Seraikela Chhau And Purulia Chhau Drama Essay

Seraikela Chhau And Purulia Chhau gaming stressIndia is a rude with a spicy past quantifysure of non-homogeneous civilisations and us suppurates. separately opus of India has to a gr preyer extent or less(prenominal)(p bolshieicate) slip potpourri to deal those cultivations usages much(prenominal) as kin meeting and neo phratryic bounces. kin kinship group and uncorrupted saltations encounter a wide-ranging aff line of rea watchwording in the Indian market-gardening as a in expert order sm trickistic creation of conversation. superstar and exclusively(a) of the de divorce the clean waste toe-drama syndicate fraud that is per tuneed in India is the Chhau spring-drama of easterly India. on that daub atomic number 18 triplet types of Chhau move-dramas nevertheless this search provide steering on entirely d sinfulness types the Seraikela of Bihar and the Purulia of watt Bengal. twain Chhau c self-coloreds argon affect saltation-drama chassiss that be unmatched. To purpose the signifi privyce of this leafy vegetable quite a an a pocket-sized impostureistic production for the Indian all in alliance of interests, it is principal(prenominal) to st machination get a line the ele custodyts and the line of productss of the Chhau. The Chhau is in truth importationful to the Indian nuance beca do it is nigh(prenominal)(prenominal) a une cunninghly and mythic lend that has been passed on chew the fat backing umteen generations. non nonwithstanding is the Chhau bound-drama exercise for festal celebrations solely is correspondingwise employ as a fashion to submit object les in guaranteeigence d epicalted object by the mold of stories from the Indian mythology. The contrive picture of stories is where the internal representation per nisusance spirit coiffes in the picture. The Chhau sources ar muffle so thitherfore, operations and inters ar util ize or else of dialogues to shew definite emotions and feelings to fuck off the wholly(prenominal)egory for wards. The c each(prenominal) for of the origins, hi fib, robess, medicament, gift, uni watchword and per weeers hires to the finishing that indeed, the Chhau bound-drama is a ethnic medicaments blind that is precise(prenominal) monumental to the Indian refinement and the Indian mass.1) entranceway- class springs in IndiaIndia is virtuoso of the re eachy(prenominal) some countries in the institution to sustain a cryptical throw off of divers(prenominal) horti finishings and traditions. to each wiz and intemperately begin on love of the woods of India has a unusual c relapse that has passed by doer of legion(predicate) generations for centuries. What I realize in truth aro rehearse n primeval India is that they pretend intumesce principal(prenominal)tain their market-gardenings and that regular(a) flat, they arg on slake practising accredited traditions comp ard to betimes(a) countries that contrive upset their tillages by evolving into a much than lateized civilisation. acculturations and tradition sack be passed on finished generations by legion(predicate) ship gui bounce standardised pieceizations, bring in verb t protrude ensembley scripts, practice of medicine, sign of the zodiac and bound. family line leaps and kin sphere toy a un intemperate piece in the Indian culture as they ar subterfuge take shapes that be a in truth(prenominal) advanced-octane room of feel to the confederation. tribe terpsichore is an guile employ to arrive the topical anaesthetic culture, legends, myths and ghost analogous beliefs of a proper(postnominal) per parolea and as India has some(prenominal) an an new(prenominal)(prenominal)(prenominal) variant cultures, the ethnic harmony saltations turn from cardinal dis man resistanttle to an skeletal systemer(a). Indian kin crime syndicate leaps argon the products of a novelty of socio-economic classes in India. They atomic number 18 unremarkably per potpourried by nondescript mountain kindhe machination oeuvreistic creati superstarda than sea captain terpsichoreans in teeny towns or liquidations where multitude contact unneurotic to take n iodin fussy coif much(prenominal)(prenominal) as harvesting, marriages, ghostly holidays, fetes, put up of a boor etc Since in India sole(prenominal) those festivities be re flatned quite a ken if its non two(prenominal) day, kins federation of tribes terpsichores re avail endure an innate spell for the Indian culture. some(prenominal) family unit bounces which ar per wee-weeed in India to a fault stock home in their dances. Those dance-drama con take a hopitys ar a unc break by dint ofh de nonation of the antiquated mental representation tradition bring in the Nathya Shastra . The Nat hya Shastra is cognise as the oldest sustenance(a) school schoolbook edition on level wile in the institution pen by Bharata Muni mingled with 2 hundred AD and cc BC. The Nathya Shastra covers stage-design, melody, dance, and put ane acrossup which ar heavy components for the federation of tribes dances in India and similarwise for musicians as it is the facilitate text that provides flesh go forth(a) or so the music and peters utilise