Craft document on purulia chhau

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 transmitted, in any form of by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission in writing from the publishers.

Image:Charida 6

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CONTENTS

ACKNOWEDGEMENT 11 VILLAGE CHARIDA 49 INTRODUCTION 13 PURULIA CHHAU 65 WEST BENGAL 16

FLAT DRAWINGS OF CHHAU COSTUMES 130

PERFORMING CHHAU 76

DHOTI DRAPING PROCESS 140

MASK MAKING PROCESS 78

CONCLUSION 147

COSTUME MAKING PROCESS 115

BIBLIOGRAPHY 149

PURULIA 33

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ACKNOWLEDGEMENT

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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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Image:Chhau Dancer

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INTRODUCTION

As the goddess rides the lion and slays the demon, mythology, martial art and music blend into a colourful spectacle of unadulterated, rustic yet sophisticated and liberating form of entertainment. The elaborate, stylized and often vigorous movements of this dance form, originating in the eastern states of Orissa, West Bengal and Jharkhand, transport the viewer to the forests, recreating scenes of tribal warfare and tales from the animal kingdom. The story primarily is based on mythological stories from the Ramayana, Mahabharata, Puranas etc but in present day, historical as well as contemporary issues like Santhal revolt, Mandla revolt, Kargil war etc are also potrayed in their plays.

Chau is the most well known tribal dance form of Purulia,West Bengal popular among Santhals, Kumars, Mahatos, Kalindis and the Sahish Community.

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Image:Mask maker,Charida

Beautiful masks, exclusive style of dance, make-up and colourful ornate costumes make the dance a wonderful experience to live with. The bold and vigorous style of dance is some kind of martial art. Powerful presentation and agility involved in dancing. Dhol, Dhamsa, Madal, Sehnai, Carnet, Synthesiser, Maracas and other instruments are used in Chhau dance.

The main focus of this study is to apprehend the various effort that helps in creating an aura that adds to the magnificence of the Chau Performance.

A few other important aspects of this study will include the history behind this craft, its origin, and the communities which continue practicing this craft as part of their livelihood.

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MAPPING THE JOURNEY Distance between Kolkata to Purulia is 245 km by Road and 326 km by Rails. Aerial distance is 219 km.

There is/are 8 direct train(s) from Kolkata to Purulia. TThe minimum time a train takes to reach Purulia from Kolkata is 5h 13m. The cheapest way to reach Purulia 14

from Kolkata takes you 5h 25m, which is to take Rupasibangla Ex from Kolkata to Purulia. The fastest way to reach Purulia from Kolkata takes you 4h 54m, which is to take Indica from Kolkata to Purulia.

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WEST BENGAL West Bengal is a state in eastern India, between the Himalayas and the Bay of Bengal. Its capital, Kolkata (formerly Calcutta), retains architectural and cultural remnants of its past as an East India Company trading post and the capital of the British Raj. It is nation’s fourth-most populous state, with over 91 million inhabitants. It is bordered by the countries of Bangladesh, Nepal and Bhutan, and the Indian states of Odisha, Jharkhand, Bihar, Sikkim and Assam. The state capital is Kolkata. Together with the neighbouring nation of Bangladesh, it makes up the ethno-linguistic region of Bengal.

kings and Baro-Bhuyan landlords under the suzerainty of the Mughal Empire, until the British East India company took control of the region from the Mughals in the late 18th century. The company consolidated their hold on the region following the Battle of Plassey in 1757 and Battle of Buxar in 1764 and by 1793 took complete control of the region. Kolkata (or Calcutta) served for many years as the capital of British controlled territories in India. The early and prolonged exposure to British administration resulted in the expansion of Western education, culminating in development of science, institutional education, and social reforms in the History region, including what became known as the Ancient Bengal was the site of several maBengali renaissance. jor janapadas (kingdoms). It was also part A hotbed of the Indian independence moveof large empires such as the Maurya Emment through the early 20th century, Bengal pire (second century BC) and Gupta Empire was divided during India’s 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 Bengal—a state of India—and and Sena dynasty (11th-12th century). From East Bengal—a 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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Image:Howrah Bridge

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

Image:Colony cricket

Image:Rabindranath Tagore

The culture of West Bengal is an Indian Culture which has its roots in the Bengali literature, music, fine arts, drama and cinema.

People of West Bengal share their cultural heritage with the neighbouring Bangladesh (erstwhile known as East Bengal). West Bengal and Bangladesh together form the historical and geographical region of Bengal, with common linguistic and ethnic backgrounds.

West Bengal’s capital Kolkata—as the former capital of India—was the birthplace of modern Indian literary and artistic thought, and is referred to as the “cultural [or literary] capital of India”. The presence of paras, possess a strong sense of community, is characteristic of West Bengal.

Typically, each para has its own community club and, on occasion, a playing field. Residents engage in addas, or leisurely chats, that often take the form of freestyle intellectual conversation.

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Image:Satyajit Ray

Image:Sharatchandra

Image:Baul singer

The Bengali language boasts a rich literary heritage, shared with neighbouring Bangladesh. West Bengal has a long tradition in folk literature, evidenced by the Charyapada, Mangalkavya, Shreekrishna Kirtana, Thakurmar Jhuli.In the nineteenth and twentieth century, Bengali literature was modernized in the works of authors such as Bankim Chandra Chattopadhyay, Michael Madhusudan Dutt, Rabindranath Tagore, Kazi Nazrul Islam, and Sharat Chandra Chattopadhyay. Coupled with social reforms led by Ram Mohan Roy, Swami Vivekananda, and others, this constituted a major part of the Bengal Renaissance.The middle and latter parts of the 20th century witnessed the arrival of post-modernism, as well as literary movements such as those espoused by the Kallol movement, hungryalists and the little magazines

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FESTIVALS

Religion, specially Hinduism, the principal and predominant religion of the state plays a vital role in the culture of West Bengal. Durga Puja, a five-day annual autumnal celebration of Hindu goddess Durga’s victory over Mahishasura, a Minotaur-like demon, is the biggest festival of the state. The Kali Puja, celebrating the guardian deity of Bengal, is also celebrated with great enthusiasm.

