1

A Craft Documentation

CHAUU MASKS AND

COSTUMES

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 CHHAU MASKS AND COSTUMES

Purulia Chhau
A Craft Documentation

Submitted by: Sampurna Das

Guide: Amit Sinha

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 Copyright @ NID 2016
Digital publication of student documentation for private circulation only.
PGDPD Apparel Design
National Institute of Design, India
Text - Sampurna Das
Illustrations - Sampurna Das

Credits mentioned at the end of the book

Source: Mentioned with the information unless otherwise stated.
All copyright reserved under international copyright conservation. No part of
this documentation may be reproduced, stored in a retrieval system, or transmit-
ted, in any form of by any means, electronic, mechanical, photocopying, recording,
or otherwise, without the prior permission in writing from the publishers.

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 CONTENTS
ACKNOWEDGEMENT 11
VILLAGE CHARIDA 71
INTRODUCTION 13
PURULIA CHHAU 75 FLAT DRAWINGS OF
CHHAU COSTUMES 145
WEST BENGAL 17
PERFORMING CHHAU 83 DHOTI DRAPING
PROCESS 154
PURULIA 61
MASK MAKING CONCLUSION 161
PROCESS 93

COSTUME MAKING BIBLIOGRAPHY 162

PROCESS 129
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 ACKNOWLEDGEMENT

I would like to express my deepest appreciation to all those who provided me the possibility
to complete this report. A special gratitude to Ms. Krishna Amin Patel (project guide) for
the valuable guidance and suggestions throughout the whole duration of the design project
and even after that.
Besides, I would also like to acknowledge Mr.Amit Sinha for the valuable guidance and advice
during the trend research phase and even after that.
Last but not least a special thanks goes to my colleagues ,who helped me throughout the
project whenever i got stuck up with the documentation.

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As the goddess rides the lion and slays the
demon, mythology, martial art and music
blend into a colourful spectacle of unadul-
terated, rustic yet sophisticated and liber-
ating form of entertainment. The elaborate,
stylized and often vigorous movements of
this dance form, originating in the eastern
states of Orissa, West Bengal and Jharkhand,
transport the viewer to the forests, recreat-
ing scenes of tribal warfare and tales from
the animal kingdom. The story primarily
is based on mythological stories from the
Ramayana, Mahabharata, Puranas etc but in
present day, historical as well as contem-
porary issues like Santhal revolt, Mandla
revolt, Kargil war etc are also potrayed in
their plays.
Chau is the most well known tribal dance
form of Purulia,West Bengal popular among
Santhals, Kumars, Mahatos, Kalindis and the
Sahish Community.
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INTRODUCTION
Beautiful masks, exclusive style of dance,
make-up and colourful ornate costumes make
the dance a wonderful experience to live
with. The bold and vigorous style of dance
is some kind of martial art. Powerful presen-
tation and agility involved in dancing. Dhol,
Dhamsa, Madal, Sehnai, Carnet, Synthesiser,
Maracas and other instruments are used in
Chhau dance.
The main focus of this study is to apprehend
the various effort that helps in creating an
aura that adds to the magnificence of the
Chau Performance.
A few other important aspects of this study
will include the history behind this craft,
its origin, and the communities which con-
tinue practicing this craft as part of their
livelihood.
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 MAPPING THE JOURNEY
Distance between Kolkata to Purulia is 245
km by Road and 326 km by Rails. Aerial
distance is 219 km.
There is/are 8 direct train(s) from Kolk-
ata to Purulia. TThe minimum time a train
takes to reach Purulia from Kolkata is 5h
13m. The cheapest way to reach Purulia
14
from Kolkata takes you 5h 25m, which is
to take Rupasibangla Ex from Kolkata to
Purulia. The fastest way to reach Purulia
from Kolkata takes you 4h 54m, which is to
take Indica from Kolkata to Purulia.
15
 WEST BENGAL
West Bengal is a state in eastern India, kings and Baro-Bhuyan landlords under the
between the Himalayas and the Bay of Ben- suzerainty of the Mughal Empire, until the
gal. Its capital, Kolkata (formerly Calcutta),British East India company took control of
retains architectural and cultural remnants the region from the Mughals in the late 18th
of its past as an East India Company trading century. The company consolidated their
post and the capital of the British Raj. hold on the region following the Battle of
It is nations fourth-most populous state, Plassey in 1757 and Battle of Buxar in 1764
with over 91 million inhabitants. It is bor- and by 1793 took complete control of the re-
dered by the countries of Bangladesh, Nepal gion. Kolkata (or Calcutta) served for many
and Bhutan, and the Indian states of Odis- years as the capital of British controlled
ha, Jharkhand, Bihar, Sikkim and Assam. The territories in India. The early and prolonged
state capital is Kolkata. Together with the exposure to British administration resulted
neighbouring nation of Bangladesh, it makes in the expansion of Western education, cul-
up the ethno-linguistic region of Bengal. minating in development of science, institu-
tional education, and social reforms in the
History region, including what became known as the
Ancient Bengal was the site of several ma- Bengali renaissance.
jor janapadas (kingdoms). It was also part A hotbed of the Indian independence move-
of large empires such as the Maurya Em- ment through the early 20th century, Bengal
pire (second century BC) and Gupta Empire was divided during Indias independence in
(fourth century AD); and part of the regional 1947 along religious lines into two separate
Buddhist Pala Empire (8th to 11th century) entities: West Bengala state of Indiaand
and Sena dynasty (11th-12th century). From East Bengala part of the newly created
the 13th century onward, the region was Dominion of Pakistan that later became the
controlled by the Bengal Sultanate, Hindu independent nation of Bangladesh in 1971.

