FOLK DANCES OF INDIA
There are hundreds if not thousands of folk dances in India. Almost every village has a group of folk dancers that perform at life-cycle occasions such as weddings and births and at local festivals. In many forms the dancer sings accompanied by instruments. Each form generally has a specific costume. Many are quite spectacular with elaborate jewelry. Many feature dancers with pots or some other kind of container balanced on their head.
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “In India the borderline between “classical” (margi) and “folk/regional” styles (desi) is not always clear. During the 20th century it became established that six and later eight major schools of dance were defined as “classical” styles. The former classification includes bharatanatyam (originally from Tamil Nadu), manipuri (Manipur), kathak (a Persian-influenced, originally North Indian style), kathakali (Kerala), kuchipudi (Andhra Pradesh), and orissi (Orissa). One more regional variety of this kind of female solo dance has already been discussed in connection with the performing arts of the State of Kerala. It is mohiniattam, which for some strange reason was not added to the list of the “classical” forms. [Source: Dr. Jukka O. Miettinen,Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“In India there are many regional forms of martial arts. Some forms of dance and dance-theatre also employ their techniques. This is also the case with kalaripayattu, a tradition of “art of war” known in the regions of Taminadu and Kerala. /=/
See Classical Dance of India
Folk Dances of Eastern India
Folk dances from Orissa include: 1) the Ghnata Patua, a still dance performed to the sound of brass gongs and drums, honoring the Mother Goddess and featuring a male dancer dressed as woman doing a variety of yoga positions with a pitcher on his head; and 2) the Piak, a martial arts dance with dancers in dhotis, turbans, swords and shields doing fencing-like moves and engaging in mock battles. Some male dancers from Orissa wear long hair and paint their face orange.
The Karma is the traditional dance of Bihar. Named after the karma tree, which is supposed to bring good luck, it begins with the painting of trees and features men and women with their arms locked around each other dancing around a karma tree. The Dhurnag is dance performed in Uttar Pradesh that is linked to a death ceremony. Dancers hold swords and dance in a circle in an effort to drive away evil spirits.
Folk Dances of Kashmir and Northern India
The Duhmal is a dance performed by men of the Wattal tribe in Kashmir. The performers wear long colorful robes and tall caps which are studded with beads and shells. These performers move in a procession, carrying a banner in a ceremonial fashion. The banner is planted in the ground and the men begin to dance, forming a circle to the accompaniment of a drum and singing.
The rouf is the most popular dance in Kashmir. It is performed in the springtime to mystical Sufi poetry. Dancers form two rows and face each other and put their arms around the shoulders of the dancer next to them, with the resulting formations gliding forward and backward. Rouf is often performed with Chakri chorus singing.
Folk dances from Hamchel Pradesh include Pangi dancing, with male and female dancers who form concentric circles that rotate in opposite directions; Lonar Shona Chuksam, a dance that mimes the motion of sowing and reaping grain; and the Raas, a dance associated with the Kulu district featuring chain formations and concentric circles.
Folk Dances of Central and Western India
Folk dances performed in Madhya Pradesh include the Gendi, a stilt dance performed by dancers in bright costumes, some performed in water; the Jawat, a harvest dance with women dancing with baskets of jawara (millet) on their heads.
The Garba is a fertility dance performed by women in Gujarat to honor the Goddess Amba. Women dance with perforated earthen pots, with an oil lamp inside, balanced on their heads. They move around in a circle, snapping their fingers and clapping their hands. The Dandiya is associated with the Garba. It features dancing dancers standing, lying down and sitting: beating out rhythms with sticks with bells tied to one end.
Dances performed in Maharashtra include Dindi, a devotional dance performed in the month of Kartik; and the mando, a dance of Portuguese origin performed in Goa. The Kala honors the early life of Krishna with the construction of human pyramids. A boy playing Krishna tries to reach of pot of curds and break it open so all its contents spill out; Among the other dances performed in Goa are the Ghode Modni (dances with effigies of horses), Dekni, Dhangar and Jagar.
