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An awe-inspiring education

Nrityanchal's Chhau workshop ends with a brilliant demonstration

Karim Waheed
Music exponent and dance enthusiast Dr. Karunamaya Goswami defined Chhau as a “form that has its roots in both classical and indigenous dance but it has its own idioms and codes.” Goswami was speaking, as the chief guest, at a Chhau demonstration at Shishu Academy in Dhaka on June 21. The event wrapped up a workshop on Chhau, arranged by Nrityanchal. Swapan Majumder, a Chhau exponent from India, and his wife Sucheta, a Kathak dancer from Bangladesh, conducted the workshop. This was the fourth Chhau workshop organised by
Nrityanchal, according to dancers Shibli Muhammad and Shamim Ara Nipa, both directors of Nrityanchal.
In his speech, Dr. Goswami also mentioned the late folklorist Dr. Ashutosh Bhattacharya who rediscovered and popularised Chhau. "Use of masks in Chhau has an uncanny similarity with Kathakali. Chhau originated in eastern India, and Kathakali, in south. The connection between the two or which inspired which, is truly a conundrum," said Dr. Goswami. He admired Nrityanchal's endeavours in generating public interest in dance and hoped that the media, in particular the TV channels, would come forward to promote
young dancers.
The three forms of Chhau are named after the regions where they are performed — Purulia ofWest Bengal, Seraikella of Bihar and Mayurbhanj of Orissa. Ancient scriptures refer to the dance form's martial origins. Chhau dance features steps called “Chali" and “Dharan”; it is accompanied with musical instruments shanai, dholand dhamsha.
The first performance featured the youngest participants of the workshop. The group demonstrated basic steps of Chhau. The movements are bold and at times raw, often using kicks and sweeps. The dancers plant their feet forcefully on the ground
and freeze in postures of encounter. Bent knee foot stamping, short verticaljumps and full circle spins characterise this style as does the violent juggling of shoulders and shivering of the upper torso. The acrobatic fluidity seems to be the forte, reminding one of the Brazilian fight-dance Capoeira.
Next, Nrityanchal dancers performed a composition by Sucheta Majumder. The contemporary dance -- to the song “Dhitang Dhitang Boley" — had an unmistakable folk feel.
Sucheta and Falguni Majumder staged a composition titled “Nigrihita” — a depiction of women feeling caged in a male dominated society. Choreographed by Sucheta, the dance seemed to have nuances of Sufi Kathak popularised by Manjari Chaturvedi. Though a seasoned Sucheta made the impassioned performance seem effortless, her co-artiste seemed stiff at times and preoccupied with costume at others.
The next performance saw Swapan, Sucheta and Falguni enact an artist's infatuation with his creations. The trio's authority on balance seemed to fascinate the audience, who lauded the performance repeatedly.
The highlight, however, was the last performance. Titled “Srishti,” the composition featured Nrityanchal dancers and Swapan articulating the five elements of nature—space, air, fire, water and earth. Choreographed by Swapan, the dance was a remarkable fusion of virile Chhau movements, physical expressions developed by the trainer, and ballet-1 ike agility.
Nrityanchal coordinator Muhammad Jahangir thanked the audience after the show.