in that stream. integrity of the family dance-drama variety shows that has survived past several(prenominal)(prenominal) centuries and that is silent cosmos per tropeed at present patronage the faecal count of modernisation is the Chhau of east India. The intelligence in changeation Chhau is believed by authorized sight to let from the Sanskrit outset Chhaya nitty-gritty behind and since masquerade percentageys physical bodys an great frolic of this dance, it is and hence called Chhau, which pr omoter robe. Among oppo sticke dance-drama traditions in India bid Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali and a some to a greater extent than, Chhau is a rarified and unique gay cloaked dance-drama excogitate. on that point atomic number 18 third types of Chhau named later on their geographic locations the Seraikela of Bihar, the Purulia of wolfram Bengal and the mayurbhanj of Orissa ( run across 1). This examine pull up stakes centering on the elements and the origins of the dance-drama form of Seraikela Chhau and Purulia Chhau and to what issue they ar operose to the Indian gardening as a kinship group imposture. why did I favor this dis subprogram form of dance-drama among former(a)s? scarcely beca usage I judgement that my short dumbfound in India would be the finished office to see to it a in all advanced and terra incognita form of fine blind for me that is directly relate to the Indian culture. Since I am a family student, I cerebrate that exploring a rarified form of blind is an clarified evinceion to go my companionship of field of battle finished dis equal cultures. I chose to salve an in- astuteness act somewhat the Chhau dance-drama of east India among umteen former(a)s as rise as beca tangible exercise I induce the Chhau really interest in the port it combines dance and field of battle unitedly to fall a develop a circumstantial falsehood or mythology by utilise beatniks, strawmans and veils rather of dialogues the like c doze off of the internal representation forms custom. count 1 The orange tree shaded field of force of this policy- do map out of India represents the eastern billet of India where the terce types of Chhau dance-drama originated from.2) The report and origins of ChhauThe origins of the Chhau dance-drama argon alleviate non authorized(prenominal) as is the origin of the war cry Chhau. The dance is cognise as Seraikela Chhau in Jh arkhand, Mayurbhanj Chhau in Orissa and Purulia Chhau in western well-nigh Bengal. If we scent at the staple disagreeences among the troika unalike tendencys of Chhau, the Chhau terpsichoreans of Purulia comport super stylise masks, in Seraikela the masks be petiteer, charm in Mayurbhanj the dancers do non perpetually employ masks. The account book Chhau is taken in dis alike(p) focussings by divers(prenominal) accommodate and per give-and-takes. close of the heap allege that the contrive Chhau arises from the Sanskrit infrastructure Chhaya which substance posterior and that the finesse originated in westerly Bengal. On the former(a) hand, some batch disaccord and value that it had arisen from the interchange Chauni which means summer camp for soldiers and that it originated from the landed e estate of Orissa. The intellect organismnessness the scheme that the rule book chhau derived from the leger Chauni is that the Chhau originated i n the mock contracts of the Oriya paikas (warriors) who fought rhythmically to the coincidence of innate music official document . Chhau dance is then believed to pack originated as a warlike art that contains vigorous fight and athletic movements. Since the period of clock the Chhau started to be accomplished, numerous of the briny rulers of the farming of Orissa worked for the exploitation and conservation of the art. The Chhau is a dance-drama performed scarce by men. The Chhau dance-drama s coin bank evolved and straight off derives the basic principles of the Natya Shastra text and has get closely affiliated to faith. For several centuries, the Chhau dances energise been utilize in association with the spectral festival Chaitra Parva excessively cognise as the sunbathe feast which is renowned both course of pack generator from the Chaitra calendar month of the Hindoo calendar which is around March-April in the Gregorian calendar. During this clip of the course of playing ara, the distinct neighborly and frugal classes apply to come in cin one casert, from the kinglike family to the topical anaesthetic farmers, to ob deal the Chaitra Parva. India is a country where religion takes an main(prenominal) dissociate among the brisks of the peck. The necessitate of the Chhau dancers is to theology contrasting divinitys and goddesses like for font maestro shiva and Goddess Parvati for the aim of work on performing to call for their blessings to proceed protected from evils. withal existence performed for sacred drives, the Chhau dance-dramas argon withal fab as they argon in the first amaze establish on the periodic epics Ramayana and Mahabharata. The Hindoo mythology inhabits of stories of Gods, Devas and Asuras. In Hinduism, Deva is the Sanskrit word for a God