The Dollu Kunitha is a popular drum dance of Karnataka. Men dance as they beat out rhythms with large drums decorated with colored cloth. The Dandria is a dance performed in Andhra Pradesh. Old and young men in the tribe dance together, holding sticks which they strike against one another to keep time.
Manipuri Dances of Northeastern India
“Manipuri” is a style dance from the state of Manipur in northeast India. Regarded as one of the most beautiful dance styles, it features graceful swaying and twirling movements to ascending tempos and is based on the “Raas Leela”, a story about the cosmic dances and mischievous games played by Krishna and the “gopis” (milk maidens). Manipuri is derived from Lai Haroba, an ancient ritualistic dance depicting creation. The costume worn by Manipuri dancers is one of the most beautiful in all of India. Dark orange or green skirts are stiffened from thigh to ankle, flared from the waists with translucent veils and decorated with gold thread embroidery and tiny mirrors. A gathered skirt with a short silver gauze, and edged with a golden border is worn over the skirt A colored “choli” is worn with a fine gauze veil draped over a special hair style. Belts and jewelry are also worn. The Krishna dancer wears a tall peach-feather crown.
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “Just like the southern state of Kerala, the tiny northeastern state of Manipur also has its own rich theatrical tradition, which preserves both archaic and animistic, as well as later “classical”, forms. While most of Kerala’s genres are firmly related to the classical (margi) Natyashastra-related tradition, the dance-orientated forms of Manipur have evolved in isolation and have retained their unique style and spirit to this day. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“The valley state of Manipur lies amidst the hills of the easternmost part of India, bordering Nagaland in the north, Assam in the west and Myanmar (Burma) in the east. Thus, in fact, it belongs to the Southeast-Asian cultural sphere, which is also reflected in its dance traditions. The people of the Manipur valley are called Meities (also Meeteis) and they trace their antiquity back to Vedic times. The indigenous, animistic belief system, Sanamahi, is very much a living tradition still today, although the Krishna bhakti form of Hinduism was adopted in Manipur as a state religion in the 15th century. /=/
“In Manipur the ancient belief system and the culture it created are interwoven with Hinduism. This is clearly reflected in the rich dance tradition in which Hindu themes are performed in a uniquely indigenous style, while at the same time some dances are still related directly to the Sanamahi religion and its rituals and ceremonies. Manipur also has its own tradition of martial arts, thangta. It includes exercises without weapons and exercises with weapons, as well as solo and group exercises. It probably has a very long history, as is indicated by its aspects related to the archaic weapon worship. The basic choreography of the exercises repeats the form of an 8, as do the body and hand movements too. This is also the most characteristic feature of all Manipuri dances.” /=/
History of Manipuri Dance
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ The earliest written evidence of Manipuri dances is a copper-plate inscription from the 2nd century AD crediting a certain king with introducing drums and cymbals into Manipuri dances. They are still the main instruments used for accompaniment. The arrival of Krishna bhakti in Manipur in the 15th century provided new functions and themes for dance. The classical bhakti poetry became the main textual sources for Manipuri bhakti-related dance-dramas, called raslilas. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
It was probably in the 18th century that the dance-dramas related to Hinduism, the raslilas, got their present form. This is indicated by the fact that Maharaja Bhagyachandra (who ruled in 1759–1798) composed three of the five types of raslilas. He also designed the peculiar barrel-like dance costume, characteristic of the raslila tradition still today. The Manipuri dance manual, the Govindasangeet Lila Vilasa, is also attributed to him. In the 19th century two other Maharajas further expanded the repertoire. /=/
“Manipuri dances became nationally known after the Bengali philosopher, poet and winner of the Nobel Prize for Literature, Rabindranath Tagore, saw Manipuri dances in 1919 and became a great admirer of them. He invited an important teacher-guru to teach them at Santiniketan, his own university. Later, Manipuri dances were admitted to the list discussed above of the “classical” Indian dance traditions, although they, in fact, have very little in common with the other margi-style classical dance forms. Now they are widely taught and performed throughout India, and many interesting modern adaptations of the style have been made and are still being made at the moment.’ /=/
Manipuri Dance Technique
