Recreational Folk Dances

There are countless forms of Recreational Dances prevalent all over India. The performance of these dances while giving recreational pleasures to the dancers, entertains the onlookers. Under this category of dances are included those forms of folk dances which have unmistakable elements of theatre. As mentioned earlier, there is a very thin line between dance and theatre in India. There are several theatre forms in which dance is the most dominant dramatic expression. As in Kathakali, any form of dance that has expressional passages has theatrical elements. Many of the dances discussed in this chapter are traditionally performed on a particular occasion or season, but they are being considered under this category because entertainment is the predominant objective of the performance. Most of them are associated with festivals and their performance imparts the desired festive atmosphere to the festivals.

Rouf and Hikat

In the Kashmir valley two kinds of joyous dances are performed, especially when the spring season majestically approaches the valley with all its grandeurs. The one danced only by girls is called Rouf and the other is which both boys and girls participate called Hikat. In both the dances the songs that the dancers sing are basically romantic in character. In Rauf the girls stand in two rows facing each other. The dancers of each row interlock themselves by putting the hands at the back side of the flanking two dancers. The stepping and dance movements are simple. On the rhythmic beats they come one step forward and on the next beat go backward. Their torsos are, delicately and lyrically, bent forward and backward in consonance with the stepping. In Hikat a boy and a girl become dancing partners and hold each other with extended hands. All the dancers sing while dancing. Musical accompaniment is provided usually by Rabab, the plucked type of string instrument and Tumbaknadi, the drum typical of Kashmir.

Jabro

Another joyous dance called Jabro is prevalent in the Ladakh region of Jammu and Kashmir, especially in the Chang Thang area situated at a very high altitude. The people who live in this area are mostly nomads. Their main source of livelihood is livestock, such as yak, sheep, and goat. Jabro is very popular among these people. It has now become popular in other parts of Ladakh. Both men and women participate in the dance. It begins with a slower tempo which goes on increasing. Jabro is danced for hours, especially in silvery moonlit nights. The musical accompaniment is provided by Damnyan, a stringed instrument much like the Rabab.

Naati

In Himachal Pradesh a variety of Naati dances are performed. There are about 13 different kinds of Naati. For special occasions three kinds of Naati dances are performed which are known as Dhili, Pheti and Bashari. Both men and women participate in the dance. The Naati dancers wear typical costumes. The female dancers weal Thipu, a square red scarf tied over the head; Kurti, a kind of colorful upper garment usually made of velvet; Pattu, the main upper garment beautifully embroidered; Sutban, a trouser - like garment usually made of colorfully printed cloth; Puhla, shoes made of a kind of fibre. They also wear typical jewellery, such as Gorkhadu, the ear ornament made of gold; Long, a top for the nose; Chandarhaar, a long and heavy necklace made of silver; and Kanganu or Mridri, bangles made of solid silver. The costume for the male dancers consists of Topa Kalagi, a woolen cap with one side rolled up; Balay, big earrings made of solid gold; Chopla, white woolen upper garment; Patka; a scarf, one tied around trie waist and another across the shoulder; Pajamas, white trouser-like garment and Pula, the shoes. The orchestra that accompanies the dance consists of Dhol, the drum with two faces, Nakara, a bowl shaped drum with one face; Shehnai, the wind instrument; Narshingha, an S-shaped trumpet; and Karnal, the straight trumpet.

Tharu

The Tharu tribal community, living mainly in the Nainital-Gorakhpur belt, has three major sub-clans, namely, Rana, Kathariya and Dangaura. The Kathariyas perform a dance that is called Tharu, named after the tiibe name. It begins eight days before the Holi festival and culminates on the day of the of Holi. Unmarried boys and girls participate in the dance with great enthusiasm. According to the custom of the Tharus, the bride does not go to her in-laws just after the marriage. She continues to stay with her patents. Such a girl may participate in the dance provided she has not become a mother as yet. The dancers sing joyously while dancing. Dhol, the barrel shaped drum, provides the percussion music for the dance. During the course of dance, the group is divided into two and often the dance movements of one group differs from that of the other, but both groups dance to the same rhythmic beats.

