Singhbhum – an area that finds reference in the Puranas as a part of the ancient region of Utkal is now in eastern India. Seraikella, from where the unique maksed dance form of Seraikella Chhau originates is a part fo this region. An energetic and spirited dance, this evolved from martial art techniques that were earlier practiced in this region by soldiers in the royal army. The etymology of the word Chhau, itself explains the nature of this art form. This word traces its origin to the sanskrit word Chhaya which means shadow. The thematic contents of the compositions are mostly abstract and are steeped in symbolism.

Parikhanda, a system of exercises practiced by the soldiers became more stylized, both in their physical and aestheic sensibilities. Pharikhanda literally means shield and sword and till the present day the basic techniques are practiced holding a sword and shield.

Chhau is different from other indian classical dance forms primarily in its treatment of space and in its method of communication emotions. The dancer executes movements that thrust the body upwards away from gravity: spiral turns executed in the air, jumps and extended leg movements carry the dancer through choreographic patterns that travers the performing space.

The second uniquer feature of Seraikella Chhau is the complete absence of Vachikabhinya by means of vocal support and Mukhabhinaya, as the face is completely concealed by the mask. Thus the emoting is done kinesthetically through body movements.

Mukhota or masks are an integral part of this dance style and the art of mask making is itself highly evolved. There are traditional families that specialize in this art, work together with choreographers and dancers add only after detailed study of the characters create the masks.

A mask depicts only the essence of a particular character but in compbination with the movements of the dancer the mask becomes extremely animated. Every move of the body, the tilt of the face imparts to the mask a whole range of expressions. When worn, the masks lead the dancer through a series of meditative experiences. Breathing through the maks there is a total negation of the self and a complete transformation into the character depicted. This overwhelming feeling makes it an extraordinary experience for both the dancer and the spectator.

The themes of the compositions are inspired from natur, myuthology and even history. The rhytmic accompaniment is provided by traditional drums like Nagada, a huge kettle drum and Dhol, a cylindrical drum. The melody is provided by the Shenai, reed pipes and bansuri, a bamboo flute. The compositions are classical, based on ragas that enhance the mood of the character.

Contributions from the frulers of Seraikella, greatly helped in the evolution of Chhau and transformed it in to a sophisticated theatre art-form. In the present day, even though it is performed all over the world and highly pregarded by both the fields if theatre and dance, Seraikella Chhau is intimately associated with the culture of this region. Every year in the spring people of Seraikella celebrate the Chaitr-Parva and through dance evoke the blessings of Kali, the mother goddess and Ardhnarishwar, a manifestation of Lord Shiva representing the male-female duality inherent in nature.