Other important festivals include Vijayadashami, Kojagari Lakshmi Puja, Jagaddhatri Puja, Rathayatra, Holi, Janmashtami, Saraswati Puja, Poush Parbon, the seasonal festivals introduced by Rabindranath Tagore, book fairs, film and drama festivals and traditional village fairs etc. However, the modern Bengali culture of the state is a result of the amalgamation between Western secular culture and Hindu culture.

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Image:Durga pujo,Kolkata

Durga Puja in October is the most popular and most widely celebrated festival in West Bengal. Poila Baishakh (the Bengali New Year), Rathayatra, Dolyatra or Holi, Nobanno, Diwali, Kali Puja, Saraswati Puja, Lakshmi Puja, Jagaddhatri Puja, Rashyatra, Janmashtami, Vishwakarma Puja of Hindus; Eid ul-Fitr, Eid ul-Adha and Muharram of Muslims; Christmas or Borodin of Christians; Buddha Purnima of Buddhists are other notable festivals. Poush mela is a popular festival of Shantiniketan, taking place in winter. Jains also celebrate Mahavir Jayanti, but the impact is limited within few urban areas.

Cultural festivals of Bengal too have a great impact on the overall culture of the state.

Pocheeshe Boishakh (25th of Baisakh month) which is the birth date of Rabindra Nath Tagore (7 May 1861) is the most important cultural festival of Bengal celebrated as Rabindra Jayanti.

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Image:Victoria Memorial

Image:Howrah bridge

Image:Bishnupur

Image:Sunderban

ARCHITECTURE & TOURISM The architecture of West Bengal primarily The Victoria Memorial is a fusion of the consists of the Bengali-type Hindu temples European and Mughal style of architecture. that are found in every nook and corner of It resembles the Taj Mahal to a great extent. this East Indian state. The unique terracot- The Writers building and the Kolkata high ta style of architecture can be seen only in court are also built in the architectural patWest Bengal. Bengali temples are small in tern of the west. structure and cannot be termed very grand, but they do reflect the Bengali lifestyle West Bengal stretches to the Bay of Bengal and are visually appealing. Bishnupur and in the south. The coastal strip of West BenBaranagar with their varied and beautiful gal, extending from the Gangetic Delta to the terracotta and laterite temples are treasure border of Orissa has some beautiful coastal troves of Bengali temples. During the British settlements namely Digha, Shankarpur, Mancolonial era from 1700 to 1912, when Kolkata darmani, Bakkhali, Gangasagara, Tajpur and (then known as Calcutta) was the capital of more others.

British India, Kolkata witnessed a spate of West Bengal, located on the eastern bottlefrenzied construction activity of buildings neck of India stretching from the Himalayas largely influenced by the conscious intermin- in the north to the Bay of Bengal in the gling of Neo-Gothic, Baroque, Neo-Classical, south, presents some of marvelous landscape Oriental and Islamic schools of design. Unlike features and natural scenic beauty. Some of many north Indian cities, whose construction India’s most preferred travel destinations stresses minimalism, the layout of much of like; the Darjeeling Himalayan hill region the architectural variety in Kolkata owes in the northern extreme of the state, the its origins to European styles and tastes highest peak of the state Sandakphu (3,636 imported by the British and, to a much lesser m or 11,929 ft and the Sundarbans mangrove extent, the Portuguese and French. forests in the extreme south.

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TEXTILES West Bengal heritage of handicrafts is legendry. The exquisite texture of Baluchari Sarees, Silk and Tasar Textile from Murshidabad, Birbhum, Bankura, Hoogly and Nadia districts have become the Choice of the Century. The salient point is that each of these schools in spite of their contiguity has maintained its own distinguishing features down the ages.

Baluchari is an elaborately woven brocade known to have been made during 1850-1900 in the village surrounding Baluchar (Murshidabad Distt.) it is popular because of its artistic and unique design. Tapestry material is made from Baluchar silks which were originally used by nawabs and Muslim aristocrats of the Murshidabad district while Hindu noblemen used raw silk.

Jamdani is a part of Bengal textile heritage.

Interesting point: ‘Jam’ means flower and ‘Dani’ means vase. For traditional Jamdani weaving, an elementary pit loom is used and the work is carried out by a weaver and his apprentice who use fine needle-like spindles to 24

Image:Phulia Jamdani

conjure magic with weft work that can rival the most intricate embroidery.

Kantha, a popular style of embroidery that comes from West Bengal, is a significant symbol that displays the skill and talent of the rural women in Bengal. This type of stitch is basically the ‘running’ stitch, and is very simple. Traditionally this embroidery was used for quilts, dhotis and sarees, but over a period of time it has evolved and made its way right into the heart of Indian fashion.

Batik is a process of decorating cloth by covering a part of it with a coat of wax and then dyeing the cloth. The waxed areas keep their original color and when the wax is removed the contrast between the dyed and undyed areas gives the pattern. One of the significant features of this art is that it is very simple and can be done by anyone.

Batik art received an impetus when it was introduced as a subject at the famous university of Shantiniketan in Kolkata.

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CUISINE Bengali cuisine has evolved with the influence of Mughal cuisine, Anglo Indian cuisine, Chinese cuisine and so on. Some characteristics stand out: great number of rivers and its tributaries providing freshwater fish, flat and fertile land producing abundance of paddy(Rice) and Pulse(lentil), domestic cattle and dairy farming providing milk, beef(only for Muslims) and mutton, alluvial soil producing variety of fruits and vegetables. Moreover, use of different spices has added to the flavour and taste of Bengali food. Ceremonial

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Image: Shorshe Ilish cuisine

food diffees from the daily food. While daily food consists mainly of rice/roti(handmade bread), fish, lentil(dal), meat, vegetables etc.,in different occasions and festivals, guests are entertained with different kind of Polao or Biryani, Chicken korma, beef kalia, Kebab, borhani, firni, jorda or different sweet dishes etc. A significant feature of the cuisine is a significant variety of sweets based on milk and sugar as part of tradition. Wheat is used alongside rice, in different types of breads, such as luchi, kochuri and porotha.