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “The Manipuri dance technique is characterised by a soft and graceful quality of movement. As already mentioned in connection with the local martial arts technique, thangta, both the floor patterns and the body movements tend to repeat the shape of an 8. The movements are round, having a kind of endless, flowing, and spiral-like quality. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“Some aspects of the dances seem to reflect the influence of the Natyashastra-related tradition. They include the expressions of the rasa sentiments, mostly those of love and longing, as often in the bhakti-related dance forms. Some of the standing positions, too, seem to correspond to the Natyshastra’s codifications. /=/
“In many respects the Manipuri dance technique, however, seems to be unique to India; it is more closely related to northern Southeast Asian traditions than to those of the Indian subcontinent. The Manipuri repertoire concentrates on group choreographies, which are relatively rare in other Indian classical dance forms. Furthermore, Manipuri dancers do not wear ankle bells, which form an important element of almost all other dance forms in India. /=/
“In the Manipuri technique there are no sharp deflections of the body, so characteristic of southern Indian dances. The dancers move in a serpentine gait with corresponding movements of the body, the arms, and the hands. The female style aims at closed, low positions in which the feet never rise above the knee level, whereas in the masculine style the movements aim more upwards, and even energetic, acrobatic jumps and leaps may be employed.’ /=/
Manipuri Dance Repertoire
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ The repertoire of the Manipuri dances may be divided roughly into two categories, those related to the indigenous pre-Hindu belief system and those related to the Krishna bhakti themes. These categories, however, overlap, since even the bhakti-related dances are performed in the indigenous style. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“Possibly one of the most archaic forms of Manipuri dances is the maibi dance, which was originally performed during the Laiharoba festival, related to the indigenous Sanamani religion. As with most of the Manipuri dances, maibi is also a group dance, in this case originally performed by spirit priestesses. Its choreography reflects the ancient cosmological concepts of the Meitei people. /=/
“Several of the male group dances, such as pung cholam (drum dance), nupa pala and karta cholam (cymbal dances) have a deeply hypnotic quality. They usually start softly and slowly while the tempo gradually increases. The cyclic, serpent-like movements are repeated while the performers play their instruments at the same time. The dances, performed by male performers in snow-white loincloths and often with ball-shaped, white turbans, combine movement and sound in a unique way. Khamba thoibi is exceptionally a duo dance with a narrative content. It portrays a love affair between a prince and princess of warring clans. The instruments accompanying most Manipuri dances include a pung drum, cymbals, and some wind instruments, most often a flute.” /=/
Manipur Raslilas
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “The Krishna-related dance-dramas of Manipur are called raslilas (ras, sometimes also raas means dance; lila, play) or simply ras dances. They are large compositions, most often performed by a group of female dancers, although all-male troupes, dancing in female disguise, also exist. Like the raslilas of the Delhi region, which have been discussed above in the sections dealing with forms of pilgrimage theatre, Manipur raslilas are also the result of the widespread Krishna bhakti cult, which reached Manipur in the 15th century. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“All the plays illustrate episodes from Krishna’s life, mainly the miracles and loves of his childhood and youth. There are five raslilas focusing on the Radha-Krishna theme and several others illustrating various episodes of Krishna’s life. Many of the main raslilas have been composed by Maharajas of Manipur. Other poems are also used, including the works of important bhakti poets, such as Jayadeva, Vidyapati, and Chandidas. The dance-dramas, dominated by group formations, also include several duos and solo dances. All the female characters, that is, Radha and gopi cowherd girls, dance in the graceful lasya style, while Krishna, also played by a female dancer, employs a more energetic and playful tandava style. /=/
”Traditionally raslilas have been performed in a specific enclosure in front of a temple. No backdrops or other stagecraft are used. The dance is dominated by peculiar costuming, which is said to have been designed by Maharaja Bhagyachandra in the 18th century. A legend says that he saw the ras dance of the gopis in a dream and that the present dance costumes were designed according to his vision. /=/
“The costume for the female roles is dominated by a large barrel-like skirt, which with its floating movements emphasises the dancers’ whirling. There is an unexpected sequence of movements in which the whirling dancers suddenly bend down and almost disappear inside their stiff skirts. The female dancers’ heads are covered with short, glittering veils. The dancer who plays the role of Krishna wears a more simple costume with a blouse and a wrapped dhoti-like lower garment. On her head she wears Krishna’s obligatory peacock feather crown. The glittering costumes with their deep greens, yellows, and reds, and the seemingly endless repetition and elaboration of the soft curves of the Manipuri technique give raslilas a dreamlike quality. It easily coaxes the spectators into experiencing the gentleness and warmth of bhakti art.” /=/
