|
Introduction
 Definition
of Chhau Dance and the word meaning of Chhau:
The Chhau Dance follows the
basic principles of Hindu Dance. Chhau Dance is prevalent not only in Seraikela
but also in the same form or the other in many parts of Orissa and West Bengal.
The word Chhau is
interpreted in different ways by different quarters and persons: -
In the opinion
of Late Bijay Pratap Singh Deo of Seraikela who was an architect of Chhau dance
of Seraikella school, Chhau is a masked dance, the motif of which has been drawn
from the mythological picturesque.
In the opinion
of some people "Chhau" is a dialect which meams six faces, Viz. fore head, eyes,
nose, cheeks, lips and chin and a mask bears the six parts of the face. The word
"Chhau" ordinarily means mask and because the dance is performed by use of mask,
it is called "Chhau Dance".
According to
yet another school of thought the word "Chhau" has been derived from the
Sanskrit word "Chhabi" which means image or picture. Several others say that as
the dance is characterized by variety it is called Chhau dance and therefore the
word meaning of "Chhau" is Chhabila in Sanskrit and fancy or picturesque in
English.
According to
Sitakanta Mohapatra (I.A.S.), Chhau is concocted pronunciation of the word
Chhauni (Military Barrack or Cantonment). In his views, the militia man (Paikas)
staged and performed in Chhauni (cantonments) for amusement during leisure time
and enjoy their success or victory in battle field, so the people called it as "Chhauni
dance", Which in course of time has changed to Chhau dance by mispronunciation.
"Chhau" dance
flourished at eight Akhadas on the basis of Parikhanda and is not only the means
of recreation but is related with the religion beliefs of the people. 13 Bhaktas
from different sects of society with "Stubble Bhat" in last 13 days of the month
of Chaitra start with "Habissanna" in this function and the dance starts in last
four days with "Yatra Ghat" and concludes in the last night with "Kalika Ghat"
History
The beginning
of Chhau dances is lost in hoary past and the rulers have been intimately
associated with religious festivals known as "Chaitra Parva" celebrated every
year for several centuries. Not only have they been actively associated with
religious festivals, they have nurtured the art of dance. They have nurtured the
art of dance that blossomed underthe royal patronage. Invariably every year the
Chhau dances are performed during the spring and members of the royal family and
commoners dance together without distinction of rank and creed. The prince and
pauper join each other freely and express their feelings through dance. In early
days the dancers used masks of bamboos and gourds and these dances were related
with mythological tales of Mahabharata, Ramayana and the life and nature of
human beings. Later on masks made of paper mache were used.
The present
style of dance is given to its shape by the untiring efforts of Kunwar Bijay
Pratap Singhdeo in 1920s. Hence after he is said to be the Father of Modern
Saraikela Chhau. Since 1938, Seraikella Chhau dance has added to it's glory by
exhibiting the dance to corners of far and near till this date.
The Govt. has
given new dimension to the art and culture by establishing state Chhau Dance
Centre. The in exhaustive effort of the dancers of Chhau; Seraikela keeps a
special position in global world of art.
Our country is
predominantly based on religion. People worship different Gods and Goddesses to
invoke their blessings to ward off evils. To please the Gods, there was
necessity of rejoicing through music and dance in harmony with rituals.
As such the
Chhau dance in general and that of Searikela in particular relates this dance
with the worship of Lord Shiva in the month of "Chaitra" (Mid April) ushering
spring when the hearts of the people are filled with cosmic joy in tune with the
"Basant Ritu" the spring.
-
Saraikela Chhau -
The Chhau dance of Searikela is a traditional dance from with
classical base. The Chhau dance of Seraikela is a highly specialized masked
dance having a rich cultural heritage.
