Pt. Gopal Prasad Dubey ( Padma Shri )
Pt. Gopal Prasad Dubey ( Padma Shri )
Trinetra - ChHau Dance


SERAIKELLA CHHAU DANCE

A GLOBALLY RELEVANT THEATRE IDIOM


The Seraikellachhau has been approved by UNESCO in the year 2010 as intangible Heritage of India. 

In a vast country like India with Mind blowing cultural diversity, there are hundreds of traditions of music, dances and theatre forms scattered across the far corners of the land. It is no wonder that many of these forms are not fully known in all parts of the country.

Chhau is a traditional dance drama form prevalent in Eastern India. There are three major forms of Chhau each known by its respective geographical location. These are Seraikella Chhau of Bihar (Now in Jharkhand) Mayurbanj Chhau of Orissa and Purlieu Chhau of West Bengal. Although they are all known as Chhau, their style differs considerably in terms of their culture background and their dance characteristics. The complexity and fascination of this tradition lies in the fact that it represents the folk classical continuum.

It is my great privilege to write this article is only information to the rasika; Seraikella Chhau is first tradition origin at Seraikella latter so on Mayurbanj Chhau and Purlieu Chhau.

 According to History Seraikella Chhau was patronized by Royal family and also performer, like great dancer late Shree Rajkumar Suvendra Narayan Singhdeo, Late Brajendra Narayan Singhdeo, later on our guru Padmashree Suddhendra Narayan Singhdeo, and Guru Padmashree Kedarnath Sahoo.

 Seraikella Chhau dance previously in 1920 was only Nritya, but due to contribution of Late Kumar Bijay Pratap Singhdeo and Maharaja of Seraikella late Aditya Pratap Singhdeo change of the tradition in various ways and there is classic story music based on Rag, tale also based on chanda.

 Now, Present Raja Pratap Aditya Singhdeo has taken responsibility to continue the Chhau Chaitra Festival which was started by late Maharaja Aditya Pratap Singhdeo in Seraikella Palace.

On the one hand it is close to classical dance tradition with it many styles, on the other, it has link with the folk and tribal dances of the regions. Also Chhau is greatly influenced by the martial art and has a strong ritualistic context. The Seraikella Chhau and the Purlieu Chhau wear masks while Mayurbanj Chhau does not. Seraikella Chhau is danced during the annual Chaitra Parva Festival dedicated for Ardhanareshwara as a prayer for abundant harvest. The Performance is proceeding by a series of mandatory rituals. The main dances are often males from the royal family, but others also do perform.

The mask in Seraikella Chhau is a vital element in the dance. The mask indicating a character or thematic idea in a stylized manner achieves a strange quality of abstraction. It liberates the dancer from the limiting influence of the face and places a greater burden on the movement of the body.

Trinetra - Chhau Dance Center
Trinetra - Chhau Dance Center
Trinetra - Chhau Dance Center

Unlike the other two forms of Chhau, Seraikella Chhau is pure dance rather than dance-drama. It does not employ dialogue and rather than a clear story line, it often seems to strive to portray through dance a sensation or feeling. Among the three types of Chhau, it is certainly the most subtle and refined. Chhau has another Asian trait as a performing art. Traditionally, it is performed entirely by men, although this might be considered as behind the times in modern day society, it results in some very interesting stylistic nuances of performances.

The themes of Seraikella Chhau dances range from Indian mythological figures to everyday people and their lives, from aspects of the natural world to abstract expressions of thoughts and feelings. For example, the dance Mayur is the dance of a single peacock, Nabik portrays a couple rowing across a river to express the navigating of the river of life, and the poetic Ratri is a dance of the Moon with the night. Banabiddha shows the dance of the deer shot with an arrow and the famous Chandrabhaga portrays a young woman who commits suicide after having been pursued by the Sun God who has fallen in love with her. Thus, the flavor known in India as Rasa, of a dance, though expressed in the mask itself, comes about through the expression of character and life in the body of the dancer. The movements of Seraikella Chhau is said to have as its origins the movements of the traditional martial art form Parikanda which uses a sword and shield.  However, the present Seraikella Chhau movements no longer seem to reflect those origins.  Yet, following tradition a student of a dance still practice Parikanda every morning down by the river near Seraikella as a part of his training. Thus the martial movements which were once a part of the dance have disappeared, as the dance has become more refined leaving its influence only in the training. 

The music accompaniment is made up of a large Kettledrum called Nagara, a barrel drum called Dhol, and double-reed oboe called Shania, all instruments used in the ritual music of the Chaitra Parva spring festival. The melodic ragas used in classical Indian Music are employed to a degree in the music of Seraikella Chhau along with folk melodies.   

If Tata nagar is known due to steel city, Seraikella is known for Chhau Dance. We all artists and people of Seraikella grateful to the Palace that still Chaitra Parva is going on and will continue.

SERAIKELLA CHHAU DANCES;

1. JARTAGHAT (Musicians)
 
Jartaghart is a musical invocation, which precedes every program of Chhau dance. The melody is a mixture of “Desh and Malhar ragas-symbolic of peace and plenty. The Tala is in 16 meters and is identical with the Shivatandav composed by Ravana” devotee of Lord Shiva, the cosmic dancer.
  
2. HARA PARVATHI:
 
In this, the amorous dance of the Divine parents of the universe, the dancers take meticulous care to exercise restraints in expressing the love of the Divine parents, so that neither the eyes nor the sentiments of their devotees will be offended. The dance depicts an episode prior to Kumarasambam, that is, the inception to Kartikeya.
  