Orissi
Orissi (also odissi) is the lasya-style solo dance from the eastern state of Orissa. Originally performed at temples by temples dancers known as “maharis” or “devadasis”, it is a sensual style aimed at capturing human emotions of love and passion in a way that is soft and lyrical and aims to strike a balance between pure dance and expressional dance with acting. Odissa is rooted in the worship of Krishna and is based on verses of the Sanskrit play “Geet Govind”, which depict love and devotion to God. Dancers wear simple but colorful costumes and silver jewelry
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “Like bharatanatyam, its technique stems directly from the ancient Drama Manual, the Natyashastra. However, there are slight differences between these two styles. Where bharatanatyam emphasises symmetry, orissi places more emphasis on curved poses, jumps, as well as hip deflections, which are rather rare in the other classical solo forms. The present form of orissi is a fruit of the Vishnu bhakti movement of the region, which is also strongly reflected in its repertoire. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“There seems to be a consensus that orissi is an eastern regional variety of the lasya-type dances mentioned in the Natyashastra. There exists sculptural evidence in a Buddhist cave temple in Orissa from the 2nd century B.C., which shows dancers in poses almost similar to those of today’s orissi. From the period of the A.D. 7th century onwards, when Orissa came under Hindu influence, much more written as well as visual evidence exists to throw light on the history of orissi. The magnificent medieval Hindu temples of the region are full of dance reliefs. From the later medieval period, from approximately the 15th to the 17th centuries, orissi manuals are also available. /=/
“In content and even in style orissi is strongly influenced by the Vishnu bhakti movement, which started to flourish in the region from the 8th century onwards. The widespread bhakti poem, the Gita Govinda, was written by a local poet, Jayadeva. Thus the Gita Govinda with its Kirishna-Radha theme became an important source for the abhinaya sections or orissi. In the big temple complexes, orissi was practised by the devadasis, or the female temple servants. However, there was also a temple tradition in which male dancers, dressed as women, performed it. In fact, the tradition of male dancers is rather strong in the orissi tradition even today. /=/
Orissi Technique and Repertoire
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “As already mentioned above, technically orissi shares a great deal with bharatanatyam and the other lasya forms simply because they are all offspring of the same ancient tradition. However, the frequent tribhanga (thrice bent) standing positions and hip deflections are characteristic of orissi, as are curved and sometimes relaxed extensions of the upper body. All these tend to give orissi a kind of sensuous quality, not so prominent in the more strict and symmetric style of bharatanatyam.Orissi also employs more elevations, jumps and floor positions. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“As in bharatanatyam and the other forms of lasya, the present repertoire of orissi consists of short numbers including abhinaya mime and pure nrtta dance sequences. The performance is preceded by bhumi pranam, which venerates the earth and the ground on which the performance takes place. The first actual number is batu nritya, a demanding dance, which introduces the whole technical range of orissi. Then follows ista devata vandana, an abhinaya number telling about the deeds of one particular deity, chosen by the dancer. /=/
“All the above numbers are accompanied by rhythm only. They are followed by a pure nrtta dance, swara pallawi, in which a raga-based melody is gradually introduced. Then follow one or more gitabhinayas. Like the padams of bharatanatyam, these abhinaya numbers are based on sung poems dealing with love and longing. In orissi they are often based on the verses of Jayadeva’s ecstatic Gita Govinda. Like tillana, bharatanatyam’s final dance, the orissi repertoire’s last big number, tarajan, is also a virtuosic abstract nrtta dance. The Orissi repertoire went through several changes at the end of the 20th century. New poems and music were introduced, and now the performance often ends with mokshya, a dance illustrating the final salvation of a human soul.” /=/
Kuchipudi of Andhra Pradesh
Kuchipudi is a form of dance drama from Andra Pradesh that is based on themes from classical Indian literature and Hindu mythology. Named after the village of Kuchelapuram in southern India, it was originally performed only by Brahman priests. Most performances are dance dramas referred to as Ata Bhagavatham. They feature fast, rhythmic, footwork and, stylized mime using hand gestures and facial expressions and sculpture-like body movements. The stories are derived mostly from the epics, the Ramayana and Mahabharata, with portrayals of characters in dance form. A unique aspect of Kuchipundi is the Tarangam, in which dancers perform on the edge of a brass plate, sometimes with complicated steps while balancing a pot of water on their heads. Kuchipundi is accompanied by Karnatak music, featuring the mridangam, flute and violin.
