'A historically enriched Canvas of unique cultural charm'
Art and Crafts of Orissa
Once known as Utkala, which means the land of excellence in art, Orissa is a treasure trove of exquisite handicraft and traditional art forms, a rich legacy of an ancient culture. Evolved slowly and gradually through disciplined efforts of generations, Orissan Hanicrafts have retained their seasoned traditional values along with the freshness and charm of their own. Beauty and utility combine in them. Dedicated labour of the artisans scattered all over the state has made Orissa a fabulous market of souvenirs and mementoes. Varieties are many—stone work, silver filigree, wood craft, appliqué work, brass and bell metal work, dhokra castings, horn work, pata paintings, papier mache, terracotta, tie & dye textile in cotton,tassar and silk and a lot more. Stemming from centuries of excusite craftsmanship, they are a colourful testimony to the integral life force of the people.
Legends lace Orissa. Temples dot her landscape. On her street Gods walk among men. Famous for the beauty and craftsmanship of Konark, Jagannath, Lingaraj and innumerable other temples, Orissa offers a striking selection of decorative and utilitarian arts and crafts. Visual manifestions of a millennium of Orissan Culture, these arts and crafts embody and reflect a tradition which still lives in the creative imagination and skill of her craftsmen.
A collecter’s delight
Look at any handicraft of Orissa. The appliqué works of Pipili or Pattachitras and Papier Mache masks of Puri; silver filigree jewellery and golden grass mats of Cuttack or ‘Kataki’ and Ikkat saree of Cuttack and Sambalpur or Dhokra and clay toys of Mayurbhanj and Barapali and Lacquer work of Nawangapur or Horn work of Parlakhemundi or the flexible brass fish of Ganjam. Each handicraft exudes a charm and originality of its own and pristine beauty that remained untouched by time. The beauty and charm of Orissi handicraft mirrors a heritage in its past and present flowing into eternity.
'A historically enriched Canvas of unique cultural charm'
Art and Crafts of Orissa
Once known as Utkala, which means the land of excellence in art, Orissa is a treasure trove of exquisite handicraft and traditional art forms, a rich legacy of an ancient culture. Evolved slowly and gradually through disciplined efforts of generations, Orissan Hanicrafts have retained their seasoned traditional values along with the freshness and charm of their own. Beauty and utility combine in them. Dedicated labour of the artisans scattered all over the state has made Orissa a fabulous market of souvenirs and mementoes. Varieties are many—stone work, silver filigree, wood craft, appliqué work, brass and bell metal work, dhokra castings, horn work, pata paintings, papier mache, terracotta, tie & dye textile in cotton,tassar and silk and a lot more Stemming from centuries of excusite craftsmanship, they are a colourful testimony to the integral life force of the people.
Legends lace Orissa. Temples dot her landscape. On her street Gods walk among men. Famous for the beauty and craftsmanship of Konark, Jagannath, Lingaraj and innumerable other temples, Orissa offers a striking selection of decorative and utilitarian arts and crafts. Visual manifestions of a millennium of Orissan Culture, these arts and crafts embody and reflect a tradition which still lives in the creative imagination and skill of her craftsmen.
A collecter’s delight
Look at any handicraft of Orissa. The appliqué works of Pipili or Pattachitras and Papier Mache masks of Puri; silver filigree jewellery and golden grass mats of Cuttack or ‘Kataki’ and Ikkat saree of Cuttack and Sambalpur or Dhokra and clay toys of Mayurbhanj and Barapali and Lacquer work of Nawangapur or Horn work of Parlakhemundi or the flexible brass fish of Ganjam. Each handicraft exudes a charm and originality of its own and pristine beauty that remained untouched by time. The beauty and charm of Orissi handicraft mirrors a heritage in its past and present flowing into eternity.
The Lineage of Murals
The tribal paintings and the folk paintings, only with varying social affiliations, justify the continuation of rock shelter painting tradition. But the continuum is disassociated from the original context of rock shelter paintings and is more of a decorative nature mixed with rituals. Though not a part of classical painting tradition, the tribal and folk painting tradition embody several motifs which constitute the classical art tradition. This process of influences and cross influences not only exists among tribal, folk and classical paintings but also extends to the realm of sculpture. This proves that no painting tradition has grown in isolation and Orissan painting is no exception to it. It has emerged out of the common Orissan art tradition which have existed since past in India, the mural paintings are considered to be the oldest classical paintings from the point of their antiquity. In Orissa existence of mural is traced from the faded out pigment coatings in the caves of Khandagiri and Udayagiri as noticed by Sir John Marshall and supported by inscriptional evidences as mentioned in the Hatigumpha inscription of emperor Kharavela of the 1st century B.C.