16 17
 A major agricultural producer, West Bengal
is the sixth-largest contributor to Indias
net domestic product. Noted for its political
activism, the state was ruled by democrati-
cally elected communist governments for 34
years from 1977. It is noted for its cultural
activities and the presence of cultural and
educational institutions; the state capital
Kolkata is known as the cultural capital of
India. The states cultural heritage, besides
varied folk traditions, ranges from stal-
warts in literature including Nobel-laureate
18
Rabindranath Tagore to scores of musicians,
film-makers and artists. West Bengal is also
distinct from most other Indian states in its
appreciation and practice of playing Associ-
ation football besides cricket, the national
favourite sport
According to the provisional results of the
2011 national census, West Bengal is the
fourth most populous state in India. The offi-
cial language is Bengali and English.
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 C U LT U R E & L I T E R AT U R E
The culture of West Bengal is an Indian
Culture which has its roots in the Bengali
literature, music, fine arts, drama and cinema.
People of West Bengal share their cultural
heritage with the neighbouring Bangladesh
(erstwhile known as East Bengal). West Ben-
gal and Bangladesh together form the histor-
ical and geographical region of Bengal, with
common linguistic and ethnic backgrounds.
West Bengals capital Kolkataas the former
capital of Indiawas the birthplace of mod-
ern Indian literary and artistic thought, and
is referred to as the cultural [or literary]
capital of India. The presence of paras, pos-
sess a strong sense of community, is charac-
teristic of West Bengal.
Typically, each para has its own community
club and, on occasion, a playing field. Res-
idents engage in addas, or leisurely chats,
that often take the form of freestyle intel-
lectual conversation.
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The Bengali language boasts a rich literary
heritage, shared with neighbouring Bangla-
desh. West Bengal has a long tradition in
folk literature, evidenced by the Charyapada,
Mangalkavya, Shreekrishna Kirtana, Thakur-
mar Jhuli.In the nineteenth and twentieth
century, Bengali literature was modernized
in the works of authors such as Bankim Chan-
dra Chattopadhyay, Michael Madhusudan Dutt,
Rabindranath Tagore, Kazi Nazrul Islam, and
Sharat Chandra Chattopadhyay. Coupled with
social reforms led by Ram Mohan Roy, Swami
Vivekananda, and others, this constituted
a major part of the Bengal Renaissance.The
middle and latter parts of the 20th century
witnessed the arrival of post-modernism, as
well as literary movements such as those es-
poused by the Kallol movement, hungryalists
and the little magazines
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Religion, specially Hinduism, the principal
and predominant religion of the state plays
a vital role in the culture of West Ben-
gal. Durga Puja, a five-day annual autumnal
celebration of Hindu goddess Durgas victory
over Mahishasura, a Minotaur-like demon, is
the biggest festival of the state. The Kali
Puja, celebrating the guardian deity of Ben-
gal, is also celebrated with great enthusiasm.
Other important festivals include Vijaya-
dashami, Kojagari Lakshmi Puja, Jagaddhatri
Puja, Rathayatra, Holi, Janmashtami, Saraswa-
ti Puja, Poush Parbon, the seasonal festivals
introduced by Rabindranath Tagore, book
fairs, film and drama festivals and tradition-
al village fairs etc. However, the modern
Bengali culture of the state is a result of
the amalgamation between Western secular
culture and Hindu culture.
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FESTIVALS
Durga Puja in October is the most popular
and most widely celebrated festival in West
Bengal. Poila Baishakh (the Bengali New Year),
Rathayatra, Dolyatra or Holi, Nobanno, Di-
wali, Kali Puja, Saraswati Puja, Lakshmi Puja,
Jagaddhatri Puja, Rashyatra, Janmashtami,
Vishwakarma Puja of Hindus; Eid ul-Fitr, Eid
ul-Adha and Muharram of Muslims; Christmas
or Borodin of Christians; Buddha Purnima of
Buddhists are other notable festivals. Poush
mela is a popular festival of Shantiniketan,
taking place in winter. Jains also celebrate
Mahavir Jayanti, but the impact is limited
within few urban areas.
Cultural festivals of Bengal too have a great
impact on the overall culture of the state.
Pocheeshe Boishakh (25th of Baisakh month)
which is the birth date of Rabindra Nath
Tagore (7 May 1861) is the most important
cultural festival of Bengal celebrated as
Rabindra Jayanti.
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West Bengal heritage of handicrafts is leg-
endry. The exquisite texture of Baluchari Sa-
rees, Silk and Tasar Textile from Murshidabad,
Birbhum, Bankura, Hoogly and Nadia districts
have become the Choice of the Century. The
salient point is that each of these schools in
spite of their contiguity has maintained its
own distinguishing features down the ages.
Baluchari is an elaborately woven brocade
known to have been made during 1850-1900
in the village surrounding Baluchar (Mur-
shidabad Distt.) it is popular because of its
artistic and unique design. Tapestry mate-
rial is made from Baluchar silks which were
originally used by nawabs and Muslim aristo-
crats of the Murshidabad district while Hindu
noblemen used raw silk.
Jamdani is a part of Bengal textile heritage.
Interesting point: Jam means flower and
Dani means vase. For traditional Jamdani
weaving, an elementary pit loom is used and
the work is carried out by a weaver and his
Image:Phulia Jamdani apprentice who use fine needle-like spindles to
28
TEXTILES
conjure magic with weft work that can rival
the most intricate embroidery.
Kantha, a popular style of embroidery that
comes from West Bengal, is a significant sym-
bol that displays the skill and talent of the
rural women in Bengal. This type of stitch
is basically the running stitch, and is very
simple. Traditionally this embroidery was
used for quilts, dhotis and sarees, but over
a period of time it has evolved and made its
way right into the heart of Indian fashion.
Batik is a process of decorating cloth by cov-
ering a part of it with a coat of wax and then
dyeing the cloth. The waxed areas keep their
original color and when the wax is removed
the contrast between the dyed and undyed
areas gives the pattern. One of the significant
features of this art is that it is very simple
and can be done by anyone.
Batik art received an impetus when it was
introduced as a subject at the famous univer-
sity of Shantiniketan in Kolkata.
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 Image: Jamdani Image: Jamdani

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 Image:Kantha Image:Kantha

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 Image:Baluchori saree Image:Shantiketan Batik style

