Singhbhum – an area that finds reference in the Puranas as a part of the ancient region of Utkal is now in eastern India. Seraikela, from where the unique maksed dance form of Seraikela Chhau originates is a part fo this region. An energetic and spirited dance, this evolved from martial art techniques that were earlier practiced in this region by soldiers in the royal army.
Parikhanda, a system of exercises practiced by the soldiers became more stylized, both in their physical and aestheic sensibilities. Pharikhanda literally means shield and sword and till the present day the basic techniques are practiced holding a sword and shield.
The etymology of the word Chhau, itself explains the nature of this art form. This word traces its origin to the sanskrit word Chhaya which means shadow. The thematic content of the compositions are mostly abstract and are steeped in symbolism. Chhau is different from other Indian classical dance forms, primarily in its treatment of space and in its method of communicating the emotions. The dancer executes movements thrusting the body upwards away from gravity. Spiral turns executed in the air, jumps and extended leg movements carry the dancer through choreographic patterns across the performing space. Another important feature of Seraikela Chhau is the complete absence of
vachikabhinaya by means of vocal support and
mukhabhinaya, as the face is completely concealed by the mask. Thus the emoting is done kinesthetically through body movements.
Mukhota or masks are an integral part of this dance style and the art of making the mask is itself highly evolved. there are traditional families that specialize in this art. Working together with choreographers and dancers and only after a detailed study of the characters they create the masks. a masks depicts only the essence of a particular character but in combination with the movements of the dancer, the mask becomes extremely animated. Every move of the body or tilt of the face imparts to the mask a whole range of expressions. When worn, the masks lead the dancer through a series of meditative experiences. Breathing through the masks, the dancer is depicted to undergo a total negation of the self and a complete transformation into the character. This overwhelming feeling makes it an extraordinary experience for both the dancer and the spectator.
