1

A Craft Documentation

CHAUU MASKS AND

COSTUMES

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 CHHAU MASKS AND COSTUMES

Purulia Chhau
A Craft Documentation

Submitted by: Sampurna Das

Guide: Amit Sinha

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 Copyright @ NID 2016
Digital publication of student documentation for private circulation only.
PGDPD Apparel Design
National Institute of Design, India
Text - Sampurna Das
Illustrations - Sampurna Das

Credits mentioned at the end of the book

Source: Mentioned with the information unless otherwise stated.
All copyright reserved under international copyright conservation. No part of
this documentation may be reproduced, stored in a retrieval system, or transmit-
ted, in any form of by any means, electronic, mechanical, photocopying, recording,
or otherwise, without the prior permission in writing from the publishers.

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 CONTENTS
ACKNOWEDGEMENT 11
VILLAGE CHARIDA 71
INTRODUCTION 13
PURULIA CHHAU 75 FLAT DRAWINGS OF
CHHAU COSTUMES 145
WEST BENGAL 17
PERFORMING CHHAU 83 DHOTI DRAPING
PROCESS 154
PURULIA 61
MASK MAKING CONCLUSION 161
PROCESS 93

COSTUME MAKING BIBLIOGRAPHY 162

PROCESS 129
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 ACKNOWLEDGEMENT

I would like to express my deepest appreciation to all those who provided me the possibility
to complete this report. A special gratitude to Ms. Krishna Amin Patel (project guide) for
the valuable guidance and suggestions throughout the whole duration of the design project
and even after that.
Besides, I would also like to acknowledge Mr.Amit Sinha for the valuable guidance and advice
during the trend research phase and even after that.
Last but not least a special thanks goes to my colleagues ,who helped me throughout the
project whenever i got stuck up with the documentation.

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 INTRODUCTION

As the goddess rides the lion and slays the Beautiful masks, exclusive style of dance,
demon, mythology, martial art and music make-up and colourful ornate costumes make
blend into a colourful spectacle of unadul- the dance a wonderful experience to live
terated, rustic yet sophisticated and liber- with. The bold and vigorous style of dance
ating form of entertainment. The elaborate, is some kind of martial art. Powerful presen-
stylized and often vigorous movements of tation and agility involved in dancing. Dhol,
this dance form, originating in the eastern Dhamsa, Madal, Sehnai, Carnet, Synthesiser,
states of Orissa, West Bengal and Jharkhand, Maracas and other instruments are used in
transport the viewer to the forests, recreat- Chhau dance.
ing scenes of tribal warfare and tales from
the animal kingdom. The story primarily The main focus of this study is to apprehend
is based on mythological stories from the the various effort that helps in creating an
Ramayana, Mahabharata, Puranas etc but in aura that adds to the magnificence of the
present day, historical as well as contem- Chau Performance.
porary issues like Santhal revolt, Mandla A few other important aspects of this study
revolt, Kargil war etc are also potrayed in will include the history behind this craft,
their plays. its origin, and the communities which con-
Chau is the most well known tribal dance tinue practicing this craft as part of their
form of Purulia,West Bengal popular among livelihood.
Santhals, Kumars, Mahatos, Kalindis and the
Sahish Community.
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 MAPPING THE JOURNEY

Distance between Kolkata to Purulia is 245 from Kolkata takes you 5h 25m, which is
km by Road and 326 km by Rails. Aerial to take Rupasibangla Ex from Kolkata to
distance is 219 km. Purulia. The fastest way to reach Purulia
There is/are 8 direct train(s) from Kolk- from Kolkata takes you 4h 54m, which is to
ata to Purulia. TThe minimum time a train take Indica from Kolkata to Purulia.
takes to reach Purulia from Kolkata is 5h
13m. The cheapest way to reach Purulia
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 WEST BENGAL
West Bengal is a state in eastern India, kings and Baro-Bhuyan landlords under the
between the Himalayas and the Bay of Ben- suzerainty of the Mughal Empire, until the
gal. Its capital, Kolkata (formerly Calcutta),British East India company took control of
retains architectural and cultural remnants the region from the Mughals in the late 18th
of its past as an East India Company trading century. The company consolidated their
post and the capital of the British Raj. hold on the region following the Battle of
It is nations fourth-most populous state, Plassey in 1757 and Battle of Buxar in 1764
with over 91 million inhabitants. It is bor- and by 1793 took complete control of the re-
dered by the countries of Bangladesh, Nepal gion. Kolkata (or Calcutta) served for many
and Bhutan, and the Indian states of Odis- years as the capital of British controlled
ha, Jharkhand, Bihar, Sikkim and Assam. The territories in India. The early and prolonged
state capital is Kolkata. Together with the exposure to British administration resulted
neighbouring nation of Bangladesh, it makes in the expansion of Western education, cul-
up the ethno-linguistic region of Bengal. minating in development of science, institu-
tional education, and social reforms in the
History region, including what became known as the
Ancient Bengal was the site of several ma- Bengali renaissance.
jor janapadas (kingdoms). It was also part A hotbed of the Indian independence move-
of large empires such as the Maurya Em- ment through the early 20th century, Bengal
pire (second century BC) and Gupta Empire was divided during Indias independence in
(fourth century AD); and part of the regional 1947 along religious lines into two separate
Buddhist Pala Empire (8th to 11th century) entities: West Bengala state of Indiaand
and Sena dynasty (11th-12th century). From East Bengala part of the newly created
the 13th century onward, the region was Dominion of Pakistan that later became the
controlled by the Bengal Sultanate, Hindu independent nation of Bangladesh in 1971.