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While Mumbai is the capital of
commercial cinemas in India, Kolkata is
the house of art-films. Among other types
of theater, West Bengal has a tradition of
folk drama known as jatra. Kolkata is the
home of the Bengali cinema industry, dubbed
Tollywood for Tollygunj, where most of
the states film studios are located. Its long
tradition of art films includes globally
acclaimed film directors such as Academy
Award-winning director Satyajit Ray, Ritwik
Ghatak, Mrinal Sen, Tapan Sinha, and contem-
porary directors such as Aparna Sen, Bud-
dhadeb Dasgupta, and Rituparno Ghosh.
The Baul tradition is a unique heritage of
Bengali folk music, which has also been in-
fluenced by regional music traditions.Other
folk music forms include Gombhira, Bhawaiya,
kirtans, and Gajan festival music. Folk music
in West Bengal is often accompanied by the
ektara, a one-stringed instrument. West
36
T O L LY W O O D
Bengal also has an heritage in North Indian
classical music. The state is recognised for
its appreciation of rabindrasangeet (songs
written by Rabindranath Tagore) and Indian
classical music. Popular music genres include
adhunik songs. Since the early 1990s, new
genres have emerged, including one com-
prising alternative folk rock Bengali bands.
Another new style, jibonmukhi gaan (songs
about life), is based on realism.
Bengali dance forms draw from folk tradi-
tions, especially those of the tribal groups,
as well as the broader Indian dance tradi-
tions. Chau dance of Purulia is a rare form
of mask dance. Gaudiya Nritya is a classical-
Bengali school of Indian dance originating
in Gaur, West Bengal, the ancient capital of
the Bengal region. Various forms of Indian
classical dances are patronised, as are dances
set on the songs of Tagore and Nazrul.
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 ATTIRE

During the British colonial era from 1700-1912,

Kolkata (then known as Calcutta) enjoyed the priv-
ilege of being the capital of British India and wit-
nessed a spate of frenzied construction of buildings,
largely influenced by the conscious intermingling
of Neo-Gothic, Baroque, Neo-Classical, Oriental and
Islamic schools of design. Unlike many north Indi-
an cities, whose construction stresses minimalism,
the layout of much of the architectural variety
in Kolkata owes its origins to European styles and
tastes imported by the British and, to a much lesser
extent, by the Portuguese and French.
Image : Traditional Attire Image : Traditional Attire Image : Traditional Attire Image : Traditional Attire
Men: Punjabi and Dhoti Women: Aat poure Draped Saree Men: Kurta & Pajama Women: Saree
38 39
 JEWELLERY & ACCESSORIES
The costumes of West Bengal reflect the
states rich cultural traditions. Costumes of
Bengal represent the rich traditional culture
of the region. While Punjabi form and Dhoti
are common dresses among men, women love to
wear saree.
The typical Bengali style of draping a sari
is altogether different where the sari is not
pleated but the Pallu is kept loose over left
shoulder with a bunch of keys tied with the
knot.
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The males usually wear western garments like
pants and shirts, rather than the traditional
dhoti and kurtas. Females are usually seen in
the traditional Sarees and Salwar-Kameezs.
Females are also gradually taking up more
and more Western-wear, with jeans and skirts
predominating in the college campuses, as well
as in the streets. English is becoming more
and more popular as a conversational lan-
guage for the teenagers.
41

The architecture of West Bengal primarily
consists of the Bengali-type Hindu temples
that are found in every nook and corner of
this East Indian state. The unique terracot-
ta style of architecture can be seen only in
West Bengal. Bengali temples are small in
structure and cannot be termed very grand,
but they do reflect the Bengali lifestyle
and are visually appealing. Bishnupur and
Baranagar with their varied and beautiful
terracotta and laterite temples are treasure
troves of Bengali temples. Islamic architec-
ture in West Bengal flourished only in Gaur.
In the 18th century, when the British found-
ed the East India Company they made Kolkata
their headquarters and built many buildings,
leaving behind an architectural legacy.
Kolkata in West Bengal has many Europe-
an style buildings around it. No traces of
the traditional Indian style are seen in
the structures. During the British colonial
era from 1700 to 1912, when Kolkata (then
known as Calcutta) was the capital of British
India, Kolkata witnessed a spate of frenzied
construction activity of buildings largely
Image : Basirhat Rajbari influenced by the conscious intermingling
42
ARCHITECTURE
of Neo-Gothic, Baroque, Neo-Classical, Ori-
ental and Islamic schools of design. Unlike
many north Indian cities, whose construction
stresses minimalism, the layout of much of
the architectural variety in Kolkata owes
its origins to European styles and tastes
imported by the British and, to a much lesser
extent, the Portuguese and French.
The Victoria Memorial is a fusion of the
European and Mughal style of architecture.
It resembles the Taj Mahal to a great extent.
The Writers building and the Kolkata high
court are also built in the architectural pat-
tern of the west. The Shitalanatha temple of
Kolkata is a Jain temple and is a blend of Eu-
ropean and Islamic styles, with a tradition-
al Indian shikhara, set in an Italian style
garden. The Dakshineshwar temple is built in
a very traditional Bengali style even though
it is a new structure. The architecture of the
Ramakrishna Matha is a combination Hindu,
Muslim and Christian architectural styles.
The huge shrine is completely covered with
ochre cladding stones, with Indian motifs as
decorations. The design of this serene build-
ing resembles a Latin Church.
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 Image : Bishnupur Temple, West Bengal
Image : Kalighat Temple, West Bengal
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 Image : Guptipara Temple, West Bengal Image : RadhamadhabTemple, West Bengal

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West Bengal stretches to the Bay of Bengal
in the south. The coastal strip of West Ben-
gal, extending from the Gangetic Delta to the
border of Orissa has some beautiful coastal
settlements namely Digha, Shankarpur, Man-
darmani, Bakkhali, Gangasagara, Tajpur and
more others.
West Bengal, located on the eastern bottle-
neck of India stretching from the Himalayas
Image : Bishnupur Teracotta Temples
48
TOURISM
in the north to the Bay of Bengal in the
south, presents some of marvelous landscape
features and natural scenic beauty. Some of
Indias most preferred travel destinations
like; the Darjeeling Himalayan hill region in
the northern extreme of the state, the high-
est peak of the state Sandakphu (3,636 m or
11,929 ft and the Sundarbans mangrove forests
in the extreme south.
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 Image: Victoria Memorial West Bengal Image: Howrah Bridge, West Bengal