Sayna

The Janusar Bavar tribal community performs the Sayna dance at the time of Diwali festival. The dance is also performed on other festive occasions. Generally, the married girls come to their parental homes at the time of Diwali. They with their friends perform the dance. The dancers are all girls but the musicians are all men. The dancers sing while dancing and, at times, the songs are in the form of questions and answers. Towards the finale the dancers, some or all, spin large brass plates on the tip of the forefinger of their right hands. They wear their best dress for the dance.

Chaufla

Chaufla is an interesting dance of the Garhwal region of Uttar Pradesh. It is not limited to a particular community. Men and women of any community living in the village may participate in the dance provided they know how to perform it. Men and women stand opposite each other. While dancing they clap their hands with that of the dancing partners. The steps are complex and the partners dance in a perfectly synchronized manner. The dancers sing particular songs while dancing. Instrumental music is not used with this dance.

Nak Cheng Rennie

Rava or Rabhas are a Bodo speaking matriarchal tribal community of North Bengal. Their dialect is close to that of the Garos. Since they live in close proximity to the Hindus, the Rabhas have assimilated a number of traits of their neighbors into their cultural matrix. The Rabhas are a small community and their population is less than 5000. The dance named Nak Cheng Rennie, literally meaning the dance of catching prawns, has no religious association and can be performed at any time. The dance is a land of stylized and suggestive depiction of catching prawns from hilly brooks. The dancers use Jokkoi and Khalai which are actually used in prawn catching. The dancers are all girls, but the musical accompanists are all men. While the melodic accompaniment is provided by the female vocalist and Barangshi, a bamboo flute, the percussion is by Hem, a drum with two faces: Dandi, a bamboo made idiophone; Barding, another interesting idiophone; and a rare tribal instrument made of a long piece of bamboo with a buffalo horn at the lower end.

Kat-gnok-Lok

The Lepcha tribal, community of Sikkim performs an interesting dance called Kat-gnok-lok, literally meaning dance of the swans. The dance is related to the migration of swans from warm plains to the cooler Himalayan regions when summer approaches and return to the plains when winter comes. These migratory birds indicate to the Lepchas when to sow the seeds and when to harvest the crops. Therefore, a legend has been inspired by the swans. It tells the story of the sojourn of a group of migratory swans led by Gnonpo Geubu and his wife Jhum Thi. When the Lepchas see that the swans have started migrating to the cooler regions in February/ March, they begin their sowing, and when the swans return to the plains in October/November, they know that the time has come for harvesting the crops. The legend tells how the group of migratory swans had to undergo lots of suffering while heading for the cooler regions and how finally they found comfort and food. The legend inspires the Lepchas to bear courageously the difficult days hoping for a comfortable future. The day the Lepchas sight a migratory swan, they perform the Kar-gnok-lok dance in which they suggestively depict the aspects of human life in which one has to struggle hard to attain peaceful, prosperous and happy life. The dance is performed by young boys and girls, attired in colorful costumes, on various happy occasions. The dance is accompanied by songs and instrumental music provided by Tingdar, the drum; Palit, the bamboo flute; Tambak, the plucked string instrument; Satsang, the bowed string instrument; and Romu, the cymbals.

Gnela Kipa

Gnela Kipa is another folk dance of Sikkim. It is prevalent among the Bhutia tribal community. On every happy and festive occasion this dance is performed by men and women, young and old. Through this dance they express their gratitude to the great saints of the community and the sacred places. They believe that because of these sacred places situated in the region where they live and the saints born in their community who inspire piety and humility, the Lepchas lead such a happy life. The joyous songs that accompany the dance praise the saints and the sacred places and offer prayers for peace and happiness of the mankind. The dance is performed to celebrate the New year. It is also performed on the occasion of marriage and childbirth. The instrumental music that accompany the dance is provided by Gno, the drum; Ljnghu, the bamboo flute; and Dab-gney, a kind of plucked string instrument.