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 A major agricultural producer, West Bengal Rabindranath Tagore to scores of musicians,
is the sixth-largest contributor to Indias film-makers and artists. West Bengal is also
net domestic product. Noted for its political distinct from most other Indian states in its
activism, the state was ruled by democrati- appreciation and practice of playing Associ-
cally elected communist governments for 34 ation football besides cricket, the national
years from 1977. It is noted for its cultural favourite sport
activities and the presence of cultural and According to the provisional results of the
educational institutions; the state capital 2011 national census, West Bengal is the
Kolkata is known as the cultural capital of fourth most populous state in India. The offi-
India. The states cultural heritage, besides cial language is Bengali and English.
varied folk traditions, ranges from stal-
warts in literature including Nobel-laureate

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 C U LT U R E & L I T E R AT U R E

The culture of West Bengal is an Indian The Bengali language boasts a rich literary
Culture which has its roots in the Bengali heritage, shared with neighbouring Bangla-
literature, music, fine arts, drama and cinema. desh. West Bengal has a long tradition in
People of West Bengal share their cultural folk literature, evidenced by the Charyapada,
heritage with the neighbouring Bangladesh Mangalkavya, Shreekrishna Kirtana, Thakur-
(erstwhile known as East Bengal). West Ben- mar Jhuli.In the nineteenth and twentieth
gal and Bangladesh together form the histor- century, Bengali literature was modernized
ical and geographical region of Bengal, with in the works of authors such as Bankim Chan-
common linguistic and ethnic backgrounds. dra Chattopadhyay, Michael Madhusudan Dutt,
Rabindranath Tagore, Kazi Nazrul Islam, and
West Bengals capital Kolkataas the former Sharat Chandra Chattopadhyay. Coupled with
capital of Indiawas the birthplace of mod- social reforms led by Ram Mohan Roy, Swami
ern Indian literary and artistic thought, and Vivekananda, and others, this constituted
is referred to as the cultural [or literary] a major part of the Bengal Renaissance.The
capital of India. The presence of paras, pos- middle and latter parts of the 20th century
sess a strong sense of community, is charac- witnessed the arrival of post-modernism, as
teristic of West Bengal. well as literary movements such as those es-
Typically, each para has its own community poused by the Kallol movement, hungryalists
club and, on occasion, a playing field. Res- and the little magazines
idents engage in addas, or leisurely chats,
that often take the form of freestyle intel-
lectual conversation.

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 FESTIVALS

Religion, specially Hinduism, the principal Durga Puja in October is the most popular
and predominant religion of the state plays and most widely celebrated festival in West
a vital role in the culture of West Ben- Bengal. Poila Baishakh (the Bengali New Year),
gal. Durga Puja, a five-day annual autumnal Rathayatra, Dolyatra or Holi, Nobanno, Di-
celebration of Hindu goddess Durgas victory wali, Kali Puja, Saraswati Puja, Lakshmi Puja,
over Mahishasura, a Minotaur-like demon, is Jagaddhatri Puja, Rashyatra, Janmashtami,
the biggest festival of the state. The Kali Vishwakarma Puja of Hindus; Eid ul-Fitr, Eid
Puja, celebrating the guardian deity of Ben- ul-Adha and Muharram of Muslims; Christmas
gal, is also celebrated with great enthusiasm. or Borodin of Christians; Buddha Purnima of
Other important festivals include Vijaya- Buddhists are other notable festivals. Poush
dashami, Kojagari Lakshmi Puja, Jagaddhatri mela is a popular festival of Shantiniketan,
Puja, Rathayatra, Holi, Janmashtami, Saraswa- taking place in winter. Jains also celebrate
ti Puja, Poush Parbon, the seasonal festivals Mahavir Jayanti, but the impact is limited
introduced by Rabindranath Tagore, book within few urban areas.
fairs, film and drama festivals and tradition- Cultural festivals of Bengal too have a great
al village fairs etc. However, the modern impact on the overall culture of the state.
Bengali culture of the state is a result of Pocheeshe Boishakh (25th of Baisakh month)
the amalgamation between Western secular which is the birth date of Rabindra Nath
culture and Hindu culture. Tagore (7 May 1861) is the most important
cultural festival of Bengal celebrated as
Rabindra Jayanti.

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 TEXTILES
West Bengal heritage of handicrafts is leg- conjure magic with weft work that can rival
endry. The exquisite texture of Baluchari Sa- the most intricate embroidery.
rees, Silk and Tasar Textile from Murshidabad,
Birbhum, Bankura, Hoogly and Nadia districts Kantha, a popular style of embroidery that
have become the Choice of the Century. The comes from West Bengal, is a significant sym-
salient point is that each of these schools in bol that displays the skill and talent of the
spite of their contiguity has maintained its rural women in Bengal. This type of stitch
own distinguishing features down the ages. is basically the running stitch, and is very
simple. Traditionally this embroidery was
Baluchari is an elaborately woven brocade used for quilts, dhotis and sarees, but over
known to have been made during 1850-1900 a period of time it has evolved and made its
in the village surrounding Baluchar (Mur- way right into the heart of Indian fashion.
shidabad Distt.) it is popular because of its
artistic and unique design. Tapestry mate- Batik is a process of decorating cloth by cov-
rial is made from Baluchar silks which were ering a part of it with a coat of wax and then
originally used by nawabs and Muslim aristo- dyeing the cloth. The waxed areas keep their
crats of the Murshidabad district while Hindu original color and when the wax is removed
noblemen used raw silk. the contrast between the dyed and undyed
areas gives the pattern. One of the significant
Jamdani is a part of Bengal textile heritage. features of this art is that it is very simple
Interesting point: Jam means flower and and can be done by anyone.
Dani means vase. For traditional Jamdani Batik art received an impetus when it was
weaving, an elementary pit loom is used and introduced as a subject at the famous univer-
the work is carried out by a weaver and his sity of Shantiniketan in Kolkata.
Image:Phulia Jamdani apprentice who use fine needle-like spindles to

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 Image: Jamdani Image: Jamdani

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 Image:Kantha Image:Kantha

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 Image:Baluchori saree Image:Shantiketan Batik style