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ATTIRE During the British colonial era from 1700-1912, Kolkata (then known as Calcutta) enjoyed the privilege of being the capital of British India and witnessed 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 Indian 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 Men: Punjabi and Dhoti 28

Image : Traditional Attire Women: Aat poure Draped Saree

Image : Traditional Attire Men: Kurta & Pajama

Image : Traditional Attire Women: Saree 29

Image: Clay jewellery

Image: Clay jewellery

JEWELLERY & ACCESSORIES The costumes of West Bengal reflect the state’s rich cultural traditions. Costumes of Bengal represent the rich traditional culture of the region. While Punjabi form and Dhoti are common dresses among men, women love to wear saree.

The typical Bengali style of draping a sari is altogether different where the sari is not pleated but the “Pallu” is kept loose over left shoulder with a bunch of keys tied with the knot.

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Image: Traditional chandmala

Image: Ivory bangle

The males usually wear western garments like pants and shirts, rather than the traditional dhoti and kurtas. Females are usually seen in the traditional Sarees and Salwar-Kameezs.

Females are also gradually taking up more and more Western-wear, with jeans and skirts predominating in the college campuses, as well as in the streets. English is becoming more and more popular as a conversational language for the teenagers.

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PURULIA Far from the madding crowd enchanting Purulia beckons to experience her living heritages and calm serenity unravels her untapped mystery, and wondrous beauty. This western most district of the state of West Bengal is a part of the Chhotonagpur plateau.

The ambit of Purulia’s attraction remains deficient without its people and their age old culture. Despite assimilation of diverse cultures, with the passage of time, many indegenous communities still retain their 32

Image: Purulia

distinct identities in their traditional cultural and religious practices. Song and dance are intrinsic part of their life. Purulia also known as “Manbhum City�, is a city located in West Bengal state, India, and was constituted in 1876. It is the location of the district headquarters of Purulia district. Purulia is located on the north of the Kasai river and is a major road and railway junction. It has an area of 6,259 km.

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History According to Jaina-Bhagbati Sutra Purulia was one of the sixteen Mahajanapads and was a part of the kingdom known as Vajra-Bhumi.

Before 1805 Baghmundi was under Birbhum district. After ‘the Great Chuaar rebellion’ (held during 1767-1799) in 1805 by acquiring 23 different Parganas and Mahals of Birbhum (including Baghmundi), Bardhaman and Medinipur district another district was formed by the British Govt. named ‘Jangal Mahal’ with district head quarter at Bankura. During Governor Generalship of Lord William Bentinck in 1833 Manbhum district was carved out of Jangal Mahal district by separating Purulia and Dhanbad subdivision from Jangal Mahal. From 1833-1838 district headquarter is at Manbazar, and from 1838 it was transferred to Purulia. After Independence in 1956 Manbhum district was divided between the then Bihar and West Bengal under the State Reorganisation Act and the Bihar and West Bengal (Transfer of Territories) act 1956 and was named as Purulia.

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Image: Ayodhya hills

Geography Purulia is located at 23.33°N 86.37°E. It has an average elevation of 228 metres (748 feet).

Summers are hot and dry with temperatures ranging from lows of 23 °C to highs above 45 °C. The temperature reached the highest level in the country on June 18, 2005 at 51.1 °C. Winters are dry and cool with daily temperatures ranging from 5 °C to 20 °C. Most of the rainfall occurs during the wet monsoons.

It has many major rivers such as the Damodar, Subernarekha, Kangsabati, and Kumari, along with many dams. It has a varied landscape consisting of plains, plateaus and hills.

Purulia soil is red and it is said that the soil has the most iron in it compared to other soil in India. The portion of the Ayoodha range located in Purulia is the starting point of the Chottanagpur plateau.

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Purulia is one of the drought prone districts of West Bengal. It has a sub tropical climate nature and is characterized by high evaporation and low precipitation. Temperature is very high in summer and low in winter which varies from 2.8 degrees in winter to 52 degrees in summer thus causes dryness in moisture.Record highest temperature is 54 degrees in 2011, which is the second highest temperature ever recorded in Asia, following Jacobabad's record 55.7 degrees. Rainfall defines the climate of the district. South west monsoon is the principal source of rainfall in the district. Average annual rainfall varies between 1100 and 1500 mm.

The relative humidity is high in monsoon season, being 75% to 85%. But in hot summer it comes down to 25% to 35%.

Due to undulated topography nearly 50% of the rainfall flows away as runoff. The district is covered by mostly residual soil formed by weathering of bed rocks.

Purulia has rich cultural heritage. It has the mixed culture of Bengal, Jharkhand, and Orrisa as it was a part of these areas for various times. From archaeological evidences to local festivals, every cultural event has got a tribal touch in it, which is the speciality of Purulia.

Living mostly in rural areas and keeping intact many of their socio-cultural values, more or less in pristine forms, the rural people of Purulia have their folks to speak about many of their tenets. The distinctiveness of those is well demonstrated with the sentiments and feelings of the population and these are marked with splash of colours and often entwined with pathos, romanticism, velour and social consciousness. Purulia got a distinct folk culture of Jhumur, Tusu, Bhadu songs. It is also the birthplace of a martial dance of Bengal Chhau 36

Image: Charida village

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PEOPLE OF PURULIA In Purulia district of West Bengal, to my knowledge, there are fifteen types of tribe such as (i) Sabar, (ii) Birhore, (iii) Chikbaraik, (iv) Paharia, (v) Bedia, (vi) Bedomajhi, (vii) Bhumij, (viii) Bhunia, (ix) Karmali, (x) Koramudi, (xi) Lohara, (xii) Mahali, (xiii) Munda, (xiv) Oraon and (xv) Santhal.

Hardly any of the tribes exists as a separate society. All categories of tribe have remained under the long process of assimilation, acculturation, absorption, integration and/ or harmonization. But we wonder why the tribes have remained at the tribal stage of historically social evolution and revolution.

Evidences indicate that the tribes are in the slow process of upward transition toward the mainstream society.

Tribal life and art of West Bengal ,Orissa, Jharkhand, Bihar and Chattisgarh are varied but have certain commonality as well because certain tribes like Santhal or Munda are common to all the states and these tribes are “bhumiputras� or Sons of Soil of the hilly terrain of Chhotanagpur plateau, which sprawls across several states. Political boundaries of the 38

Image: Charida village

states were drawn by modern man, but they have been living in the forests and hills of a common geographical terrain Jangal Mahals which has shaped their lives socio culturally.

