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Chhau Dance of Mayurbhanj JUNE - 2013 Odisha Review Chhau Dance of Mayurbhanj Balabhadra Ghadai With the arrival of Chaitra (March-April) the performance. Some scholars suggest that the nature, so lush and rich in Mayurbhanj, is vibrant word ‘Chhau’ is derived from the Sanskrit word with new life; trees, creepers and orchids are in ‘Chhaya’ which carries the meaning of facsimile bloom, the air is fragrant with flowers; and birds or disguise. Since mask is used in Purulia and songs reverberate through the hills and plains. The Sareikala Chhau, it is reasonable to name it as whole district comes under the magic spell of mask dance. Some scholars are of opinion that Chhau, the most colourful virile dance usually Chhau is an Odia word and its meaning according performed for three days during the Chaitra Parva to Purna Chandra Bhasakosha is to attack (13th or 14th April) at Baripada, the district stealthily and cunningly. It is needless to enter into headquarters of Mayurbhanj. The vigorous war an arid controversy as to its origin since evidence dances with swords and shields, the colourful, either documentary or collateral is extremely dignified yet intricate rhythmic pattern of other meagre. But even if its original source is military dances, the loud yet melodious sound of battle tradition, there is little doubt that there has been drums, such as Dhumsa, Nagra, Dhol and quite a lot of co•mingling of folk, tribal and Chadchadi with Mahuri brings thunderous effect religious traditions in the process of its evolution. to make the audience spellbound. The Bhanja Kings of Mayurbhanj were Chhau, a martial dance form, found in great Patrons of art and culture. During the rule three regions of India, Sareikala (Jharkhand), of Maharaj Jadunath Bhanj Deo (1822-1863 Purulia (West Bengal) and Mayurbhanj in Odisha A.D) one kind of dance was being performed in each with its distinctive features has received a the month of Chaitra, which was known as ‘Ram global reputation. Although the origin of Chhau is Navami Nata’. It is presumed that during this time a bone of contention among the scholars and it was in its early form i.e in rudimentary form, historians, Mayurbhanj School of the dance confined to the technique of ‘Sadhan’ and maintain that the term Chhau has been derived ‘Farikhela’. During the reign of Krushna Chandra from ‘Chhauni’ i.e. military camp of ancient rulers. Bhanj Deo (1868-1882) Chhau was first They hold this view due to martial character of remodeled in a new form and style. Ramaharijit the dance. It is obvious that the dance originated Bebarta Babu, an aide of the Maharaja had from the war• rehearsals of the Odia Paikas witnessed the performance of Chhau dance of (Infaney) and gradually evolved as a cultural Sareikala and on his request for extending royal 43 Odisha Review JUNE - 2013 patronage to Chhau dance in Mayurbhanj, all dancers, musicians, organizers of the locality Maharaj Krushna Chandra Bhanja Deo brought into two groups namely, Uttarsahi and Dakhin sahi Mr. Upendra Biswal, a Chhau Ustad from and started a competition of the dance on the Sareikala and appointed him to teach Chhau occasion of the annual Chaitra Parva. At that time dancers of Uttar Sahi. Later on Mr. Banamali Das, these two prominent parties were competing with another Ustad from Sareikala was appointed to each other and the winner party was being train the Chhau dancers of Dakhina Sahi. awarded a running cup known as ‘Talcher Cup’. Moreover, Sri Brundaban Chandra Bhanja Deo The Maharaja kept his younger brothers Shyam and Sri Gokul Chandra Bhanj Deo the two Chandra Bhanj Deo and Sridam Chandra Bhanj brothers of the king were incharge of Uttarsahi Deo in charge of the sahis for training and and Dakhinasahi dance parties respectively who performance of the dance with an anuual grant of took keen interest for its development. Thus, Rs.2000/- for each Sahi. Apart from this amount, Maharaj Krushna Chandra Bhanjdeo laid the each brother was to spend as much as Rs.15000/ foundation of Chhau dance in Mayurbhanj and it every year for the training and development of was performed during Chaitra Parva in place of Chhau dance. During this period the dance ‘Rama Navami Nata’. It is noteworthy to mention numbers created by the sahis were based on the here that being profoundly influenced by the themes of the epics like the Ramayan, the Sareikala Chhau, mask was also used in Mahabharat and other Puranas' Episodes on Mayurbhanj Chhau. Krishna legend introduced during this period In the beginning the dance performance slowed down the martial character of the dance. was confined to the exhibition of sword-play only. Therefore, the choreography of the dance as well Most of the dance numbers were displayed on