The next available mural is on the ceiling of Ravanachhaya projecting rock-boulder at Sitabinji in the district of Keonjhar belonging to later Gupta period. This painting, the lone survival of its kind in the whole of eastern India, is attuned to the Ajanta style. Though there are certain basic differences which can be attributed to the local variations like the laying of the ground for painting, provision of a painted inscription, the colour scheme and composition, the painting depict the vigor which was the essence of the Ajanta style of paintings of the period. The lack of evidence fail to build up a connected history of paintings which otherwise would have started with the Jain school of painting at Khandagiri and Udayagiri passing on to the Buddhist style and terminating in Saiva-Sakta and Vaishnva painting as is the case with the evolution of Orissan sculptural art.
The next phase of Orissan murals stand a gulf apart in time and depict a completely different style from the early plastic traditions. This phase is marked by a pronounced linear character and belongs to a period between 17th and 20th centuries. The painting of Buddha Vijaya in the Jagamohana of Lakshmi temple inside the Jagannath temple complex at Puri and the paintings of Kanchi Vijaya said to have been in the Jagamohana of Jagannath temple at Puri.
Authentic evidence of the later style of mural paintings exists in the Biranchinarayana temple, Buguda, in the district of Ganjam; Srikurumum temple, Andhra Pradesh and Dadhivamana temple inside Kosaleswar temple complex in the district of Keonjhar.
The enchanting world of Ethnic Oriya Crafts
Patachitra/ Patapainting
The word patachitra is reclaimed from the Sanskrit word:Pata (meaning cloth) and Chitra (meaning painting or picture). Thus patachitra means a painted piece of cloth. The tradition of patachitra originally started with the painting of the divine trinity of Puri to be hung in the Sri Jagannath temple for the devotees during the Anasara(retirement in seclusion for a fortnight after the Snana Purnima, the bathing festival)
A lot of skill and hard labor is required to execute fine patachitra. It is accomplished by the artist using varied colours, in red, black, yellow, white and indigo blue.A canvas is prepared by stiffening the cloth cut to required size with tamarind seed glue and dried up before applying the colours. Sometimes, colours are directly applied on canvas like silk and tassar cloth. The theme of the patachitra is usually taken from the Jagannath cult and episodes of Rama Leela and Krishna Leela. The patapaintings are used as wall hangings. Circular playing cards called "ganjapa" are also made in this style which were once popular among the village folk. They are now used for covering glass tumblers.
Palm Leaf Writing
Like pata painting, Orissa is also known for painting on palm leaves, which have long been used for writing. The ancient art of palm leaf writing still survives in Oriya houses and in temples. Religious texts, horoscopes traditionally written on palm leaves are still in practice. Palm leaves are considered so auspicious that printing of New Year cards and wedding invitations and important text on palm leaf is still popular in Orissa. An exclusive indigenous tradition of Orissa, the craft of palm leaf manuscripts dates back to the mediaval period. After cutting palm leaves to appropriate size, they are directly painted with brush. Sometimes, figures are drawn with an iron stylus which are called etching.
Places like Puri, Raghurajpur, Dandasahi and Bhubaneswar are the centers of patapaintings and palmleaf paintings with a hereditary family traditions since ages.
Appliqué Work
The Tradition
Like patachitras, appliqué work in Orissa also originated as a temple art. Coloured cloth, after being cut and shaped into the forms of birds, animals, flowers, leaves, and other decorative motifs is stitched onto a cloth piece designed as a wall hanging, garden or beach umbrella, a lamp shade and other utility items.
Tiny mirrors in a whole range of geometrical shapes and designs are then encapsulated by thread embroidery to create a striking work of art. Four basic traditional colours- red, yellow, white and black are used, while green has been added in comparatively recent times.
The Technique
'Applique', which is a French term, is a technique by which the decorative effect is obtained by superimposing patches of coloured fabrics on a basic fabric, the edges of the patches being sewn in some pattern. It is distinct from what is known as patch work in which small pieces of cut fabrics are usually joined side by side to make a large piece of fabric or for repairing a damaged fabric. Though the form is not unknown in other parts of India, it is in Orissa and especially in Pipli(20 kms from Bhubaneswar and 40 kms from Puri on NH 203) that the craft has a living and active tradition continuing for centuries. As with many other handicrafts of Orissa, the roots of the applique art/craft form is intertwined with the rituals and traditions of Lord Jagannath, the presiding deity of the Puri temple.