In Purulia the following major tribes are found Santhal, Kurmi (Mahato) Oraon, Ho, Munda, Bhumij, Kora, Mal, Mahali, Lodha/Kheria, Ghasi and Malpaharia. Apart from these Bauris form largest among tribes included in the Scheduled list. Sharaks or Shraboks are a distinctive community of Purulia. They are residents of Manbhum (Manbhum is now divided into Purulia and Dhanbad) for a long time and were known to be the creators of ancient Jaina artefacts.

They are also associated with ancient Jaina archaeological sites of Purulia. Birharh, Mal or Bedia are quite primitive and lead a nomadic lifestyle. Among them, Bedias are professional snake charmers. Chau or cho is the most well known tribal dance form of Purulia, popular among Santhals,Kumars, Mahatos, Kalindis and Sahish communities. The use of beautiful decorated masks and the exclusive style of dance, make up and colourful ornate costumes have made thisdance form very popular.

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Carpentry has been the traditional source of livelihood for this community. Remarriage of a female divorcee or widow is not permissible in some areas. All children inherit property equally. Their statutory council plans and implements welfare and development activities.

The majority are followers of the Vaishnava sect of Hinduism, but some are Shakta.

Vishwa-karma is their patron deity and Lakshmi their family deity. Kali, Shani, etc. are village dei-ties. Dakshineswar, Tarakeshwar, Puri, etc. are pilgrimage centers.

A Brahmin priest serves to perform birth, marriage and death rites, as well as worship.

Viswakarma is a caste of priests, engineers, architects, sculptors, temple builders and artists and includes the 5 artisan/artificier groups of Sculptors, Carpenters, Goldsmiths, Blacksmiths and Bronzesmiths.

The Sutradhar community comes under the Carpenter category .

Livelihood The predominant and primary means of live40

Image: Maing foodplates from sal leaves

lihood of the people is Cultivation. More than half of the total cultivated land is upland.

Most of the agricultural land belongs to small and marginal farmers. Due to weather condition and undiluted landscape cultivation of this Block area is primarily mono cropped.

Ladies also make hand made food plates and bowls from sal leaves.

Paddy is the main crop. Tribal people lives mainly in the hilly area earns minimum need of livelihood by collecting and selling forest products like fuel-wood, honey, flowers, medicinal plants, etc. Hunting is also a common means of livelihood among primitive tribal groups like Birhors. Other way of earnings for the inhabitants of this area includes Ranching of cattle, ship, chicken etc, pisciculture, smale scale and house hold industry. During slack season a large no. of people migrate to the side by districts like Bardhaman, Purba Medinipur, Hooghly etc for working as agricultural labour 41

OCCUPATION Cultivation of this district is predominantly monocropped. About 60 % of the total cultivated land is upland.

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Agriculture Irrigation Forestry Industry Crafts and Tourism

Cultivation of this district is predominantly monocropped. About 60 % of the total cultivated land is upland.

Out of the total agricultural holding about 73 % belongs to small and marginal farmers having scattered and fragmented smallholding. Paddy is the primary crop of the district. 50% of the total land is under netcropped area and only 17% of the net cropped area is under multi crop cultivation. 77% of the net-cropped area is under Aman paddy cultivation. The crops are grown mostly under rainfed condition, generally with low fertilizer consumption per unit area Thus per hec. production is also low as compared to other district of West Bengal.

Image: Paddy Cultivation in Purulia 42

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FESTIVALS OF PURULIA The major festivals are Durga Puja, Kali Puja, Manasa Puja, Saraswati Puja & Makar Parab.

The whole city is decorated during Diwali.

Shiber Gajan is a very popular festival in Purulia, organized in various villages of the district between March and May. Gajan songs are sung in praise of Lord Shiva and Goddess Parvati. Dances include Natua, Bhagta, Theatre, Nanchi and Chau accompanied by Jhumur songs, and various folk songs and dances are organized. The dancers sometimes dress up as Hara Parvati and move around the village, dancing to the accompaniment of instruments like Dhol, Kanshi and Flute. Whole night programs are held from village to village during Gajan and continue for days.. They try to satisfy the god through different acts of penance, such as piercing their tongues with nails, jumping upon thorns, walking on burning charcoal, e Tribe Saontal’s major festival is Bandna or Bandana (it is called as “Saharai parab” by the Santals) which is celebrated in the Ben-

gali month of “Kartik” or “Poush”. In this festival they play music, dance together and eat meat-based special dishes like “Manser Pitha”.

They also take local liquor as a part of their culture named “Hadia”.

‘Bhadu’ is another festival started by Panchakot Raj of Kashipur after the death of a king’s daughter named Bhadrabati and nowadays it is enjoyed by the local mass.

Karma is a tribe festival in Purulia where tribal people worship the tree whose local name is ‘Karam’. Poila Baisakh (The first day of Bengali new year) is also observed in Purulia by the local people with religious culture and Chhou dance.

Peoples enjoy ‘Morog lorai’ (cockfight) in every fair, market (hut). Manasa Puja (worship of Goddess Manasa) is another pious festival.

Moreover peoples of Baghmundi are very fond of festivals, cultural programmes and any kind of amusement.

Image: Gajan Festival 44

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Image: Gajan Festival 46

Image: Saharai parab 47

CHARIDA VILLAGE 'One of the last hamlets of the finest Chhau mask-makers'

Charida, a small quaint village in the foothills of Ajodhya is home for some wonderful artists making Chau mask, the headgears for Chau, the dance form with vigorous movements. In Purulia, Chau dancers wear large stylized masks while performing.

In Charida village of Purulia around 300 artists are into making masks or assembling decorations for headgears. The masks are traditionally used in Chau dance, an acrobatic martial dance form of Purulia, inscribed in UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity. There are more than 200 Chau groups in Purulia, who source their masks from Charida. The Government of West Bengal, in partnership with UNESCO, has taken up an initiative to develop Rural Craft Hub at Charida.