50 51
 Image: Darjeeling West Bengal Image: Sunderbans, West Bengal

52 53

Bengali cuisine has evolved with the influ-
ence of Mughal cuisine, Anglo Indian cuisine,
Chinese cuisine and so on. Some character-
istics stand out: great number of rivers and
its tributaries providing freshwater fish, flat
and fertile land producing abundance of pad-
dy(Rice) and Pulse(lentil), domestic cattle and
dairy farming providing milk, beef(only for
Muslims) and mutton, alluvial soil producing
variety of fruits and vegetables. Moreover,
use of different spices has added to the fla-
vour and taste of Bengali food. Ceremonial
Image: Shorshe Ilish
54
CUISINE
food diffees from the daily food. While daily
food consists mainly of rice/roti(handmade
bread), fish, lentil(dal), meat, vegetables etc.,in
different occasions and festivals, guests are
entertained with different kind of Polao
or Biryani, Chicken korma, beef kalia, Kebab,
borhani, firni, jorda or different sweet dishes
etc. A significant feature of the cuisine is a
significant variety of sweets based on milk
and sugar as part of tradition. Wheat is used
alongside rice, in different types of breads,
such as luchi, kochuri and porotha.
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 Image: Chingri Bhapa
Image: Kosha Mangsho

56 57
 Image: Shondesh
Image: Begun bhaja

58 59

Far from the madding crowd enchanting
Purulia beckons to experience her living
heritages and calm serenity unravels her
untapped mystery, and wondrous beauty. This
western most district of the state of West
Bengal is a part of the Chhotonagpur plateau.
The ambit of Purulias attraction remains
deficient without its people and their age
old culture. Despite assimilation of diverse
cultures, with the passage of time, many
indegenous communities still retain their
distinct identities in their traditional cul-
tural and religious practices. Song and dance
are intrinsic part of their life. The people
of this area practice myriad festivals all
through the year and each festival is unique
60
PURULIA
in its essence. The traditional dance forms
of Purulia like Chau Naach, Jhumur songs
and dance, Natua Naach, Pata Naach, Bhuang
Naach, Kathi Naach, Ghora Naach, Dnar Naach
and Machhani are rich and vibrant and have
a global appeal. Among these, Chau dance has
been inscribed in UNESCO's Representative
List of the Intangible Cultural Heritage of
Humanity.
Purulia also known as Manbhum City, is a
city located in West Bengal state, India, and
was constituted in 1876. It is the location of
the district headquarters of Purulia district.
Purulia is located on the north of the Kasai
river and is a major road and railway junc-
tion. It has an area of 6,259 km.
61
 History
According to Jaina-Bhagbati Sutra Purulia
was one of the sixteen Mahajanapads and was
a part of the kingdom known as Vajra-Bhumi.
Before 1805 Baghmundi was under Birbhum
district. After the Great Chuaar rebellion
(held during 1767-1799) in 1805 by acquiring
23 different Parganas and Mahals of Birbhum
(including Baghmundi), Bardhaman and Medi-
nipur district another district was formed by
the British Govt. named Jangal Mahal with
district head quarter at Bankura. During
Image: Ayodhya hills
62
Governor Generalship of Lord William
Bentinck in 1833 Manbhum district was carved
out of Jangal Mahal district by separating
Purulia and Dhanbad subdivision from Jangal
Mahal. From 1833-1838 district headquarter
is at Manbazar, and from 1838 it was trans-
ferred to Purulia. After Independence in 1956
Manbhum district was divided between the
then Bihar and West Bengal under the State
Reorganisation Act and the Bihar and West
Bengal (Transfer of Territories) act 1956 and
was named as Purulia.
63
 FESTIVALS OF PURULIA
The major festivals are Durga Puja, Kali Puja,
Manasa Puja, Saraswati Puja & Makar Parab.
The whole city is decorated during Diwali.
Shiber Gajan is a very popular festival in
Purulia, organized in various villages of the
district between March and May. Gajan songs
are sung in praise of Lord Shiva and Goddess
Parvati. Dances include Natua, Bhagta, The-
atre, Nanchi and Chau accompanied by Jhumur
songs, and various folk songs and dances are
organized. The dancers sometimes dress up as
Hara Parvati and move around the village,
dancing to the accompaniment of instruments
like Dhol, Kanshi and Flute. Whole night pro-
grams are held from village to village during
Gajan and continue for days.. They try to
Image: Gajan Festival satisfy the god through different acts of
64
penance, such as piercing their tongues with
nails, jumping upon thorns, walking on burn-
ing charcoal, etc.
Tribe Saontals major festival is Bandna or
Bandana (it is called as Saharai parab by
the Santals) which is celebrated in the Ben-
gali month of Kartik or Poush. In this fes-
tival they play music, dance together and eat
meat-based special dishes like Manser Pitha.
They also take local liquor as a part of their
culture named Hadia.
Bhadu is another festival started by Pan-
chakot Raj of Kashipur after the death of a
kings daughter named Bhadrabati and nowa-
days it is enjoyed by the local mass.
Karma is a tribe festival in Purulia where
65
 Image: Saharai parab
Image: Gajan Festival

66 67
 PEOPLE
&
OCCUPATION

In Purulia district of West Bengal, to my tion. Evidences indicate that the tribes are
knowledge, there are fifteen types of tribe in the slow process of upward transition
such as (i) Sabar, (ii) Birhore, (iii) Chikbaraik, toward the mainstream society.
(iv) Paharia, (v) Bedia, (vi) Bedomajhi, (vii)
Bhumij, (viii) Bhunia, (ix) Karmali, (x) Koramu-
di, (xi) Lohara, (xii) Mahali, (xiii) Munda, (xiv) Cultivation of this district is predominantly
Oraon and (xv) Santhal. monocropped. About 60 % of the total culti-
Hardly any of the tribes exists as a sepa- vated land is upland.
rate society. All categories of tribe have Agriculture
remained under the long process of assimila- Irrigation
tion, acculturation, absorption, integration Forestry
and/or harmonization. But we wonder why Industry
the tribes have remained at the tribal stage Crafts and Tourism
of historically social evolution and revolu-