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 T O L LY W O O D

While Mumbai is the capital of Bengal also has an heritage in North Indian
commercial cinemas in India, Kolkata is classical music. The state is recognised for
the house of art-films. Among other types its appreciation of rabindrasangeet (songs
of theater, West Bengal has a tradition of written by Rabindranath Tagore) and Indian
folk drama known as jatra. Kolkata is the classical music. Popular music genres include
home of the Bengali cinema industry, dubbed adhunik songs. Since the early 1990s, new
Tollywood for Tollygunj, where most of genres have emerged, including one com-
the states film studios are located. Its long prising alternative folk rock Bengali bands.
tradition of art films includes globally Another new style, jibonmukhi gaan (songs
acclaimed film directors such as Academy about life), is based on realism.
Award-winning director Satyajit Ray, Ritwik
Ghatak, Mrinal Sen, Tapan Sinha, and contem- Bengali dance forms draw from folk tradi-
porary directors such as Aparna Sen, Bud- tions, especially those of the tribal groups,
dhadeb Dasgupta, and Rituparno Ghosh. as well as the broader Indian dance tradi-
tions. Chau dance of Purulia is a rare form
The Baul tradition is a unique heritage of of mask dance. Gaudiya Nritya is a classical-
Bengali folk music, which has also been in- Bengali school of Indian dance originating
fluenced by regional music traditions.Other in Gaur, West Bengal, the ancient capital of
folk music forms include Gombhira, Bhawaiya, the Bengal region. Various forms of Indian
kirtans, and Gajan festival music. Folk music classical dances are patronised, as are dances
in West Bengal is often accompanied by the set on the songs of Tagore and Nazrul.
ektara, a one-stringed instrument. West

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 ATTIRE

During the British colonial era from 1700-1912,

Kolkata (then known as Calcutta) enjoyed the priv-
ilege of being the capital of British India and wit-
nessed a spate of frenzied construction of buildings,
largely influenced by the conscious intermingling
of Neo-Gothic, Baroque, Neo-Classical, Oriental and
Islamic schools of design. Unlike many north Indi-
an cities, whose construction stresses minimalism,
the layout of much of the architectural variety
in Kolkata owes its origins to European styles and
tastes imported by the British and, to a much lesser
extent, by the Portuguese and French.
Image : Traditional Attire Image : Traditional Attire Image : Traditional Attire Image : Traditional Attire
Men: Punjabi and Dhoti Women: Aat poure Draped Saree Men: Kurta & Pajama Women: Saree
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 JEWELLERY & ACCESSORIES
The costumes of West Bengal reflect the The males usually wear western garments like
states rich cultural traditions. Costumes of pants and shirts, rather than the traditional
Bengal represent the rich traditional culture dhoti and kurtas. Females are usually seen in
of the region. While Punjabi form and Dhoti the traditional Sarees and Salwar-Kameezs.
are common dresses among men, women love to Females are also gradually taking up more
wear saree. and more Western-wear, with jeans and skirts
The typical Bengali style of draping a sari predominating in the college campuses, as well
is altogether different where the sari is not as in the streets. English is becoming more
pleated but the Pallu is kept loose over left and more popular as a conversational lan-
shoulder with a bunch of keys tied with the guage for the teenagers.
knot.

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 ARCHITECTURE
The architecture of West Bengal primarily of Neo-Gothic, Baroque, Neo-Classical, Ori-
consists of the Bengali-type Hindu temples ental and Islamic schools of design. Unlike
that are found in every nook and corner of many north Indian cities, whose construction
this East Indian state. The unique terracot- stresses minimalism, the layout of much of
ta style of architecture can be seen only in the architectural variety in Kolkata owes
West Bengal. Bengali temples are small in its origins to European styles and tastes
structure and cannot be termed very grand, imported by the British and, to a much lesser
but they do reflect the Bengali lifestyle extent, the Portuguese and French.
and are visually appealing. Bishnupur and The Victoria Memorial is a fusion of the
Baranagar with their varied and beautiful European and Mughal style of architecture.
terracotta and laterite temples are treasure It resembles the Taj Mahal to a great extent.
troves of Bengali temples. Islamic architec- The Writers building and the Kolkata high
ture in West Bengal flourished only in Gaur. court are also built in the architectural pat-
In the 18th century, when the British found- tern of the west. The Shitalanatha temple of
ed the East India Company they made Kolkata Kolkata is a Jain temple and is a blend of Eu-
their headquarters and built many buildings, ropean and Islamic styles, with a tradition-
leaving behind an architectural legacy. al Indian shikhara, set in an Italian style
Kolkata in West Bengal has many Europe- garden. The Dakshineshwar temple is built in
an style buildings around it. No traces of a very traditional Bengali style even though
the traditional Indian style are seen in it is a new structure. The architecture of the
the structures. During the British colonial Ramakrishna Matha is a combination Hindu,
era from 1700 to 1912, when Kolkata (then Muslim and Christian architectural styles.
known as Calcutta) was the capital of British The huge shrine is completely covered with
India, Kolkata witnessed a spate of frenzied ochre cladding stones, with Indian motifs as
construction activity of buildings largely decorations. The design of this serene build-
Image : Basirhat Rajbari influenced by the conscious intermingling ing resembles a Latin Church.
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 Image : Bishnupur Temple, West Bengal
Image : Kalighat Temple, West Bengal
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 Image : Guptipara Temple, West Bengal Image : RadhamadhabTemple, West Bengal

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 TOURISM

West Bengal stretches to the Bay of Bengal in the north to the Bay of Bengal in the
in the south. The coastal strip of West Ben- south, presents some of marvelous landscape
gal, extending from the Gangetic Delta to the features and natural scenic beauty. Some of
border of Orissa has some beautiful coastal Indias most preferred travel destinations
settlements namely Digha, Shankarpur, Man- like; the Darjeeling Himalayan hill region in
darmani, Bakkhali, Gangasagara, Tajpur and the northern extreme of the state, the high-
more others. est peak of the state Sandakphu (3,636 m or
West Bengal, located on the eastern bottle- 11,929 ft and the Sundarbans mangrove forests
neck of India stretching from the Himalayas in the extreme south.