Bardo Chham

In Arunachal Pradesh the Shardukpen tribal community perform Bardo Chham dance on festive ocassions. Bardo Chham literally means dance of horoscopes. Dancers wearing colorful masks perform this dance indicating that the activities of living beings are watched by the gods who reward the good and punish the evil forces. A large frame drum with a long handle played with a stick provides the percussion music for the dance.

Wilang Herm

The Konyak tribal community of Nagaland perform Wilang Hem which in the past was danced with gay abandon by the triumphant warriors after their return from a battle in which they have not only defeated the enemy but have cut off the head of the leader of their enemy, which they brought home as the trophy. The dancers wear colorful traditional costumes and carry on their back baskets made of bamboo. The dancers perform to the music of indigenous drums, bamboo pipes and gongs. Now the dance is performed on festive and happy occasions.

Zemi

The joyous dance performed by the boys and girls of the Zemi Naga tribal community of Meghalaya is named after the tribe, i.e. Zemi. It is generally danced near the Morung, the dormitory for the unmarried. The dancers wear their traditional colorful costumes. The male dancers wear-a headgear decorated with feathers of hornbill. The dance movements of the boys are vigorous and while dancing they leap very high and land on the ground on the beat of the rhythm. The girls while dancing twist and turn their torso with great felicity. The dance is accompanied with drums and cymbals.

Kumpitlung

Kumpitlung dance is prevalent among the Tarao tribal community mainly living in the Tengnoupal district of Manipur. The dance has three parts which are called (i) Enthlona, (ii) Ral Lam, and (iii) Kathla Lam. The Taraos believe that they initially lived in caves. The Enthlona part depicts how the community came out of the cave and what they did after that. The second part called Ral Lam signifies the victory of the community over their enemies. The concluding part called Kathla Lam is a festive dance. All the three parts may be performed one after another or at different times. Both boys and girls perform the dance wearing appropriate costume which is different for the three different parts. The dance is accompanied by a big cylindrical drum with two faces. While one face is covered with deer skin, the other, by a cow skin. The other musical instruments are: Shananda. a bowed variety of chordophone; a gong, an idiophone made of the horn of a Mithun which looks as if it is a mixture of buffalo and bullock. The musicians also sing appropriate songs for the three parts of the dance.

Dhimsa

Another festive dance prevalent in Manipur is Dhimsa performed by the Kacharis. Young boys and girls attired in their traditional colorful costumes present the dance on festive occasions. The boys and girls dance in pairs. Musical instruments used with the dance are : Kharam, a long cylindrical drum with two faces; and Meri, a reeded wind instrument made of wood and with a very widely flared bell at the end like the French horn. It is played continuously without any break for inhalation. The Meri player while blowing the pipe inhales simultaneously. The mastery of playing the pipe comes after long practice. An expert Meri player can play continuously for hours without any break in the blowing.

Solakia

The Panvi and Lakher tribal communities, living in Chhimtuipui district of Mizoram perform Solakia dance. Both boys and girls participate in the dance and are guided by the leader who plays a gong to the beats of the rhythm. The stepping pattern is simple but very elegant. With the swaying movement of the body, the dancers swing their right legs towards the left delicately bending it at the knee. They take back the right leg and come forward in three rhythmic steps. Then they gracefully bend the knee and go back with three backward steps. The dancers wear their traditional ceremonial costume including a colorful headgear. Each leading dancer holds a spear and a shield followed by a dancer who brandishes a sword and slings a gun from the shoulder like a tribal hero. Accompanying percussion music is provided by long cylindrical drums, a set of gongs and cymbals.