68 69
 CHARIDA VILLAGE
One of the last hamlets of the finest Chhau mask-makers
Charida, a small quaint village in the foot-
hills of Ajodhya is home for some wonderful
artists making Chau mask, the headgears for
Chau, the dance form with vigorous move-
ments. In Purulia, Chau dancers wear large
stylized masks while performing.
In Charida village of Purulia around 300
artists are into making masks or assembling
decorations for headgears. The masks are
traditionally used in Chau dance, an acrobat-
ic martial dance form of Purulia, inscribed in
UNESCOs Representative List of the Intangi-
ble Cultural Heritage of Humanity. There are
more than 200 Chau groups in Purulia, who
source their masks from Charida. The Gov-
ernment of West Bengal, in partnership with
UNESCO, has taken up an initiative to devel-
op Rural Craft Hub at Charida.
Charida, the village that provides some
of the best masks, is near Baghmundi block
Image:Natak
70
of Purulia district. Around 250 artisans
from 60-70 families, mostly belong to the
Sutradhar clan, are engaged in making these
extraordinarily beautiful masks for gen-
erations. The mask-maker needs extremely
high artistic perfection and the detailed
knowledge of the epic and mythology is also
essential to express the shade of a particular
character.
The artisans of Charida normally have their
workshops in their own houses along the main
road for direct trade with customers. They
are busy round the year and, practically ev-
ery house and every member of the household
is seen occupied in making masks or assem-
bling decorations for headgears. The masks
produced from this village cater the needs
of Chhau dance groups of entire Medinipur,
Purulia and Bankura districts.
71
 Gambhir Singh Mura
Gambhir Singh Mura was an Indian tribal
dancer known for his contributions to the
tribal martial dance of Chhau. He was an ex-
ponent of the Purulia school of Chhau.
Mura was born in a tribal family to Jipa
Singh Mura at Pitikiri Bamni village in Pu-
rulia district in the Indian state of West
Bengal The Government of India awarded him
the fourth highest Indian civilian honour of
Padma Shri in 1981.
He took Chhau to the world, performing in
New York, London, Paris, and Tokyo, between
1972 and 1999, before he passed away in 2002.
Under him, the folk dance found a prominence
unparalleled in its history.
72
Gadhadhor Dutta
A 65yr old man, he is the Director, screen-
writer, music composer of the various plays
that takes plays in his Chhau band Nataraj
Chhau Nritya Samity of Gobindopur. His main
occupation is farming, which provides his
daily ways of survival, organising plays for
Chhau performance keeps this exotic culture
alive as well as helps him train this rare
talent to his next generation.
He directs his plays on the basis of the var-
ious mythological stories , the most famous
being Mohishasur Mordini, Mahabharata, and
also on the basis of renowned mythological
characters like Roktashur,Mahishasur,
His work includes providing roles to differ-
ent dancers according to their capability
and talent. A group consists of 35-40 people
among which 20 are trained dancers.
Gadhadhor Sutradhar is the fourth genera-
tion of a traditional family of Sutradhars,
from West Bengal. The Sutradhars are one of
the higher artisan castes in the region.
73
 PURULIA CHHAU
Chhau dance perhaps originated from martial
dance Phari Khanda Khela. During the eigh-
teenth and nineteenth centuries, many rulers
of Orissa region took interest in the devel-
opment of this art. They maintained troupes
who would perfrom on special occasions. The
word Chhau is derived from Sanskrit word
Chhaya which means shadow or image. It is
performed by the tribes in order to appease
and influence the Sun God. Whatever is the
origin of this folk drama, in course of time
it has developed its own rules and grammar.
Nowadays, Chhau dance is generally per-
formed during the Chaitra Parva. Gradually
this dance has shifted from the barracks and
has taken a ritualistic turn.
Some people say that Chhau is a dialect
which means six faces: fore head, eyes, nose,
cheeks, lips and chin and a mask bears the six
parts of the face. The word Chhau ordi-
narily means mask and because the dance is
performed by use of mask, it is called Ch-
hau Dance. According to another school of
thought the word Chhau has been derived
from Sanskrit word Chhabi that means im-
74
PURULIA CHHAU
age. Others say that as the dance is charac-
terized by variety it is called Chhau dance
and therefore the word meaning of Chhau
is Chhabila in Sanskrit and picturesque in
English. According to new theories Chhau is
invented pronunciation of the word Chhauni
(Military Barrack or Cantonment).
The Chhau dance of Purulia is not bounded
by the efforts or patronage of an individual
but it is the product of the people. Certain-
ly there was some pioneer who introduced a
particular system, which is still being fol-
lowed till today. Chhau dance of Purulia has
a very ancient origin. Orthodox Brahmins
were imported from the interior of West
Bengal, Bihar and Orissa. Hindu image-mak-
ers were also imported. The image-makers
appointed by the Raja of Bagmundi invented
the technique of making the masks for Chhau
dance after their settlement here. With or-
igins shrouded in mystery, the Chhau danc-
er communicates inner emotions and themes
through cadences of body flexions, movements
and kinetic suggestions.
75
 Performing Chhau is like writing poetry in space. Three styles of Chhau exist born from the
three different regions of Seraikella (Bihar),
Purulia (West Bengal), and Mayurbhanj (Oris-
sa). Martial movements, strong rhythmic state-
ments and dynamic use of space are charac-
teristic of Chhau.
Seraikella Chhau flourished under royal pa-
tronage. Its vigorous martial character made
it suitable only for male dancers. The princ-
es were not only patrons but also dancers,
teachers and mask-making experts. The Serai-
kella masks are similar to those used in the
Noh dance of Japan and the Wayang Wong of
Java.
Purulia Chhau uses masks which is a highly
developed craft in the region. The barren land
with its tribal inhabitants and multi-layered
influences of Vedic literature, Hinduism and
martial folk-lore have all combined to shape
the Purulia Chhau dances which have only one
message - the triumph of good over evil.
Purulia is culturally the richest district in
West Bengal. The Chau dance still remains
the main attraction of the Spring Festival
also known as the Chaitra Porob held here.
The exclusivity of Chau dance are the elab-
orate masks that the dancers have to wear.
The masks used in the dance are made in the
76
Charida village in Bagmundi area.
Chau dance is a famous folk dance performed
by the tribals of Purulia. It belongs to a
genre of martial dance. Charida village, home
to the Chau Mask makers, is in Purulia
district which is a part of the Chotanagpur
plateau. The landscape is rocky and undu-
lating. The deciduous forests are rich in
biodiversity. Tribal he art of Chau mask mak-