Charida, the village that provides some of the best masks, is near Baghmundi block

of Purulia district. Around 250 artisans from 60-70 families, mostly belong to the Sutradhar clan, are engaged in making these extraordinarily beautiful masks for generations. The mask-maker needs extremely high artistic perfection and the detailed knowledge of the epic and mythology is also essential to express the shade of a particular character.

The artisans of Charida normally have their workshops in their own houses along the main road for direct trade with customers. They are busy round the year and, practically every house and every member of the household is seen occupied in making masks or assembling decorations for headgears. The masks produced from this village cater the needs of Chhau dance groups of entire Medinipur, Purulia and Bankura districts.

Image:Natak 48

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Eminent personalities of Charida Chhau

Gadhadhor Dutta Director of Chhau Dance

Late Gambhir Singh Mura Chhau Dancer

Gambhir Singh Mura was an Indian tribal dancer known for his contributions to the tribal martial dance of Chhau. He was an exponent of the Purulia school of Chhau.

Mura was born in a tribal family to Jipa Singh Mura at Pitikiri Bamni village in Purulia district in the Indian state of West Bengal The Government of India awarded him the fourth highest Indian civilian honour of Padma Shri in 1981.

He took Chhau to the world, performing in New York, London, Paris, and Tokyo, between 1972 and 1999, before he passed away in 2002.

Under him, the folk dance found a prominence unparalleled in its history.

Image: Gambhir Singh Statue Charida 50

Image: Gadhadhor Dutta Gobindopur

A 65yr old man, he is the Director, screenwriter, music composer of the various plays that takes plays in his Chhau band Nataraj Chhau Nritya Samity of Gobindopur. His main occupation is farming, which provides his daily ways of survival, organising plays for Chhau performance keeps this exotic culture alive as well as helps him train this rare talent to his next generation.

He directs his plays on the basis of the various mythological stories , the most famous being Mohishasur Mordini, Mahabharata, and also on the basis of renowned mythological characters like Roktashur,Mahishasur, His work includes providing roles to different 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 generation 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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Image: Uttam Sutradhar Charida 52

Dhonnonjoy Sutradhar

Parimal Dutta

Chhau Mask Maker Village : Charida, Purulia

Chhau Dancer Village : Gobindopur,Purulia

A 85year old Dhonnonjoy Sutradhar is a passionate Mask maker of Charida. He was into this profession since he was 3 years old.

It was quite an experience to meet this energetic and extremely dedicated soul whose morning starts at 5am with his paint brush and continues till dawn. He works restlessly throughout the day and the family business is carried on by his elder son.

He had so many untold stories of the preindependence days of India and how he was a priviledged child to make masks for the then British General of Kolkata. This mask making has become an integral part of his life which shows from his working style and habit..

A 45yr old man, he is the brother of Gadhadhor Dutta, and is the lead dancer of his Chhau Dance troupe Nataraj Chhau Nritya Samity of Gobindopur. His main occupation is also farming, which provides his daily ways of survival. He is also training his 8year son Sumit Dutta of who has already gained expertise in somersault.

He has played various parts in Chhau performance in his troupe and his favourite being Kartikeya..

Image: Parimal Dutta Gobindopur 53

Image: Dodhibor Kumar Gobindopur

Dodhibor Kumar

Sudhansu Sutradhar

Chhau costume maker Village : Gobindopur,Purulia

Chhau mask maker, Singer.

Village : Charida, Purulia

He makes costume of Chhau Dancers. He makes the vital three elements that amalgamates in the formation of the costume of the chhau dancers, i.e. the Pitambar (Back view of the attire), the Chandmala (Front view of the attire) and the Belt.

He developes the costume according to the characters in the play. He also takes order from the customers.

The raw material is brought from the Burrabazar Kolkata market. Although this is his part time work, he is mainly into paddy cultivation.

Sudhansu Sutradhar is a prominent character in the Charida Village of Purulia because of his active participation in politics which essentially helps in the promotion and upliftment of this crafts and craftsmen of Charida associated with the Chhau Performance.

Sudhansu is a former Chhau mask maker and have achieved many accloades for the same, he is also very famous Jhumur singer and have participated in many Chhau performance across india. He is well acknowledged of the historical reference of Chhau, the details of the performance and like many of the other artists is empathetic of the Craft.

Image: Sudhansu Sutradhar Charida

PURULIA CHHAU

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Image: Chhau Dance Bamnia

Chhau dance perhaps originated from martial dance Phari Khanda Khela. During the eighteenth and nineteenth centuries, many rulers of Orissa region took interest in the development of this art. They maintained troupes who would perfrom on special occasions. The word ‘Chhau’ is derived from Sanskrit word ‘Chhaya’ which means shadow or image. It is performed by the tribes in order to appease and influence the Sun God. Whatever is the origin of this folk drama, in course of time it has developed its own rules and grammar.

Nowadays, Chhau dance is generally performed during the Chaitra Parva. Gradually this dance has shifted from the barracks and has taken a ritualistic turn.

Some people say that “Chhau” is a dialect which means six faces: fore head, eyes, nose, cheeks, lips and chin and a mask bears the six parts of the face. The word “Chhau” ordinarily means mask and because the dance is performed by use of mask, it is called “Chhau Dance”. According to another school of thought the word “Chhau” has been derived from Sanskrit word “Chhabi” that means im-

age. Others say that as the dance is characterized by variety it is called Chhau dance and therefore the word meaning of “Chhau” is Chhabila in Sanskrit and picturesque in English. According to new theories Chhau is invented pronunciation of the word Chhauni (Military Barrack or Cantonment).

The Chhau dance of Purulia is not bounded by the efforts or patronage of an individual but it is the product of the people. Certainly there was some pioneer who introduced a particular system, which is still being followed till today. Chhau dance of Purulia has a very ancient origin. Orthodox Brahmins were imported from the interior of West Bengal, Bihar and Orissa. Hindu image-makers were also imported. The image-makers appointed by the Raja of Bagmundi invented the technique of making the masks for Chhau dance after their settlement here. With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes through cadences of body flexions, movements and kinetic suggestions.