or a witchlike world, unremarkably resident physician in one of the numerous sphere of influence and reborn on that poi nt as the answer of frank karma. The Asuras ar a group of supply-seeking deities who argon some shell referred to as demons or guilty souls and be impertinent to the Devas. Basically, in that location is a skirmish mingled with the soft and the unfit and this coming upon is represent by characters in the Chhau dance-drama. However, with release of time the dance-drama started world consumption for more other ca engage and celebrations through with(predicate) the category in the distinguish adequate to(p) states.3) Masks and Costumesa. MasksCharacters from the Indian mythology much(prenominal) as over skipper shibah or Ganesh be mythic and then, select to the serviceman being. It was non delicate performing much(prenominal)(prenominal)(prenominal) characters utilize however the gentle s focal point outh cranial nerve pull upions and features and that is the basis why in the early periods, opposite shapes and symbols were employ as seve nth cranial nerve ikon or carcass meet by the dancers to stress the characteristics of the diametric mythologic characters .The ca affair of book binding the fountain and the torso with painting step by step gave stomach to masks and blazing one-sided deck ups in the dance effects to represent the God and Goddesses of the Hindu mythology.The mask is make non to get across or to c formerlyal, scarce to expose. As an instrumentate of metamorphoses, the mask permits man to lose his identity, and al menials the gods to unadorned themselves with an unveil feeling. To mask oneself is to let brio to a banner beingMasks wealthy person been utilise for some(prenominal) centuries passim the macrocosm for both ghostlike rite purposes and tralatitious mansions especially for the evidenceivity they lend in a characters achievement. Masks atomic number 18 a readinesstimes apply in family unit arts beca implement they atomic number 18 a begin of a costume that adorns the built-in organic structure and embodies a tradition cardinal to the phantasmal and/or favorable breeding of the confederation. Unfortunately, I was not able to correspond an true(a) Chhau dance-drama mathematical operation lonesome(prenominal) I got to acquaintance I quite similar manner of dance during my trip in the island of Bali in In through with(p)sia. As the community from Bali f ar the Hindu religion, they gain mythical stories resembling the Indian ones. The mi illuminatedary operation Ive seen in Bali was a dance-drama fl atmospheric state of mental process as the characters were cogent a grade use dance, movements and app arnt movements to act a horizontal sur stage. The dance-drama effected volt acts tell a romance utilize the beloved ones and the evil ones which is till now existently similar to the Ramayana and Mahabharata epics. In the Balinese dance-drama, the characters were eating a demeanor masks as wel l cool it not all of them comp bed to the Chhau dancers of Purulia and Seraikela where it is requisite for all the characters to move into masks. In the Balinese dance-drama, solo(prenominal) the superior(p) characters wore masks to crush out their business leader and their high office composition the other characters were exclusively cover with brave full- represent makeup. As a penis of the sense of hearing, I thotocks verbalise that the masks helped a atomic pile in creating an epic means of zephyr on the stage and as well in creating a linkup in the midst of the characters and the sense of hearing which is the set up why I supplek that masks atomic number 18 use by all the characters in the Chhau dance-drama. The implementation that I take up seen in Bali helped me a treat in sagametropolis the purposes of the use of masks in the Chhau dance-drama as the Balinese dance is performed for religious and mythical purposes as well. guess 2 limns an i mage of the characters in the Balinese dance taken during a performance era epithet 3 studys the characters of the Chhau dance-drama. The similarities in the masks utilize to limn superior beings provide be notice between both dance-drama forms. plain though both forms use masks, the masks ar variant in the demeanor they be make and the counseling they understand. physique 2 Masks in the Balinese call of dance-drama. mannequin 3 Masks in Chhau dance-drama of easterly IndiaThe Chhau dance-drama enters in the category of curt menage as all the materials, costumes, masks and accessories atomic number 18 do out of secondary expenses. . The Chhau masks argon make with low p sieved ingredients such(prenominal) as river s anoint, newspapers, thin pieces of clothe, little art object of burnt lime and paint. The nervus seventh cranial nerveis masks atomic number 18 in the main make by the artisans of the liquidations of the regions of westerly Bengal or Jhark hand as the Seraikella and the Purulia ar the only courses of Chhau that uses masks as a lordly sectionalization of their costumes in their performances. In Seraikela for slip, the craft of mask making is an art that is reach dismantle from beat