ing started in Charida village during The rule
of King Madan Mohan Singh Deo of Baghmundi
around 150 years back.
Chau dance is indigenous to the eastern part
of India. It originated as a martial art and
involves vigorous movements, skillful acro-
batic feats and leaps. In Purulia Chau, the
dancers wear large stylized masks. The dance
portrays triumph of good over evil.
The stories are based on mythological tales
that propagate moral and ethical values. The
dance is believed to be over a centurys prac-
tice, though the specifics of its origin are yet
to be ascertained. Besides making masks for
Chau dance, the mask makers also make a va-
riety of masks for home decor ethos enriches
the mystic charm and natural beauty of
this land.
77
 According to a Mask maker and Jhumur
singer of Charida village Mr. Sudhangshu
Sutradhar, Purulias Chhau dance is predom-
inantly practised during important ceremo-
nies like Gajan Festival which takes place
to honour Lord Shiva. It is during this time
that Shiv Chaturdarshi is exercised- which
requires the devotees to stay awake all
night. This is also a reason why such extrav-
agant performances were done to remain
awake all night
It is also celebrated on the eve of Bengali
New Year (February/March) to celebrate the
new harvests.
With origins shrouded in mystery, the Chhau
dancer communicates inner emotions and
themes through cadences of body flexions,
movements and kinetic suggestions. The word
Chhau is interpreted differently by scholars.
Shadow, Disguise and Image are the most they are suspended and whirled round on
common interpretations due to the extensive
use of masks in this dance form. The martial
movements of Chhau have led to another
interpretation of the word as meaning to
attack stealthily or to hunt. by the Bagmundi ruler, but due to unproduc-
Unlike other Indian Classical dance forms,
vocal music in Chhau hardly exists! Instru-
mental music and a variety of drums like the
78
Dhol, Dhumba, Nagara, Dhansa and Chadchadi
provide the accompaniment.
Combining folk, tribal and martial traditions
and yet covering the three aspects of Nritta,
Nritya and Natya as well as the Tandava and
Lasya aspects of classical dance, the Chhau
dances are complex combinations of Folk and
Classical motifs.
Brief and simple rituals precede the dance
performed that are conducted in front of
a Shiva temple or the village square. The
village head is the patron and he carries a
brass pitcher on his head to his house where
his wife sprinkles the water of the pitcher
on the newly harvested crop. Later, in the
month, around 14th of May more elaborate
rituals are offered to the sun god. Many dev-
otees observe austerities including piercing
their bodies with iron hook. On a high poll
chadak to suggest the progression of the sun
in different constellations throughout the
year. Till the early decades of this century
these dancers and the form were patronized
tive land and ever failing rains the ruler
could hardly provide necessary support. The
performers too were forced to migrate to
79
Chhau
Since 1961, when this form was first witnessed
by an anthropologist in a remote village of
Purulia district and their subsequent visits
in major cities world over, the locals have
formed their own parties in anticipation
of a sponsored trip abroad. They have added
more exciting combat scenes with more skill-
ful pirouettes and summersault. The costumes
specially the headgears have acquired enor-
mous size and jazzy decorations.
Influenced by the more respected Hindu cul-
ture the natives adopted the epical themes
but they naturally opted for the warfare
scenes that would reflect their life of per-
petual hardships and conflict with nature
itself. Even the characters the noble and
heroic characters like Rama and Sita are de-
picted with forceful gestures.
The Chhau dance of Purulia is not bounded
by the efforts or patronage of an individual
but it is the product of the people. Certain-
80
ly there was some pioneer who introduced a
particular system, which is still being fol-
lowed till today. Chhau dance of Purulia has
a very ancient origin. Orthodox Brahmins
were imported from the interior of West
Bengal, Bihar and Orissa. Hindu image-mak-
ers were also imported. The image-makers
appointed by the Raja of Bagmundi invented
the technique of making the masks for Chhau
dance after their settlement here.
Instrumental music and a variety of drums
like the Dhol, Dhumba, Nagara, Dhansa and
Chadchadi provide the accompaniment.
Combining folk, tribal and martial traditions
and yet covering the three aspects of Nritta,
Nritya and Natya as well as the Tandava and
Lasya aspects of classical dance, the Chhau
dances are complex combinations of Folk and
Classical motifs.
81
 PERFORMING CHHAU
Purulia Chhau Dance is not just a perfor- The performance begins with the entry of the
mance of dancers enacting religious epics; orchestra. Then enters a dancer who wears
Three main types of Indian instruments ac- the mask of Ganesha. The entry of Ganesha
company the performance these are the Dhol, signals the beginning of the dramatic episode.
Shehnai and Dhamsa (percussion instrument Then on, the story moves forward swiftly
and Indian clarinets).Masks and elaborate with quick entries and exits of other charac-
headgear are the ornamental apparels of the ters. The stances and the stylised walk em-
Chhau dancers. The dance is believed to date ployed by the actors are similar to the other
back to over a century, though the specific two Chhaus. Earlier, lighting was provided
date of its origin cannot be definitely ascer- by mobile lightmen bearing flaming torches
tained.The dance was patronised by the roy- on their heads; now they use petromax lights
alty and landlords of the region. Since its which lessens the dramatic impact. All parts
inception, the members of the Mahato, Kurmi, of the body are effectively used. There is the
Bhumija, Deowa, Bhuama and Dom communities walk on knees and pirouetting on the knees.
have sustained this dance form. The dance is At the same time, certain uflis and topkas of
an essential part of the Gajan Festival, a fes- the other two can also be discerned. Certain
tival that celebrates the glories of Lord Shi- movements are very forceful, representing
va. Today, the dance is no longer restricted attack and defence of the martial tradition.
to one particular time of the year. There is Really breathtaking are the leaps and jumps
a 20 feet by 20 feet area in the open ground, where the actor/dancer lands on the ground
which can best be described as the stage in on his knees, which is the unique feature of
the modern parlance. The audience sits on this dance-drama style. The extensive use of
three sides of the area. The musicians sit to- the torso and expressive use of the lower
gether on one side. The performance begins at limbs are different from those of the other
night by 10 p.m. There are, like in the other two Chhaus. Purulia Chhau exudes dynamism.
two, pre-performance rituals to be performed.
82 83
84 85
86 87
88 89
 5. Chhau Dancer