Image : Bishnupur Teracotta Temples

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 Image: Victoria Memorial West Bengal Image: Howrah Bridge, West Bengal

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 Image: Darjeeling West Bengal Image: Sunderbans, West Bengal

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 CUISINE

Bengali cuisine has evolved with the influ- food diffees from the daily food. While daily
ence of Mughal cuisine, Anglo Indian cuisine, food consists mainly of rice/roti(handmade
Chinese cuisine and so on. Some character- bread), fish, lentil(dal), meat, vegetables etc.,in
istics stand out: great number of rivers and different occasions and festivals, guests are
its tributaries providing freshwater fish, flat entertained with different kind of Polao
and fertile land producing abundance of pad- or Biryani, Chicken korma, beef kalia, Kebab,
dy(Rice) and Pulse(lentil), domestic cattle and borhani, firni, jorda or different sweet dishes
dairy farming providing milk, beef(only for etc. A significant feature of the cuisine is a
Muslims) and mutton, alluvial soil producing significant variety of sweets based on milk
variety of fruits and vegetables. Moreover, and sugar as part of tradition. Wheat is used
use of different spices has added to the fla- alongside rice, in different types of breads,
vour and taste of Bengali food. Ceremonial such as luchi, kochuri and porotha.
Image: Shorshe Ilish

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 Image: Chingri Bhapa
Image: Kosha Mangsho

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 Image: Shondesh
Image: Begun bhaja

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 PURULIA

Far from the madding crowd enchanting in its essence. The traditional dance forms
Purulia beckons to experience her living of Purulia like Chau Naach, Jhumur songs
heritages and calm serenity unravels her and dance, Natua Naach, Pata Naach, Bhuang
untapped mystery, and wondrous beauty. This Naach, Kathi Naach, Ghora Naach, Dnar Naach
western most district of the state of West and Machhani are rich and vibrant and have
Bengal is a part of the Chhotonagpur plateau. a global appeal. Among these, Chau dance has
been inscribed in UNESCO's Representative
The ambit of Purulias attraction remains List of the Intangible Cultural Heritage of
deficient without its people and their age Humanity.
old culture. Despite assimilation of diverse Purulia also known as Manbhum City, is a
cultures, with the passage of time, many city located in West Bengal state, India, and
indegenous communities still retain their was constituted in 1876. It is the location of
distinct identities in their traditional cul- the district headquarters of Purulia district.
tural and religious practices. Song and dance Purulia is located on the north of the Kasai
are intrinsic part of their life. The people river and is a major road and railway junc-
of this area practice myriad festivals all tion. It has an area of 6,259 km.
through the year and each festival is unique
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 History Governor Generalship of Lord William
According to Jaina-Bhagbati Sutra Purulia Bentinck in 1833 Manbhum district was carved
was one of the sixteen Mahajanapads and was out of Jangal Mahal district by separating
a part of the kingdom known as Vajra-Bhumi. Purulia and Dhanbad subdivision from Jangal
Before 1805 Baghmundi was under Birbhum Mahal. From 1833-1838 district headquarter
district. After the Great Chuaar rebellion is at Manbazar, and from 1838 it was trans-
(held during 1767-1799) in 1805 by acquiring ferred to Purulia. After Independence in 1956
23 different Parganas and Mahals of Birbhum Manbhum district was divided between the
(including Baghmundi), Bardhaman and Medi- then Bihar and West Bengal under the State
nipur district another district was formed by Reorganisation Act and the Bihar and West
the British Govt. named Jangal Mahal with Bengal (Transfer of Territories) act 1956 and
district head quarter at Bankura. During was named as Purulia.
Image: Ayodhya hills

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 FESTIVALS OF PURULIA

The major festivals are Durga Puja, Kali Puja, penance, such as piercing their tongues with
Manasa Puja, Saraswati Puja & Makar Parab. nails, jumping upon thorns, walking on burn-
The whole city is decorated during Diwali. ing charcoal, etc.
Shiber Gajan is a very popular festival in Tribe Saontals major festival is Bandna or
Purulia, organized in various villages of the Bandana (it is called as Saharai parab by
district between March and May. Gajan songs the Santals) which is celebrated in the Ben-
are sung in praise of Lord Shiva and Goddess gali month of Kartik or Poush. In this fes-
Parvati. Dances include Natua, Bhagta, The- tival they play music, dance together and eat
atre, Nanchi and Chau accompanied by Jhumur meat-based special dishes like Manser Pitha.
songs, and various folk songs and dances are They also take local liquor as a part of their
organized. The dancers sometimes dress up as culture named Hadia.
Hara Parvati and move around the village, Bhadu is another festival started by Pan-
dancing to the accompaniment of instruments chakot Raj of Kashipur after the death of a
like Dhol, Kanshi and Flute. Whole night pro- kings daughter named Bhadrabati and nowa-
grams are held from village to village during days it is enjoyed by the local mass.
Gajan and continue for days.. They try to
Image: Gajan Festival satisfy the god through different acts of Karma is a tribe festival in Purulia where

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 Image: Saharai parab
Image: Gajan Festival

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 PEOPLE
&
OCCUPATION

In Purulia district of West Bengal, to my tion. Evidences indicate that the tribes are
knowledge, there are fifteen types of tribe in the slow process of upward transition
such as (i) Sabar, (ii) Birhore, (iii) Chikbaraik, toward the mainstream society.
(iv) Paharia, (v) Bedia, (vi) Bedomajhi, (vii)
Bhumij, (viii) Bhunia, (ix) Karmali, (x) Koramu-
di, (xi) Lohara, (xii) Mahali, (xiii) Munda, (xiv) Cultivation of this district is predominantly
Oraon and (xv) Santhal. monocropped. About 60 % of the total culti-
Hardly any of the tribes exists as a sepa- vated land is upland.
rate society. All categories of tribe have Agriculture
remained under the long process of assimila- Irrigation
tion, acculturation, absorption, integration Forestry
and/or harmonization. But we wonder why Industry
the tribes have remained at the tribal stage Crafts and Tourism
of historically social evolution and revolu-

