Study of Dental Fluorosis in Subjects Related to a Phosphatic Fertilizer

Indian Journal of Traditional Knowledge Vol. 7(1), January 2008, pp. 130-133

Masks from the archives of the Indira Gandhi National Centre for the Arts Kakoli Roy Biswas Janapada Sampada DivisionIndira Gandhi National Centre for the Arts, New Delhi 110 001 E-mail: [email protected]

Received 10 August 2007; Revised 30 October 2007

Mask, used since antiquity for both ceremonial and practical purposes, are normally worn on the face, typically for protection, concealment, performance, or amusement. Masks are believed to embody the spirit of an ancestor, and symbolize a message of wisdom, prosperity, security, and power. Masks have been worn in cultures throughout the world for thousands of years. Masks are made of varied materials including paper, cloth, grass, leather, metal, wood and stone. They are painted with symbolic designs and vivid colours. Masks and their manifold forms are a very significant mode of cultural expression. The Indira Gandhi National Centre for the Arts (IGNCA) has a rich collection of masks from all over the world. The paper describes historical background, material used, traditional methods of preparation and cultural significance of masks from the repository of the GNCA. The article also highlights the musicological, psychological and philosophical significance of these masks and focused description of the Chhau masks of West Bengal and Saraikela.

Keywords: Masks IPC Int. Cl.8: B27, G10D

Mask is an object, which helps a man to hide his own person. Traditional carvers or mask makers undergo identity and project various moods and required many years of specialized apprenticeship until images to act accordingly. The mask was invented by achieving mastery of the art. human being to understand the cosmic vision both at There are vast varieties of specific forms and styles natural and supernatural levels. The masked person is in mask making evolved with times, where makers not simply a human, whose real identity is hidden, but have created their own genres to enhance the an enigmatic entity standing outside the sphere of performances1-4. According to Bharata, one should ordinary conduct and enjoying a freedom of prepare the total decoration of mask with great care movement and expression denied to ordinary human and dedication. All the measurements for making the beings. In every country or society, ancient or head Patti or cloth measurement should be perfect. modern, mask is known as a popular object to express Patti (cloth) should neither be too thick nor too thin, various aspects of life like fear in an enemy, cure of and neither should it be made too soft. After getting diseases, crop harvesting, festivals and ceremonies the Patti dried up by fire or the sun, one should pierce and some time larger than life in the form of holes in it according to the rule, by means of sharp supernatural power. instrument, and these holes should be made after The word, mask is believed to be originated from dividing it into 2 equal halves. In the Patti, thus an the French word masque, or the Italian word opening 6 Angulis (fingers) long and one Anguli wide maschera or the Spanish word máscara. The word is should be made according to one’s own measure, in also believed to have its origins in the Latin words the form of forehead, and it should have two angles at mascus and masca, meaning ghost or Arabic word the two ends. Then, the openings, 2 Angulis long and maskharah, meaning jester or man in masquerade. one and half Anguli wide, should be made for the Masks are significant mode of cultural expression. cheeks, and after this has been done for the cheeks, This is one of the many ways, through which cultures other openings are be made for ears. The opening for have given voice to their powerful cognition and most ears being 3 Angulis long, the same should be the subtle emotions, to define their inner and outer length for the opening of the mouth, and afterwards realities. Mask refers to the total personality of a the symmetrical neck should be made equal to 12 person rather than an aspect of the self. It also Angulis. It is noteworthy that even today Bharata’s represents the disguise that hides the real identity of a mask making technique with some addition and BISWAS: MASKS FROM THE ARCHIVES IGNCA 131

