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The colourful repertory of the Chhau Dance of Dhenkanal consist of the following items:
| Solo items | Duet items |
| Items with four artists | Group items |
| The war dance |
Musical Instruments
The main accompanying musical instruments are the 'Dhola' (the drums) and
the 'Mohuri' (the blowing instrument like 'Shehnai'). These two are the
absolute necessities. The other instruments which are also used are the
'Bada Baja' (the big drum) the 'Turi' and 'Kahali' (Like clarion and
trumpet without reed) and the 'Jhanja' (Brass Alloy cymbals) etc.
No songs are sung in Chhau of Dhenkanal but the music is based on
traditional tunes of Odissi Songs-the 'Chhandas' and the 'Champus' etc.
Place of Performance
The style of presentation of the Chhau Dance of Dhenkanal
is unsophisticated and is in the typical common 'Jatra' style of Orissa
except the central raised platform.
A field known as the "Jatra Padia" is the place of performance.
The spectators sit around this open arena. By the side of the field, there
is a room where the artists wait. The make-up and the costuming is done at
another place away from the field, After make-up, all artists gather for
an invocatory Puja at the village Goddess 'Mangala', located at the
village cross-road. After the Puja, all the artists walk in a ceremonial
procession along with the musical accompaniment of Dhol, Mohuri and come
to their waiting room through the spectators The music hands take their
position at one side of the arena, with the spectators.
The performance begins with the drummer demonstrating his skill on the
instruments. Sometimes he dances with the drum reciting the "Bols"
loudly. After these initials, there follows a demonstration of the
'Chalis' (Styles of walking. Artists come out from the waiting room
together and after few rounds in the field, go back to the room. Then
follows the individual dance numbers. In between the items the drummers
take to their toes and demonstrate various style of drum beatings.
The final item is invariably the "war dance" where the skill of
warfare is demonstrated.
This Chhau Dance of Dhenkanal, as it has been, cannot be performed in a
modern theatre hall having one-side spectators. The style of performance
even for a Solo dance demands an open arena with spectators on all side.
There is absolutely no scope for giving any scenic arrangements at the
background. The properties are handed over to the artists in view of
everybody. Costumes are re-arranged in the knowledge of all. Properties
like that of a tall stool and the "Serpent cut-out" are brought
into the arena by the boys and kept in place in broad light, without any
cover. On the whole, the atmosphere in a performance of Chhau Dance of
Dhenkanal is absolutely cordial with full of spectators participation.
Origin Of The Word Chhau
The above record also indicates the origin of the word "Chhau"
according to the experts of Dhenkanal. This definition, in a way is almost
similar to the theory given for the Seraikela Chhau or the Mayurbhanj
Chhau except of the fact that in Seraikela, they connect the word "Chhai"
to "Chhaya" meaning shadow to be linked with the facial masks
they use. The other point of view expressed by the experts on Mayurbhanj
Chhau is that the word "Chhau" is an abbreviation of the word "Chhauni"
meaning a military camp where probably the "Chhau" dance had
orginated, would hold more good and appropriate to the Chhau dance of
Dhenkanal, whose artists hail only from the traditional families of Paikas
of Dhenkanal.
The Technique
In a broad sense, the techniques of the Chhau Dance of Dhenkanal can be
termed unique. As regards the music and the repertory, Chhau dance of
Dhenkanal, would in a way, appear more similar to the Chhau Dance of
Seraikela except the masks. No rituals are attached to Chhau dances
Dhenkanal. As regards it's training, it is purely the physical exercises
adopted for the Paikali gymnastics. There is no female participation.
Suitable candidates first practice the "Ara Lahan", for the
fitness and suppleness of their body. The next phases of exercise consist
of various styles of Chalis or gaits.
While both Seraikela and Mayurbhanja styles specify six types of Chalis,
Topkas, the Dhenkanal Chhau adopts mainly the following four types:
(1) Salakha Chali
(2) Babu Chali
(3) Karua Chali
(4) Baga Topka
Similarly, while both Seraikela and Mayurbhanj Chhau specify 36 types of
'Uflis' or 'Upalayas' (the movements of the body, limb and foot work with
leap and motion) the Chhau Dance of Dhenkanal specifies only 20 'Uflis'
There have been efforts in the past, to assimilate the beautiful things of
other styles of Chhau with that of Chhau of Dhenkanal. There have been
exchanges of men, materials and ideas. Only a very close study and
extensive research may bring to light as to how much give and take has
taken place in the field of Chhau Dances of Orissa.
But, inspite of everything, Chhau Dance of Dhenkanal
retains its uniqueness and local flavour. After the merger of states, this
beautiful Chhau Dance of Dhenkanal, has almost turned defunct without any
patronisation. Except a very few, all 'Ustads' have left this world. There
may not be any with direct knowledge of this school of dancing after
another few years.