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 CHARIDA VILLAGE

One of the last hamlets of the finest Chhau mask-makers

Charida, a small quaint village in the foot- of Purulia district. Around 250 artisans
hills of Ajodhya is home for some wonderful from 60-70 families, mostly belong to the
artists making Chau mask, the headgears for Sutradhar clan, are engaged in making these
Chau, the dance form with vigorous move- extraordinarily beautiful masks for gen-
ments. In Purulia, Chau dancers wear large erations. The mask-maker needs extremely
stylized masks while performing. high artistic perfection and the detailed
In Charida village of Purulia around 300 knowledge of the epic and mythology is also
artists are into making masks or assembling essential to express the shade of a particular
decorations for headgears. The masks are character.
traditionally used in Chau dance, an acrobat-
ic martial dance form of Purulia, inscribed in The artisans of Charida normally have their
UNESCOs Representative List of the Intangi- workshops in their own houses along the main
ble Cultural Heritage of Humanity. There are road for direct trade with customers. They
more than 200 Chau groups in Purulia, who are busy round the year and, practically ev-
source their masks from Charida. The Gov- ery house and every member of the household
ernment of West Bengal, in partnership with is seen occupied in making masks or assem-
UNESCO, has taken up an initiative to devel- bling decorations for headgears. The masks
op Rural Craft Hub at Charida. produced from this village cater the needs
of Chhau dance groups of entire Medinipur,
Charida, the village that provides some Purulia and Bankura districts.
of the best masks, is near Baghmundi block
Image:Natak

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 Gambhir Singh Mura Gadhadhor Dutta

Gambhir Singh Mura was an Indian tribal A 65yr old man, he is the Director, screen-
dancer known for his contributions to the writer, music composer of the various plays
tribal martial dance of Chhau. He was an ex- that takes plays in his Chhau band Nataraj
ponent of the Purulia school of Chhau. Chhau Nritya Samity of Gobindopur. His main
Mura was born in a tribal family to Jipa occupation is farming, which provides his
Singh Mura at Pitikiri Bamni village in Pu- daily ways of survival, organising plays for
rulia district in the Indian state of West Chhau performance keeps this exotic culture
Bengal The Government of India awarded him alive as well as helps him train this rare
the fourth highest Indian civilian honour of talent to his next generation.
Padma Shri in 1981. He directs his plays on the basis of the var-
He took Chhau to the world, performing in ious mythological stories , the most famous
New York, London, Paris, and Tokyo, between being Mohishasur Mordini, Mahabharata, and
1972 and 1999, before he passed away in 2002. also on the basis of renowned mythological
Under him, the folk dance found a prominence characters like Roktashur,Mahishasur,
unparalleled in its history. His work includes providing roles to differ-
ent dancers according to their capability
and talent. A group consists of 35-40 people
among which 20 are trained dancers.
Gadhadhor Sutradhar is the fourth genera-
tion of a traditional family of Sutradhars,
from West Bengal. The Sutradhars are one of
the higher artisan castes in the region.

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 PURULIA CHHAU PURULIA CHHAU

Chhau dance perhaps originated from martial age. Others say that as the dance is charac-
dance Phari Khanda Khela. During the eigh- terized by variety it is called Chhau dance
teenth and nineteenth centuries, many rulers and therefore the word meaning of Chhau
of Orissa region took interest in the devel- is Chhabila in Sanskrit and picturesque in
opment of this art. They maintained troupes English. According to new theories Chhau is
who would perfrom on special occasions. The invented pronunciation of the word Chhauni
word Chhau is derived from Sanskrit word (Military Barrack or Cantonment).
Chhaya which means shadow or image. It is The Chhau dance of Purulia is not bounded
performed by the tribes in order to appease by the efforts or patronage of an individual
and influence the Sun God. Whatever is the but it is the product of the people. Certain-
origin of this folk drama, in course of time ly there was some pioneer who introduced a
it has developed its own rules and grammar. particular system, which is still being fol-
Nowadays, Chhau dance is generally per- lowed till today. Chhau dance of Purulia has
formed during the Chaitra Parva. Gradually a very ancient origin. Orthodox Brahmins
this dance has shifted from the barracks and were imported from the interior of West
has taken a ritualistic turn. Bengal, Bihar and Orissa. Hindu image-mak-
Some people say that Chhau is a dialect ers were also imported. The image-makers
which means six faces: fore head, eyes, nose, appointed by the Raja of Bagmundi invented
cheeks, lips and chin and a mask bears the six the technique of making the masks for Chhau
parts of the face. The word Chhau ordi- dance after their settlement here. With or-
narily means mask and because the dance is igins shrouded in mystery, the Chhau danc-
performed by use of mask, it is called Ch- er communicates inner emotions and themes
hau Dance. According to another school of through cadences of body flexions, movements
thought the word Chhau has been derived and kinetic suggestions.
from Sanskrit word Chhabi that means im-
74 75
 Performing Chhau is like writing poetry in space. Three styles of Chhau exist born from the Charida village in Bagmundi area.
three different regions of Seraikella (Bihar), Chau dance is a famous folk dance performed
Purulia (West Bengal), and Mayurbhanj (Oris- by the tribals of Purulia. It belongs to a
sa). Martial movements, strong rhythmic state- genre of martial dance. Charida village, home
ments and dynamic use of space are charac- to the Chau Mask makers, is in Purulia
teristic of Chhau. district which is a part of the Chotanagpur
Seraikella Chhau flourished under royal pa- plateau. The landscape is rocky and undu-
tronage. Its vigorous martial character made lating. The deciduous forests are rich in
it suitable only for male dancers. The princ- biodiversity. Tribal he art of Chau mask mak-
es were not only patrons but also dancers, ing started in Charida village during The rule
teachers and mask-making experts. The Serai- of King Madan Mohan Singh Deo of Baghmundi
kella masks are similar to those used in the around 150 years back.
Noh dance of Japan and the Wayang Wong of Chau dance is indigenous to the eastern part
Java. of India. It originated as a martial art and
Purulia Chhau uses masks which is a highly involves vigorous movements, skillful acro-
developed craft in the region. The barren land batic feats and leaps. In Purulia Chau, the
with its tribal inhabitants and multi-layered dancers wear large stylized masks. The dance
influences of Vedic literature, Hinduism and portrays triumph of good over evil.
martial folk-lore have all combined to shape The stories are based on mythological tales
the Purulia Chhau dances which have only one that propagate moral and ethical values. The
message - the triumph of good over evil. dance is believed to be over a centurys prac-
Purulia is culturally the richest district in tice, though the specifics of its origin are yet
West Bengal. The Chau dance still remains to be ascertained. Besides making masks for
the main attraction of the Spring Festival Chau dance, the mask makers also make a va-
also known as the Chaitra Porob held here. riety of masks for home decor ethos enriches
The exclusivity of Chau dance are the elab- the mystic charm and natural beauty of
orate masks that the dancers have to wear. this land.
The masks used in the dance are made in the
76 77
 According to a Mask maker and Jhumur Dhol, Dhumba, Nagara, Dhansa and Chadchadi
singer of Charida village Mr. Sudhangshu provide the accompaniment.
Sutradhar, Purulias Chhau dance is predom- Combining folk, tribal and martial traditions
inantly practised during important ceremo- and yet covering the three aspects of Nritta,
nies like Gajan Festival which takes place Nritya and Natya as well as the Tandava and
to honour Lord Shiva. It is during this time Lasya aspects of classical dance, the Chhau
that Shiv Chaturdarshi is exercised- which dances are complex combinations of Folk and
requires the devotees to stay awake all Classical motifs.
night. This is also a reason why such extrav- Brief and simple rituals precede the dance
agant performances were done to remain performed that are conducted in front of
awake all night a Shiva temple or the village square. The
It is also celebrated on the eve of Bengali village head is the patron and he carries a
New Year (February/March) to celebrate the brass pitcher on his head to his house where
new harvests. his wife sprinkles the water of the pitcher
With origins shrouded in mystery, the Chhau on the newly harvested crop. Later, in the
dancer communicates inner emotions and month, around 14th of May more elaborate
themes through cadences of body flexions, rituals are offered to the sun god. Many dev-
movements and kinetic suggestions. The word otees observe austerities including piercing
Chhau is interpreted differently by scholars. their bodies with iron hook. On a high poll
Shadow, Disguise and Image are the most they are suspended and whirled round on
common interpretations due to the extensive chadak to suggest the progression of the sun
use of masks in this dance form. The martial in different constellations throughout the
movements of Chhau have led to another year. Till the early decades of this century
interpretation of the word as meaning to these dancers and the form were patronized
attack stealthily or to hunt. by the Bagmundi ruler, but due to unproduc-
Unlike other Indian Classical dance forms, tive land and ever failing rains the ruler
vocal music in Chhau hardly exists! Instru- could hardly provide necessary support. The
mental music and a variety of drums like the performers too were forced to migrate to
78 79
Chhau