modification is used while making the masks for the characters and performed every year during Ramlila Chhau dance drama. and Navaratra. Madhya Pradesh masks are generally The collection of masks for the Indira Gandhi ritual masks, made out of wood and some of them are National Centre for the Arts was initiated by Dr performing masks for various ceremonies, while Kapila Vatsyayan with Prof John Emigh of the Brown masks from Orissa and Assam are generally University, USA in 1993 with the stock of masks categorized under performing masks. Mask from Goa, from Bali, Indonesia and also from the prominence of is a carnival mask. Mask from Tamil Nadu, a Narsima India. Later, masks were procured and acquired from mask from Bhagavat mela, is a unique blend of Europe, Mexico, Northwest coast, Canada, Japan, spiritualism, music, dance and drama (Fig. 6). Some Taiwan, Korea, Ivory Coast, Zambia and Zimbabwe, of the best collection of masks is from West Bengal, etc. (Table 1) Acquisition of Indian masks from which is marked as performing and ritual masks, Arunachal Pradesh, Himachal Pradesh, Ladakh, Uttar made out of various materials. There are clear user Pradesh, Madhya Pradesh, Maharastra, Tamil Nadu, zones of various form of mask in West Bengal; some West Bengal, erstwhile Bihar, Orissa and Assam has of them are indeed unique in style and categorized in enriched the stock (Table 2). There are around 750 4 zones as follows: masks in IGNCA and most of the acquisitions are Zone I: Hill areas of Darjeeling district—The based on various theatrical and conceptual themes. masks of this zone are made of wood and are strictly Interestingly, types of masks are linked to different in Tibetan style and performance of dances is mainly purposes, like ritual masks, war masks and based on Buddhist rituals. performance masks (generally used in tribal festivals). Among the collection of the IGNCA masks, the Zone II: Northern part of West Bengal, jungle masks from Arunachal Pradesh and Ladakh are areas—This zone is consisting of three distinct places, propagated to Buddhist philosophy. They are used in like Jalpaiguri, Coochbihar and North and South mask dance performances during Buddhist festivals Dinajpur. Interestingly, the form and style of masks and ceremonies. from these places are dominated by Scheduled caste group and are well known form such as Rajbanshi, Table 1—Total collection of masks Desi and Polias. The mask of Goddess Kali is also

Asia Europe America/South America Africa very commonly used in North Bengal, particularly it is found in Gamira ritual dance performances. 643 16 43 32 Zone III: Central part of West Bengal—Malda Table 2—Number of Indian masks district of West Bengal is a part of this zone and people from this zone are mainly based on agriculture Arunachal Pradesh 14 Assam 03 as the land is very fertile and plain. The form of Himachal Pradesh 03 masks is dominated by Hindu gods and goddesses of Jharkhand (Saraikela) 138 mythological characters. The famous ritual dance, Ladakh 25 known as Gambhira, an important folk cultural dance, Madhya Pradesh 80 is performed once in a year in the Gajan festival Maharashtra 23 Manipur 02 wearing mask of Lord Shiva, while use of mask of Orissa 04 goddesses Kali is very prominent to portrait Mashan Tamil Nadu 01 Kali- an important character in Gambhira form of Uttar Pradesh 43 dance. West Bengal 99 Zone IV: Bordering districts of western part of West Maharashtra masks from Thane are very popular Bengal—This zone comprises of 3 districts of western among Kukana and Worli tribes, which are also used part namely, Bankura, Midnapore and Purulia. The as performing mask in the Bavada festival. This is a introduction of masks in these places is more or less a village festival observed to please the Adi Mata or historical process initiated by local Zaminders. The Bhavani to protect the village from various calamities. dance form wearing masks are well known as All the masks are made of papier mache. Uttar Rabankat from Bankura district. Chilkigarh Chhau Pradesh masks, mainly from Varanasi are known as from Midnapore and most popularly known Chhau is Ramlila mask. These are depiction of Ramayana from Purulia. 132 INDIAN J TRADITIONAL KNOWLEDGE, VOL 7, NO. 1, JANUARY 2008

Chhau masks are indeed unique and have Ramayana and Mahabharata, the Purans and other significant impact on society. The making of these ancient literatures. The masks of gods, goddesses, masks is a very specialized job. The craftsmen and sages, kings, queens, rakshasas, demons, common their families are dedicated in mask making, the men and animals are most popular form of masks ingredients of this art form are clay, cloth and paper (Figs 1-12). Nevertheless, masks and Chhau dances and classic mix of imagination, which bring life in are inseparable. Chhau mask has 2 distinct parts– every mask they make. In earlier days, the craftsmen facial part and head region. The common were patronized by royal families. Chhau is a form of characteristic facial features of the masks of Aryan dance wearing mask, mainly based on stories from the feature are extended eyes, thin lip, fine nose, BISWAS: MASKS FROM THE ARCHIVES IGNCA 133