1. Mask Making

2. Costume Making

4. Jhumur prior to Chhau dance

3. Field for performance/ Akhraa

90 91
 MASK MAKING PROCESS
The mask-making process is indigenous and
practised through generations. Originally
made from expensive light-weight Simul wood,
the masks today are made from other materi-
als more affordable to local dancers. The main
element for Chhau mask is paper pulp, besides
clay is also required.
The eyes and expressions of the characters
come alive with the expert brush of artisans
and by selective use of colours. Dark yellow
or bright orange are the colours used for
Gods and Goddesses. The Asuras (demons) are
painted in black or deep green with thick
92
moustaches, protruding teeth and large eyes.
The mask is then beautifully decorated using
jari (tinsel threads), sparkles and coloured
foils, string of beads, pith works, coloured
flowers made from shola (a reed, Aeschymene
aspera) and coloured feathers.
Since the dancers face is covered with a a
mask, the mask plays a great role in adding
relism and personality to the character being
perfomed and played by the wearer/dancer.
93
 RELEVANCE OF MASKS IN
WEST BENGAL
Masks reflect the innocence of the primi-
tive people of the world who were the real
creators of these aesthetically sublime and
culturally functional symbols. The mask is
a heritage of this planet and works beyond
all stipulated geo-political boundaries of
the world.Mask or Mukhosh, as it is known in
West Bengal has a mysterious history, too
vague to be chronicled in perfect sequence,
both in terms of advent and influence. The
ancient people of Bengal were different in
race, culture and language from the Ary-
ans. The original inhabitants of Bengal were
non-Aryan. And it is this culture that is
largely reflected in Bengals long running
tradition in mask artistry. Though is a lot
of ambiguity about the origin of masks in
Bengal, it is evident that masks were of great
religious importance owing to the belief in
spells. Masks cannot be thought of as works of
art alone - they serve multiple functions, all
of which contribute in expressing the human
elements and messages, which they personify.
94
These functions, briefly can be indicated as:
to evoke certain reactions in the beholder,
The world of Indian masks evokes visions of
gods, demons and clowns. These categories
of characters in traditional drama greatly
enhance its theatrically. The demons are en-
gaged in their perpetual fight with the gods.
This fight marks the beginning of performance
tradition in India and is a recurring theme
in performance and pictorial arts. The gods
always win, leaving the demons defeated and
destroyed, symbolizing the victory of good
over evil. Even in puppet performances, some
clows are there in the company of the gods
to lighten their divinity and bring them
down to over human level. Most of the tribal
dances are performed on festive occasions
and are community event. Masks are used
only in those dances, which are performed on
ceremonial and ritualistic occasions.
The mysterious world of masks provides an-
other fascinating dimension to the perform-
ing tradition of India.
95
 RAW MATERIALS

1. A combination of clay and 2. Powdered ash 1. Flour 2. Waste Papers

loamy soil

3. Spatula (Thapi) 4. Fevicol (glue) 3. Copper sulphate ( Tute ) 4. A mixture of the above
three
96 97
1. Clay and water 2. Tarmaric powder 1. Chalk and white paste 2. Chisel

3. Cloth pieces 4.Mixture of water and 3. Powdered pigment colour 4.Brushes

turmeric powder
98 99
 1. Wrench
17.78cm

2.Pliers
1. Coloured Aeschynomene aspers 2. Metal wires 17.68cm
fibres(shola).

3. Scissors
22.86cm

4.Awl 3cm

3. Raw shola fibres 4.Ribbons

100 101
1. Birds feathers 2. Shiny sequins 1. Tinsel threads 2. Translucent coloured
beads

3. Beads 4. Plastic Beads 3. Glossy metallic fringes 4. Plastic Laces

102 103
 MASK MAKING FLOW CHART

Clay and loamy soil(atel and Bele mati)

Clay is kneaded

Clay model of a mask is developed and Dried

Powdered ash is sprinkled

Layers of moist paper is pasted

Thin layer of clay is applied

Pieces of cloth is layered over the mask

Initial layer of clay is removed

Coat of khadi mati is applied

Mask is coloured

104 105
 Soil is dugged out from the banks of
local rivers and ponds (atel mati and
bele mati).
A combination of Loamy and clay is
ideal for the mask making.
106
The soil is segregated from the peb-
bles and kneaded properly
The mask is developed by the mask
maker with hand and Spatulas
(thapi)
107
 Powdered ash is sprinkled on the surface
of the mask by thumping the ash inside a
cloth bag.
The basic form of the mask is developed
and dried in direct sunlight..
108
Flour, fevicol,water and copper sul-
phate ia added to form a mixture.
Flour acts as a adhesive and copper
sulphate works as a insecticide and
fungicide.
109
 Papers are torn and layers of papers are Mask is then let to dry.
applied on the mask moistened with the It is again covered with thin layers of
application of the adhesive mixture. mud.

110 111

On drying, clothes are pasted on it effec-
tively to add strength to the longetivity and
form of the mask. The cloth also adds
texture .
112
The mask is polished and the facial fea-
tures of the mask is highlightened.
Once dried, the initial layer of mud is
removed with a chisel.
113
 The khadi mati or chalk paste is applied which Dry pigment colours is made paste
works as a primer. with water and then it is applied on the
masks.

114 115
 The colours are applied skilfully with
brushes.
Aeschynomene aspera fibres(Shola)
is used to attach the hairs on the false
mask.
The raw shola fibres are sometimes dyed
and allowed to dry .
It is applied with a paste of black colour
and tamarind powder and waste paste
which acts as an adhesive.

116 117
 The crown of the mask is decorated by buiding
a skeleton structure with the help of metallic
wires.

