MUKHOSHER ARALE BEHIND THE MASKS LEGACY OF CHHAU MASKS ,CHARIDA,WESTBENGAL CRAFT CLUSTER REASEARCH & DOCUMENTATION THE DESIGN VILLAGE NOIDA 2025 BY: AAKANCHA KUMARI
2 COPYRIGHT AND COMMUNITY RIGHTS STATEMENT Documentation of (Name of Craft/Community) ____________________________________________________________________________ by (Student Name) ______________________________________________________________________, Semester___________________________ The Design Village, (Year) ___________________ Community Rights and Recognition: This documentation acknowledges that the traditional craft techniques, cultural knowledge, and artistic practices documented herein are the intellectual and cultural property of the (specific craft cluster/community name) _____________________________________________________ These traditions have been developed, refined, and transmitted across generations by the community members who graciously shared their knowledge for this educational project. Documentation Ownership: The photographs, written documentation, video recordings, and analytical content created during this project are the intellectual property of the student (name) ______________________________________________________________________________________________ and The Design Village. This work was produced for educational purposes as part of academic coursework. Non-Commercial Use Declaration: This documentation is created solely for educational, cultural preservation, and academic purposes. Neither the student nor The Design Village shall use this material for commercial gain, profit-making activities, or any form of commercialisation without explicit written consent from the documented community. Chhau Masks Making,Charida Aakancha Kumari 5th 3rd Chhau Masks Shilpi Sangha Aakancha Kumari
3 Ethical Data Use and Community Protection: In accordance with ethical research practices and respect for India's craft communities: ● All documentation was created with the informed consent of participating artisans and community members ● Community members retain the right to request the removal or modification of any content ● Traditional knowledge shared remains the property of the originating community ● This work shall not be used to replicate or mass-produce traditional crafts without community permission ● Any future use of this documentation must prioritise community benefit and cultural preservation ● The dignity, privacy, and cultural sensitivities of all participants have been respected throughout this project Usage Permissions: This documentation may be used for academic research, cultural education, and non-commercial cultural preservation efforts, provided that proper attribution is given to both the student creator, the institution and the originating craft community. Contact for Permissions: For any use beyond the scope outlined above, contact The Design Village, Noida, Uttar Pradesh and seek direct permission from the documented community. This statement reflects our commitment to ethical documentation practices and respectful engagement with India's rich craft heritage. This is to certify that _______________________________________________________________________________________________________________, a student of The Design Village, has successfully completed a period of three to four weeks of research on the chosen craft cluster. Name of the Student : Name of the Organisation : Student signature : Authorized Signature : Date : Name & Designation: Date: Seal/Stamp: Aakancha Kumari Aakancha Kumari 01.08.2025 Handicrafts service centre, Burdwan Teacher & Artisan 15.07.2025
Preface This document is a comprehensive exploration of the traditional craft of Chhau mask-making in the village of Charida, Purulia, West Bengal. Chhau masks are more than just performance props; they are intricate embodiments of mythology, emotion, craftsmanship, and regional identity. Through extensive field visits, documentation, and in-depth conversations with master artisans, this work attempts to understand not only the techniques behind the mask-making process but also the socio-economic shifts that have influenced its evolution. From sculpting and painting to ornamentation and symbolism, each stage of the craft reflects genera tions of inherited knowledge, often passed down through oral traditions and familial practice. Today, while Chhau masks continue to be central to ritual dance and community festivals, their presence has expanded into contemporary spaces—tourism markets, exhibitions, and global art forums—reshaping their role and relevance. This document captures that transition, acknowledging both the resilience of tradition and the pressures of commercialization. The intention is to present a respectful and informed narrative that highlights the value of indigenous craftsmanship, promotes cultural preservation, and cele brates the artisans who dedicate their lives to sustaining this remarkable heritage.
Acknowledgement I would like to express my heartfelt gratitude to The Design Village (TDV) for providing the academic framework and encouragement that led me to explore the vibrant world of traditional crafts. A special and deeply personal thanks to my mother, whose unwavering support and quiet strength carried me through every step of this journey - a pilgrimage that would not have been possible without her faith in me. Most importantly, I am profoundly thankful to the artisans and families of Mukhosh Gram, whose generosity, stories, and craft opened their world to me. Their resilience, warmth, and creativity are the true soul of this work.
