Odisha CHSE +2 Vocational Chhow Dance key terms

A vigorous masked dance-drama of eastern India, performed in Odisha, Jharkhand and West Bengal, combining martial movement, stylised mime, drumming and mythological storytelling on open or temple-adjacent stages.

The Odisha style of Chhow, danced without masks, using the face and body to express character; it is the tradition taught in Odisha CHSE vocational syllabi and is known for smooth, continuous movement.

A masked Chhow tradition from the former Seraikella princely state in Jharkhand, danced only by men, with refined, lyrical movement and elaborate masks representing gods, demons and animals.

A masked Chhow form of Purulia district, West Bengal, characterised by acrobatic energy, large brightly painted masks and vigorous drum-driven entries, often performed at village festivals.

A category of minor or secondary Sanskrit dramatic forms described in classical texts such as the Abhinaya Chandrika; Chhow is often linked to this class because of its dance-dominated, narrative structure.

A Sanskrit treatise on dance attributed to Maheswara Mohapatra of the Odisha tradition, describing postures, movements and dramatic expression; it is a key textual source cited for Odissi and Mayurbhanj Chhow technique.

A twentieth-century Odia scholar and choreographer credited with systematising Mayurbhanj Chhow, composing items and adapting its movement for the proscenium stage and for teaching institutions.

A square, low, symmetrical stance in which the knees are bent outward and weight is balanced; it is the foundational posture of Mayurbhanj Chhow and Odissi, giving stability for quick turns and jumps.

A three-bend posture in which the body curves at neck, torso and knee, producing an S-shaped silhouette; Chhow uses it for graceful, character-specific poses rather than as a constant stance.

A rapid, high jump or leap used in Chhow entries and fight sequences, often taken from the chowk position to suggest sudden energy, surprise or the arrival of a demonic character.

A patterned walking sequence in Chhow, moving in straight, curved or spiral paths with coordinated arm and footwork; different chalis are used for gods, demons, animals and human characters.

The characteristic gait or walk of a character type in Chhow, such as the heavy tread of a demon or the light step of a heroine; it communicates identity before any narrative action begins.

A stylised body pose or stance held briefly to create a sculptural picture; sequences of bhangis build up a Chhow item and are judged for balance, line and expressive clarity.

A codified hand gesture used in Chhow and other Indian dance forms to denote objects, actions and emotions; Chhow uses a limited, forceful set of gestures suited to narrative mime.

The expressive component of dance, covering facial and eye movement, hand gesture, bodily posture and verbal or sung meaning; Chhow relies heavily on it because dialogue is minimal.

The emotional state or mood portrayed by a performer through face, eyes and body; in Chhow, bhava shifts quickly between heroic, comic, tender and terrifying registers within one episode.

The aesthetic flavour or emotional relish experienced by the audience when a performance fully realises a mood; Chhow items aim at heroic, furious, marvellous or comic rasa.

Expressive dance that combines rhythmic movement with meaning and emotion, as distinct from pure abstract dance; Chhow is classified as nritya because it tells stories through gesture and mood.

Pure rhythmic dance without narrative meaning, emphasising footwork, posture and timing; Chhow uses nritta passages in invocations, entries and fight sequences to display skill and energy.

A large double-headed barrel drum that provides the driving rhythmic base for Chhow, played with sticks; its patterns cue entries, jumps and changes of tempo on stage.

A barrel-shaped Odia drum, also called mardal, used in Odissi and Mayurbhanj Chhow; it produces pitched, resonant strokes that mark rhythmic cycles and support the singer.

A double-reed wind instrument of Odisha, similar to a shehnai, played in Chhow to announce entries and to sustain melodic phrases between drum patterns.

A metrical cycle of beats in Indian music and dance; Chhow performers synchronise footwork, jumps and poses to named talas played on the drum.

A painted face covering worn in Seraikella and Purulia Chhow to represent a character; masks are carved and coloured by specialist artisans and must allow sight and head movement.

A traditional Odia cloth-based painting style whose bold line, flat colour and stylised faces influence Chhow mask painting and stage decoration in the region.

The dress of a Chhow character, typically a dhoti or pleated cloth, tight waist sash, ornaments and headgear, chosen to signal rank, species and temperament rather than historical accuracy.

The performance area for Chhow, historically an open ground or temple courtyard and now often a raised proscenium stage; its shape affects travelling patterns and audience sightlines.

The backstage space where Chhow performers dress, apply makeup or fix masks, and wait for cues; in masked styles, mask keepers assist with fitting and repairs here.

A vigorous, forceful mode of dance associated with Shiva and with heroic or destructive energy; Chhow fight sequences and demon entries draw on tandava-like movement quality.

A gentle, graceful mode of dance associated with feminine and tender moods; Chhow contrasts lasya passages with tandava energy to create dramatic rhythm within an episode.

A common Chhow narrative source, staged as short wordless scenes such as Sita's abduction or Hanuman's exploits, with characters identified by mask, gait and costume.

A favourite Chhow theme in which the goddess Durga battles the buffalo demon Mahishasura; it allows alternating lasya and tandava movement, mask changes and spectacular combat.

The assembled audience and the courtly or festival setting of a performance; in Chhow the term also evokes the imagined assembly of gods before whom a mythic episode unfolds.

The traditional teacher-to-student transmission of dance knowledge through long apprenticeship, demonstration and correction; it remains central to Chhow training alongside school and college instruction.

A traditional training ground or gymnasium where physical exercise, martial drills and dance practice take place; historic Chhow training used such spaces to build strength and stamina.

Any written or diagrammatic system for recording Chhow steps, poses and rhythmic patterns so items can be taught and preserved; no single standard script is universally used.

A single self-contained Chhow piece, usually five to twenty minutes long, built from an invocation, character entries, a narrative conflict and a closing tableau.