Sadhna Basu, Timirbaron, Nandalal
Basu like those legends personalities. This dance form was connected with Orissa in 1947. In
1961, the Mayourbhanj Chhau dance institution was first established and started annual Chhau
dance festival and ‘Chaitra Parab’. In 1954, the Mayourbhanj Chhau dancers were invited to
perform to celebrate the Republic Day. This dance form also took part in National Dance
Festival in Delhi in the year of 1955.
Year Important event
1976 Dr. Suresh Abasthi organised
a Mayourbhanj Chhau dance programme in
Delhi.
1977 All India Chhau seminar was organised by
‘Onamika kalakendra’ in Kolkata.
1979 Mayourbhanj Chhau dance programme was
organised in Himachal Prades at Kulu Vally.
Year Important event
1953 First performed in Rajbhawan in Kolkata.
1954 Chhau dance was performed in“Bango
sanskriti sommelon” which was held
in Mohammad Ali Park at“deshojo nritya
Chhau nach”.
1959 It was performed in evert Youth Festivals.
1962
1965
1968
1978
This dance form performed in Youth
Festival in Ranji Stadium.
1969 A Chhau Seminar was held in
Bhubaneshwar. Dr. Asutosh Bhattacharjee
and other honourable guests were the
speakers. American dance research scholar
Judi Minor performed in this seminar. A
seminar was held in 3rd June in Delhi at
Sangeet Natak Academy Hall on Chhau
dance.
1972 Started foreign trip for Chhau dance
performance.
1982 Performed in Asian Games.

7. 1980 First visited in foreign countries.
1982 Mayourbhanj Chhau dance performed in
9thAsian Games.
1983 Mayourbhanj Chhau dance performed
inNational Business Fair.
1980 They started to participate in the village
competitions .
Sheraikella Chhau dance form
Chhau Dance of Mayurbhanj
Chhau Dance of Mayurbhanj was subsequently adopted by the relatives of Maharajas in a
sophisticated style to serve the purpose of elites. The rife-torn lives of Maharajas could get
solace from this dance, which was mostly performed at the time of 'Chaitra Parva', a festival of
the ex-states of Mayurbhanj, Kharsuan and Sareikala being patronised by the rulers. A number
of ex-ruler states before their merger in Orissa state were practising Chhau dance and some
prominent among them are: Chhau of Baripada in Mayurbhanj, Asanpal in Keonjhar, Nilgiri
in Balasore, Arnapal in Bhadrak, Bonei in Sundargarh, Talcher in Angul, Balaramprasad in
Dhenkanal, Bhubaneswar in Khurda district. Traditional Mayurbhanj Chhau has lived through
Uttarsahi and Dakshinsahi since time immemorial. Dancers of both these segments worshipped
Bhairava, an aspect of angry mood of Lord Shiva and perform during Chaitra festival, every
year which also signifies the Oriya new year that is April 14, Panasankranti. The dance was at
first performed with masks but Mayurbhanj adopted these dances without masks. This gave
scope for transformation of the erstwhile tribal dance to a semi-classical dance form, and with
the passage of time it has now enriched itself to be called a classical dance, the glory it richly
deserves.Prof. D.K. Sarangi opines, "Chhau is undoubtly a tribal Orissan Art. This famous art
Year Important Event
1937 This dance form was first performed by
Kumar Subhendranarayan and his dance
group in Kolkata.
1938 It also performed in Europe. It was organised
by Haren Ghosh.
1947, 28th March This dance was performed in New Delhi at
the residence of prime minister Jawaharlal
Nehru.
1978