The Practice
The appliqué items are mainly used during processions of the deities in their various ritual outings. Items like Chhati, Tarasa and Chandua are used for the purpose. However, the applique work in its colourful best is most prominent in the canopy covers of the three chariots of the presiding deities in which they travel every year during the Ratha Yatra or Car Festival. As per tradition, the colour scheme of the three covers is predetermined. The chariot of Balabhadra known as Taladhawaja has a cloth covering of bright green and red, while that of Subhadra known as Padmadhwaja or Darpadalana has a cover of bright red and black. The chariot of Lord Jagannath called Nadighosha has a cover of bright red and yellow. The basic design of all three is similar being a combination of narrow and wide stripes while on the four sides above the openings, there are applique mythical motifs like Rahu, Chandra as well as motifs from nature like flowers etc. It is these eye catching applique covers which identify the chariots of the three deities from far away by the millions of pilgrims thronging the Badadanda or the extra wide main road of Puri in which the lords make their annual sojourn in the chariot festival. The craft is traditionally practiced by a caste of professional tailors, known as 'Darjis'. As with other services of the Lord, darji seva or the supply of applique items is rendered by the caste members. Now-a-days, non caste tailors are also engaged in the work.
The traditional items made of applique patterns and associated with religious functions are canopies, locally called 'chanduas', Chhati, a sort of big umbrella with a long wooden handle. Tarasa, a heart-shaped wooden piece covered by applique cloth and supported by a long wooden pole, both these items being carried before the deities in their ceremonial processions. 'Jhalar' another popular item is a sort of frill which is used as a border to canopies and also independently used as decorative pieces with the changing times the craft has also adopted itself to the needs of modern man. Among the more popular applique items today are garden umbrellas, a variant of chhati with wooden or aluminum stands, shoulder bags, ladies hand bags, wall hangings, lamp shades, bed covers, pillow covers, letter pouches, etc.
The basic material for applique is cloth. Flat motifs are first cut from cloth and specially prepared motifs are made separately. If more than one of the same cut motifs is required, a stencil is used. These cut and specially prepared motifs are then superposed on a base cloth in a predetermined layout and sequence. The edges of the motifs are turned in and skillfully stitched onto the base cloth or stitched by embroidery or without turning as necessary. The specially prepared motifs may be coloured or white. The base cloth is usually coloured. Some of the specially prepared motifs have exclusive embroidery work and some have mirror work. In heavy canopies, the base cloth is additionally supported by a back cloth for strength.
Carving - An Eloquent Oriya Art form
Stone Carving
One is bound to get enraptured by a craftsman delicately chiseling a piece of stone to create a lively image. Beautiful life size statues of gods and goddesses, smaller replicas of temples, konark wheel etc carved from soap stone, kochila, sand stone and serpentine stone reflect the grandeur of a rich heritage. Utility items like flower vase, lamp base and stonewares of daily use are also made with equal skill. In places like Puri, Konark, Bhubaneswar, Lalitgiri and Khiching, the descendants of the great builders of the gigantic temples of Orissa are still busy in this craft.
Odissi is the classical dance form that originated in the ambience of the temples. It is a lyrical form of dance with its subtlety as its keynote. The intimate relationship experienced between the poetry and music in Odissi is a feature on which the aesthetics of the style is built.
The history of Odissi dates back to somewhere between the 8th and the 11th century, when the kings took great pride in excelling in the art of dance and music. It is during these centuries that inscriptions referring to "Devdasis", the women who were consociated to the worship of the deity, were carved at the Brahmeshwar temple. "Devdasis" apparently played an important part in the temple ritual and were required to perform before Lord Jagannath, the temple deity of Puri.
Jayadeva's "Geeta-Govinda", the bible of every Odissi dancer, written in the 12th century, has stupendous influence on the arts of Orissa. The "Ashtapadis" were marked with specific ragas and talas. Around the 15th century, during the reign of Surya Dynasty, the element of "abhinaya" or expressional dance entered Odissi. During the same time Maheshwar Mahapatra wrote his "Abhinaya Chandrika", an elaborate treatise on Odissi dance style, and today, the basic to any study of it. By the 16th century, there were three kinds of dancers in Orissa: the "Maharis" in the temples, the "Nachunis" in the royal court, and the "Gotipuas" in the gymnasiums - who performed for the public. The religious revival of the 18th century saw a return of temple patronage to the arts. But the "Maharis" were slowly disappearing. "Gotipuas", young boys dressed as girls were trained in physical culture in the "Akhadas", who preserved the basics for restructuring of the ancient dance tradition.
