Saraikela and Manbhum Chhau tradition inconceivable without masks

Mail News Service

Seraikela, April 5: Saraikela and Manbhum style of Chhau dance has gripped the fancy of worldwide audiences for the grace and contrasting ruggedness of presentations. There are various schools of Chhau Nritya but notable among them are the Saraikela and Manbhum forms and Kharsawan and Mayurbhanj Shaili.

History of the development of Chhau dance is replete with changing styles of expressions where the narratives may have remained unaltered but expressions have undergone transformations for the better. However, the basic grammar has remained constant. However, one can argue as to how basic grammar of Chhau has remained constant if the presentation styles have undergone metamorphosis. The simple fact is that no matter what story one writes, the alphabets remain the same. Similarly, Chhau is a dance form that sticks to the basics while transforming the styles of expression through years of performances.

The Saraikela and Manbhum Shaili adorned additional glitter with the introduction of masks to accentuate the character being portrayed. Almost a century earlier, Prasanna Kumar Mahapatra devised the mask to highlight a character. The idea clicked and today the third generation of Prasanna Kumar Mahapatra is engaged in mask making for Chhau presentations and due to these masks, the dance form has continued to ascend the graph of national and international popularity.

Saraikela and Manbhum Chhau without masks is inconceivable. Masks add to the depiction of the characters being portrayed by dancers although it takes strenuous rehearsals before the dancer can bring out the essence of the character as depicted in the mask. The use of masks entails parity of body language and breathing. A Saraikela-Manbhum Chhau performer has to put in prolonged practice for breathing without deviating from the calculated moves.

However, before proceeding further, it is necessary to mention that while masks are synonymous with the Saraikela- Manbhum Chhau danced forms, Kharsawan-Mayurbhanj presentations are sans use of masks. The dancers in the latter case use makeup and facial expressions to portray characters.

Making a Chhau mask takes a lot of hard work and detailing. The concept of Chhau mask emerged when Prasanna Kumar Mahapatra concentrated long and hard to give facial expression to the inanimate that could bring life to a performance. That was more than a century ago but the artist had started a lineage of mask makers for Chhau performances and today, the third generation is busy adding colour and life to concepts in characterizations. The mask leads the artiste into the character to be portrayed. That has been the magic of Saraikela and Manbhum dance forms as it continues to ascend on the popularity gtraph nationally and internationally.

A[part from giving it a shape, the mask has to be painted in a manner so that it gives credence to the character to be portrayed. It takes between eight to 10 days to prepare a mask that bears the intrinsic details of the character to be portrayed. Every year, tourists, both indigenous and foreigners, flock to Saraikela to research on mask making and the relevance a mask has to a character to be performed.

Sushant Mahapatra is carrying the mantle of Prasanna Mahapatra’s third generation. Sushant has been engages in this craft since he was eight years old. He said, “Earlier bamboo baskets and other means were used for masks. However, during that period in 1925, Prasanna Mahapatra made a clay mask which was introduced to the Saraikela Shaili. That was the initiation of a mask in the true sense and hat became a trend. Mask or ‘Mohra’ became a trend in Saraikela-Manbhum dance form. Yet, the zest, determination and dedication to mask making has taken a beating, albeit, slightly. Like all things else, the concept behind the making of each mask has improved.’

Therre was a note of lament in Sushant Mahapatra’s conversation. He remarked, “Survival on our traditional mask making is difficult now. Masks are made for Chhau dances and Chaitra is the main time for this dance. I am not disparaging nor am I complaining but, to be honest, we can no longer survivre by making masks alone. We have to look aty other income avenues. But still, mask making is our tradition, and in spite of financial hiccups, the tradition will be passed on to the generations to follow.”

 Mahapatra said, “The desire to preserve this inherited art has kept us connected with art. In spite of financial constraints, it is our resolve to preserve this tradition.”

And thus it has been. Sushant’s son, Sumit Kumar Mahapatra has taken up the tradition and is assiduously engaged in the craft of his forefathers. And that is one reassurance that the tradition will not be tarnished by economic shortcomings.