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “Kuchipudi is yet another form of lasya dance related to the above-mentioned bharatanatyam. It derives its name from a village in the state of Andhra Pradesh. Its origins lay in a village dance-drama tradition but in the latter part of the 20th century it gained popularity mainly as a solo form, mostly performed by female dancers. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“Possibly because of the proximity of Tamil Nadu to its strong bharatanatyam tradition, kuchipudi is nowadays strongly influenced by bharatanatyam’s technique and repertoire. They both share the musical accompaniment in the Karnatak style and also partly the repertoire with all the alarippus, jatisvarams, padams etc. However, there are stylistic differences. Kuchipudi has a heavier and more earthbound foot technique than bharatanatyam. There are also some dance numbers in kuchipudi not found in other solo dance forms.’ /=/
“The most characteristic of the kuchipudi numbers is tarangam, usually the final number of a performance. It is danced on a brass plate that is often filled with water. The dancer places her feet upon its raised edges and moves the plate while dancing around the stage in perfect balance. The dancer has oil-burning candles in her hands, which she finally puts out with the water from the plate.” /=/
Chhai
Chhai is popular dance performed in Orissa, Bihar and West Bengal. Masks are worn to depict the dominant “rasa” (emotion) and movements and gestures from the body convey the mood. Derived from martial dances, it deals with themes based on mythology, everyday life or just moods. The music comes from a “nagada” (a drum) and “shehnai” (reed pipes). Individual dances are short, never more than 10 minutes, but performances can last all night, and are performed mostly by men and boys. There are three main schools—one each from Orissa, Bihar and West Bengal—that are differentiated primarily by the costumes.
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “ The etymology of the term chhau is not clear. Some state that it is derived from a word meaning “a mask” while some say it comes from a word meaning “a military camp”. Both interpretations, however, reveal something about the genre. Colourful masks are used in two of the three sub-genres, while all of them are based on indigenous martial dance. All of them are performed solely by male dancers while singing, so the central element in most of India’s dance and dance-drama types is almost absent. Two of them are accompanied only by percussion instruments. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“The dance technique reveals chhau’s martial origins. It consists of powerful movements, kicks, and leaps. In its basic position the dancer’s legs form a square. In this extremely open leg position the dancers are able to proceed on the stage by moving the soles of their feet slightly sideways without lifting them from the ground. Chhau became renowned both nationally and internationally only at the end of the 20th century. Now it is often included in festival programmes and removed from its original context. Its powerful technique has also been used as a basis for contemporary choreographies.”