Since 1961, when this form was first witnessed ly there was some pioneer who introduced a
by an anthropologist in a remote village of particular system, which is still being fol-
Purulia district and their subsequent visits lowed till today. Chhau dance of Purulia has
in major cities world over, the locals have a very ancient origin. Orthodox Brahmins
formed their own parties in anticipation were imported from the interior of West
of a sponsored trip abroad. They have added Bengal, Bihar and Orissa. Hindu image-mak-
more exciting combat scenes with more skill- ers were also imported. The image-makers
ful pirouettes and summersault. The costumes appointed by the Raja of Bagmundi invented
specially the headgears have acquired enor- the technique of making the masks for Chhau
mous size and jazzy decorations. dance after their settlement here.
Influenced by the more respected Hindu cul- Instrumental music and a variety of drums
ture the natives adopted the epical themes like the Dhol, Dhumba, Nagara, Dhansa and
but they naturally opted for the warfare Chadchadi provide the accompaniment.
scenes that would reflect their life of per- Combining folk, tribal and martial traditions
petual hardships and conflict with nature and yet covering the three aspects of Nritta,
itself. Even the characters the noble and Nritya and Natya as well as the Tandava and
heroic characters like Rama and Sita are de- Lasya aspects of classical dance, the Chhau
picted with forceful gestures. dances are complex combinations of Folk and
The Chhau dance of Purulia is not bounded Classical motifs.
by the efforts or patronage of an individual
but it is the product of the people. Certain-

80 81
 PERFORMING CHHAU
Purulia Chhau Dance is not just a perfor- The performance begins with the entry of the
mance of dancers enacting religious epics; orchestra. Then enters a dancer who wears
Three main types of Indian instruments ac- the mask of Ganesha. The entry of Ganesha
company the performance these are the Dhol, signals the beginning of the dramatic episode.
Shehnai and Dhamsa (percussion instrument Then on, the story moves forward swiftly
and Indian clarinets).Masks and elaborate with quick entries and exits of other charac-
headgear are the ornamental apparels of the ters. The stances and the stylised walk em-
Chhau dancers. The dance is believed to date ployed by the actors are similar to the other
back to over a century, though the specific two Chhaus. Earlier, lighting was provided
date of its origin cannot be definitely ascer- by mobile lightmen bearing flaming torches
tained.The dance was patronised by the roy- on their heads; now they use petromax lights
alty and landlords of the region. Since its which lessens the dramatic impact. All parts
inception, the members of the Mahato, Kurmi, of the body are effectively used. There is the
Bhumija, Deowa, Bhuama and Dom communities walk on knees and pirouetting on the knees.
have sustained this dance form. The dance is At the same time, certain uflis and topkas of
an essential part of the Gajan Festival, a fes- the other two can also be discerned. Certain
tival that celebrates the glories of Lord Shi- movements are very forceful, representing
va. Today, the dance is no longer restricted attack and defence of the martial tradition.
to one particular time of the year. There is Really breathtaking are the leaps and jumps
a 20 feet by 20 feet area in the open ground, where the actor/dancer lands on the ground
which can best be described as the stage in on his knees, which is the unique feature of
the modern parlance. The audience sits on this dance-drama style. The extensive use of
three sides of the area. The musicians sit to- the torso and expressive use of the lower
gether on one side. The performance begins at limbs are different from those of the other
night by 10 p.m. There are, like in the other two Chhaus. Purulia Chhau exudes dynamism.
two, pre-performance rituals to be performed.
82 83
84 85
86 87
88 89
 5. Chhau Dancer