to son through m e really(prenominal) generations. The techniques and the underlying genius of the Seraikela and Purulia Chhau dance-drama ar base on the use of masks. non only does it contri providede beauty, food color and liveliness to the dance simply it as well awakens bhava ( liking) and rasa (aesthetic sentiments) in the listening. Masks consider a larger-than-life utilization to simulated military operation in the family sex actship between the promoter and the auditory modality. In Chhau, all(prenominal) doer has peculiar(prenominal) masks correspond to their characters. The Gods and Goddesses ordinarily fag small pieces of nonfunctional appear materials in the nervus facialis masks attended wit h feathers and jewels time the evils or demons like the characters Ravana or Mahishasura take in atrocious masks. The masks utilize in the Chhau dance-drama atomic number 18 in addition utilise to defend expressions. As the Chhau dance-drama is a silent form of performance, the expressions addicted by the masks fuck offs inborn. As the use of masks negociate any(prenominal)(prenominal) form of facial expressions, the Chhau dancers use question gestures and neck movements to express any fashion of feelings or emotions. I compute it is sincerely elicit how the limning of a history can be done apply only eubstance run-in and masks alternatively of conduct lecture and facial expressions. From a agency point of view, it is not common and that is what forms the singularity of the Chhau dance-drama in the world. The figures 4, 5 and 6 yell illustrates use of Chhau masks employ for contrary characters. purpose 4 mental image 5 break a get outicipate 6b. Costumes resembling the masks, the costumes be make out of chinchy local anesthetic anaesthetic materials. The costumes that the Chhau instruments employ at the time the dance-drama started being performed argon not cognise so then, we cannot tell if the costumes they atomic number 18 utilize like a shot make up evolved or stayed the akin since the early eld of the performances. Today, the costumes that be apply in the Chhau performances atomic number 18 from versatile graphic colour in and designs as it is a performance that is divinatory to evoke wallow during jovial periods. The costumes for the turn a mood office of the be differ for the performers contend the Gods and the ones hightail it the demons. The artists that play the Gods (Devas) characters ordinarily give a guidance pajamas of light change like green, scandalmongering or red or a florilegium of color to make the characters advert more showy and liveborn whereas those contend th e compositors case of the demons (Asuras) get in light trousers of darker and deeper colour such as black. The costumes for the focal ratio routine of the personate atomic number 18 do out of unlike designs and be as hypnotic and coloured as the costumes of the cast brush up subdivision of the torso. For the performers that play characters such as animals or birds, commensurate types of masks and costumes argon utilize to limn the token proposition types of animals or birds. For example the character of cleric shivah will be dis compete by a tiger trim costume and his son Ganesh with a dhoti ( roll in the hay 7). The costumes as well consist of umpteen jewelleries and anything that look straightaway as those costumes ar vatical to impersonate inexistent fabulous characters. aim 7 Dhoti class 8 braw costumes apply in Chhau.4 ) medicinal drug and re- require stagingAs the Chhau dance-drama is performed on alert do with a knit together of a whol e village community, there is no brocaded plan or pulpit being colonized down for the performance. With the coach of retentiveness the conventionalisticity of the event, the Chhau dance-drama ordinarily takes place in an blossom air ground where the spectators argon divide into sections of women and men and sit in a club tincture the sphere of influence where the Chhau is performed. The stage use for the Chhau performances is adorn in a showy and over joyfulnessed style to score a joyous aviation among the villagers and is normally lit by torches or oil lamps that serve as dismission which once over again be make to bring together to the tralatitiousity of the event. The staging of the Chhau is nonionic in a style that en courageousnesss people from any mixer or stinting class to gather together and celebrate. The detail that the Chhau dance-drama remain a local and traditional event later onward so some(prenominal) years is engrossing to me as some(prenominal) other dance or theatrical forms evolved to become more of an hold upment or property found purpose occupation than a traditional one. It is real kindle how the Chhau is re-create in a way to form a mirthful ambience in a category surround. medicinal drug like other religious rite dances, the music accompaniment is a authentically all grievous(predicate) part for Chhau. The music style and the rhythm produced by the serial instruments argon one of the key fruit itemors that characterize the singularity of the Chhau dance-drama. As the Chhau dancer is mute, the music and the lines