118 119
 Different types of sequins are arranged in
wires to be arranged around the crown.
The sequins are brought from the local mar-
kets.
120
After the embellishments are adorned on the crown,
the eyes holes are made by piercing the pupil portion
of the eye with a hot iron rod.
A type of oil is applied on the mask for a fine fin-
ish.A fished chau masks weighs up to 3kg and costs
upto 2000 INR.
121
122 123
124 125
126 127
 COSTUME MAKING PROCESS
The costumes used are made out of locally
available inexpensive materials. The actors
representing gods wear light colored trou-
sers, whereas deep colored and striped ones
are reserved for the demons. The actors who
depict Lord Shiva put on a loincloth of a ti-
gers skin while those depicting his son Ganesh
wear a dhoti. Those depicting Goddess Kali
128
have to wear a tight pair of trousers of black
cloth. Saffron colored dhotis are meant for
those depicting ascetics, sages and brahmins.
The main characters wear embroidered jack-
ets manufactured by the local women. They
are beautifully designed by using silk thread,
tinsels and artificial pearls
129
130 131
 RAW MATERIALS

The fundamental tools for Costume making used

:

Metal wires
Cotton threads
Fabric metal scissors
Sewing Machine 1. Plastic water pipes material 2. Rolled pipes
Pliers
Awl

3. 100% polyester knitted shinny fabric 4.Polyethylene cement bags

132 133
 1. Plastic beads (round beads, faceted beads, 2. Platic sequins 2. The ribbon is knife pleated and stitched in the
1. The nylon ribbon used in finishing
flat beads, etc.) edges

3. Satin polyester fabric is used for dhoti 4. The details of the back/ pitambar
3. Crystal star flat back beads 4. Metallic gold foil fringes draping after finished
134 135
 IN THE MAKING

1. The back side view ready to be embel- 2. The front side view.
1. The plastic cement bag is placed on the 2. The plastic bag acts as a base, adds lished
shiny fabric and cut. strength and longetivity

3. The front side view. 4. The back side view after its tied.
3. It is then aligned for stitching. 4. Finally they are stitched.

136 137
138 139
 1. The different parts of the Chandmala 2. The base being the Hard Plastic water
(front side) is stitched separately. pipes adding strength and firmness to the The belt used by characters playing the role
delicate embellishments. of goddessses.

3. The pitambar after it is readily finished and ornamented.

140 141
 Tying technique of Pitambar Tying technique of Chandmala Inner side of Chandmala

142 143
 FLAT DRAWING OF CHHAU COSTUME

Chandmala
Front of the costume Flat drawing of Chandmala

144 145
 Base layer of Chandmala Chandmala attached with the base

146 147
 Pitambar Flat drawing of
Back of the costume Pitambar

148 149
 Pleated fabric stitched with the chandma-
la adds grandeurness and divinity

Flat drawing of belts for

women characters Pieces of fabric tied around
the hand

Armlet or hathful

Flat drawing of belts for

men characters
150 151
 This kind of armlet is worn mostly by the
godly characters.

Flat drawing of armlet

Armlets are tied up one after the other on the hand from arm to wrist.
152 153
 DHOTI DRAPING PROCESS

Step 1 Step 2 Step 3 Step 4 Step 5 Step 6

154 155
 Step 7 Step 8 Step 9 Step 10 Variation in Dhoti style
156 (Stitched/Unstitched) 157
158 159
 For us, demons and gods are the same
-Godadhor
The Chhau dance is a culture that presides
and preserves the essence and exotic iden-
tity of Bengal folk art. Its a culture that
has enabled the co-existence of an entire
village comprising of different communities
and culture segregating each section on the
basis of their skill anad workability only
to unite in the form of a enigmatic soulful
performance. Even with a lot of exposures
, this Chhau performance is a dance of the
commoners.
The Chhau Dance comprises of different
categories of people excelling in their spe-
cific expertise and working together with
an impregnable sense of unity and pride
towards this indigenous and exotic folk art
160
CONCLUSION
and craft of Bengal.
The passionate expression of lyrical amal-
gamation of words in Jhumur depicts in one
hand the authenticity of the art and on the
other hand the negligence of the authorita-
tive part of the society.
Purulia Chhau is still confined to the rural
areas. Most artistes rehearse in the akha-
ras, an open practice area, after finishing
their day jobs and perform during festivals.
For them it is a way of life, keeping them
rooted and close to nature. With no frills
attached and no mechanical interference,
this breed of artistes is simply content in
practice.
161
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http://www.banglanatak.com/[Online:2003]/[Accessed:1st Aug 2016]

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http://www.mid-day.com/articles/the-chhau-chronicles/15381165[Online:2013]/[Accessed:Aug2 2016]

http://www.artindia.net/chhau.html [Online]Available from:1998 by G.S. Rajan/

[Accessed: Aug10 2016]

http://www.indiafestivalguide.com/eventdetails/details/156[Online:2003]/[Accessed:Aug10 2016]

http://purulia.gov.in/distAdmin/departments/dico/chau_dance.html[Online:2003]/
[Accessed:Aug10,2016]

WestBengalsPerforming Art Treasure:Chhau Dance /Utsavpedia/www.utsavpedia.com

[Accessed:Aug10,2016]

http://www.indiafestivalguide.com/eventdetails/details/124[Online:2003]/[Accessed:Aug10,2016]

http://www.indianetzone.com/58/origin_chhau_dance.htm[Accessed: Aug11,2016]

http://www.biswabangla.in/ldf-blog/2015/9/22/the-mask[Accesses: Aug 12,2016]

162 163
 Image Source:
Indronil Nag/Inphotoscope/[Accessed:July 20,2016]

https://www.flickr.com/photos/23985194@N06/[Accessed:July 25,2016]

http://www.arunimamondal.com/gallery/chau-a-folk-martial-art/[Online:2015]/[Accessed:Aug2,2016]

http://photo-stories/masked-reality-a-photo-story-about-chhau-dance-by-santanu-dey[Online:2015]/[Accessed:Aug2,2016]

http://sumitphoto.blogspot.in/2009/01/chau-masks-of-purulia.html/[Accessed: Aug10,2016]

http://www.livemint.com/Leisure/B9NnJes9d1bz0FQ4agdQIN/Photo-Essay--Behind-the-mask.html[Accessed: Aug 9,2016]

164 165