CONTENTS 1 2 3 MUKHOS GRAM geographical information people I clothing culture I Space CHHAU NAACH what is chhau history people I origin SHILP History and Process I Ma tools I langu
4 5 origin terials age TIMELINE Chhau mask over the years Mass production I Market tools I language SHILPI Dhamendra Sutradhar Falguni Sutradhar Bulla sutradhar
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For the kind SHILPIS of Mukhos gram
12 CHAPTER 1 CHAPTER 1 MUKHOS GRAM
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14 GEOGRAPHICAL INFORMATION
15 Purulia is the westernmost district of West Bengal, uniquely positioned both geographically and culturally. Its distinct funnel-like shape connects the industrial zones of Bengal to the tribal belts of Jharkhand, Odisha making it a cultural crossroads and a gateway between tradition and development. With over 83% of its population living in rural areas, Purulia thrives on folk traditions, music, dance, and craft forms passed down through generations. Its diverse heritage and strategic location have placed it on the tourism map of India, attracting travelers interested in both nature and culture. 23.2046°N, 86.0314°E Chorida(or Charida) ,also fondly known as Mukhosh Gram (The Mask Village) is located in the Baghmundi block of Purulia, in the western part of West Bengal, India. This region lies on the lowest step of the Chota Nagpur Plateau, where the land undulates gently with scattered hills dotting the landscape. Among them, the Ajodhya Hills rise prominently, forming a scenic backdrop rich with natural beauty and resources. Charida is surrounded by lush paddy fields, vegetable gardens, and small water bodies where fish are cultivated, forming a harmonious rhythm between land and livelihood. The Subarnarekha River borders a small section to the west, while the remnants of ancient temples and sacred idols found across the region add to its cultural depth. Although parts of Purulia have seen modern development, Charida remains a rural heartland where unpaved kaccha roads, moss-covered mud houses, and the wild greenery creeping along the edges offer a vivid glimpse into India’s village life. CHORIDA PURULIA
16 HOW TO REACH By Road: Charida (Mukhosh Gram) is well-connected by road and can be easily located using Google Maps. It lies near National Highways NH-32 and NH-6, which connect the village to both Purulia and Kolkata. Regular bus services are available from Charida to Purulia every 30 minutes. Direct buses to Kolkata operate twice a day from the town. By Rail: Suisa Railway Station – 15 km Purulia Junction – approx. 30 km Barabhum Station – around 25 km By Air: The nearest major airport is Netaji Subhas Chandra Bose International Airport, Kolkata, around 300 km away. From the airport, one can travel to Purulia by train or bus, followed by a local road journey to Charida.
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19 PEOPLE Shilpis The rich heritage of Chhau mask-making in Charida can be traced back to the Shilpis (artisans) of Burdwan. These craftsmen were brought to the village and granted land to continue their traditional art of idol-making, which gradually evolved into the distinctive craft of Chhau mask-making. Today, they form a significant part of Charida’s population and belong predominantly to the Sutradhar caste known traditionally for their artisanal skills. Adivasis The vibrant Chhau dance, for which these masks are made, is performed by members of the Adivasi or tribal communities, primarily the Munda caste, who reside in the later part of the village. The masks are crafted keeping their performances in mind, symbolizing a deep connection between craft and culture. Brahmins Charida is also a village deeply rooted in Hindu rituals, with several temples scattered across its landscape. The Brahmins form the upper caste and are entrusted with performing religious ceremonies and pujas. They occupy a position of respect and spiritual authority within the social hierarchy. In modern times they have also associated as the traders and land owners. Bauris Other communities include the Bauris, often considered among the lower castes. They are skilled in making brooms and baskets and are actively involved in farming activities. Many among them own agricultural land and also migrate to nearby towns for work during off-seasons.ww
20 কBengali is the primary language spoken in Charida, as in most parts of West Bengal Rice ,Fish curry a major portion Ducks are used egg FOOLANGUAGE
21 ,Potato forms of the cuisine. for meat and gs. D The month of Chaitra and festivals like Durga and Kali Puja mark peak Chhau performances and vibrant village celebrations. FESTIVALS
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23 CLOTHING Women in Charida typically wear cotton and Taant sarees, a hallmark of Bengal’s weaving tradition. These sarees are suited for the region’s humid climate and are often seen in bright shades of red and yellow. Married women adorn themselves with Shakha Pola (white and red bangles) and Sindoor (vermillion) — traditional symbols of marriage. Men in the village typically dress in a simple yet distinctive attire consisting of a cotton baniyan (vest) for the humid climate, paired with a traditional lungi - a soft, checked fabric wrapped around the waist, worn with ease and pride, embodying both comfort and the timeless cultural identity of rural Bengal.
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26 CHHAU NAACH CHAPTER 2
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28 WHAT IS CHHAU The word Chhau comes from the Sanskrit word “chao” or “chhaya,” meaning shadow. As the name suggests, it is a dance that takes inspiration from martial arts. It was originally performed by the Santhal and Kurmi tribes of the region. Chhau shows stories of war and gods using strong movements and stunts. The themes often come from Hindu epics like the Ramayana and Mahabharata, passed down through generations.
