The Bhumij did not. So that is a little bit of the history. So what I tried to do is, I got a whole collection of video clips on the dances that I had already seen, and these were pretty much traditional dances as well as the new ones.
The dramatic form of Chhau parallels Kathakali, another all male martial art dance drama of Kerala. So everything is done through the body. The whole village participates in the dance as the dancers go from house-to-house.
The first dance would have still been held in an important Shiva temple or some other temple.
It does not have a religious base but uses themes from mythology and is performed in the evenings to entertain the people of the regions of Sareikela, Mayurbanj and Purulia.
You have the godly gaits that I have written about, as well as the more human gaits for rishis, munis, adivasis. But in other ways you can see there is a greater elaboration of the masks. And the stone comes from the menhirs. The gods never have mouths open.
What we also have to take into consideration is the fact that those areas have not yet been touched by the fast movement of modernization. The last one I saw and this was on video, was interestingly on Phoolan Devi, where a lot of the Draupadi type motifs are coming in.
The main essence of this form of dance drama is its attachment with religion, which provides the most common theme for its plays. Our facial expression, due to the masks, is fixed and cannot be changed throughout all the emotions depicted in the characters we present.
The Mandgala Ghat the auspicious steps leading to the river ritual precedes the commencement of the Chaitra Parva festival. Chhau dance was one of these, the Naachni was the other.
The artiste depicts the grace and beauty of the various movements of a Swan while on land as well as in water. On the day of the Kalighat Ghat the pot is carried to the Shiva temple and buried beside the Shiva linga.
The soldiers and female dancers would form in lines and dance behind the chariot. That is not totally possible.
And forms that are really moving in very, very vibrant ways while others are dying out. So it allows a greater elaboration of music, some of it seems to be more successfully adapted to the form, others I feel will die out. This gives me recognition within our region.
So interestingly again, even when you have a secular story, it gets transformed into something else. In continuation of that tradition present day artistes carry torches to the Bhairav Sal.
The parva has rituals that honor the Hindu god Shiva, the lord of destruction. They jarred a bit. Jatra ghat advances the festival from timelessness to Satya Yuga. Khokar reasons that the Mangala Ghat enacts the primordial creation myth associated with mother goddess worship.
It would be jatra in Bengal, it would be again some kind of popular dramatic mode elsewherebecause remember all these tend to mediate that gulf between folk and popular.Unlike the other two forms of Chhau, Seraikella Chhau is pure dance rather than dance-drama. It does not employ dialogue and rather than a clear story line, it often seems to strive to portray through dance a sensation or feeling.
The Chhau dance of West Bengal originated in the Purulia district, near the border with Jharkhand. This is a sophisticated and provocative dance form, celebrated on the occasion of the Sun festival during the month of Chaitra according to the Bengali calendar.
Chhau dance topic. Mayurbhanj Chhau artistes performing to a Vaishnavism theme at Bhubaneswar '> A video of Chau dance in Purulia Chhau dance, also spelled as Chau or Chhau, is a semi classical Indian dance with martial, tribal and folk origins.
Chhau dance-drama India is know as one of the most traditional and cultural countries in the world. One fasinating example of this is the Indian tridal dance, Chhau mask drama, located in.
This Essay will focus on the elements and the origins of the dance-drama form of Seraikela Chhau and Purulia Chhau and to what extent they are significant to the Indian Culture as a folk art.
Why did I choose this rare form of dance-drama among others? The three areas are Mayurbhanj, Seraikela, Purulia, all of these were kingdoms that had a very strong Adivasi base where the kings themselves or the chiefs till very recently would have been Adivasis who died out over a very long period of time, and through an interface with Hinduism would have also taken on features of Sankritisation, as.Download