Chhau Dance: Chhau Dance is a genre of tribal martial dance that is popular in the Indian states of West Bengal, Jharkhand and Orissa. The dance form originated in the erstwhile princely state of Mayurbhanj as mock fights of the Oriya Paikas (warriors) who fought rhythmically to the accompaniment of indigenous musical instruments. Today, there are three subgenres of the dance, based on its places of origin and development. Seraikella Chau was developed in Seraikela, the present day administrative headquarters of the Seraikela Kharsawan district of Jharkhand, Purulia Chau was developed in Purulia district of West Bengal and Mayurbhanj Chhau was developed in Mayurbhanj district of Orissa. The most prominent difference among the three subgenres is in the use of mask. While, the Seraikela and Purulia subgenres of Chhau use masks, the Mayurbhanj Chhau uses none.The highly Stylised Chhau dance of today follow the basic principle of the Natya Shastra of Bharat Muni and the Abhinaya Darpana of Nandikeswara. The Chhau dancers worship Lord Shiva and Goddess Parvati, the two presiding deities of the Tandava and the Lasya styles respectively. The typical dance poses when the dancer is at rest in Chahau dance is the bent knee position. In this position, the legs form a Square, right hands raised upwards forms right angle at elbow and the left hand falls downward also forming right angles at the elbow. The Chhau dancershave to practice difficult modes of walk-in, striking difficult postures and moving in a way peculiar to this style. In its past form, the dance was practiced only by male members who performed in female roles. Today there are also female dancers who have mastered this art. Emotions and passions are not depicted by facial expression but also by intricate footwork, whirls and jumps. Hence, the waist, the feet and the legs are used to depict bhavas. The basic postures and stance of this dance resemble the postures of a combatant in a traditional fight. In its rudimentary form it is generally referred to as Phari Khanda Khela (the game of sword and shield) or Rookmar Nacha ( the dance of offence and defense). The themes of Chhau are largely drawn from the Puranas, Ramayan and Mahabharat. They combine elements of tremendous kinetic fury and very fast footwork with mellowed elegance and lyricism which at times is indistinguishable from visual poetry. Episodes like the fight of 'Abhimanyu' with the 'Sapta Rathis', the killing of 'Mahishasura', 'Shiva Tandav', 'Kirat Arjuna', 'Jambeb', 'Garuda Bahana', etc. are very popular.
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 Ramavyna and Mahabharata are staged. The costumes, the headgear and other ornamental requisites are carefully selected. The dance can be solo, duet or group performances. Today, the subject matter of Chhau dance is borrowed from the whole gamut of animate and inanimate nature. The female peacock, swan and deer dances depict the wild beauty and grace of the form and are excellently choreographed. The hilly region of north –eastern Orissa with a rich folk and tribal culture has influenced Chhau dance.
Inexplicably connected with the festival of Orissa is dummy-horse dance of the community. On the auspicious day of Chaitra Purnami, the Kaivartas worship a Bamboo with vermillion, sandal-paste, butter-lamp etc. Then the bamboo is split ceremonially into pieces out of which only twelve are taken out for preparation of the frame of the dummy-horse. The frame is dyed red with red clay and then covered with a Pata (indigenous silk cloth). Then a painted horse-head made out of wood is fixed to the frame. A garland of Mandara (Hibiscus) flowers is placed on the neck during worship. This particular garland is always intended for mother goddess. Thus the dummy-horse is worshipped till the eighth day of the dark fort-night after which it is taken out for dance. A man enters the cavity and hangs the frame on the shoulders and then dances to the rhythm of Dhol (country drum) Mahuri is the only wind-instrument played during the dance. Songs are sung intermittently in votive dedication to the deity. Sometimes the dancer gets possessed and falls in to trance. Then somebody else replaces him. Two other characters Chadhua-Chadhuani or Rauta-Rautani also sing and dance. The male character dances with a long staff in his hand symbolizing the profession of fishermen's rowing of boats. The female character is played by a man. Both of them sing songs of love and daily household cares. Then a song combat ensues which lasts for the whole night. During this portion of the dance the dummy horse is ceremonially placed in the centre and the performance is held in front of it with people sitting all around.
Now a-days the votive dancers are not confined only to the Kaibarta community. Since the dummy-horse dance is attached to many Shakti shrines of Orissa also, people of other communities have also taken interest to join the votive dancers. The dummy-horse dance is mainly prevalent in the coastal districts of Cuttack and Puri. In Puri the dummy-horse are profusely decorated with flowers and the 'Tahia' (Archaic head-gear of flowers) presents a magnificent show during dance. When the festival ends the horse-head is taken out ceremonially from the frame and is preserved in a temple. Next year during the festival it is again brought out and repainted for worship and use during the dance.
