Mahato,
Rakesh Chandra
Department
of English and Modern European Language,
University
of Allahabad, Prayagraj, India
Email:
rakesh_phd2025@allduniv.ac.in
ORCID:
https://orcid.org/0009-0007-5119-7332
Abstract
This paper
examines the role of Hindu traditions and myths in the Chhau Dance of
Manbhum, exploring how the dance is structured around traditional and
mythological references. The Chhau Dance form originates in the Chhotanagpur
Plateau of Eastern India. Having crossed local boundaries, this dance form has
acquired worldwide recognition. The study employs an ethnographic approach,
drawing on theories of Folklore, Myth-Ritual, Structuralism in Myth, and Rasa.
The findings demonstrate the significant use of rituals and myths as narrative
source material, performance framework, and a means of enacting Hindu religious
practice. In conclusion, Chhau Dance is an ancient cultural tradition that has
served as a bearer of classical Indian culture across the ages.
Keywords
Purulia
Chhau; Folk Performances; Hindu Mythology;
Myth-Ritual Tradition; Masked Dance Performance
Introduction
Background
The Chhau Dance
of Manbhum, also known as Purulia Chhau, is a folk tradition deeply
saturated with Hindu customs and mythology. It is one of three distinct types
of Chhau Dance, alongside Seraikela and Mayurbhanj Chhau. This
dance form is performed as a kind of dance drama, incorporating Hindu beliefs
and patterns of worship. It is often performed to please Lord Shiva, the
presiding deity. Performances are organised on the occasions of Puja and
various Hindu festivals, and propagate the idea of the victory of good over
evil. Every performance begins with the dance of Ganesha, known as ‘Ganesh
Vandana’.
The
structure of the episode known as ‘Pala’ is based on Hindu myth. Hindu
gods and goddesses, such as Ganesha, Kartika, Shiva, Krishna, Parshuram,
Durga, and Mahamaya, are some essential characters. The devil powers in the
form of ‘Asur’ remain there in the story. The stories from Ramayan, Mahabharata
and Puran take the form of ‘Pala’ in this dance form.
Objectives
The root of a
research work is its objectives. In the aspects of Hindu rituals, myth and
gender liminality in the Chhau Dance of Manbhum, the main objectives of
this study are to investigate and critically analyse -
- The elements of Hindu culture
and myth in this culture
- The projection of a mythical
character in folk dance
- The secret behind the accurate
performance of a male Chhau artist as a female and his social
acceptance and lifestyle in details
Significance
of the Study
The practice of
Hindu culture and mythology by Hindus from the upper caste in popular places is
highlighted, but its practice in rural India through folk culture has not
received much importance. A highly rich culture like Chhau Dance, filled
with a religious vibe remain underrated as a religious performance.
The
quality of Chhau Dance as an easy medium of demonstrating difficult
religious ethics and morals is not recognised. The modern society people,
accustomed to smartphones and a luxurious lifestyle, remain detached from this
rich culture invented by their ancestors.
Chhau
Dance of Manbhum is rich with the ethics of
Hinduism. It is one of the best media to reach the common folks with religious
morals. This indigenous culture has the power to create a society well known
for Hindu rituals and myths.
Methodology
Theories like
Folklore, Myth-Ritual, Structuralism in Myth, and Rasa theory are used in this
study. Folklore theory by Alan Dundes examines oral traditions, rituals and
cultural projection of the society. In Chhau Dance, local narratives,
ritual practices, and Song (Jhumair) are essential parts. The
Myth-Ritual theory of James George Frazer and Bronislaw Malinowski is used here
to explain the connection of Chaitra Parav, the projection of the battle
between good vs evil in Puranas, Ramayana, Mahabharata, such as Mahishasura
vs Durga, Krishna vs Kansa and other Asuras, Ram vs
Ravana, the battle of Kurukshetra, etc. In the context of
Structuralism in Myth, Claude Levi-Strauss argued for the binary oppositions.
In Chhau Dance, good vs evil, divine vs demonic and order vs chaos are
very frequent in the episodes. Natyashastra by Bharat Muni deals with
eight Rasas. In Chhau DanceVeer Rasa (Heroic), Raudra Rasa
(Anger), Karuna Rasa (Pathetic), Shringara Rasa (Love), Adbhuta
Rasa (Wonder), Bibhatsa Rasa (Odious), everything has a role to
describe the situations. Raudra, Veer, Shringara, and Karuna Rasa are
used very often. The steps and rhythm reflect the heroism. Along with these
case studies, literature review, analysation of the performances are used as
tools for this study.