The technique of Odissi is based upon the "Chowka", a manly posture, where the weight of the body is distributed equally on both the sides. Next is the "Abhanga" position, in which body weight is displaced to any one side due to deflection of one or the other knee, in either standing or half sitting posture.
Then comes the "Tribhanga" position, the three-bend posture, in which a series of triangles are formed in the body. The bends are made at the knees, the torso and the neck. It is an extremely feminine posture represented in sculptures of female figures and is based upon the Hindu concept of iconography.
What is interesting about Odissi is that body position is not merely a part of the vocabulary or frame-work. The posture by itself conveys a particular mood or message. The names of these postures too express the moods they represent.
The verses used by the Odissi dancer for narration are extremely ornate in content and suggestion. The finest example of these is of course, the "Ashtapadis" of the "Geeta-Govinda". Several considerations would contribute to the delineation of these items for expressions in dance. They would mainly involve the spiritual and devotional aspect on one hand, and the "Sringara" (the aspect of love) on the other hand. Quite simply, this could signify the human element in God and the element of Godliness in man. The "Abhinaya" in Odissi is evocative and classical in its stylization and is often interspersed with "Nritta" (the pure dance), which interludes as connecting link between two verses or ideas.
Items presented for an Odissi recital form a pattern of development which is both physically practical and also aesthetic. The "Mangalacharan" is an offering made at the start of the program.The performance begins with entry of the dancer to the stage which is called "Mancha-pravesh" with floral offering followed by "Bhumi pranam" salutation to the stage and the mother earth. This is followed by "Ishtadeva vandana" - an obeisance made to the dancers' favorite deity and "Trikhandi-pranam" where salutations are made to the god, the guru, and the audience, and concluding with "Anjali-hasta" - a gesture of greetings and devotion
The "Batu" is an item of pure dance that is derived from the influence of the Tantric worship of Batukeshwar Bhairav, an aspect of Lord Shiva. The "Pallavi" is an elaboration of both dance and music. "Abhinaya" comes next, involving enactment of a lyric, followed by the concluding item "Moksha" meaning liberation - which is the main aim of life and possibility of attaining the same is through devotional practice of the art of classical dance, namely Odissi.
The lineage of Metal casting as a Craft in Orissa
Brass and Bell Metal
Brass and Bell Metal wares occupy a pride of place in Oriya society which are used in daily life. The artisans are traditionally called "Kansari" who follow the traditional process of heating and beating and also lost wax process. The workshop is called 'sala' or shed and consists of a platform with a block of stone for the floor on which the beating is done, a heating furnace or bhati, a raised verandah with a local lathe for polishing. Tools used are hammers and anvils, pincers, hand drills, files and scrapers. The heating furnace with a crucible is fanned by a blower with leather bellows although of late the craftsmen have started using mechanical blowers.
The product range includes cooking ware, utensils like plates, bowls, glass tumblers, vassels, gong bells,small bells etc. Of late, some of the items are being painted to give a colourful look which are in demand for marriage ceremonies. One of the unique and typical item is the Flexible Brass Fish of Ganjam. Important places for this craft are Kantilo(Nayagarh), Bhuban(Dhenkal), Balakati(near Bhubaneswar), Bhatimunda(Cuttack), Belaguntha(Ganjam), Remuna(Balasore), Tarabha(Balangir) etc. Metal craft is perhaps the single most important craft in terms of the number of artisans engaged in its practice as in it has close links with the daily lives of the people of the State.
Silver Filigree Work(Tarakasi)
Cuttack is famous worldwide for the inimitable delicate craft of tarkashi or silver filigree work. Silver is beaten and drawn into fine wires and foils, which are then joined together to form articles-generally ornaments-of stirring beauty. The snow glazed filigree work or tarkashi of Cuttack was once sought after by royal households and merchants from far and wide. Today, the tarkashi workers continue to uphold the traditions of outstanding workmanship. Bhubaneswar and Puri are also centers of this craft.
