Indian Dances

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CHHAU

The etymological root of the word 'Chhau' is traced to the Sanskrit 'Chhaya' or shade, referring to the mask used by the dancers. Others aver it is derived from the word 'Chhauni' where the pharikhanda (shield and sword) soldiers stayed. The technique of the dance, in fact, draws on steps and gait, which have stemmed from the 'Pharikhanda System'.

It is basically a martial dance where the mask holds the dominant Rasa while the body creates, projects, and develops the moods. Chhau has three schools as such, coming from Seraikella in Bihar, Mayurbhanj in Orissa and Purulia in West Bengal. While men dance all the three Chhau forms, Mayurbhanj uses no masks but the others do.

chhau

The themes are based on mythology, everyday life, aspects of nature or just a mood or emotion. Purulia Chhau, however, has a single focus - good triumphs over evil. The music is based on Hindustani Ragas and the accompaniment is with a Nagra, a huge kettledrum, Dhol, a cylindrical drum, and Shenais or reed pipes. The strenuous nature of the dance restricts performances to brief periods, but in Purulia Chhau a single item could be for forty minutes and a performance nightlong.

Fine stages and lighted by brilliant display of torches, lanterns and many flickering oil lamps, these dances are done in solo, duet and dance drama form .The musical accompaniment for Chhau is provided by the Nagra, a huge little drum, Dhol, a cylindrical drum, and Shehnais or reed pipes. The tunes are based mainly on the ragas of Hindustani music. Usually two distinct airs are used in a dance item and when the melody changes, so does the rhythm of the dance. The steps of the dance are governed by patterns of rhythmic syllables played on the drums, and any change of tempo is prefaced with a katan, a rhythmic flourish played three times in succession. Performed by men and boys, the item never lasts more than 7 to 10 mts each, for it is difficult to dance longer wearing a mask.

chhau

Chhau dance follows certain fundamental traditions of the classical modes as detailed in the ancient treatises. In this, therefore three main elements of the classical dance, namely Raga or melody, Bhava or mood, tala or rhythmic timing are found.

In Chhau dances, there are many dance forms depicting nature and animal world such as Mayura Nritya or Peacock dance, Sagara nritya or Ocean dance, Sarpa Nritya or serpent dance etc. The Harvest dances and also stories from Ramayana, Mahabharatha are depicted quite often. The themes of the dance are taken from mythology, everyday life, and aspects of nature and at times the dance is simply the delineation of a mood, state or condition.

All three traditions of Chhau dance carry what may be called an elemental pulse. In no other classical dance of India is the pounding of the rhythm so intense, so full-bodied. Here the dancer employs his entire body and his entire being, as a single unit, as his language. And this language is at once poetic and powerful. The legs in particular offer a wide range of studied extensions and sweeps, and the torso emphatic turns and thrusts. Even though the face is hidden behind the mask, the mask uncannily expresses what the body feels or wishes to communicate.