Prakriti Kashyap - Mumbai, INDIA

dancers home press request further info: lauraknott@aol.com

"In the last few years the Chau dances have gained a respectable place among the other known dances of India. These rare mask dances are the part of the annual festival, Chaitraparba, and are widely performed mainly by the socioeconomically deprived classes of people like the tribals, villagers as also the local chieftains or the members of the royal families of Bengal, Bihar and Orissa, in the eastern India. The generic term Chau is used by the three forms of these dances and are named after the district or village where it is performed, such as the Purulia Chau of Bengal, the Seraikella Chau of Bihar and the Mayurbhanj Chau of Orissa. The first two forms use mask but the Mayurbhanj Chau has given up mask in the early decades of this century. The history of this form is shrouded in obscurity, however the study of the rituals performed elaborately as the prelude to these dances, may trace their origin in the pre Hindu tribal dance, only later were they transformed into dramaticized dances. Like our common dance traditions the Chau forms too draw their thematic content from the Puranas and the epics. However, the Seraikella Chau has extended its thematic content by introducing very suggestive and poetic subjects into its repertoire. The use of mask has predetermined the body language of each form and it is noticeably different from the traditions whose origins lie in the earliest dance and drama text, The Natyashastra, written two millennia ago. In Chau the emphasis is on movement and the rhythmic passages, as there is absence of spoken words or song. Compared to other forms, the Purulia Chau has rather rustic and robust leaps and acrobatic somersaults. The rest of the two forms, the Seraikella and the Mayurbhanj Chau, under the royal patronage and participation have developed a well defined and stylised body language. The Seraikella Chau is one of the three rare mask traditions which received royal patronage and active participation by the learned members of the royal family. This has nearly transformed or metamorphosed the form of this dance from the tribal to almost a highly refined 'classical' dance. One of the royal members with his choreographic genius introduced highly suggestive themes and stylised body language that matched the poet's imagination. Today the repertoire can boast one of the widest range of subjects that may draw inspiration from birds, animals, divine beings or even common people from our daily life like a fisherman or a hunter or a boatman. Remarkably enough it can also depict the phenomenon like night in the most poetic manner. The suggestive narrative with the unique body kinetics convey the deeper allegorical meanings that echo a higher philosophy of life. The number "Banabidda", pierced by an arrow, which I have selected for this presentation will provide some glimpse into the high degree of suggestive potential of this form. Apparently, it depicts the plight of a young deer pierced by an arrow. With the arrow struck into her heart she limps in the forest with the agonising pain. At a distance she spots the one who has given her this unredeemable and unexpressible anguish. Beyond this plightful story of a young deer, it conveys the languishing pain of a young maiden who, unexperienced in the ways of the world, especially in the game of love, has been deceived at the very first encounter. However, she blames no one but her own misfortune. Yet, another message of non violence towards mute and innocent animals is conveyed through this dance."