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“Performing Chhau is like writing poetry in space.�

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Three styles of Chhau exist born from the three different regions of Seraikella (Bihar), Purulia (West Bengal), and Mayurbhanj (Orissa). Martial movements, strong rhythmic statements and dynamic use of space are characteristic of Chhau.

Seraikella Chhau flourished under royal patronage. Its vigorous martial character made it suitable only for male dancers. The princes were not only patrons but also dancers, teachers and mask-making experts. The Seraikella masks are similar to those used in the Noh dance of Japan and the Wayang Wong of Java.

Purulia Chhau uses masks which is a highly developed craft in the region. The barren land with its tribal inhabitants and multi-layered influences of Vedic literature, Hinduism and martial folk-lore have all combined to shape the Purulia Chhau dances which have only one message - the triumph of good over evil.

Purulia is culturally the richest district in West Bengal. The Chau dance still remains the main attraction of the Spring Festival also known as the Chaitra Porob held here.

The exclusivity of Chau dance are the elaborate masks that the dancers have to wear.

The masks used in the dance are made in the Image: Chhau Dance Bamnia

Charida village in Bagmundi area.

Chau dance is a famous folk dance performed by the tribals of Purulia. It belongs to a genre of martial dance. Charida village, home to the Chau Mask makers, is in Purulia district which is a part of the Chotanagpur plateau. The landscape is rocky and undulating. The deciduous forests are rich in biodiversity. Tribal he art of Chau mask making started in Charida village during The rule of King Madan Mohan Singh Deo of Baghmundi around 150 years back.

Chau dance is indigenous to the eastern part of India. It originated as a martial art and involves vigorous movements, skillful acrobatic feats and leaps. In Purulia Chau, the dancers wear large stylized masks. The dance portrays triumph of good over evil.

The stories are based on mythological tales that propagate moral and ethical values. The dance is believed to be over a century’s practice, though the specifics of its origin are yet to be ascertained. Besides making masks for Chau dance, the mask makers also make a variety of masks for home decor ethos enriches the mystic charm and natural beauty of this land.

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Image: Chhau Dance Bamnia

According to a Mask maker and Jhumur singer of Charida village Mr. Sudhangshu Sutradhar, “Purulia’s Chhau dance is predominantly practised during important ceremonies like Gajan Festival which takes place to honour Lord Shiva. It is during this time that Shiv Chaturdarshi is exercised- which requires the devotees to stay awake all night. This is also a reason why such extravagant performances were done to remain awake all night” It is also celebrated on the eve of Bengali New Year (February/March) to celebrate the new harvests.

With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes through cadences of body flexions, movements and kinetic suggestions. The word Chhau is interpreted differently by scholars.

‘Shadow’, ‘Disguise’ and ‘Image’ are the most common interpretations due to the extensive use of masks in this dance form. The martial movements of Chhau have led to another interpretation of the word as meaning ‘to attack stealthily’ or ‘to hunt’.

Unlike other Indian Classical dance forms, vocal music in Chhau hardly exists! Instrumental music and a variety of drums like the

Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment.

Combining folk, tribal and martial traditions and yet covering the three aspects of Nritta, Nritya and Natya as well as the Tandava and Lasya aspects of classical dance, the Chhau dances are complex combinations of Folk and Classical motifs.

Brief and simple rituals precede the dance performed that are conducted in front of a Shiva temple or the village square. The village head is the patron and he carries a brass pitcher on his head to his house where his wife sprinkles the water of the pitcher on the newly harvested crop. Later, in the month, around 14th of May more elaborate rituals are offered to the sun god. Many devotees observe austerities including piercing their bodies with iron hook. On a high poll they are suspended and whirled round on ‘chadak’ to suggest the progression of the sun in different constellations throughout the year. Till the early decades of this century these dancers and the form were patronized by the Bagmundi ruler, but due to unproductive land and ever failing rains the ruler could hardly provide necessary support. The performers too were forced to migrate to 61

Chhau

Since 1961, when this form was first witnessed by an anthropologist in a remote village of Purulia district and their subsequent visits in major cities world over, the locals have formed their own ‘parties’ in anticipation of a sponsored trip abroad. They have added more ‘exciting’ combat scenes with more skillful pirouettes and summersault. The costumes specially the headgears have acquired enormous size and jazzy decorations.

Influenced by the more respected Hindu culture the natives adopted the epical themes but they naturally opted for the warfare scenes that would reflect their life of perpetual hardships and conflict with nature itself. Even the characters the noble and heroic characters like Rama and Sita are depicted with forceful gestures.

The Chhau dance of Purulia is not bounded by the efforts or patronage of an individual but it is the product of the people. Certain64

Image: Chhau Dance Bagmundi

ly there was some pioneer who introduced a particular system, which is still being followed till today. Chhau dance of Purulia has a very ancient origin. Orthodox Brahmins were imported from the interior of West Bengal, Bihar and Orissa. Hindu image-makers were also imported. The image-makers appointed by the Raja of Bagmundi invented the technique of making the masks for Chhau dance after their settlement here.

Instrumental music and a variety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment.

Combining folk, tribal and martial traditions and yet covering the three aspects of Nritta, Nritya and Natya as well as the Tandava and Lasya aspects of classical dance, the Chhau dances are complex combinations of Folk and Classical motifs.

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Image: Chhau Dance Bamnia 66

PERFORMING CHHAU Purulia Chhau Dance is not just a perforThe 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 acthe 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 characheadgear are the ornamental apparels of the ters. The stances and the stylised walk emChhau 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.

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Image: Chhau Dance Charida 66

Image: Chhau Dance Charida 67

Image: Chhau Dance Charida 68

Image: Chhau Dance Charida 69

CHARACTERS OF CHHAU

Image:Mahisasur Mordini 70

Image:Devi Durga

Mahisasur Mardini is one of the most popular and revered dance dramas from the Purulia Chhau repertoire. It is taken from Devi Purana and tells the story of the victory of the goddess Durga over the demon king Mahisasur. One of the main reasons for its popularity in the region is its depiction of the might of goddess Durga, the most venerated goddess of female power in the Bengal region.