Rasar-Kali

In Western Orissa, especially in the district of Sambalpur, a form of dance is prevalent by the name of Rasar-kali, which literally means a bud of aesthetic pleasure. It is very much similar to the autumnal dance named Dalkhai. The only difference is that the accompanying songs use the refrain of 'rasar kali re'. Orissa has a high concentration of tribal communities. There are 62 different tribal communities constituting about 25% of the total population. Each of the tribes has a form of recreational dance. For instance, the Koya tribal community living in the Malkangiri region of Koraput district of southern Orissa, perform a festive dance that is named after the tribe.

Koya

Like all tribes, the Koyas also love dancing and singing. No festive occasion, whether religious or social, goes without song and dance. In the festive dance the Koya girls forming a semicircle dance with simple yet graceful movements. Each holds in her right hand an iron rod with jingles, which is rhythmically tapped on the ground while dancing. The dancers wear brass band of about three inches wide on their head as headgear. They dance putting their right hand on the left shoulder of the nearest dancer. The percussion music is provided by a group of drummers playing slightly conical drums. The drummers are all male and they wear headgears with two bison horns and several strings of cowries that dangle over the face like half-mast. The drummers look exactly like those of Bisonhorn Marias of Madhya Pradesh, with whom the Koyas have cultural similarities. Both the dancers and the drummers sing while dancing.

Gaur

The Gaur dance of the Bisonhorn Marias, who mainly live in Bastar region of Madhya Pradesh, is exactly like the Koya dance.

Jhamta

The Jhamta dance of Madhya Pradesh is performed both by tribal and non-tribal communities. It is danced only by male dancers and presented at any festival or happy occasions. The dance is performed in four phases and each phase is characterized by its pattern of stepping and torso movements. The dancers sing while dancing. The songs are called Jhamta-siring. The percussion music of Dhol, Dholak, a smaller two-face drum, Timki, bowl shaped drum, Banshi, the bamboo flute and Jhanj, the cymbals accompany the dance.

Pinnal Kolattam

A fascinating dance of Tamil Nadu is Pinnal Kolattam. In this dance a number of differently colored ribbons hand down suspended from a fixture. The lower end of each ribbon is held by a dancer.
Dancers holding the ribbons dance and move in such a way that a beautiful symmetrical braid of the ribbons gradually takes shape. Both melodic and percussion music accompany the dance with indigenous instruments.

Goph

Goph is an exotic confluence of colorful cultural strands. The weaving of the plait-Goph- represents the quite but conscious assimilation of the impressions left behind by several dynasties, which ruled over Goa during the past centuries. The dance is annually presented by the peasant community in Canacona Anguem and Quepem taluka in the Shigmo festival which is the most popular folk festival of Goa.

Morulem

In Goa the men folk of Naik (Maratha) community perform the dance called Morulem which literally means a peacock. Each of the dancers wear a peacock feather on his headgear. The dance movements, however, do not always imitate that of a peacock. It is such a popular dance in Goa that now-a-days girls also have started participating in the dance. Though danced at any time of the year, it is particularly danced during the 5 day Shimga festival held in the lunar month of Phalguna (February/March). The dancers, along with other villagers, go to each house and dance in the open courtyard to celebrate the festival. On the last day of the festival the dance is performed at an open place in the village. The accompanying musical instruments are : Peti, the harmonium; Mridanga, a drum with two faces (often the pair of Dugi-Tabla is played instead of Mridanga), Kansalem, large size gong, and Jhanj, the cymbals.