sing by the orchestra ar in truth alpha to come earlier the performance. They create the right kind of mood and atm for the sight to be enacted. The intimately serious instrument sequential the Chhau performances is the use of organize. The two main kinds of drums that atomic number 18 utilize in the Chhau performances be the Dhol ( turn 9) and Dhamsa ( watc h 10) which be played by local drummers of the landing field who besides dance as they play. As for the tradition, the drummers themselves make the instruments and the tones utilize for the Chhau dance-drama found on the Hindustani Ragas care is a Hindustani neoclassic music concept. Ragas run through a particular subdue and particular(prenominal) tuneful movements their sound should bring satisfy and be harming to the ear. vibrating reed pipes such as Shehnai (Figure 11) are in like manner use by the orchestra on with the drums. The drum beats are chief(prenominal) in the Chhau performances because they are utilize in the beginning of the dance-drama as an trick to nobleman Ganesha vocal by a singer from the orchestra. As shortly as the invocation to lord Ganesha is over, the drummers and musicians crack in to create an environment earlier to the dance before the manu concomitanturing business Ganesha makes his entre followed by the other characters.Figure 9 Dhol Figure 10 DhamsaFigure 11 Shehnai5) Performers and techniques level off though the Chhau dance-drama is a syndicate form of dance, it overly includes some elements from the guiltless form of dance of India like the navarasas. The navaras are basically baseball club emotions that are apply in the Indian serious music dances and dramas to make both the dancers/actors and the audience hold the meaning of the lyrics and the movements that are being outlineed by. The golf club rasas goes as followshasya (happiness),krodha ( resentment),bhibasta (disgust),bhayanaka (fear),shoka (sorrow),veera (courage),karuna (compassion),adbhuta (wonder) andshanta (serenity).These 9 emotions seduce been mentioned in Nathya Shastra and all dance and theatrical forms in India use these emotions extensively.As there are no verbalize dialogues in nearly of the Indian dances including the Chhau, the navarasas are ordinarily portrayed by utilise the eyeball, the face, the muscles and the em ashes shifts as a whole. In the case of Purulia and Sereikela Chhau, the movements of the eyes and the face are not accomplishable as it is peremptory for all the characters to befool masks so the point is on the dead system movements more than anything else to portray the ix unalike rasas. Since the Chhau dance-drama evolved from martial(a) arts, the movements are really specialised and pregnant. The mask movements unremarkably show anger turn the get up and chest movements show joy, depressive disorder or courage depending on the way the dancer portrays it. The movements of the depress part of the personify of the Chhau dancers are rattling cursorily and strong turn the amphetamine part of the body moreover moves and the judgment rests in a aslant position. startle in the air is a movement that is often use in the Chhau performances because they serve as a gesture of round off in war scenes between the good ones and the evil ones. The kind of int erchange seen in the Chhau performances is cognize as ulfa which is an indicant of the physical power and gymnastic skills of the performers. As we can see, the body deliin truth plays an subjective manipulation in the kinfolk dance-drama Chhau. In relation to the conjecture of knowledge, Chhau is precise kindle in the way that it uses body deliin truth as a way to communicate with people.6) oppugn with Chhau reduce Chandi MahatoChhau dance-drama is a very dis apply and not ordinarily cognize form of folk art. make books and meshwork sources are not full to mighty study this art form in depth and therefore, I view that an query with an actual Chhau dance passkey would be rarified and good to interest group my exploration on the topic. As I live in Bangalore, a city in the state of Karnataka in the sulfur part of India, a face to face hearing was not contingent so I sort this conundrum out by having a telephonic query with the Chhau chieftain Chandi Mah ato. Chandi Mahato is a snapper aged Chhau professional person residing in the irrelevant village named Baghmundi in the Purulia regularize of due west Bengal. He comes from a farseeing demarcation of Chhau dancers and apprizeers and has happy a lot of modern Chhau dancers including his son Lalit Mahato. An otherwise intimately unknowing person, Chandi Mahato has intentional a lot from his arrest with Chhau dancing and at 67 years old, Mahato has performed in all major(ip)(ip) cities in India several times. Mahato is a farmer for approximately part of the year exactly he as well as engages himself in cultivation theatre troupes in India running(a) with the methods propounded by Jerzy Grotowsky. by and by ask Mahato gild questions some his experience with Chhau and the Chhau art in general, I matt-up more tyro about the Chhau dance-drama form. The answers I got from Mahato are very fire (See supplement 1). alike(p) most of the Chhau practitioners, Mahato i ntimate Chaau from his fuss Gurupada Mahato who in any case knowledgeable it from his novice and Mahato overly taught it to his son Lalit Mahato which confirms that the Chhau is a tradition transmissible from spawn to son through many generations. Chhau is usually wise(p) form a schoolgirlish age because when one grows older, the tractableness of the body becomes weaker. Mahatos rearing techniques are very particular proposition and intriguing because dancing and acting use acrobatics is for sure not easy. Chandi Mahato persisted on the position that the particular(prenominal) nurture is essential for Chhau practitioners and that consequences such as injuries of the performer or misinterpretation of the character could follow after a no-count training. turn is combine in the Chhau by the acting of a story without the use of any communicate nomenclature but rather body language. Mahato says that he uses a lot of typic overstate actions, movements, and gaits tended to(p) by music and rhythms which are easily treasure by the audience to carry the story forward. The Chhau overtake Mahato agrees on the fact that Chhau dance-drama as a folk art is very measurable to their community and heathenish identity. more or less of the people from those villages are farmers living in little conditions. Therefore, they stick to this art form to bring joy and colorize to their routine routines and they overly use it as a way to express their emotions both the affirmatory or the prohibit ones in a fanciful way. Chhau is to a fault very crucial to their community because it is used to transport everlasting(a) clean messages. They use fabulous stories to perplex these moralistic messages for goal to discipline people from those villages. Mahato is therefore stating that Chhau as a folk art is important to the Indian culture and is very momentous as well.7) polish afterwards an in-depth study of the elements and origins of the Chha u dance-drama, it is therefore apparent that this folk art is establish on traditional and heathen elements. Chhau is an integral part of the culture heritage of India and its an indigenous dance form created with a characteristic Indian encephalon which is deeply grow in the scriptures that are followed by all major Indian dance and dramatic forms. The Chhau is an art that is not only used for merry purposes but besides as a way of communication with the community to arrest certain messages using mythological stories. The Chhau is loosely performed for an audience that is typically Indian including sons and daughters of Indian soil, brought up with typical Indian values. As explained in the scud by Vikrant Kishore spring for themselves, the states where the Chhau originated from are states in where poorness is a enlarged enigma and that is one of the reasons the residents of those states are very devoted to the Chhau and work hard on preserving it. Lalit Mahato wh o is the son of the Chhau headwaiter Chandi Mahato features in the dart bounce for themselves and explains through the photograph how important Chhau is for him and his culture. Lalit Mahato tell some(prenominal) it takes ominous teach my son Chhau leap, no matter if Ive to sightly eat boiled rice this repeat shows the grandeur of Chhau as a cultural manifestation for the lives of those villagers. The Chhau dancers do not practice this art only to entertain an audience but they withal use it as a yeasty way to express their feelings and emotions. It is marvellous how the several(predicate) states of India Including the ones practising the Chhau dance-drama hold their cultures intact. What we as well as consider to take into term is the fact that those areas excite not yet been stirred by the fast movement of modernization. What would encounter once modernization touch those areas? bequeath it affects their culture? leave they still perform the Chhau dance- drama as it is performed today and would it still be as square for their culture? Those are questions that one should need in mind. I in person wish that those states dont lose their culture because I judge that the Chhau dance-drama is a unique and fantastic form of folk art that should be maintain the way it is.8) Bibliography wonderMahato, Chandi Chhau dance-drama. send for interview translated by Tamojit Ray. 24 Feb. 2010. published workDevi., Ragini. saltation dialects of India. Delhi Motilal Banarsidass, 1990. Print.Gajrani, S. History, worship and Culture of India. Vol. 4. Dehli Isha, 2004. Print.Schechner, Richard. amidst domain and Anthropology. parvenu York University of Pennsylvania, 1985. Print. motion pictureChhau Dance Performances The Ramayana make out and gallantry in Indias owing(p) Epic. Google Video. blade. 09 dec 2009. Chhau dance promo. Youtube. Web. 05 Dec. 2009. . jump FOR THEMSELVES A have by Vikrant Kishore. Dir. Vikrant Kishore. Youtube. 16 May 2007. Web. 11 Dec. 2009. .Web SourcesChhau dance. Orissa establishment Portal. Web. 11 Dec. 2009. .Chhau , Indian kin group Dance. Indianetzone. 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