1. Mask Making

2. Costume Making

4. Jhumur prior to Chhau dance

3. Field for performance/ Akhraa

90 91
 MASK MAKING PROCESS

The mask-making process is indigenous and moustaches, protruding teeth and large eyes.
practised through generations. Originally The mask is then beautifully decorated using
made from expensive light-weight Simul wood, jari (tinsel threads), sparkles and coloured
the masks today are made from other materi- foils, string of beads, pith works, coloured
als more affordable to local dancers. The main flowers made from shola (a reed, Aeschymene
element for Chhau mask is paper pulp, besides aspera) and coloured feathers.
clay is also required. Since the dancers face is covered with a a
The eyes and expressions of the characters mask, the mask plays a great role in adding
come alive with the expert brush of artisans relism and personality to the character being
and by selective use of colours. Dark yellow perfomed and played by the wearer/dancer.
or bright orange are the colours used for
Gods and Goddesses. The Asuras (demons) are
painted in black or deep green with thick

92 93
 RELEVANCE OF MASKS IN
WEST BENGAL

Masks reflect the innocence of the primi- These functions, briefly can be indicated as:
tive people of the world who were the real to evoke certain reactions in the beholder,
creators of these aesthetically sublime and The world of Indian masks evokes visions of
culturally functional symbols. The mask is gods, demons and clowns. These categories
a heritage of this planet and works beyond of characters in traditional drama greatly
all stipulated geo-political boundaries of enhance its theatrically. The demons are en-
the world.Mask or Mukhosh, as it is known in gaged in their perpetual fight with the gods.
West Bengal has a mysterious history, too This fight marks the beginning of performance
vague to be chronicled in perfect sequence, tradition in India and is a recurring theme
both in terms of advent and influence. The in performance and pictorial arts. The gods
ancient people of Bengal were different in always win, leaving the demons defeated and
race, culture and language from the Ary- destroyed, symbolizing the victory of good
ans. The original inhabitants of Bengal were over evil. Even in puppet performances, some
non-Aryan. And it is this culture that is clows are there in the company of the gods
largely reflected in Bengals long running to lighten their divinity and bring them
tradition in mask artistry. Though is a lot down to over human level. Most of the tribal
of ambiguity about the origin of masks in dances are performed on festive occasions
Bengal, it is evident that masks were of great and are community event. Masks are used
religious importance owing to the belief in only in those dances, which are performed on
spells. Masks cannot be thought of as works of ceremonial and ritualistic occasions.
art alone - they serve multiple functions, all The mysterious world of masks provides an-
of which contribute in expressing the human other fascinating dimension to the perform-
elements and messages, which they personify. ing tradition of India.
94 95
 RAW MATERIALS

1. A combination of clay and 2. Powdered ash 1. Flour 2. Waste Papers

loamy soil

3. Spatula (Thapi) 4. Fevicol (glue) 3. Copper sulphate ( Tute ) 4. A mixture of the above
three
96 97
1. Clay and water 2. Tarmaric powder 1. Chalk and white paste 2. Chisel

3. Cloth pieces 4.Mixture of water and 3. Powdered pigment colour 4.Brushes

turmeric powder
98 99
 1. Wrench
17.78cm

2.Pliers
1. Coloured Aeschynomene aspers 2. Metal wires 17.68cm
fibres(shola).

3. Scissors
22.86cm

4.Awl 3cm

3. Raw shola fibres 4.Ribbons

100 101
1. Birds feathers 2. Shiny sequins 1. Tinsel threads 2. Translucent coloured
beads

3. Beads 4. Plastic Beads 3. Glossy metallic fringes 4. Plastic Laces

102 103
 MASK MAKING FLOW CHART

Clay and loamy soil(atel and Bele mati)

Clay is kneaded

Clay model of a mask is developed and Dried

Powdered ash is sprinkled

Layers of moist paper is pasted

Thin layer of clay is applied

Pieces of cloth is layered over the mask

Initial layer of clay is removed

Coat of khadi mati is applied

Mask is coloured

104 105
 Soil is dugged out from the banks of The soil is segregated from the peb-
local rivers and ponds (atel mati and bles and kneaded properly
bele mati). The mask is developed by the mask
A combination of Loamy and clay is maker with hand and Spatulas
ideal for the mask making. (thapi)

106 107
 Powdered ash is sprinkled on the surface Flour, fevicol,water and copper sul-
of the mask by thumping the ash inside a phate ia added to form a mixture.
cloth bag. Flour acts as a adhesive and copper
The basic form of the mask is developed sulphate works as a insecticide and
and dried in direct sunlight.. fungicide.

108 109
 Papers are torn and layers of papers are Mask is then let to dry.
applied on the mask moistened with the It is again covered with thin layers of
application of the adhesive mixture. mud.

110 111
 The mask is polished and the facial fea-
On drying, clothes are pasted on it effec- tures of the mask is highlightened.
tively to add strength to the longetivity and Once dried, the initial layer of mud is
form of the mask. The cloth also adds removed with a chisel.
texture .

112 113
 The khadi mati or chalk paste is applied which Dry pigment colours is made paste
works as a primer. with water and then it is applied on the
masks.

114 115
 The colours are applied skilfully with The raw shola fibres are sometimes dyed
brushes. and allowed to dry .
Aeschynomene aspera fibres(Shola) It is applied with a paste of black colour
is used to attach the hairs on the false and tamarind powder and waste paste
mask. which acts as an adhesive.

116 117
 The crown of the mask is decorated by buiding
a skeleton structure with the help of metallic
wires.

118 119
 Different types of sequins are arranged in After the embellishments are adorned on the crown,
wires to be arranged around the crown. the eyes holes are made by piercing the pupil portion
The sequins are brought from the local mar- of the eye with a hot iron rod.
kets. A type of oil is applied on the mask for a fine fin-
ish.A fished chau masks weighs up to 3kg and costs
upto 2000 INR.