8. form not only originated in a predominantly tribal belt but that the basic posture, the
accompanying music and the asthetic mood of the Chhau quite often resemble different dances
and songs of these tribes." Mayurbhanj Chhau is performed in solo, duet and group. The subject
matter has been brought thematically and substantially from the Ramayan, Mahabharat,
Krishna Cult and the Purans. In the beginning probably it had no themes but subsequently a
thematic base was provided to this dance form. Chhau in its present form is a fine blending of
various systems. Now that national and international attentions have been drawn to this dance,
it should get its recognition it deserves. The government, general public and the administration
must change their attitude in this regard, so that this valuable art can survive in the age of
Information Technology and Audio-Visual Media. These thrust areas are to be thought upon
and touched. The approval of Univesity and Government are needed for institutionalising it.
The act of copyright is also necessary from protecting it from plagiarists, so that Chhau could
survive as a traditional martial art in the district of Mayurbhanj in Orissa.
Review- Documentary on Chhau by famous film director Ritwik Kumar Ghatak
The great director Ritwik Kumar Ghatak, in his documentary Puruliar Chhau, he explored the
traditional Indian heritage of Chhau. It is a popular mask dance of Eastern India, a Bengali
Folk-performing arts. Through his thought-provoking and memorable cinematic narrative,
Ghatak attempted to glorify the traditional heritage of this Bengali Folk-performing art which,
unfortunately, shows very little evolvement since its hunting or warfare origin due to lack of
sustained patronage and guidance. In his interviews, he conveys his deep respect and love for
this folk art form and its artists.
Evidently, the first few lines of the documentary indicate that the authentic performing art of
Purulia has been going through a tough time and fighting for its existence, while the performers
of Chhau are also struggling to keep their art form breathing. In fact, in my opinion, Ghatak
has done a marvellous and unprecedented job in 21 minutes and 27 seconds with the least
number of technological aid to cover the most of the specialities of this folk performing dance
within the scope of a celluloid monochrome film. He had visited the villages of Purulia to shoot
his documentary and used no artificial stage or studio to shoot his film. In the film, he has tried
to maintain a sequential chain while showing the chhau performance, starting with Ganesh
Vandana.
Ghatak also shows in his film that apart from its entertainment value, folk performing arts like
Chhau dance serves as a means for recording history by preserving information of past events.
In the face of an advancing industrial civilisation, “Chhau” has remained an institution which
sends thrill into the hearts of the people of Purulia. In the film, Ghatak also explores the life of
the performers, including close shots of eminent dancers like Madhu Ray, Gokul Roy, Adalat,
Gambhir Singh, Lal Mahato. All the characters of the documentary are real life rural people
and performers, with skinny ribs, depicting their poverty stricken life.
To depict the daily life and hardship of these performers, Ghatak focuses on capturing their
feet stepping on mud, hands making plough and heads carrying forest goods, on the screen.

9. Their ornamented masks are highlighted in close shots along with their raw, rustic bodies.
The performers are filmed while making mask with clay, advocating an art, which the
narrator says, is not their profession but their passion of heart”.
(Reference : DhimanMondal)
Chhau dance in Odisa
It originated in the mock fights of the Oriya paikas (warriors) who fought rhythmically to the
accompaniment of indigenous music instruments The highly Stylised Chhau dance of today
follow the basic principle of the Natya Shastra of Bharat Muni and the Abhinaya Darpana of
Nandikeswara. This dance form became closely associated with religion. The Chhau dancers
worship Lord Shiva and Goddess Parvati, the two presiding deities of the Tandava and the
Lasya styles respectively.The typical Chhau dance pose when the dancer at rest is the bent
knee so that the legs form a Square, the raising of the, right hand upward with the left hand
handing downward both forming right angles the elbow.The Chhau dancers have to practices
difficult modes of walk-in, striking difficult postures and moving in a way peculiar to this
style. It is a virile dance form and was in the past undertaken by male dancers who performed
in female roles, as and when required.Today there are also female dancers who have master
this art. The face is generally covered with the mask of the character who being depicted by
the dancer in the Saraikala School of Chhau dance. But in the Mayurbhanj school, the face is
left uncovered: Emotions and passions are not depicted by facial expression but by intricate
footwork, whirls and jumps. Hence, the wait the feet and the legs are used to depict
bhavas.The dance is usually performed in the open air on a raised platform, the musicians
stand, on one side of the platform and play on big kettle drums and other musical instruments.
In villages, Chhau dance is usually performed during Chaitra parva festival in the days
concluding the month of Chaitra. Popular story from the Ramayana and Mahabharata are
staged.The costumes, the headgear and other ornamental requisites are carefully selected.The
dance programme consists of solo, duet or Group, performances.