Ghoomar

In Rajasthan Ghoomar is a very popular dance. There are various kinds of Ghoomar. Broadly, it can be divided into two kinds: that which is prevalent among the tribal communities in rural areas and that performed by non-tribal and people mostly living in urban areas. Since Ghoomar literally means whirling movement, be it tribal or non-tribal Ghumar, turning and circular movement form the core of the dance. Among the tribal communities, the Sanasis and the Bhils have he tradition of performing Ghoomar. The Sanasis call it Gher Ghoomar. In the tribal Ghoomar, both men and women participate, but in the non-tribal kind only women perform it. In all kinds of Ghoomar; the dancers wear highly pleated long skirts. When they take fast turns, the skirts take the shape of rotating umbrellas and then it becomes a feast for the eyes. While the tribal Ghoomar is accompanied with Dhol; Jhalar, an idiophone; and Algoza, a kind of double flute; the musical accompaniment for the non-tribal Ghoomar is provided by Dholak, Nagara, a pair of bowl shaped drums, one smaller than the other; Shehnai, the wind instrument; and harmonium. In all kinds of Ghoomar, the dancers sing while dancing.

Kalbelia

The Kalbelia dance of Rajasthan has now become quite popular outside the province. Actually, Kalbelia is a nomadic community mostly living in the Ajmer-Pushkar region. Their, main occupation was ensnaring snakes and selling snake venom. Now they have opted for other professions. They belong to the religious sect named Nath. On social and ceremonial occasions, the womenfolk of the community sing and dance, as if inspired, to the beats of Daph, a frame drum, and plaintive notes of Been (also called Pungi), a wind instrument made with the dried skin of a whole bottle-gourd to which two bamboo pipes, one with fngerholes, are attached to the lower end. It is a traditional musical instrument which the snake-charmers use to attract snakes.

The Kalbelia dancers wear black embroidered skirt and blouse. While dancing they also perform some acrobatic feats.

Tera Taali

Tera Taali is a unique dance of Rajasthan. It is performed by two or three women, belonging usually to the Kamara community. The dancers remain seated throughout the performance. Tera means thirteen, and Taali means clapping. In the dance the clapping is done with cymbals. There are thirteen different modes of cymbal clapping and usually thirteen cymbals are tied to the different part of the dancer's body. To each hand of the dancer is tied a cymbal. The dancer strikes on the cymbals tied to the different parts of her body to the beats of the accompanying song. The dancer sits on the ground and stretches her right leg forward to which are tied cymbals at different places. The skill of moving the two hands to strike the cymbals tied to the body is indeed amazing. At times the hands are moved in such a way as to suggest milking of a cow or grinding something on the indigenous grinder made of two pieces of heavy circular stones etc. Each of the dancers balances on her head one to three pitchers all the time while performing. A male vocalist plays Ektara, a drone while singing the accompanying song.

Gidda

The menfolk of Punjab dance Bhangra while the womenfolk perform Gidda. If is performed on all happy occasions like marriage and childbirth. The ceremonial Gidda, however is danced for consecutive twelve days in the month of July when the festival called Teejan of Sawan is held. The dance consists of singing, clapping, and enacting the Boli, which is one or two couplets that narrate a very wide range of subjects from household chores to the tensions between mother-in-law and daughter-in-law: The singing of the Boli is punctuated with an enthusiastic refrain-phrase Balle, Balle. To perform Gidda the dancers form a circle and participants in pairs, take turns to come to the centre and sing the bol. Towards the end of the boli the pair dance with gay abandon and then return to the circle. Another pair replaces them. Thus the dance may continue for hours. Often the dance is accompanied by a Dholak played by one of the women participants. At times it is danced only to the clapping. Gidda is uniformly popular in Punjab, however, the Gidda of Malwa area is famous for its gusto and speed.

Poikkal Kuthirai/Keelu Guralu

In many parts of the country dummy horse dance is performed. All the dummy horse dances, however, have elements of theatre and therefore quite entertaining. The other dummy horse dances are prevalent in Tamil Nadu, Andhra Pradesh, and Karnataka. In Tamil Nadu the dance is called Poikkal Kuthirai, and in Andhra Pradesh, Keelu Guralu. Dummy horse dance, irrespective of the region of its prevalence, is based on the same principle. Invariably the dummy horse is improvised with bamboo and cloth. The head of the horse is made with papier-mâché. A tail is also attached at the other end. The body is hollow, into which the dancer enters, as if into a cockpit. The dummy horse has no legs. When the dummy horse is lifted by the dancer and is slung from both the shoulder, it appears as if the dancer is riding a horse. The body of the dummy horse is near the waist of the dancer whose feet can be seen by the audience. The dancer dances to the beats of the accompanying music, style of which changes according to the place of its prevalence. The music draws heavily upon the folk music of the region. Singing and percussion music usually accompany the dance.