3. MAYUR NRITYA (PEACOCK DANCE):

The joy of the peacock in the rainy season is represented here. The artist’s movement depicting the grace, beauty and vanity of his glorious
Bird.
  
4. RADHA KRISHNA:
Love dance of eternal Man and eternal Women. The motive of this dance is the mystic love of Radha and the cosmic lover of Krishna, Radha dances to the thrill of Krishna’s lover for her.
  
5. HANSA:

The artiste depicts the grace and beauty of the various movements of a Swan while on land as well as in water.
  
6. CHANDRABHAGA;
 
The dance enacts the episode behind the creation of the Great Sun Temple (Black Pagoda) of the Konarak in Orissa. (The dance depicts the pathos of the tragic end of the maiden Chandrabhaga and the heart rendering remorse of the Sun-God.
 
Chandrabhaga (Moon Maiden) daughter of Sage Sumanya is playfully enjoying innocent pleasure of the sea shore at dawn near Konarak, sometimes picking up pebbles and sea shells, through the on raising sea water, bathing dressing and doing her toiletry, coiffeur and beatifying her. The Sun God descends in his seven horse-drawn heavenly chariot and peeps through the eastern horizon and the Sun-God’s first vision is dazzled by the sight of Chandrabhaga’s revising beauty while she in her turn is dazzled by the passion bright piercing rays of Sun. Kamadeva (Gods of Love-Cupid) chooses this movement to take his revenge and prove his superiority even over the powerful Sun-God. With the passion aroused in his heart the Sun-God vigorously woes and relentlessly pursues Chandrabhaga, while she tries her best to repel his advances with all chaste and maidenly decorum. Ultimately failing in all her remonstrance prefers death to dishonor and ends her life in the depth of the ocean. The Sun-God is first smitten with frustration of unrequited love then with deep remorse for his responsibility for the tragic end of an innocent maiden.
 
The dance depicts with grace and beauty the pathos of love and hate, of passion and virtue, of attraction and repulsion, of remorse and tragedy in all their subtleties and proved the ultimate triumph of chastity even over the brute passion of the Gods. It is said that the great Temple at Konarak was built at the confluence of the River Chandrabhaga and the sea, the place of Chandrabhaga’s tragic death. The Sun-God, stricken with remorse, has performed penance there for ages.
 
 7. DURYODHANA – URBHANGA:
 
The great epic war of Kurushetra reached its zenith on the 18th day. The Goddess of fortune to seek hiding in Manasarovar directs King Duryodhana the last of the Kuravas, having lost his army. Blinded with rage, Duryodhana burst out and starts to does battle Bhima vigorously strikes Duryodhana on the thigh, humiliating the felon king with a kick.
  
8. SAGAR:
 
The dancer feels a dangerous fascination at the sight of the sea. Its vastness and beauty lure him and he seeks depth it its deep water.
 
 9. RATRI (NIGHT)
 
The theme of this dance is based on the famous RATRISUTRA of the Rig-Veda.
 
The day departs dust sets in; the atmosphere is surcharged with impending approach of night. In Majestic strides Night descends on Earth spreading a pall of Darkness, inspiring awe in the mind of man and creatures. Human activities and drudgeries have ended. Incense burns, the temple bells giggle invoking prayers for peace and protection. Stars follow night like maids-in-waiting; the moon peeps in Night sports with moon and pours down nectar; the moon does likewise in response. The stars and the Moon bathe Nature in hallowed sublime light; the heart is reassured and seeks repose in the Mother’s lap. The all pervading Night lulls everybody into sweet oblivion, feeding them with sweet nectar from her loving breasts. Cares and worries vanish; new hopes and aspirations have been engendered a new life has begun.
 
The dance depicts all aspects of Night its terrifying, tranquilizing and its serene sublimity.  
  
10. ARDHANARESHWAR;
 
(THE COMPOSITE FORM OF SHIVA AND SHAKTI);
 
The Hindu conception of the Creator is undefined and complex. He is, at the same time mother and father, creator, preserver and destroyer and yet of the entire universe itself. She bears the child, rears it up, and gives it hope and aspiration. He gives it life, gives it vigor, guides it in the world and endows it with prowess both to protect and to destroy.
  
11. EKALAVYA: 
 
A great worrier asked his loving guru Dhorna for training to shoot arrow. He refused to train him but Ekalavaya kept his patience and made the stone image of Dhorna and rose himself as one of the greatest worrier of the world by learning himself. He even did not care to give his thumb to his guru as Dakashina.
 
12. NABIK (Boat Man):
 
This dance offers a symbolic interpretation of human existence, the
Boatman plies his oars, beloved beside him. The way is strewn with joy and peril, while the rippling water inspires, thundering waves and the lovers in close embrace. 
 
 13. ARATI:
 
This is the dance of a priest offering lights to the deity, praying before the image of God.
  
14. TANDAVA
 
This is considered the greatest dance of Lord Siva, the originator of dance in the universe.

LIGHT AND SOUND ARRANGEMENT.

CHHAU PERFORMANCE (Technical Rider)

1.Stage size should be 30/25

2.Light --on the side wings – one orange and one blue.

3.In the front: orange, white and blue for front house.

4.Front house: 4 orange, 4 blue and 4 white.

5.One light on the downside centre foot light (orange Color)

6.All orange in one dimmer

7.All blue in one dimmer

8. All white in one dimmer

9. In a foot orange separate dimmer this will used for

10.Pooja, after that we have to switch off the light.

11.Mick for the Musicians five (6)

12.Two Green Room if possible for Costume changing.

13. During the performance water should be served.   

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