Chhau Dance: A Dramatical Fusion of Rhythmic Moves and Living Avatars
If you travel toward the forested belts of Saraikela-Kharsawan, cross the tribal pockets around Chandil, or drive through the rugged paths of Purulia, you will notice something unusual as you approach village centres. Nearly every household has a corner dedicated to a painted ...
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What Makes Chhau Distinct? A Cultural, Historical, and Ethnographic Understanding
Anthropologists consider Chhau to be one of the rare dances in which:
martial arts
folk narratives
Hindu epics
tribal animism
mask-making craft
village social structure
Chhau is not a singular style. It is an umbrella tradition with three independently evolved dance systems, each influenced by distinct histories:
1. Saraikela Chhau (Jharkhand)
It was founded by the royal family of Saraikela, particularly under the patronage of Raja Narendra Singh Deo in the early 19th century. It is subtle, graceful, and heavily mask-based. Researchers like Kapila Vatsyayan note that royal cultural exchanges introduced Manipuri martial arts and Thang-ta, which influenced Saraikela Chhau.
2. Mayurbhanj Chhau (Odisha)
Developed in Bhanja Period. The only unmasked action concentrating on facial expression and physical intensity. The acrobatics are most similar to drills based on the ancient Kalaripayattu.
3. Purulia Chhau (West Bengal)
The most visually dramatic. Masks from Charida Village are internationally recognised, using techniques that date back to the 1800s. It thrives on exaggerated movements, high leaps, and vibrant storytelling.
All three share the same roots but grew differently based on:
tribal communities involved
royal patronage
migration patterns
agricultural rhythm
military history
linguistic influences
This is why researchers like Dr. Ashoke Choudhury (author of “Chhau Nritya”) classify Chhau as a pan-regional cultural phenomenon, not just a dance.
Origins: The War Dance That Became Living Theatre
The earliest record of Chhau-like martial drills appears in the 18th-century British accounts of Singhbhum, where tribal foot soldiers practised combat movements to drumbeats. These exercises were called 'phari-khela or akhara training.
Over time, the drills evolved into:
mock battle enactments
mythological scenes during festivals
masked performances for public entertainment
By the late 19th century, Chhau had become a fully developed narrative dance form.
The word Chhau is associated with:
Chhaya (shadow) , mirrored masked silhouettes
Chadma (disguise), the mask’s transformative power
Chhauni (military camp) where the drills initially took place
The coming together of the etymologies indicates how the Chhau grew up organically in the war camps and not in the temples or courts.
Evolution of Themes: From Epics to Daily Life
Themes of traditional Chhau were drawn from:
Ramayana (Rama-Ravana War) (Mahishasura Mardini)
Mahabharata (Abhimanyu's death, Bhima-Bakasura)
Puranas (stories of Shiva-Parvati)
But by the mid-20th century, Chhau started including:
rural life
tribal gods
animal behaviour
British colonial links
patriotic motifs
environmental stories
A landmark shift occurred in the post-independence era, when contemporary subjects were promoted in government academies, resulting in performances in:
social problems
conservation of the forest
community rites
myths of the region
Today, Chhau is one of the few Indian dances that continue to evolve every year according to cultural changes.
The Mask: The Most Important Actor in Chhau
In Purulia and Saraikela, the mask (mukha) is not a prop; it is a living identity.
How masks are made (real technical process):
A clay mold is crafted from local alluvial soil
Several layers of paper pulp mixed with diluted gum are applied
Cotton cloth is pressed and sealed with more pulp
The surface is sun-dried for 3–5 days
Artisans scrape irregularities with rough stones
Natural pigments from stones, leaves, coal, and gum are used for colors
Feathers, foil, mirrors, jute, and bamboo are added
The mask is sanctified before performance
Each mask represents:
gods & goddesses
demons
animals
elements (night, fire, wind)
heroes & warriors
Ethnographers note that masks determine the dance vocabulary; a Ravana mask demands wide stances and high stomps, and a deer mask requires controlled neck movements.
The Musical Framework: What Chhau Sounds Like
Chhau music deserves its research paper. The rhythmic structure is derived from Nagpuri and tribal drumming traditions, not classical Indian tala.
Main instruments include:
Dhol – provides base rhythm
Dhumsa – deep bass tribal drum
Nagara – war kettle drums
Shehnai – melodic lead
Mahuri – aerophone used in martial rituals
Pakhawaj – adds classical resonance
Turhi – horn that signals character entry
Each character has a distinct rhythmic signature.
For example:
Shiva has long, weighted beats
Demons have aggressive double-tempo beats
Animals follow swinging or galloping patterns
No other Indian folk dance uses such a militaristic, coded rhythmic system.
The Performance Environment: How Villages Host Chhau
Unlike urban stage shows, authentic Chhau happens in:
village grounds
akharas
festival pandals
palace courtyards (historically)
forest enclosures
Before the performance, dancers undergo:
dietary restrictions
temple visits
grounding rituals
rehearsals at dawn (to avoid heat and maintain stamina)
Women do not dance Chhau traditionally; it has always been male-performed due to the physical strength required.
However, now in some villages, women are beginning to learn Chhau due to cultural revival efforts.
A Living Heritage: Recognition and Revival
In 2010, UNESCO added Chhau to its list of Intangible Cultural Heritage of Humanity, citing it as:
“A rare example of martial, ritual, and narrative fusion that carries strong Indigenous roots.”
Today:
Government academies in Saraikela and Baripada train hundreds of dancers
Cultural groups in Purulia sustain mask-making lineages
International festivals (Japan, France, Mauritius) regularly host Chhau troupes
Institutions like Sangeet Natak Akademi support its preservation
Still, Chhau faces challenges: low incomes, migration of artisans, commercialisation, and a lack of younger practitioners in some regions.
Experience Chhau with Folk Experience
We take you beyond performances, into the villages where Chhau breathes.
What This Journey Offers:
Visit Charida village to meet National Award–winning mask-makers
Observe dawn rehearsals in Saraikela’s royal akharas
Attend a traditional Chaitra Parva performance with local communities
Sit with gurus who explain the martial vocabulary of each movement
Learn how masks, music, and mythology are interwoven
Experience the shift from ancient war drills to modern narratives
This form of storytelling is not from books but from people – dancers, artisans, and drummers – who have lived this tradition for generations.
When the drums begin and the earth vibrates, Chhau stops being a dance. It becomes a memory that the land itself performs.