INTRODUCTION

Seraikella, a former 'A' class princely State, now a Sub-Division in the district of Singhbhum, is situated north of Orissa in Jharkhand. The town of Seraikella is barely thirty miles from the steel town of Jamshedpur or Tatanagar.

The seven hundred hills of Saranda, and that of Bangriposi, have given as much protection to the former State against foreign inroads and cultural conquests. Singhabhumi (Land of the Lions) remained unconquered for centuries both politically and culturally .It never came under the Mughuls or the Marathas .This gave it a pride and aloofness. From this tract of land has originated the famous Chhau Dance and spread to other parts of Orissa.

The Chhau Dance of Seraikella has passed through many vicissitudes in history. Once a flourishing art, under royal patronage,it has passed through periods of stresses and strains,and is now on the threshold of a great revival in the wake of a new awakening to unearth India's rich cultural heritage. The Chhau Dance has been nurtured under an atmosphere of independence, undisturbed by outside influence . For countless ages the rulers of Seraikella have not only patronized the art in the usual way-that is by merely giving the artisans his daily necessities . They themselves have been its exponents and torch bearers, carrying the flame down from primeval times to the present age by giving actual fillip to the art .

Kaviguru Rabindra Nath Tagore once said :" I have derived great satisfaction from witnessning the Seraikella Dance . The ancient art of classical Indian dancing is gradually heading for extinction.The Raj family has carefully preserved one of itscharacteristic forms from time immemorial an achievement on which they can justly take pride. I am greatful to them for this. I sincerely hope that it may avoid the contaminating contacts with modernism and preserve its purity from the onslaughts of perverted taste."

The Chhau Dance Festival (Chitra Parva or the Spring Festival),which is celebrated annually in the month of Chaitra (March-April)in honour of Lord Shiva, synchronises with the advent of Spring, when the heart of man dances to the cosmic joy and rhythm. Seraikella, for a month, goes dance-crazy and is agog with dance tunes and practices. In doing so the invokes the Nataraja.

TECHNIQUE

The dance derives its name from the Sanskrit word (root: Chha) "Chhaya"-meaning shade, Image or mask. The Chhau is a masked dance . The mask needs no apology in the realm of histrionic art . When the face ceases to be the focus of emotional expression, the movements of the body becomes more expansive and dynamic in expressing the inner feelings . Therefore the dance demands concentration and the focussing of the whole body . With face covered breathing made difficult through small openings and visibility through the eye holes, none too distinct the dance becomes more exhausting if prolonged. The items are of short duration each lasting from minimum five minutes to maximum ten minutes for it is difficult dancing wearing a mask. While the employment of masks leaves head gestures(siroveda) and neck movements (grivaveda) as modes of expression , it eliminates glances (dristiveda). As masks conceal the identity of all the dancers from the audience, neither the personal beauty nor sex determines the capability of the dancer. Skill becomes the only element that counts. However, Mostly men and boys perform in Chhau .

The choreography of these dancings is Orissan in composition, execution and design and has been highly praised by both foreign and Indian dance critics . On the occasion of the presentation of Seraikella Chhau dancers at the Vaudeville Theatre , London, Mr. Dunley Hussey, after describing what true ballet is , writes in the Spectator:

" But the classical choreographers were not the only artists to discover this means of artistic expression. The same process resulting in a very difficult . technical method, may be seen in the dances of the Hindus and other . . Eastern people. The masked dancers of Seraikella..have evolved through their own method of presenting movement artistically. Their dancing,besides having the attraction of the exotic, has the essential quality of artistic ballet."

The choreography of the dance composition is such that all expresion are through the limbs alone, and they all expressions are through the limbs alone, and they help to evoke in the spectator, 'bhava' (the mood) and 'rasa' (flavour or aesthetic sentiment ) ,aimed at by the dancer. "The human actor only attains to perfect art through conscious discipline ." The Abhinaya Darpana discusses particularly the technique of the dance , with stylised movements and gestures both decorative and interpretive, that involve every part of the body. The gesture code called 'abhinaya' is a medium of expression , meaning to 'take towards' (abhi:towards, Naya:take) the abhinaya consists of four kinds :

a) Angika Abhinaya or the gestures, movements and poses of the different parts of the body and limbs.

b) Vachika abhinaya or the uttered word; vocal element speech or song.

c) Acharya Abhinaya or the external aids, such as costumes, make-up, and ornaments.

d) Satvika Abhinaya or the physical or outward manifestations of the psyclic

state of mind -emotions and sentiments.

The Chhau technique has been influenced by "Phari khanda style" of sword play .(Phari means Shield; khanda -sword) . This was a popular exercise, as a part of the maintaenance of military discipline, to which the ancient warriors of Seraikella were subjected. Pharikhanda exercises

Are vigorous, virile, agile and acrobatic. They call for splitsecond timing , sharp turns , bends and baffling postures employed by the warrior of olden times to dodge his opponent .

The Upalayas or Uphlei make up the basic vocabulary in Chhau Dance.

The traditional movement are first acquired through

"Uphlei" (meaning leaps and motion)which is destined to inhabit the variegated expositions of body

 limbs and foot work. There are '35' basic exercises,enumerated below:-

1.              Gooti khuda- lifting a pebble (with the toes)

2.              Gooti phinga - throwing a pebble (with the toes)

3.              Gobar khuda- picking up dry cowdung

4.              Gobar goola- mixing cow dung with water

5.              Chhoda diya- sprinkling dung water

6.              Kharki ba- sweeping the floor

7.              Dhenki kuta- pounding of rice

8.              Kula pachra- husking of paddy;winnowing

9.              Pithau bata-making a paste with grinding motion

10.           Gadhi jibar-way to bathe

11.          Tel mokha-annointing the body with oil

12.           Khadu maja -cleaning of wristlets

13.          Pahud maja-cleaning of anklets

14.          Jhuntia maja-cleaning toe rings

15.          Redi maja-cleaning the heels.

16.          Dub bar-the bathing dip

17.          Jhoonti diya-patterns on the floor

18.          Sindur tika- sacred vermillon mark on the forehead

19.          San Uphlei-the small leap

20.          Bad Uphlei-the difficult leap

21.          Machh bhidka-piercing a fish

22.          Machh dhora-catching the fish

23.          Ghoda dulki- the canter of the horse

24.          Ghoda tobuka-horse trot

25.          Bagh dumka-leap of a tiger

26.          Bagh Rampda-mauling action of a tiger

27.          Harni denga-the jump of a deer

28.          Polti bar-summersalt in the air

29.          Ardha Chandra-crescent moon

30.          Tara Khosa-the fall of a meteorite

31.          Mayur pani khia-a peacock in the act of drinking water

32.          Thari bar-shivering

33.     Onth muda-twist the waist

33.          Pasar hana-ready for kill

34.          Bagh pani khia-tiger in the act of drinking water

35.          Bota cheera-spliting the bamboo

After attaining a fair amount of proficiency in the above leaps and turns and bends one is initiated into the art of Chhau dance.

The well known danseuse Smt. Ragini Devi writes in Femina.

"The debut of the Chhau dancers of Seraikella brought to light an impressive form of Odissi dance,which for beauty of style and clearly defined technique,ranks with other forms of Indian Classical Dance."

Rightly the Catholic Herald says :

"Evidently the highly imaginative, highly cultured deeply religious, strongly traditional people of Seraikella feel their whole existence in terms of ballet .In movement alone they are able to suggest not only the legends of their Gods but also their own humble daily occupations fishing and hunting."

RITUALS

Chaitra Parva or Spring Festival