The socio-cultural links of this handicraft are very strong. According to well entrenched traditions the bride is presented with a set of brass and bell metal articles for starting off her new home, the quantity and quality varying according to the economic status of the family. While in the villages these are extensively used for eating and cooking, in the urban areas other materials like stainless steel, aluminum and ceramics have dislodged them. Nevertheless the brides, even in urban areas continue to get their set of brass and bell metal items in marriage.
Dhokra Metal casting
Dhokra casting, a variety of metal casting is essentially a folk craft and is limited to a few pockets of Orissa, like Kuliana in Mayurbhanj district, Kaimati Keonjhar district, Sadeiberni in Dhenkanal district and Adakata in Nayagarh district being practiced by an aboriginal caste called sithulias. Dhokra is an alloy of brass, nickel and zinc which give an antique look. Its motifs are mostly drawn from folk culture which include animal figures like elephant, horse, gods an goddesses,containers with lids, lamp and lamp stands, in several intricate designs in shape of trees and branches with as many as a hundred lamps in one stand. Of late some utilitarian articles like candle stands, ash trays and pen stands are also being made keeping the essential folk design intact.
The Weaving Craft Tradition of Orissa
Textiles
The textiles of Orissa have an individuality of their own. Bold and unusual patterns, vibrant yet subtle blend of colours, unique tie and die effects and a luxuriant texture characterize them. The State is famous for its silk ikat weaves, an intricate process (bandha) in which wrap and weft threads are first tied and then dyed, to produce the designed pattern on the loom while weaving. Typical design motifs include rows of birds and animals, fish, seashells, rudraksh beads and temple spires.The most popular and flagship item of tie and dye textile of Orissa is the Saree. Typical varieties of Orissa sarees are Khanduas, Saktapada, Tarabali and Bichitrapuri, to name a few made both in cotton and silk. However, the weavers also delve into other items like bed covers, dress materials, handkerchiefs and lungi & gamuchha (towel)
Handlooms in Orissa today have ushered in exquisite fabrics, breathtaking in their range. Yet they are durable and economical. The mastery of the weavers have especially touched sylvan heights in tassar silk. The tassar cooperatives produce the finest quality yarn whose brilliance, glaze and texture is testified by their popularity.
The dedication to details from silkworm cultivation to silk weaving combine centuries of experience and modern know how, to create silk ties, and suberb sarees that harmonise the delicate feel with a soothing blend of colours, elegant and attractive, exquisite but comfortable.
The tribal people of the State also excel in producing textiles of myriad hues using vegetable dyes.
Conclusion
Visiting Orissa's town and cities fetches you an entire range of arts and crafts in the market places and side corners. The helping hand lent by Co-operative societies has played an important role in preserving the rich craft heritage of the State. They ensure easy access to customers and thus entertain a continuous demand for products. But perhaps the secret of Orissa's crafts lies in their fascinating combination of beauty and utility-a tribute to the vision of the craftsmen. Instead of being merely decorative reminders of another age, the crafts of Orissa are gloriously alive matching with modern tastes and yet retaining all the essential traditional links with a checkered past.
Odissi Classical Music
The systematized and developed form of music which has been sung in the world famous temple of the Lord Jagannath at the sacred Puri-Dhama in its different festive occasions as a part of the temple services, and cultured in the 'Jaga-Akhadas' of Puri as well as other rural areas in the district, is known as Traditional Odissi Music. This tradition is also having a long and glorious history of its own for more then 2000 years. It is performed deftly in the shape of Raga-Ksudrageeta-Prabandha-Gana a form of Indian classical music by the illustrious and celebrated poet Sri Jayadeva in Orissa.
Like Hindustani and Carnatic systems, Odissi music is a separate system of Indian classical music and is having all the essential as well as potential ingredients of Indian Classical form. Thanks to the musicians particularly of Jaga Akhadas of Puri district, who could develop and maintain the music. The music movement of Orissa, however, took a different turn after independence.
Like other aspects of her culture, music of the sacred land (Orissa) is charming, colorful, variegated encompassing various types. The existing musical tradition of Orissa, can broadly be grouped under four categories such as : (1) Tribal Music, (2) Folk Music, (3) Light-Classical Music, (4) Classical Music.
The tribal music as the title signifies is confined to the tribal folk living mainly in the hilly and jungle regions of Orissa. It is interesting to note that Orissa has the third largest concentration of tribes constituting about one fourth of the total population.
