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Reclaiming the roots

An informative demonstration of ‘Jari’ and ‘Chhau’ dance at Shilpakala Academy

Karim Waheed
According to renowned danseuse Shamim Ara Nipa: "As a performing art, dance has attained a notable position in Bangladesh. The evolution of this an form began well before the Libera Bangladesh. blossomed .further and gained diversity. Unfortunately however, dance forms/styles -- practiced in urban Bangladesh - have been predominantly ’borrowed.'
"Despite having time-honoured dance traditions (like 'LathiaT) that are indigenous to Bengal, we look beyond our fence for inspiration. To introduce these indigenous dance traditions to urban artistes and dance enthusiasts, the Production Department of Bangladesh Shilpakala Academy (BSA) arranged a demonstration of Bratachari' and LathiaT dance on June 28,2008."
On June 15, 2009, BSA held the second instalment of the programme. Titled “Phirey Chai Matir Taney-2," the show provided an insight into Jari’ and Chhau' dance forms. The show was planned and directed by Nipa.
Chief guest, noted litterateur Syed Shamsul Haq, lauded the initiative and referred to "mati" as a definitive word. "Mad (soil or roots) is our identity, our lifeline. Going back to it can only be a good thing," said Haq
Kamal Lohani. director general of BSA, and Dr. Md. Zakir Hussain, director of the Production Department, also spoke on the occasion. Prolonged formalities, which often extend over an hour, are a norm in our culture. It was refreshing to see that the organisers of this programme didn't waste any time on pointless formalities. 'Jari Nritya' by Pachhar Jubo Unnayan Jari Dol (from Netrakona) was the first presentation. The word 'Jari' (mourning) has its roots in Farsi. 'Jari Gaan' evolved in rural Bengal as an outlet for mourning the 'Karbala' tragedy. Use of heightened theatrics -- involving spirited movements and gestures — is notable in the presentation. A 'Jari' performance is staged by a group of dancing dohar' led by a 'Bayati' (main singer). The performance space is usually circular.
Each 'Dohar' of the group from Netrakona was wearing an anklet on the right foot. The dance involved picking up the right foot, and bringing it down in a certain way - creating a distinct
rhythm and sound. Soon Helim Bayati took the stage and in his sonorous voice started narrating the events of Karbala in a true localised fashion.
Gradually, the mourning reached its most passionate stage, voices went a couple of octaves higher, and movements became more dynamic.
Next, Dhaka artistes presented a composition inspired by 'Jari' dance. The presentation seemed somewhat tamed, lacking the ardour or the former group of performers. But then again, that is to be expected. As Nipa pointed out: "to the dancers from Netrakona, this art form is a way of life; each generation inherits the dance from its predecessors. The Dhaka artistes just had a few days to grasp the style."
After jari,' 'Chhau' exponent Swapan Majumder and his wife Sucheta, accompanied by dancers of Nrityanchal took the stage.
It is difficult to determine the antiquity of Chhau.' The three forms of 'Chhau' are named after the regions where they origi-
>i naled — Purulia ChhaiTiof West Bengal, 'Seratkela Chhau' of Bihar and Mayurbhanj Chhau' of Orissa. Ancient scriptures refer to the dance form's martial origins, suggesting that the term "Chhau" was derived from the local dialect meaning an army camp. Apparently warriors, in their leisure, developed this dance form as an expression of jubilation or celebration. Often dealing with gods, goddesses and other mythic characters, Chhau' dance features steps called "Chali" and "Dharan" (Mayurbhanj style) and is accompanied with shanai,' dhoT and dhamsha.' While, the Seraikcla and Purulia sub-genres of 'Chhau' use masks, the 'Mayurbhanj Chhau' uses none. The latter style was demonstrated at the programme.
'Shiv Bandana' by Sucheta Majumder and others highlighted the rudra rasa' (essence of fierceness). Stunning the audience with her acrobat-like flexibility, Sucheta summoned the fearsome aspect of Shiva. It was evident that 'Chhau' takes years of disciplined training and devotion.
Next, Swapan Majumder demonstrated the basic movements and mudra' (stances). The style is bold and at times raw, often using kicks and sweeps. The acrobatic fluidity seems to be the forte, reminding one of the Brazilian fight-dance "Capoeira".
The evening however belonged to a performance by Swapan and Sucheta. The composition was a fusion of vigorous 'Chhau' steps and lyrical agility of ballet.