Songi Mukhawate

There are quite a few recreational dances which have pronounced theatrical elements. Therefore, they are quite entertaining. One such dance is Songi Mukhawate of Maharashtra. Although it has religious associations and connected rituals, the theatrical elements come to the fore. It is customarily performed as an integral part of the worship of Devi (mother goddess) on the full moon night of the lunar month of Chaitra (March/April). The dance celebrates the victory of truth over falsehood. The name of the dance is derived from the two lion masks worn by two dancers who represent Narasimha, an aspect of Lord Vishnu. The dancers in the role of Kal Bhiarav and Vetal also wear masks. The other dancers perform holding sticks in their hands. Dhol, Pawari, and Sambal are the main musical instruments used in this dance. The Pawari players wear green costume and peacock feathers on their headgears.

Vaghya-Murali

Another entertaining dance of Maharashtra, with dominating theatrical elements, is Vaglya-Murali. This dance too has religious associations. The dance recapitulates the tradition of Marathas to worship the weapons on the eve of Dussera festival, in the name of Lord Malhari, who is considered to be an aspect of Lord Shiva. The name of the dance is derived from the terms Vaghya, the male actor-dancers and Murali, the female dancers who used to be dedicated to Lord Shiva in the past. A duet between the Vaghya and the Murali develops into a full fledged dance to the accompaniment of percussion instruments and bells.

Singhi Chham

In Sikkim the interesting dance called Singhi Chham is performed. It has also religious associations. Mount Khang-chen-Dzong-pa (Kanchenjungha) the third largest mountain in the world is sacred to the people of Sikkim as their guardian deity. As decreed by Guru Rimpche (Guru Padmasambhava), this majestic mountain stands guard over the land, holding within its crevices the sacred Five Treasures. Its associate peaks look like the legendary Snow lion, fierce and fiery with its gorgeous mane hued in turquoise. The Snow Lion is considered an important cultural symbol of the state and is elaborately depicted in the Singhi Chham or the Snow Lion dance. Usually two or four dummy lions perform the dance. Each dummy Snow Lion is made of white fur and the face is bluish. Actually, it is total mask made of cloth and fur. Two dancers get into each lion mask and position themselves inside the mask in such a way that the Snow Lion looks somewhat like a real lion. The legs of the dancer positioned on the front become the two forelegs of the lion and the two legs of the dancer positioned at the back form the hind legs. With amazing synchronization the two dancers move so that the movement of the Snow Lion appears realistic. Only a drum is used with the dance.

Puliyattam

In Tamil Nadu Puliyattam is prevalent which has the overtone of theatricality. Pull means a tiger, and Attam means dance. Puliyattam (tiger-dance) is performed mainly in the districts of Madurai, Ramanathapuram and Tirunelveli. Men of usually good build, wearing mask and painting their entire body with dots and stripes, appeal as tigers in human form. A powerful drum music is the only accompaniment with the dance. Some of the dance movements are inspired by those of tigers. The Puliyattam is performed usually at village festivals.