120 121
122 123
124 125
126 127
 COSTUME MAKING PROCESS

The costumes used are made out of locally have to wear a tight pair of trousers of black
available inexpensive materials. The actors cloth. Saffron colored dhotis are meant for
representing gods wear light colored trou- those depicting ascetics, sages and brahmins.
sers, whereas deep colored and striped ones The main characters wear embroidered jack-
are reserved for the demons. The actors who ets manufactured by the local women. They
depict Lord Shiva put on a loincloth of a ti- are beautifully designed by using silk thread,
gers skin while those depicting his son Ganesh tinsels and artificial pearls
wear a dhoti. Those depicting Goddess Kali

128 129
130 131
 RAW MATERIALS

The fundamental tools for Costume making used

:

Metal wires
Cotton threads
Fabric metal scissors
Sewing Machine 1. Plastic water pipes material 2. Rolled pipes
Pliers
Awl

3. 100% polyester knitted shinny fabric 4.Polyethylene cement bags

132 133
 1. Plastic beads (round beads, faceted beads, 2. Platic sequins 2. The ribbon is knife pleated and stitched in the
1. The nylon ribbon used in finishing
flat beads, etc.) edges

3. Satin polyester fabric is used for dhoti 4. The details of the back/ pitambar
3. Crystal star flat back beads 4. Metallic gold foil fringes draping after finished
134 135
 IN THE MAKING

1. The back side view ready to be embel- 2. The front side view.
1. The plastic cement bag is placed on the 2. The plastic bag acts as a base, adds lished
shiny fabric and cut. strength and longetivity

3. The front side view. 4. The back side view after its tied.
3. It is then aligned for stitching. 4. Finally they are stitched.

136 137
138 139
 1. The different parts of the Chandmala 2. The base being the Hard Plastic water
(front side) is stitched separately. pipes adding strength and firmness to the The belt used by characters playing the role
delicate embellishments. of goddessses.

3. The pitambar after it is readily finished and ornamented.

140 141
 Tying technique of Pitambar Tying technique of Chandmala Inner side of Chandmala

142 143
 FLAT DRAWING OF CHHAU COSTUME

Chandmala
Front of the costume Flat drawing of Chandmala

144 145
 Base layer of Chandmala Chandmala attached with the base

146 147
 Pitambar Flat drawing of
Back of the costume Pitambar

148 149
 Pleated fabric stitched with the chandma-
la adds grandeurness and divinity

Flat drawing of belts for

women characters Pieces of fabric tied around
the hand

Armlet or hathful

Flat drawing of belts for

men characters
150 151
 This kind of armlet is worn mostly by the
godly characters.

Flat drawing of armlet

Armlets are tied up one after the other on the hand from arm to wrist.
152 153
 DHOTI DRAPING PROCESS

Step 1 Step 2 Step 3 Step 4 Step 5 Step 6

154 155
 Step 7 Step 8 Step 9 Step 10 Variation in Dhoti style
156 (Stitched/Unstitched) 157
158 159
 For us, demons and gods are the same
-Godadhor
CONCLUSION
The Chhau dance is a culture that presides and craft of Bengal.
and preserves the essence and exotic iden- The passionate expression of lyrical amal-
tity of Bengal folk art. Its a culture that gamation of words in Jhumur depicts in one
has enabled the co-existence of an entire hand the authenticity of the art and on the
village comprising of different communities other hand the negligence of the authorita-
and culture segregating each section on the tive part of the society.
basis of their skill anad workability only
to unite in the form of a enigmatic soulful Purulia Chhau is still confined to the rural
performance. Even with a lot of exposures areas. Most artistes rehearse in the akha-
, this Chhau performance is a dance of the ras, an open practice area, after finishing
commoners. their day jobs and perform during festivals.
For them it is a way of life, keeping them
The Chhau Dance comprises of different rooted and close to nature. With no frills
categories of people excelling in their spe- attached and no mechanical interference,
cific expertise and working together with this breed of artistes is simply content in
an impregnable sense of unity and pride practice.
towards this indigenous and exotic folk art

160 161
 BIBLIOGRAPHY
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https://simple.wikipedia.org/wiki/West_Bengal/[Online:21June2015]/[Accessed: July17,2016]

http://holidayhotspot.info/west-bengal/purulia-baghmundi/[Online:2016][Accessed:July12,2016]

http://www.banglanatak.com/[Online:2003]/[Accessed:1st Aug 2016]

http://chhaudance.co/[Online:2010]/[Accessed: Aug1 2016]

http://www.mid-day.com/articles/the-chhau-chronicles/15381165[Online:2013]/[Accessed:Aug2 2016]

http://www.artindia.net/chhau.html [Online]Available from:1998 by G.S. Rajan/

[Accessed: Aug10 2016]

http://www.indiafestivalguide.com/eventdetails/details/156[Online:2003]/[Accessed:Aug10 2016]

http://purulia.gov.in/distAdmin/departments/dico/chau_dance.html[Online:2003]/
[Accessed:Aug10,2016]

WestBengalsPerforming Art Treasure:Chhau Dance /Utsavpedia/www.utsavpedia.com

[Accessed:Aug10,2016]

http://www.indiafestivalguide.com/eventdetails/details/124[Online:2003]/[Accessed:Aug10,2016]

http://www.indianetzone.com/58/origin_chhau_dance.htm[Accessed: Aug11,2016]

http://www.biswabangla.in/ldf-blog/2015/9/22/the-mask[Accesses: Aug 12,2016]

162 163
 Image Source:
Indronil Nag/Inphotoscope/[Accessed:July 20,2016]

https://www.flickr.com/photos/23985194@N06/[Accessed:July 25,2016]

http://www.arunimamondal.com/gallery/chau-a-folk-martial-art/[Online:2015]/[Accessed:Aug2,2016]

http://photo-stories/masked-reality-a-photo-story-about-chhau-dance-by-santanu-dey[Online:2015]/[Accessed:Aug2,2016]

http://sumitphoto.blogspot.in/2009/01/chau-masks-of-purulia.html/[Accessed: Aug10,2016]

http://www.livemint.com/Leisure/B9NnJes9d1bz0FQ4agdQIN/Photo-Essay--Behind-the-mask.html[Accessed: Aug 9,2016]

164 165