The dance drama starts with the depiction of how the demon Mahisasur begins terrorising all the gods in heaven. Shiva, one supreme god of the Hindu divine trinity sends his sons Ganesha and Karthik to contain Mahisasur’s tyranny. When both Karthik and Ganesha are defeated and sent back, the divine trinity of Brahma, Shiva and Vishnu unite together to create a female emanation of their power called Durga to stop the demon king.

Bequeathed with the blessings of all gods, armoured with ten arms full of weapons and a lion as her carrier, Durga finally annihilates the demon king Mahisasur.

The costume of Durga is always in red or fushia with bold accessories in golden frnges and laces and beads. She is always depicted in a red saree stading over or near her conveyance or vahan,i.e. Lion.

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Image:Mask of Mahisasur

Image:Lion

Image:Ravana 72

Image:Mask of Mahisasur

Image:Mahisasur

The Mahisasur is the most significant and dominant characters in the play Mahisasur Mordini. The mask is purposely made with extravagant display of drama with a direct approach to emphasize the role of the character.

Mostly is claded in vibrant blue colour or Black with highlights of red and green.

Ravana is a prominent character of Ramayana play.

The character is designated from it several heads attached to its original mask. Several hands made of wood is also attached . Its quite a task to make jumps and somersaults with the humongous costume .

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Image:Kartikeya

The Kartikeya is the son of Shiva and Paarvati. Its a very glorious character and is a prestigious part in this play.

Kartikeya’s vahan or conveyance is a peacock. It is a different costume to be worn by a person covered from head to toe in a very creative way.The costume is made extremely shiny and highlightened with usage of very minimalistic colours.

He is a much loved hero. One of the artistes says,” It is the desire of all young boys to do this role. The desire should be very strong, for the role requires a lot of strength and stamina” 74

Image:Ganesha

The Ganesha is perhaps the most important character of Chhau dance as each and every Chhau dance performance in Purulia commences with an invocation to Lord Ganesha, the Hindu god of success - a prominent character from the Indian mythology.

Mostly dressed in orange colour.

Image:Krishna

Krishna is an eminent character in both Mahabharata and Ramayana.Dressed in peacock blue. The peacock feathers attached to the crown of the mask of this character is mandatory.

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CHHAU PERFORMANCE

5. Chhau Dancer

1. Mask Making 2. Costume Making

4. Jhumur prior to Chhau dance

3. Field for performance/ Akhraa 7768

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MASK MAKING PROCESS The mask-making process is indigenous and practised through generations. Originally made from expensive light-weight Simul wood, the masks today are made from other materials more affordable to local dancers. The main element for Chhau mask is paper pulp, besides clay is also required.

The eyes and expressions of the characters come alive with the expert brush of artisans and by selective use of colours. Dark yellow or bright orange are the colours used for Gods and Goddesses. The Asuras (demons) are painted in black or deep green with thick Image:Mask of Mahisasur Charida

moustaches, protruding teeth and large eyes.

The mask is then beautifully decorated using jari (tinsel threads), sparkles and coloured foils, string of beads, pith works, coloured flowers made from shola (a reed, Aeschymene aspera) and coloured feathers.

Since the dancer’s face is covered with a a mask, the mask plays a great role in adding relism and personality to the character being perfomed and played by the wearer/dancer.

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RELEVANCE OF MASKS IN WEST BENGAL

Image:Mask Making Charida

Masks reflect the innocence of the primitive people of the world who were the real creators of these aesthetically sublime and culturally functional symbols. The mask is a heritage of this planet and works beyond all stipulated geo-political boundaries of the world.Mask or Mukhosh, as it is known in West Bengal has a mysterious history, too vague to be chronicled in perfect sequence, both in terms of advent and influence. The ancient people of Bengal were different in race, culture and language from the Aryans. The original inhabitants of Bengal were non-Aryan. And it is this culture that is largely reflected in Bengal’s long running tradition in mask artistry. Though is a lot of ambiguity about the origin of masks in Bengal, it is evident that masks were of great religious importance owing to the belief in spells. Masks cannot be thought of as works of art alone - they serve multiple functions, all of which contribute in expressing the human elements and messages, which they personify.

These functions, briefly can be indicated as: to evoke certain reactions in the beholder, The world of Indian masks evokes visions of gods, demons and clowns. These categories of characters in traditional drama greatly enhance its theatrically. The demons are engaged in their perpetual fight with the gods.

This fight marks the beginning of performance tradition in India and is a recurring theme in performance and pictorial arts. The gods always win, leaving the demons defeated and destroyed, symbolizing the victory of good over evil. Even in puppet performances, some clows are there in the company of the gods to lighten their divinity and bring them down to over human level. Most of the tribal dances are performed on festive occasions and are community event. Masks are used only in those dances, which are performed on ceremonial and ritualistic occasions.

The mysterious world of masks provides another fascinating dimension to the performing tradition of India.

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RAW MATERIALS

1. A combination of clay and loamy soil

3. Spatula (Thapi) 82

2. Powdered ash

4. Fevicol (glue)

The raw materials originally used were mostly used from nature like twigs, leaves, feathers, flowers etc. The disadvantage was with the longetivity of the masks as the natural elements wither away within a few days.

The decorative materials for mask decoration are mostly bought from the Kolkata Barabazar market.

The raw materials which are used presently for mask making and decoration are presented here along with the pictures.

1. Flour

3. Copper sulphate ( Tute )

2. Waste Papers

4. A mixture of the above three 83

1. Clay and water

2. Tarmaric powder

3. Cloth pieces

4.Mixture of water and turmeric powder

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1. Chalk and white paste

3. Powdered pigment colour

2. Chisel

4.Brushes 85

1. Wrench 17.78cm

1. Coloured Aeschynomene aspers fibres(shola).

2.Pliers 2. Metal wires

17.68cm

3. Scissors 22.86cm

4.Awl

3. Raw shola fibres 86

3cm

4.Ribbons 87

1. Bird’s feathers

3. Beads 88

2. Shiny sequins

4. Plastic Beads

1. Tinsel threads

3. Glossy metallic fringes

2. Translucent coloured beads

4. Plastic Laces 89

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

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Image:Mask Making

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1. Soil is dugged out from the banks of local rivers and ponds (atel mati and bele mati).