The word 'Chhau'
is derived from the Sanskrit word 'Chhaya' meaning 'shade image mask' which is
an essential features of this art. In Seraikela Chhau, the mask in the center
of attraction, Vachikabhinaya is absent and the elements of speech there is
greater scope for expression through mime and body language. Different Bhavas
(Moods) and Rasas (sentiments) are exquisitely expressed through the movements
of the limbs in Chhau. The Searikela Chhau has evolved from a distinct martial
art called "Pharikhanda" play of (sword and shield) and has a few
distinguished manners of execution. The style, posture, movements and footwork
confirms to positive martial art from bestowed with grace. In this dance form
the mask covers the face exerting the dancers to express his Bhava (Mood) and
Rasa (sentiments) through body movements like Siro Bhedo (Head gesture) and
Griba Bhedo (neck gesture) leaving no room for "Dristi Bhedo" (eye movements
and glances).
Natya
Shastra enumerates one hundred eight (108) Karanas. In Seraikela these are
known as upalayas or uphle, make up basic vocabulary in Chhau dance uphlu
(meaning lips and motion).
The music of
Chhau in many cases is based on the ragas of the Hindustani classical music as
also from folk lure. In some cases it has been borrowed from the composition
of outstanding Oriya poets of the past where some cases folk melodies (Dashi)
are utilized.
Chhau dance
is essentially open-air offer; all the special instruments used for the
accompaniment emit loud or sharp songs. Traditional musical instrument used
for Chhau in Clude Dhol, Nagara or Dhumsa (kettle dance), Jhanj (brass
cymbals), flute, Mohuri, conch shells, Turi and Bheri (Long bamboo pipes) some
classical music instruments like Shenal, Veena, Pakhwaj, Mridanga etc.
The subject
of matter of Chhau assumed artistic proposals and it's themes are drawn from
great epics –The Ramayana and Mahabharata, Nature and human existence giving
rise to dances like Duryodhan –Urubhanga "Goda Yuddh"(club duel) Astra Dwanada
(sword duel) and the sort.
Nature
played a significant role in the composition of dance numbers like Mayur
(Peacock – the glorious national bird), Hansa (swan) Prajapati (Butterfly),
Sagar(ocean) and all that.
The
historical episodes like "Rani of Jhansi"(Laxmibai), Hamara Desh Mahan added
in 1995 shows interesting features of the art.
Romance is
equally incorporated in the art "sringar" sentiments play a Dominant role in
the numbers like "Barsa ghama ghama"(when rains pours in showers)."chandra
bhaga"(the eternal love of sun god with maiden chandrabhaga) depicting in
episode a "Konark" in Orissa kach debjani in the lyrics of immortal visvakabi
Rabindra Nath Tagore "Biday Abhisaap" has been portrayed to render a romantic
and so and so forth.
The great
choreographer and a dozen of this celebrated art Kumar Bijay Pratap Singh Deo
the illustrious brother of late Maharaja Aditya Pratap Singh Deo is hailed to
be the author of the latest treasure in Chhau dance style by invoking the
elements of lasya (feminine grace) in its original. To the development of
chhau are the most evolved and have a well-structured grammar. The Mayurbhanj
Chhau is a beautiful mosaic comprising elements from folk, martial and
classical art. The dancers uses basic steps "Topkas", Ufils, Chali.
The word
Chhau, now obsolete means to attack stealthily in Oriya.A few derivative words
of Chhau such as Chhauri and Chhaurani and Chhamka (meaning resopectively the
armor, a military camp and the quality of attacking stealthily) are in still
in currency. The rudimentary Chhau dance in Mayurbhanj was called rook-maar –naacha,
literally meaning: the dance of defense and attack.
In Mayubhanj
(Orissa) Chhau the great exponents are shri Madan Mohan Lenka ,Sri Hari Nayak
recipient academy awards by the president of India.
-
Manbhum (Purulai)
Chhau - This is perhaps the
best-known style of Chhau largely due to it energetic and dramatic
characteristics. As regards the masks and the mask-makers of Manbhum Chhau
much as already been described and discussed.
The vigorous
aspects of Purulia Chhau are based illustrated in a series of Asura masks
having a fierce countenance and painted bright green and red. In general the
range of colour used to symbolize character types in framework and giving a
classical touch assisted by local ustad.