as the music was changed. Jhumar music and physical power, techniques of sword play etc. The Kirtan were also introduced in it. In some dance dances exhibited by the dancers were without numbers vocal music were also added. The lyrics themes. Some of the dances, for instance were were of different languages such as Odia, Hindi, Sadhanmar (Strong among all), Maja Maloon (to Bengali. Hitherto Chhau was totally non-verbal. teach a lesson), Singh (lion), Bajramaruri Due to such experiments in the art form, a good (Thunder bolt) etc. Some of the dance numbers number of classical items sprang up and gave a were composed portraying heroic characters of new charm to it. Nishitha Milan, Bansi Chari, Puranas, the Ramayan and the Mahabharata. Kalanka Bhajan, Baul Krishna, Tamudia Thus, during this time Chhau was limited to Rook- Krushna, Kaliya Dalan, Makhan Chari were the Mar Nacha (the dance of offense and defence). products of the artistic endeavour made under Maharaja Krushna Chandra Bjanj Deo the royal patronage of the time, the era of breathed his last on the 29th May 1882 when he experimentation and excellence of the art. was only 34 years old. At that time his eldest son In the year 1912 Maharaja Sriram Sriram Chandra Bhanj Deo was barely 11 years Chandra Bhanj Deo presented a magnificent of age and hence, the State came under the show of it in the form War Dance (Paika dance) administration of Court of Wards till he attained to welcome the British Emperor George V and majority and assumed direct control of the State his Queen at Calcutta. Maharaja Sriram Chandra in 1890. He had deep love for this art form and has spent a lot of money for its creation and so took keen interest for its development. He put presentation. This ‘War Dance’ consisting of 64 44 JUNE - 2013 Odisha Review artists was essentially a mock-fight between two childless, was succeeded by his younger brother opposite groups holding swords and spears in their Pratap Chandra Bhanj Deo. hands. The dancers were dressed in red or blue The reign of Maharaja Pratap Chandra dhoties, turbans along with feather- garlands Bhanjdeo is marked as the golden era of round the arm and waists. They painted their faces Mayurbhanj Chhau. He initiated various and bodies with ochre or red colour. Another experiments in Chhau dance with the help of significant feature of the dance was the abolition talented Ustads and artists and established it to a of mask hitherto prevalent in Mayurbhanj style marvelous art form. He increased the annual grant like Purulia and Sareikala. Maharaja Sriram to Rs.5000/- for each Sahi and appointed a Chandra passed away on 22nd February, 1912. Manager to look after the proper training, The appreciation of Chhau dance by the Emperor rehearsal and presentation of the dance. Regular George V and Queen Mary was reflected on his rehearsal for about six months beginning from the condolence letter which had been sent two days month of October till Chaitra Parva were carried after the sad demise. It says, “the Queen and I on. During this Period a number of new dance are grieved to hear of the death by an accident of themes were composed. Sri Keshab Das, the the Maharaja of Mayurbhanj. Please convey to Kathakali dance teacher was appointed to train the Maharani our sincere condolences in her the Chhau dancers of the Sahis. In order to sorrow. We remember of course the important improve the dance performances and to increase part taken by the Maharaja in connection with the creative power of the Ustads & artists, they the Pageant on the maiden and our pleasure in were sent to different parts of the country to seeing him on that occasion”. witness the performance of the eminent dancers Maharaja Purna Chandra Bhanj Deo, the like Udayshankar, Amla Shankar etc. Several son and successor of Maharaja Sriram Chandra features from such dances were included in Chhau Bhanjdeo was a minor and hence, Mayurbhanj dance to improve its range and quality. During once again came under the administration of Court this period dances like Kaliya Dalana, Matru Puja, of Wards. During this period Chhau suffered a Maya Sabari, Banshi Chori, Meghadutta etc. lot in his kingdom. The annual grant of Rs.5000/ were created by the Uttarsahi and Dakshina Sahi - to each Sahi was stopped and only Rs.250/- to teams. each Sahi was granted just to keep the tradition The dance which was brought up and of annual celebration of Chaitra Parva alive. developed with so much royal care and Maharaja Purna Chandra was formally installed nourishment could not prosper further in the on the Gadi on the 13th November 1920. absence of royal patronage after the merger of Hereafter he gave special attention to revive the the Mayurbhanj in Orissa on 01.01.1949.
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