Review
of Literature/Scholarship
In the field of Chhau
Dance of Purulia, the book ManbhunyaChhau (2021), edited by
Kshirod Chandra Mahato and Shibshankar Sing, is the most remarkable book. This
book has a collection of articles and essays by Kshirod Chandra Mahato,
Shibshankar Sing, Sristidhar Mahato, and Md. Kshurshid Alam, Ramanath Das,
Malay Choudhuri, Kiriti Mahato and Subrata Mukhopadhyay. It contains interviews
of notable Ostad as well as artists like Dhananjay Mahato, Anil Sutradhar, Anil
Mahato, Hem Mahato, Nepal Mahato and Mousumi Choudhuri. The book is enriched
with the biography of thirty-seven popular Chhau artists who are
promoted to the position of Ostad, the Master. These thirty-seven Ostad include
Padmashree Gambhir Sing Mura, Padmashree Nepal Mahato, Lal Mahato, Juru Kumar,
Madhu Ray (Bhat) Banu Thakur, Rasu Hari, Dhenukdhari Sing, Kalebar Kumar, Buka
Sing, Gendhu Tanti, Gopal Shunri, Jagru Mahato, Bhuti Sing, Adalat Mahato,
Bhagaban Das Kumar, Binadhar Kumar, Bikal Rajak, Gabra Hari, Kuyla Muchi,
Satish Mahato, Giyasuddin Ansary and many more. Sufficient details of a few
teams like Nalkupi, Khatjuri, Shulungjhuri, Balarampur Royal Chhau are
given in the book. The entire book mainly discusses the history, origin,
evolution, gradual development, crisis, use of masque, music, rhythm, melody,
dance pattern and drama pattern of Puruliya Chhau.
A
research work titled Reconfiguring Performative Traditions: A Mnemocultural
Inquary into the Chhau Dance of Purulia by Shaktipada Kumar discusses in
detail the various instruments and relations of Puruliya Chhau. The book
Chhau Dance of Purulia by Ashutosh Bhattacharya is reviewed to seek some
information about this content. Another book, Seemanto Banglar Lokjan by
Dr Sudhir Kumar Karan, covers a vital portion on the background of the dance
form.
More
Sources
Virtual sources
like articles, online documents, youtube video, etc. are used as important
sources. Watching the live performances by the author on the stages of rural Manbhum
is a primary source for this study.
Results
and Discussion
Chhau
Dance: Origin, Types, Aspects, Social
Effects as Folk Culture
The study found
that this chapter is about the folk culture named Chhau Dance with its
three types, namely Seraikella, Mayurvanj and Puruliya Chhau. This is a
semi-classical dance form. This study mainly deals with the Puruliya or
Manbhunya Chhau, which is more vigorous. Purulia Chhau Dance, a
type of Chhau Dance, is centred in the district of Purulia, West Bengal.
The popular pronunciation is ‘Chha’; i.e. the number six. This dance form is an
amalgamation of six patterns, steps, Rasa, dances and the use of six body
organs. Six patterns often comprise Chail (stepping), Chalan (appearance),
Rangbaji (vigorous activity), Ghura (Rounding), Ulta (falling
down) and Digbaji (flipping). Purulia Chhau Dance is defined in
its use of colourful masks and costumes, vigorous action, martial arts,
powerful acrobat and risky physical strength.
The
geographical location of Manbhum is in a rough weather. People have to
go through a lot of physical hardship in their lives. This builds their
physical strength and potential. For these reasons, the people of this area
have the capacity to fulfil the kinetic requirements of Chhau Dance through
robust activities. The people of this area are less ambitious in terms of
financial establishment. Their livelihood mainly depends on agriculture and a
little bit of miscellaneous work. They have enough time to practice their
culture. This gives relaxation through entertainment to overcome the hardships
of life.
Outline
the structure of performance
The backdrop of
this dance form is constructed upon the Hindu rituals and mythical characters.
The narrative style and melodramatic performance match the ancient vibes of
Hinduism. In a usual performance at night, a team performs three episodes: 1. Vandana,
2. Asur Badh Pala, 3. Kirat Taal.
Vandana:
This Pala is actually Ganesh Vandana involving the characters of Kartik,
Shiva, Durga, Saraswati, Laxmi, Nandi, Vringi, Parshuram, sometimes Mahisasur
and others. Parshuramer Gurudakshina, Ganesher Mundchhedan O Gajamunda
Dharan, and Mahisasur Badh are examples of Vandana Pala.
Asur
Badh Pala: This Pala generally includes
Mel Nach of Devta, Asur, entry of Bramha as wish giver, entry of Bishnu
or Krishna as saviour and lastly the vigorous fight with excellent acrobat
performance. One or two Asur (demon) play the main role in this Pala.
A long performance of Asur Nach takes place with lots of robust
steps, volts, and somersaults. Some famous names in the role of Asur are
Sasadhar Kalindi, Adalat mahato, Trilocahan Karmakar, Bijay Krishna Kumar,
Karna Karmakar, Sudarshan Sing, Prasenjit Sing, and Deepak Sing. A long
performanceor It involves long performance of Krishna Dance, beautifully
projecting the mixing of Veer and Shringara Rasa through the
performance. This dance is one of the most aesthetic. This performance requires
a very skilled artist. Very often, the main artist plays this role. Famous
Krishna dancers of Purulia Chhau are Banshidhar Mahato, Adalat Mahato, Binadhar
Kumar, Yudhistir Mahato, Samiran Karmakar, Gouranga Sing Sardar, Pradyugna
Kumar Mahato and many more.