prominent chin, broad forehead, good shaped ears, mask making is a highly skillful job. In olden days, and altogether serene facial expression. In fact, these masks were made out of wood, pumpkin shell, craftsmen are dead against changing the forms of bamboo, etc. but in modern time the mask is made of facial parts to avoid distortion of divine characters. dark clay found on the bank of the Kharkai river. The The head region of the mask of gods and clay is pounded, strained, dissolved in water and goddesses, kings, queens and other mythological made into a thick paste. The clay model of the characters is provided with a head gear in the form of character is fixed on a small wooden plank and cooled crown or similar type of headdress. These head gears for 2-3 days to harden it. Muslin gauze is pasted on it, are mostly made of feathers, thermocole, chumki, and over the gauze, 2-3 layers of paper are followed pokri, glazed paper, beads, etc. Asuras, demons, by muslin and paper, and finally, over it a thick rakshasas also play a very important role in Chhau coating of clay is pasted. The nose and eyes are dance. The form of these characters are made very fashioned by sharp steel instruments. After the model typically depicting ugly expression, thick lips, heavy is dried, the clay is scooped out from the hoollon of twisted moustache, exposed frontal teeth and shrinked the mask by the Karui and the mask is scrubbed, facial muscles, etc. Head region of the masks of polished and painted with tuli (brush). Almost all demon or non-Aryan characters mostly remain masks are painted with flat pastel shades that give a exposed, so the decoration is very much limited. touch of frankness, simplicity and boldness. Coloured nylon fibres are being used as hair and Sometimes, it is difficult to distinguish one character moustache. Big size ear rings are sometimes fitted in from another. Shiva’s third eye (trinetra) express the ears to give the mask a horrified look. Usually, male energy, the drooping eyes of ratri (night) dark colours are used for skin like, dark blue, dark suggests sleep. The Prajapati (butterfly) has a small green and dark brown, for non-Aryan characters and face with prominent cheeks. These are few example white and light colour for Aryan characters. Red of specialty of Saraikella Chhau with rhythm and colour is used for lips and black colour for eyes. reality.

For the preparation of West Bengal Chhau mask, Conclusion firstly, a mould is made and a sticky paste of clay is The vast collection of the masks of the IGNCA prepared to put a coating of clay. Striped cloth pieces achieves are true representatives of masks of all major are soaked in sticky paste of clay and applied on the cultural and geographical pockets of the world. In surface of the clay coating. Then, the colour coat is order to understand all possible dimensions of the applied accordingly, eyes, lips, eye brows hais, etc. masks, the IGNCA organised an international seminar Now, the decorative items are made and masks & on Man, Mind and Masks in 1998. The scholars, head gears are decorated. The Chhau mask from experts and performers participated actively in this Saraikella (Jharkhand) is used during the Chhau international seminar. All layers of interpretations dance festival, which is celebrated annually in the were discussed, debated and explained. The month of Chaitra (March-April) in honour of Lord proceedings of seminar and all significant papers Shiva, and also during festival of spring. This is a were, later, published by the IGNCA in a book form month long programme in Saraikella, when rich and of international standard. Scholars and experts, poor all join together to enjoy the innermost feeling of interested in the study and analysis of masks from cosmic joy. Chhau, means mask and most essentially, anthropological, philosophical sociological, phycholo- this dance form obtains its name from it. The gical, theatrical and any other point of view are technique of Saraikella Chhau dance has evolved and welcome to see and pursue further research in the taken shape around the special feature of the mask. areas of their interest. The choreography of the dance composition of Saraikella Chhau, is such that all expressions are References through the limbs alone, and with the mask it creates 1 Varadpande ML, Masks in Performance: The Indian various bhava (the mood) and rasa (the flavour). So it Tradition Indian Horizons, 41 (1-2) (1992) 29-38. is inseparable from each other and beauty & flair of 2 Bhanu Deo Juga, Chhau – Mask Dance of Saraikela, 1973. the dance is lost without mask. 3 Malik S C, Rupa-Pratirupa - Mind, Man & Mask, 2001, 221-231. Generally, mask makers handed down their skill 4 Seminar Brochure, Mind Man and Mask, (IGNCA, New and know-how to their next generations. The art of Delhi), 1997.