2. A combination of Loamy and clay is ideal for the mask making.

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3. The soil is segregated from the pebbles and kneaded properly 4. The mask is developed by the mask maker with hand and Spatulas (thapi)

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5. Powdered ash is sprinkled on the surface of the mask by thumping the ash inside a cloth bag.

6. The basic form of the mask is developed and dried in direct sunlight..

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7. Flour, fevicol,water and copper sul phate ia added to form a mixture.

8. Flour acts as a adhesive and cop per sulphate works as a insecticide and fungicide.

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9. Papers are torn and layers of papers are applied on the mask moistened with the application of the adhesive mixture.

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10. Mask is then let to dry.

11. It is again covered with thin layers of mud.

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12. On drying, clothes are pasted on it effectively to add strength to the longetivity and form of the mask. The cloth also adds texture .

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13. The mask is polished and the facial features of the mask is highlightened.

14. Once dried, the initial layer of mud is re moved with a chisel.

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15. The khadi mati or chalk paste is applied which works as a primer.

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16. Dry pigment colours is made paste with water and then it is applied on the masks.

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17. The colours are applied skilfully with brushes.

18. Aeschynomene aspera fibres(Shola) is used to attach the hairs on the false mask.

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19. The raw shola fibres are sometimes dyed and allowed to dry .

20. It is applied with a paste of black colour and tamarind powder and waste paste which acts as an adhesive.

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

Image:Wire skeleton of crown 104

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22. Different types of sequins are arranged in wires to be arranged around the crown.

23. The sequins are brought from the local markets.

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24. After the embellishments are adorned on the crown, the eyes holes are made by piercing the pupil portion of the eye with a hot iron rod.

25. A type of oil is applied on the mask for a fine finish.A fished chau masks weighs up to 3kg and costs upto 2000 INR.

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Image:Mask of Maa Durga

COSTUME MAKING PROCESS

The costumes used are made out of locally available inexpensive materials. The actors representing gods wear light colored trousers, whereas deep colored and striped ones are reserved for the demons. The actors who depict Lord Shiva put on a loincloth of a tiger’s skin while those depicting his son Ganesh wear a dhoti. Those depicting Goddess Kali

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Image:Chhau Dancer

have to wear a tight pair of trousers of black cloth. Saffron colored dhotis are meant for those depicting ascetics, sages and brahmins.

The main characters wear embroidered jackets manufactured by the local women. They are beautifully designed by using silk thread, tinsels and artificial pearls

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Image: Chhau Attire (Chandmala) 116

Image: Chhau Attire (Pitambar)

Image: Chhau Attire (Chandmala)

Image: Chhau Attire (Chandmala) 117

RAW MATERIALS

The fundamental tools for Costume making used : •Metal wires •Cotton threads •Fabric metal scissors •Sewing Machine •Pliers •Awl

1. Plastic water pipes material

2. Rolled pipes

3. 100% polyester knitted shinny fabric

4.Polyethylene cement bags

Image: Raw materials for chhau costume making

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1. Plastic beads (round beads, faceted beads, flat beads, etc.)

2. Platic sequins

3. Crystal star flat back beads

4. Metallic gold foil fringes

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1. The nylon ribbon used in finishing

2. The ribbon is knife pleated and stitched in the edges

3. Satin polyester fabric is used for dhoti draping

4. The details of the back/ pitambar after finished 121

IN THE MAKING

1. The plastic cement bag is placed on the shiny fabric and cut.

3. It is then aligned for stitching.

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2. The plastic bag acts as a base, adds strength and longetivity

4. Finally they are stitched.

The costume making for the Chhau dancers is an elaborate process that requires the use of carpenters along with the tailors for developing the wooden hands for portraying divine characters in the plays.

The materials are mostly brought from the Barrabazar Kolkata market.The making of the two most important elements,i.e. Kamarbandh and Chandmala with Pitambar has been shown along with pictures.

1. The back side view ready to be embellished

3. The front side view.

2. The front side view.

4. The back side view after its tied.

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1. The different parts of the Chandmala (front side) is stitched separately.

2. The base being the Hard Plastic water pipes adding strength and firmness to the delicate embellishments.

The belt used by characters playing the role of goddessses.

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

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Tying technique of Pitambar 128

Tying technique of Chandmala

Inner side of Chandmala 129

FLAT DRAWING OF CHHAU COSTUME

Chandmala Front of the costume 130

Flat drawing of Chandmala 131

Base layer of Chandmala 132

Chandmala attached with the base 133

Pitambar Back of the costume 134

Flat drawing of Pitambar 135

Pleated fabric stitched with the chandmala 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 136

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

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Armlets are tied up one after the other on the hand from arm to wrist.

Flat drawing of armlet 139

DHOTI DRAPING PROCESS

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Step 1

Step 2

Step 3

Step 4

Step 5

Step 6

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Step 7 142

Step 8

Step 9

Step 10

Variation in Dhoti style (Stitched/Unstitched)

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Image: Kartikeya Chhau Dance, Bamnia 144

Image: Mahisasur Chhau Dance

Image: Upamanyu Chhau Dance 145

“For us, demons and gods are the same�

-Godadhor

CONCLUSION The Chhau dance is a culture that presides and preserves the essence and exotic identity of Bengal folk art. Its a culture that has enabled the co-existence of an entire village comprising of different communities and culture segregating each section on the basis of their skill anad workability only to unite in the form of a enigmatic soulful performance. Even with a lot of exposures , this Chhau performance is a dance of the commoners.

The Chhau Dance comprises of different categories of people excelling in their specific expertise and working together with an impregnable sense of unity and pride towards this indigenous and exotic folk art

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Image: Chhau Dancer,Charida

and craft of Bengal.

The passionate expression of lyrical amalgamation of words in Jhumur depicts in one hand the authenticity of the art and on the other hand the negligence of the authoritative part of the society.

Purulia Chhau is still confined to the rural areas. Most artistes rehearse in the akharas, an open practice area, after finishing their day jobs and perform during festivals.

For them it is a way of life, keeping them rooted and close to nature. With no frills attached and no mechanical interference, this breed of artistes is simply content in practice.

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BIBLIOGRAPHY Websites: 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] WestBengal’sPerforming 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]

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Image: Chhau Mask, Charida

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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]

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