Kirat
Taal: This Pala is about three characters: Kirat,
Kirateen and Arjun. The Pala is based on the Jhumair
song most of the time. The content of the songs appeals to the daily life of
the people of the area. Nowadays, comedy Pala has taken the place of Kirat
Taal. Dhunda (Dhananjay) Mahato is the most famous name in the role of Kirat.
Rhythm
and music
A particular
rhythm is intended for a particular character according to the situation. There
are slight differences in rhythm for a character in different teams or
different areas. The rhythm and bits are different in Baghmundi, Kotshila and
Barabazar Gharanas (Cultural location). A team modifies the
rhythm according to the requirements. Shiv Bajna (bit) is also different
in Barabazar and Kotshila. But very often the rhythms of a few Bajnas
like Kartik, Krishna, Durga, Asur, and Muni is same. Music is
generated through instruments like Dhol, Dhamsha, Tasa, Sanai, Casio, etc.
Example:
Music
and Rhythm of Kartik Nach:
Song:
Kartikereo Biro Taape, Swarga Marta Patal
Kanpe,
Mata
Jaro Parboti, Pita Panchanan Go Shuno Shuno sabhajana,
Amra
Kori Nibedon Go Shuno Shuno Savajano.
(For the heroic
fire of Kartika, Heaven, Earth and Underworld is shaking,
Whose mother is Parvati,
father Pancahnan, listen, listen everyone,
We request
everyone, listen, listen everyone.)
Rhythm
and Bits:
Katan/
Taal: Ur Tak Tak Tak Tak Ta Khete tak ta,
Gidin-ti
Genjhen Gejagin, Ur Ta Tere Khete Ta,
Gidin-ti
Genjhen Gejagin, Ur Ta Tere Khete Ta,
Jhan
Gejagin, Jhan Gejagin, Gindi Tak Tak Tak,
Gidin-ti
Genjhen Gejagin, Gidin-ti Genjhen Gen,
Tiyak
Tiyak Gindin, Tiyak Tiyak Gindin, Tiyak Tiyak Gindin.
Chail
(stepping): Ur
Ta Tere Khete Ta (many times)
The
Chhau Dance is mainly male-dominated, but recently, females have also taken
part in this culture. But in the male team, only male dancers participate, and
in the female team, only female dancers participate. Even the female roles in a
male team are also played by males with female attire and appearance. The roles
of Durga, Kali, Rakshasi, and Nartaki are played by males with extraordinary
perfection. In the female team, the roles of male characters like Ganesha,
Kartika, Shiva, Asur, Krishna, and Raja are played by female artists. Famous
Chhau Dancers are Gambhir Sing Mura, Juru Kumar, Lal mahato, Rasu Hanri, Gopal
Shunri, Hem Mahato, Adalat Mahato, Banshi Mahato, Anil Mahato, Tulsi, Samiran
Karmakar, Nripen Sahis, Sasadhar Kalindi, Baghambar Sing Mura, Prabhudas Kumar,
Bina Kumar, Bhagaban Das Kumar, Sanjay Orang, Gouranga Sing Sardar and many
more. Names of famous Nartaki dancers are Rasbihari Kumar, Bikash Mahato, Uttam
Mahato, Rabin Ray, Mangal Mahato, Manoj Kalindi, Biras Karmakar, Balai and many
more. Famous Dhol players are Biren Kalindi, Jagannath Kalindi, Anil Mahato,
Bhishma Mahato, Ramsaran Kalindi, Hem Mahato, Debilal Karmakar, Rampada Sing,
Shambhu Kalindi, and Suman Badyakar. Famous Jhumair singers are Gobindalal
Mahato, Laxmikanta Majhi, Parameshwar Kumar, Mahammad Ansari, Gour Mahato,
Prahlad Sing Babu and many more.
It
is very much essential to highlight the existence of highly Hindu teachings in
an indigenous dance form like Chhau. It can be established as one the popular
medium of teaching in the form of entertainment. Folk culture in its region can
be the best medium to propagate a complicated idea.
After
going through the different works related to Chhau Dance, it can be said that
the excellent projection of the mythical characters by a crew of so-called
illiterate people is neglected. It is proper evidence of practicing morals and
spirituality through the medium of arts and culture. The culture is so well
known to the common folk that most of the people have the knowledge about the
rhythms, songs, steps and stories. These things properly match the outcome of a
culture to mobilise the society.
Conclusions
The
study has found very important observations regarding the impact and relation
of Chhau Dance with society, spirituality and religion. People are very much
habituated to the culture. The performances take place very often, sometimes in
the evening, sometimes at night. Artists are generally from poor families with
a dark economic future. But they nourish the culture with their own willpower.
Not only are the artists, but the audience is also very much dedicated. There
is enough gathering in every performance. They appreciate the artists. The
family members of the artists are also very much supportive. They provide
enough backup and inspiration to the artists. Artists are made from very
childhood as they have firsthand experience of the culture.
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