Paos Jagoi

In Manipur a fascinating dance called Paos Jagoi is performed. It is associated with an equally fascinating Meitei (Manipuri language and its old culture) myth which is as follows : God Atinga Shidaba had three sons; Amiba, Ashiba, and Achiba. He asked his sons to create the Universe. When Amiba began the creation, Ashiba destroyed it, not once but thrice. God Shidaba thought that unless he creates someone who can help Amiba, the creation of the Universe will never be complete. Therefore, he created Nogthangleima, a beautiful girl from his eyes and advised her to help Amiba. When Ashiba, who is also known as Pakhangba, saw the beautiful girl, he changed his destructive attitude and wanted to marry Nongthanleima. She spurned the advances of Ashiba and cooperated with Amiba to complete the creation of the Universe. God Shidaba was very pleased to see the beautiful Universe and granted a boon to both of them to be born as lovers generation after generation. Amiba was born as Ningthou and Nongthangleima as Panthoibi. As ordained by God Shidaba, she came searching for Ningthou. When the two met they remebered the sweet days they had while creating the Universe. They were so overjoyed to be once again together that they started dancing which was called Paos Jagoi. The dance is performed to perpetuate the love of Ningthou and Panthoibi.

While dancing the male and the female dancers exchange loving words through singing. The dancers wear gorgeous costumes which are prescribed for the dance. The accompanying music is provided by Pung the drum with two faces; Pena, a simple bowed string instrument, Banshi, bamboo flute; Senbung, a large gong; and Taal, the cymbals.

Chhau

In Eastern India, in the States of Orissa, Bihar, and West Bengal, about a dozen differing styles of dance are prevalent under the generic name of Chhau. To differentiate one from the other, the name of the district where it is prevalent is prefixed. The three representative styles are called Mayurbhanj Chhau, prevalent in the Mayurbhanj district of Orissa; Seraikela Chhau, which is prevalent in Seraikela sub-division in Bihar; and Purulia Chhau, prevalent in Purulia district of West Bengal. The main difference among the various Chhau styles is in the use of masks. While some styles use mask, others do not. The Seraikela and Purulia styles of Chhau use masks. The Seraikela masks are more sophisticated and the Purulia masks are more theatrical. The Mayurbhanj Chhau does not use mask. The similarities among the varying styles of Chhau are : 1 Style of typical leg extensions are almost similar, 2 All the Chhau dances are customarily performed as a part of Chaitra Parba, a festival held on the last day of the lunar month of Chaitra (March/ April) 3 Musical instruments used are the same. They are : Dhol, the barrel shaped drum with two faces; Dhumsa or Dhak, a land of huge kettledrum; and Mahuri, the reeded wind instrument like Shehnai, but with a sharper timbre. Because of the generous and enthusiastic patronage of the erstwhile princely states, the Mayurbhanj and Seraikela styles of Chhau are highly evolved and have all the desired elements of a classical dance. Purulia Chhau, although less evolved, is highly dramatic and the most vigorous of all styles of Chhau. In absence of clear evidences, there are differing opinions on the origin of Chhau dances. One that appears most reasonable is that they have evolved out of the martial crafts. The earliest number in the repertoire of Mayurbhanj Chhau is Ruk-maar-nacha which literally means the dance of attack and defense. Similarly, the base of Seraikela Chhau is Phari-Khanda Khela, meaning the play of sword and shield. Each number of Purulia Chhau culminates in a confrontation between two warriors. Two forms of folk dance still surviving in some of the remote villages in Orissa, which have leg extensions exactly like that of Chhau, are Paikali (check Game and Martial Dances Folk Dances) and Amdalia-Jamdalia Nacha in which the dancers decorate themselves with and dance holding small branches of mango and jamun (a kind of deeply purple colored plum) trees. In some of the numbers in these two forms of dance masks without eyeholes are used. Surely these two dances are the precursor of Chhau.

With masks the Seraikela Chhau takes fantasy to the summit of poetry, where beauty is distilled from a world of magnificent dreams; and Purulia Chhau vibrates with a theatricality that makes out myths palpable. Without mask the movements of Mayurbhanj Chhau become visual poetry of stormy passion gestured in a style that is free, intense, and affluent; a poem that is ablaze with Nature - her storms, her volcanoes, her rivers, and her lagoons.