Performers
of different school's of chhau have achieved World Wide acclamation and
bestowed with national and international trophies.
It is
worthwhile to mention that living legend late Rajkumar Suddhandra Narayan
Singh Deo (Seraikela chhau) who was honoured with PadmashreeAward by the
president of India, Guru Kedar Nath Sahu recipient of academy award from the
president of India are brilliant exponents of Seraikela style. Ustad Bikram
Kumbhkar exponent of Seraikela chhau is a recipient of academy award from the
president of India.
-
Mayurbhanj Chhau -
Chhau is usually though to be a mask dance. However,
that performed Baripada in Mayurbhanj, Orissa, does not use any distinctive
masks though the face remains quite immobile. The Mayurbhanj chhau the
movements are quite vigorous. Maintaining the basic spirit and style of chhau
dance the rulers of Mayurbhanj, cultivated the chhau dance to develop it to a
unique from with the support the Govt.
Mayurbhanj
chhau seems to be closely related to Seraikela chhau. Because the two Guru's/Ustad
had gone to Mayurbhanj and trained the Pharikhanda style dance/martial art
name Upendra Biswal and Banamali Das. Seraikela and Mayurbhanj were princely
states and their rulers extended enthusiastic patronage. consistent with that
used in other forms of traditional Indian performing arts. Purulia masks with
towering headgears are more dramatic influenced by the Jatra/theatre of
Bengal, Purulia/Manbhum.
Chhau
vibrates with a powerful theatrically and imparts to the dance mythical
episodes a rare kind of palpability. The themes are drawn from Ramayana
(written by Krittibas) and mahabharata or the mythological character. The
music of Manbhum chhau in many cases based on the folk melodies and Jhoomer
and musical instrument are Dhol, Nagara, and Mahuri etc.
The Manbhum
school exhibit of vigorous body movements acrobatics their vigorous dance
forms suggests martial origin of Chhau much akin to military exercises.
The revered
master and choreographers Guru Gambhir Singh Munda and Nepal Mahto of Mnbhum/Purulia
school are greatest exponents of the art and recipient of Padmashree from the
president of India.
-
Kharsawana Chhau -
The Kharsawan chhau does not used in any masks except in
a single item "Ganesh Bandana" in which mask is used to represent the facial
expressions of lord Ganesh. Once a time Kharsawan was also a princely state.
The Kharsawan style of chhau dance is in fact a product of fashion of the
Mayurbhanj and Purulia style of Chhau. The Kharsawan style of chhau is also a
martial art form. The purity of the martial art form has been preserved by
these indigenous people of this area who constant exchange among the villagers
and the communities. It is more modern form owes much to the active
intervention of the kings of Kharsawan. Unfortunately these style is not very
popular due to some circumstances.
The main
three style Seraikela, Mayurbhanj and Manbhum/Purulia are recognized but
Kharsawan till date not recognized. Whether Kharsawan Chhau is very beautiful.
The movements chali locomotion ufles and steps are full of the velour and
dynamism. The costumes and appearance of these dancers are very distinctive.
The music of
Kharsawan chhau in many cases based on local folk melodies of and jhoomur. The
Kharsawan chhau also used Dhol, Dhumsa, mohuri etc. which traditional musical
instrument.
It in
significant that not only Seraikela but all the different style of chhau
culminate in a festival called CHAITRAPARVA celebrated on the last day of the
month of Chaitra. Corresponding with April.
The festival
proper begins with the Jatraghat ceremony whenever the chaitraparve or the
Chhau dance performed whether it is in Seraikela, Mayurbhanj, Kharsawan and
Purulia/Manbhum. The jatraghat ceremony must be performed.
The
underlying rituals (lord Shiva and Shakti) of the chaitraparava are the same
as those of the "DANDAJATRA" or "DANDANATA"
The Chhau dance is of the people,
By the people and for the people,
Dance of
mother of arts, Music and poetry exists in time.
|
|
