Taking the Chhau Parva ‘Trimurti’ to Imphal (Manipur) was a wonderful idea and to witness handsome audience turnouts every evening speaking words of high appreciation about the regaling fare provided was heart warming. Taking less known traditions to this part of the country is also an important aspect of the Sangeet Natak Akademi’s cultural interaction — very necessary against the backdrop of recent unhappy events in the Capital.
After the Jatra ghat/Rangbaja/Judon prelude, Yoddha, based on the sword and shield play by Santosh Nair, Rishi Sharma, Sudhir Kumar and Himesh Parch was immaculately synchronised in the balanced Mayurbhanj Chhau movements of the dancers. Among the institutions featured, the Rairangpur Mayurbhanj Chhau group showed appreciable improvement from what one had seen earlier. SNA’s constant supervision seems to be having an impact. Garuda Vahana was well performed. Gita, however, needed more animated expression.
Serikella Chhau with Shashadhar Acharya and son Shubham Archarya in Ratri gave a very poetic presentation, though the lighting made Ratri so dark that one lost sight of the dancer at times. Shubham and Shagun Bhutani in Radha Krishna made a good pair, though Shagun’s very correct technique has still to acquire that feel in movement which shows it is the dancer’s own language. Garud Vasuki was a fine presentation with the music in Darbari Kanada. Of all the Mayur (peacock) dance presentations, the one by Shashadhar SNA’s Seraikella Chhau project was by far the best, in the little head tilts and electric movements, in costume and in music in Megh Malhar. Mayur Art Centre’s Hamsa was good. Sagar Sangam and Dandi showed technique but need more character in the roles. Sri Kedar Art Centre presented “Koch-O-Devayani” based on “Bidai Abhishap” and the leave taking with the music in Darbari Kanada was evocative. Babik and Ardhanariswara in Seraikella Chhau by the government Chhau Centre was another fair presentation. The Baripada SNA Chhau project at Baripada presented an excellent Chakravyuh, and Dandi by the Mayurbhanj Art Centre at Bhubaneswar presented a particularly impressive Natraj, the exquisite balance in the body nothing short of amazing.
I found Seraikella Chhau presentations of Trinetra rather disappointing with neither Chandrabhaga nor Ardhanriswar having a clear cut vision of what was being shown — both movement and choreography seemed vague. Mayur and Haraparvati by Srikalapith also needed more articulated direction in what was being presented.
But the real surprise of the festival lay in the Purulia Chhau section — all the three groups showing exemplary agility and strength of dancing, the somersaults and turns electrifying the audience. “Sita Swayamvara” by Binapani Rupchand Chhau Dance Party of Purulia led by Dilip Chndra Mahato was theatrically very communicative — though the rehearsal seen the evening before was better than the final presentation in costumes. “Narakasura Vadh” by Krishnakali Chhau Nritya Samiti was also highly entertaining. “Mahishasura Vadh” by Chinibas Mahato and group did not fall behind in presenting a fine performance. Some groups seemed to have no shehnai at all, the substitute for the now rare Mohuri — which was in action only in the Mayurbhaj group from Bhubaneswar. Some like Trinetra had only the flute — which again takes away from the original character of Chhau.
Putting three schools of Chhau together provides variety, colour and keeps the programme interesting. The Chhau project of SNA so far has been successful. Very professionally organised, by Shashadhar Acharya and group along with the SNA team, this fine effort, supported by the general public, in this critic’s opinion, should have evoked greater interest and attention from the JNMD students — though many old venerated gurus of Manipuri were seen daily.