Orissa is also the treasure house of Folk Songs which are sung on different festivals and specific occasions in their own enjoyment. Folk music in general is the expression of the ethos and mores of the folk communities. Of the bewildering variety of folk music of Orissa, mention may be made of Geeta, Balipuja Geeta, Kela Keluni Geeta, Dalkhai Geeta, Kendra Geeta, Jaiphula Geeta, Ghumura Geeta, Ghoda Nacha and Danda Nacha Geeta, Gopal Ugala and Osa-Parva-Geeta etc.
Bhajan, Janan, Oriya songs based on ragas,Chaupadi etc. are grouped under Light classical music, which forms an important segment of Orissan music. Sri Geetagovinda, Anirjukta Pravadha, Divya Manusi Prabandha, Chautisa, Chhanda, Chaupadi (now known as Odissi), Champu, Malasri, Sariman, Vyanjani, Chaturang, Tribhang,individually or collectively constitute the traditional Odissi music.
The Folk element - Animal Mask Dance
Animal Mask Dances are prevalent in village of south Orissa especially in the district of Ganjam. Particularly during Thankurani Yatra, when the idols are taken out on the streets, the animal mask dancers go dancing before the procession. During the marriage ceremonies too, they lead the bridegroom's procession to the bride's house.
The three animal mask dances typical of the area are the tiger, bull and horse. Two persons get into cane frame and conceal themselves within it. Their own legs and feet become the legs of the animals they are representing.
Baunsa Rani
Baunsa Rani literally means "The Bamboo Queen". Mainly little girls exhibit various acrobatic postures on the crossed bamboo bar as well as on the floor with exquisite scintillating movement synchronized with the beat of drums and songs.
Chhau Dance
Orissa has earned name and fame in the international arena for its famous martial Chhau dance. This variety of dance is prevalent in the princely states of Mayurbhanja and Sareikala (now in Jharkhand). This dance was once performed exclusively by men. The origin of Chhau dance is shrouded in obscurity and no historical document in this context has yet been recovered. Etymologically, Chhau is derived from the Sanskrit word chhaya which means a mask but some scholars are of opinion that Chhau is an independent colloquial Odissi word, meaning to attack or hunt stealthily. It is evidently a war dance. The steps and movements, the attack and defence, the performers, each holding a sword and shield, dividing themselves into two parties, the drums and their mode of play, the huge kettle drum known as 'Dhumusa' a must in the orchestra, its reverberating powerful beats energizing the dancers, all signify that Chhau dance is unmistakably originated from martial practices.
The rituals connected with Chhau spread throughout the year beginning from Dasahara. The initiation for the newly recruits by putting a red-thread on the wrist starts from this day. The actual training of the Chhau starts from the day of Sri Panchami after paying homage to Saraswati, the goddess of learning. A number of rituals are performed primarily to call down the divine blessing. The thirteen Bhoktas (devotees) held from different castes perform all the connected rituals. The actual performance takes place on the occasion of Chaitra Parva or Chhau Festival. All these rituals have a deep symbolic meaning according to the Hindu philosophy. From the various rituals interlaced together, it is apparent that Chhau as an institution was meant to achieve religious, social, and cultural integration. Shaivites, persons adhering so Shakt-cult, Sun worshippers, Vaishnavites, all are integrated together admirably in a few festive atmosphere.
This dance, heroic and histrionic in character, is a way of life with the people living in the princely states of Mayurbhanja and Sareikala. The royal patronage in development of this art is mainly responsible. The kings of these states with artistic leanings had participated in dance performance. Chhau in general even today serves three fold purposes: (1) It perpetuates on art, (2) Maintains the age-old martial customs, and (3) Provides on opportunity for the integration of tribal culture with the culture of the sophisticated society.
The Chhau dance was too hard to include women to play roles; hence women roles are played by male dancers who are extremely masculine in appearance. However, of late, women are also included in the group for some special choreography. The use of mask by every character is the specialty of Sareikala Chhau whereas Mayurbhanja Chhau is totally devoid of it. The Sareikala Chhau for stylization appears to be less virile and conditioned by mask. On the other hand, the Mayurbhanja school of Chhau retains extreme virility of the original movement with martial trend.
It is a type of dance which takes utmost care in expressing emotion and feeling - anger, fear, laughter, wonder or sorrow. The rhythmic variations of these stances even in the same performance, the linear relating to the intricate foot work, and the complicated gamut of inspired stances are vital, charming, subtle and replete with sinuous grace.
