With origins shrouded in mystery, the Chhau dancer communicates inner emotions and themes through cadences of body flexions, movements and kinetic suggestions. The word Chhau is interpreted differently by scholars. Some say the word 'Chhau' comes from the Sanskrit root 'Chhaya' meaning shade. 'Disguise' is another common interpretation due to the extensive use of masks in this dance form. The martial movements of Chhau have led to another interpretation of the word as meaning 'to attack stealthily' or 'to hunt'.
Three styles of Chhau exist, originating from the three different regions of Seraikela (Bihar), Purulia (West Bengal), and Mayurbhanj (Orissa). Martial movements, strong rhythmic statements and dynamic use of space are characteristic of Chhau. The dance is an excellent culmination of enormous vitality and virility. As it is difficult to dance for long with a mask, the dance does not last more than 7-10 minutes.
Chhau dance is an expression of a mood, state or condition. This dance form is based on the martial arts tradition of pharikanda, which means shield and sword. The dancers wear elaborate masks and costumes and depict stories from mythology, history, regional folklore, romance and nature. Martial movements, strong rhythmic folk tunes and beautifully crafted masks with elaborate headdresses are characteristic of Chhau. The masks are usually made by the dancers themselves and are crafted from clay.
Seraikela Chhau flourished under royal patronage. Its vigorous martial character makes it suitable only for male dancers. The royal princes were not only its patrons but also dancers, teachers and mask-making experts. The Seraikela masks are similar to those used in the Noh dance of Japan and the Wayang Wong of Java. Purulia Chhau uses masks which is a highly developed craft in the region. The barren land with its tribal inhabitants, multi-layered influences of Vedic literature, Hinduism and martial folklore have all combined to shape the Purulia Chhau dances which has only one message- 'the triumph of good over evil'.
Mayurbhanj Chhau has highly developed movements, no masks and a more chiseled vocabulary than the other two styles. Like Seraikela Chhau, it had also thrived under royal patronage and is considered a link between the earthy Indian dance movements and the flying, springing elevations of Western forms of dance. Unlike other Indian classical dance forms, vocal music in Chhau hardly exists. Instrumental music and a variety of drums like the Dhol, Dhumba, Nagara, Dhansa and Chadchadi provide the accompaniment.
Moreover, the three main elements of classical dance, namely Raga (melody), Bhava (mood) and Tala (rhythmic timing) form an important aspect of Chhau dance. Combining folk, tribal and martial traditions and yet covering the three aspects of Nritta, Nritya and Natya as well as the Tandava and Lasya aspects of classical dance, the Chhau dances are complex combinations of folk and classical motifs.
Chhau dance is full of vitality and robustness, unlike most of the Indian dance forms. The entire body and entire being of the dancer is employed as a single unit, as his language. This body language is extremely poetic and powerful. The legs form an effective means of communicating the expression.
In recent times, Mayurbhanj Chhau has become popular at both national and international platform as a medium of choreography, with its wide range of postures and movements that adapt well to modern as well as traditional treatment.