Spring In Their Step: The Spirited Chhau Dance Of Purulia

The vigorous movements of the dancers in giant masks take us by surprise. Despite the cumbrous accoutrements, they leap, twirl and even do cartwheels, landing neatly on their feet every time, mask in place. Masked dance performances are not uncommon in India. But Purulia's Chhau dance leaves us gaping at the skill of the performers.

We are at a small village called Baghmundi—on our way back from a trek to Ajodhya Pahar in West Bengal’s Purulia district—watching the enactment of Mahishasurmardini, the slaying of Mahishasur by Goddess Durga. It begins with Ganesha Vandana (an invocation to the elephant-headed god). The dancers are dressed in colorful clothes, often with weapons as props, and masks created to suit the characters. The demon masks have busy eyebrows and mustaches; those of divine characters are elaborately crafted.

The storyline is simple—a tale of good over evil—but what makes the dance dramatic are the gestures and the movements. There is a distinctly martial feel to it; the fights between the gods and demons have elements of combat techniques. The music—provided by reeds and drums—reaches a crescendo as the 10-handed goddess vanquishes the demon.

The following day we are at the mask makers’ village of Charida, about 60 km from the district headquarters Purulia, on the foothills of Ajodhya Pahar. We pass by a memorial dedicated to the late Chhau exponent, Padmashree Gambhir Singh Mura, and workshops with big and small masks hanging on the walls. Clay molds, left to dry in the sun, lie strewn around. We enter (with permission) a workshop and find artists at work.

Before the mask is taken off a clay mould and painted, polished and decorated, there are several steps to follow. While the artists make the masks for the Chhau dancers according to requirements, they have also adapted the art to create smaller masks, which may be used for decorative purposes.

The Three Schools Of Chhau

There are three different schools of Chhau, named after the place they originate from Purulia in West Bengal, Seraikela in Jharkhand and Mayurbhanj in Odisha. Kharsawan in Jharkhand is also known for its style of Chhau, but the dance form is on the wane. Masks are used in Purulia and Seraikela. The ones from Purulia are large and elaborately designed Seraikela has smaller masks with minimal embellishments.

There are several theories behind the origin of the dance form and its name. According to litterateur Sitakanta Mahapatra of Odisha, the word originates from chhauni or military camps, partly explaining why the dance form was traditionally performed only by men. The theme usually revolves around the Ramayana, Mahabharata, folklore and tales from the lives of gods and goddesses.

Traditionally, Chhau dance festivals begin on the last day of Chaitra (which falls in mid-April) and conclude on the last day of Jaistha (around mid-June). This is keeping the rainy season in mind and the fact that the performers need to return to their agrarian tasks.

The former royals of Seraikela (about 50km from Jamshedpur) are staunch supporters of Chhau. "The royal family of Seraikela has always been a great patron of the dance," said Pratap Aditya Singh Deo, a scion of the former royal family, as he takes us around a museum he has built in his palatial residence when we visit the former royal town later.

His great-uncle, Kumar Bijay Pratap Singh Deo, considered the 'Paramguru' of Seraikela chhau, contributed to many areas of the form, including choreography. It is said that it was he who gave the more delicate nuances to what was originally a dance form rooted in martial movements.

Family members continue to support the dance school on the premises, founded in 1941. A section of the museum is devoted to a display of Seraikela Chhau masks and other paraphernalia. Different masks represent divinities, demons and animals. There are specific colour codes and trimmings that help spectators identify the characters.

For Chhau dance aficionados, the best time to visit Seraikela is during the Chaitra Parav festival in April, when night-long performances are held in the palace. The state government too organises a dance festival during this time. The programmes are open to all visitors.

Baripada in Odisha, about 250 km by road from the state capital Bhubaneswar, is the seat of the Mayurbhanj Chhau Academy, set up under the aegis of Project Chhauni, an Initiative of District Administration Mayurbhanj. The academy helps train Chhau artistes and facilitates performances so they can earn a livelihood, too.

Lost Ground

Chhau has gone through troubled times. Partly due to economic pressures, and in part because of the rise of new forms of entertainment, Chhau began to lose its popularity over time. But now, supported by several non-governmental organisations (NGOs), it is slowly regaining lost ground as a form of public entertainment.

One such NGO is the Kolkata-based Banglanatak.com, which has been working with Purulia's Chhau artists. According to Prabir Banerjee, a regional manager with the organisation, there is an increasing awareness about the dance now, and troupes are being invited to perform at events in India and abroad. This inspires the younger generation to learn the dance, he says.

His words are reiterated by Akshita Bhanj Deo, a member of Mayurbhanj’s former royal family. The family, which runs a boutique homestay, has been holding regular Chhau programs for its guests and artistes’ residencies. As Bhanj Deo points out, the legacy of Chhau dance is a part of the guru-shishya parampara, where the guru or the teacher imparts training to the shishya or the student. If the knowledge is not passed on to the younger generation, the traditional dance form will be lost forever, Bhanj Deo stresses.

They also point out that women are increasingly coming forward to learn and perform Chhau—a sign that the dance form is gaining popularity.

The dance got a significant boost in 2010 when UNESCO added Chhau to its Representative List of the Intangible Cultural Heritage of Humanity. "Chhau … binds together people from different social strata and ethnic backgrounds with diverse social practices, beliefs, professions, and languages," UNESCO stated.

Apart from arranging for training and performances, Bhanj Deo and Banerjee also point out that tourism circuits developed around Chhau can go a long way in offering economic support to the artistes.

Purulia, Mayurbhanj and Seraikela, indeed, have the potential to be developed into tourist circuits. Purulia is a popular destination with trekkers many mountaineering clubs from West Bengal hold their training camps there in winter. There are several lakes, dams and old Jain temples around Purulia town.

Seraikela has temples and lakes, and the mask-making centre near the palace can also be developed into a tourist attraction. Baripada, the gateway to the Simlipal National Park, is known for its old temples. Visitors to these places can be encouraged to include a Chhau performance into their itinerary, the dance advocates add.

The supporters of Chhau emphasize the need to protect and promote the dance form. As UNESCO stated, "…Increasing industrialization, economic pressures, and new media are leading to a decrease in collective participation…" Communities are becoming disconnected from their roots.