Mayurbhanj, located in the northern part of Odisha, is famous for its Chhau dance. Its roots may be found in the rhythmic mock battles of the Oriya Paikas (warriors), who battled while accompanied by local musical instruments. The warriors who perform this dance, wear their traditional attire and adhere to stringent Chhau procedures. Masks were utilised in the Mayurbhanj, Seraikela, and Puruliya types of Chhau dancing in its early stages. The Mayurbhanj Chhau eventually threw away the masks. This dance style was formerly limited to swordplay, which involved holding a sword in one hand and a shield in the other. The majority of the background music was written specifically to highlight the dancers' acrobatic moves, physical prowess, and sword-playing talents. Its etymology is debated; while it could have sprung from the Sanskrit word chya (shadow, image or mask), others, like Sitakant Mahapatra, contend that it derives from the Odia word chhauni, which means "military camp, armour, and stealth," rather than the Sanskrit root chadma (disguise).
Chhau was initially only a martial technique, but as it attracted Royal Families and tourists to the area, it began to take on characteristics. The primary theme around which it was choreographed became mythological tales. Similar to this, Jhumar folk tunes, Odissi music, and snippets of Hindustani classical music began to appear in the martial music. It is mostly based on numerous Ramayana and Mahabharata events. It is also common to employ specific Puranas of India events. Solo, duet, and ensemble performances are among the Chhau dance of Mayurbhanj's unique dance components. The performance is dominated by the Rasas of Vira and Rudra, and in the end, the forces of good prevail over evil. The most prominent difference amongst the three subgenres (Mayurbhanj, Seraikela, and Puruliya) is regarding the use of masks. While the Seraikela and Purulia subgenres of Chhau use masks during the dance, the Mayurbhanj Chhau uses none.
Not only were Paika and Natua the forerunners of Chhau dance (particularly Purulia style), but Nachni dance also had a significant influence on the way Chhau is known today. The feminine moves and gaits used in Chhau dance are virtually solely taken from Nachni dance. While the virulent male dancing movement is ascribed to Shiva's tandava style of dance, the feminine dance parts in Chhau contributed to the features of Lasya Bhava from the Natya Shastra that gave elegance, sensuality, and beauty to the dance form.
In Mayurbhanj Chhau, learners are required to practise their expressions by performing various sorts of exercises that emphasise their body motions in order to keep their bodies flexible and fit so they can acquire all the skills. All dance performances involve a significant amount of clothing, make-up, and costumes. In the dance play Chhau, Gods and Goddesses, as well as occasionally animals, are depicted as characters. The dance's clothing and attire are determined by the story's topic and the people it portrays. The dhoti gamcha, turban, and kamarband are dress accessories. Ghungroo and bajubandh are a couple of the decorations. Some of the crucial props are swords, shields, lathi (a stick), bows, and arrows. The music (which is a combination of classical and folk music of Odisha) plays a prominent role. Dhol, Shehnai, Dhumsa, and Chad-chadi are some of the important instruments of this dance form.
Most Chhau dance performances take place at night in a ground field or open area. In order to preserve the dance's sacredness—since the characters in it are deities—the dancers bathe and conduct Puja before they perform it. The dance arena is typically surrounded by fire poles called Mashaal for lighting purposes. Clay and paper are typically used to create the Chhau masks. Some elements of ancient ceremonial dances may be seen in the Chhau's performance. This is also demonstrated by the vigour, flair, and musical accompaniment, which centres mostly on the drum. The drum is a crucial component in Chhau performance. The dance starts out with a prayer to Lord Ganesha and the sound of drums. A large group of drummers and musicians begin beating the Dhol and the Dhamsa as soon as the vocalist has finished the invocation song. The musical component is a crucial aspect of the dance performance itself. After this musical voyage, the figure of Lord Ganesha and other figures—gods, devils, animals, and birds—appear on the dancing ground in fast succession.
The Chhau performers use a variety of coloured and patterned clothes. The actors portraying the gods typically wear bright green, yellow, or red pyjamas, whereas the actors portraying the demons typically wear loose, deep-black-coloured pants. To make the outfits more eye-catching and unique, stripes of opposite colours are occasionally also employed. The majority of the music played on the Mahuri and other types of drums for Chhau is traditional and folk music. The dancers portray several moods so impressively, and the music suits those moods just so.
The distinctive martial Chhau dance of Mayurbhanj captured the attention of the then-British ruler and, later, of the world media long before many of India's dance genres attained widespread acclaim. At the royal couple's welcome in Calcutta during George V and Queen Mary's 1912 visit to India, Maharaja Sriram Chandra Bhanja Deo, the ruler of Mayurbhanj (now an Odisha district), created and performed "War Dance" with 64 Chhau performers from the palace company. It was called "a magnificent show" by a prestigious Indian daily.
Nearly 100 years later, in 2010, UNESCO added Chhau to its ‘Representative List of the Intangible Cultural Heritage of Humanity’. Despite this acknowledgement, throughout time the government has pushed Odissi as the primary dancing style of the State, marginalising the traditional unmasked martial dance heritage. Chhau practitioners maintain the practise with zeal and commitment, unmoved.
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Kopal Tewary
Udaipur,
Rajasthan