In 2010, Chhau was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity. According to UNESCO: Chhau dance is a tradition from eastern India that enacts episodes from epics including the Mahabharata and Ramayana, local folklore and abstract themes. Its three distinct styles hail from the regions of Seraikella, Purulia and Mayurbhanj, the first two using masks. Chhau dance is intimately connected to regional festivals, notably the spring festival Chaitra Parva. Its origin is traceable to indigenous forms of dance and martial practices. Its vocabulary of movement includes mock combat techniques, stylized gaits of birds and animals and movements modelled on the chores of village housewives. Chhau is taught to male dancers from families of traditional artists or from local communities. The dance is performed at night in an open space to traditional and folk melodies, played on the reed pipes mohuri and shehnai. The reverberating drumbeats of a variety of drums dominate the accompanying music ensemble. Chhau is an integral part of the culture of these communities. It binds together people from different social strata and ethnic background with diverse social practices, beliefs, professions and languages. However, increasing industrialization, economic pressures and new media are leading to a decrease in collective participation with communities becoming disconnected from their roots. [Source: UNESCO Intangible Cultural Heritage]
Chau was placed on the Representative List of the Intangible Cultural Heritage of Humanity because: 1) Chhau dance involves each member of the community in its performance, and is recognized by them as a symbol of their identity and continuity; 2) Inscription of Chhau dance on the Representative List could encourage cooperation and dialogue between communities, while contributing to the visibility of intangible cultural heritage and promoting it as a factor of cohesion. [Ibid]
Types of Chhau
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: “The sub-genre of chhau, which most clearly reveals its origins in the martial arts, is Mayurbhanj chhau, preserved in Mayurbhanj, in the state of Orissa. It evolved under local royal patronage. In this type no masks are used. The dancers, however, keep their faces stiff and expressionless. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“The performers are non-professionals, although vigorous training is, of course, required before they are able to attain the extremely powerful, even rustic, movement technique of the genre. Some of the themes of Mayurbhanj chhau seem to hint at the ancient origins of the tradition. They include hunters’ dances, dances based on animal movements, while some dances seem to stem from the ancient tradition of weapon worship. /=/
“Seraikela chhau evolved under royal patronage in the small court of Seraikela, which formerly belonged to the state of Bihar. Since 2000 it has belonged to the state of Jharkhand. In Seraikela chhau developed very differently compared with the two other sub-genres. The martial roots are overshadowed by lyric-dramatic tendencies. Seraikela chhau consists of a series of short, 7–10-minute-long dance-dramas, in which the dancer impersonates animals, birds and even a rainbow, planets, trees, seasons etc. Although mythological themes may be depicted, Seraikela chhau is the only form of chhau that is not religious in character. /=/
“Compared with the two other chhau types, Seraikela chhau is very soft in style. However, all the dancers are men, but most of the themes are performed in the feminine lasya style. Even the masks, made of layers of local clay spread on layers of cloth and paper, have pastel shades. The costuming consists of glittering fabrics and transparent veils emphasising Seraikela chhau’s fairytale-like character.” /=/
Purulia Chhau
Dr. Jukka O. Miettinen of the Theatre Academy of Helsinki wrote: Purulia chhau originates from the region of Purulia in West Bengal. Its roots lie in the annual Sun Festival, celebrated in March–April. Nowadays it is also performed on other occasions and during the last few decades it has become renowned both nationally and internationally. Like other forms of chhau, the Purulia variant is traditionally performed by non-professional male dancers and its extremely dynamic technique is based on martial arts. It was originally performed on a stage area on the ground, and the audience sat in a circle around it. [Source: Dr. Jukka O. Miettinen, Asian Traditional Theater and Dance website, Theatre Academy Helsinki /=/]
“The performance starts with a song of invocation dedicated to God Ganesha. The dance-dramas are epic in character and derive their plots from the great epics, the Ramayana and the Mahabharata, and the Puranas. Purulia chhau focuses only on their heroic episodes. Thus, the rasas or sentiments of the dramas are those of the heroic and the furious. The masks, made of cloth covered with plaster, are very colourful, and derive their style from the religious imagery of the region. The headgear of some characters, made mainly of feathers, may be one metre high. /=/
In Purulia chhau the movement technique that was originally derived from martial arts is taken to its extreme limits. The characters slide on the stage with the peculiar movement technique characteristic of chhau. The battle scenes are fireworks of high jumps, leaps, and somersaults. At the end of a battle scene the action suddenly freezes to a tableau highlighting the victory of good over evil, much in the style of the altar installations of the region.
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Text Sources: New York Times, Washington Post, Los Angeles Times, Times of London, Lonely Planet Guides, Library of Congress, Ministry of Tourism, Government of India, Compton’s Encyclopedia, The Guardian, National Geographic, Smithsonian magazine, The New Yorker, Time, Newsweek, Reuters, AP, AFP, Wall Street Journal, The Atlantic Monthly, The Economist, Foreign Policy, Wikipedia, BBC, CNN, and various books, websites and other publications.
Last updated June 2015