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31 History of Chhau Origin of Chhau date back over 500 years to the eastern regions of India mainly Bengal, Jharkhand, and Odisha. Story time: Traditionally performed during the Hindu month of Chaitra, especially during the festival of Shiv Gajan, the dance began as a ritual offering to Lord Shiva. Women would fast during this time, and to keep them entertained through the night, men performed dances and mythological dramas. Over time, these performances became a community event, drawing in the whole village as an audience. What began as ritual soon grew into a cultural celebration giving rise to the vibrant tradition of Chhau. that continues even today. !Also read: Three types of Chhau in India and their costumes. Purulia Chhau,one of the three styles of Chhau dance, originating from the Purulia district of West Bengalit is known for its bold movements, martial art-inspired choreography, and vibrant masks, this dance form tells stories from Hindu epics like the Ramayana and Mahabharata. Unlike other forms, Purulia Chhau uses elaborate and expressive masks that bring characters like gods, demons, and animals to life. Costume plays a vital role in bringing the dramatic essence of Purulia Chhau to life, especially through its iconic, oversized masks some reaching up to 5 feet tall and weighing around 5 kilograms. These headpieces are used to represent mythological characters and are crafted by the Sutradhar artisans. The dance itself is performed by tribal communities, who have inherited this vibrant tradition from their ancestors. The costumes are made from shiny, brightly colored fabrics and are decorated with tassels, sequins, and artificial flowers that sway with each bold movement. “The masks and costumes are so brightly colored because the performances mostly take place at night,”— says Dharmendra Sutradhar, a local mask artisan.
32 A ‘palla’ refers to a dramatic scene or act, usually inspired by stories from Hindu epics like the Ramayana and Mahabharata. Each pala features specific characters, and their masks and costumes are specially designed to reflect the essence and identity of each role creating a visual spectacle much like a theatrical performance.that continues even today. A Chhau party is a group of performers and crew members who work together to present a Chhau dance performance. These parties travel from village to village to stage shows, often during festivals and special occasions. Each party typically includes dancers, jhumurs (who are the singers, musicians, and narrators), choreographers, and mask makers. Every member plays a vital role in bringing the story and spectacle of Chhau to life. Indian epics like the Ramayana and Mahabharata have deeply inspired the Chhau dance. Many palas (scenes) are based on mythological stories such as Abhimanyu Vadh – the brave yet tragic death of Arjuna’s son, Ravan Vadh- the slaying of Ravana by Lord Rama, and Sita Haran - the abduction of Sita. From ancient times, Hinduism has defined distinct visual forms for its divine figures - like Durga Maa, who is depicted with ten hands in the Mahishasur Mardini tale, or Ravana, shown with his iconic ten heads. These visual cues make it easier for the audience to instantly recognize the character during performances.
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34 GAMBHIR SINGH MURA Gambhir Singh Mura dedicated his life for spreading the “Chhau” - a traditional ritual dance of Purulia.. Gambhir Singh Mura was awarded the “Padmasree” in 1981 by the Government of India for introducing the world to “Chhau” form of Indian dance. He earned accolades from several countries like England, France, Japan, US etc. Gambhir Singh Mura was a top class exponent of Chhau dance who will remain in the world of fine arts forever.
35 In 2010, UNESCO listed it as an Intangible Cultural Heritage, and in 2018, the iconic Purulia Chhau masks received a GI tag - both honours helping preserve and promote the tradition. Over the years, Chhau has grown from a village ritual into a globally recognized dance form. As Chhau gained popularity through festivals, films, and tourism, its elaborate headgears became symbols of Bengal’s artistry and identity. -Today, these masks are more than props; they are cultural emblems that carry the pride and legacy of the artisans of Charida.
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38 Long ago, in one of India’s important Janapadas Purulia lay a small village called Chorida. It was ruled by a king named Madan Mohan Singh. To honour their penance and bring joy to the celebrations, the king introduced performances filled with music and dance. Drawing inspiration from Hindu epics like the Ramayana and Mahabharata, performers brought to life stories such as the fierce battle between Maa Durga and the demon Mahishasura. But as time passed, discomfo portraying female deities esp The face paint too, they felt, c expressions of gods. HISTORY & ORIGIN of the craft.
39 Under his reign, the village celebrated many festivals dedicated to Lord Shiva and Maa Shakti. Among them, Maha Shiv Gajan and Chaitra Parva were the most grandly observed during the Hindu month of Chaitra, marking the spring season and the harvest of dhaan (rice). These rituals often lasted through the night. rt grew among the male dancers ecially in front of family and villagers. ould not truly capture the divine The king, seeing their dilemma, turned to the shilpis (artisans) for a solution.Master craftsmen from Burdwan, known for their idol-making skills, were invited. Given land and resources. These artisans devised a brilliant idea — to create mukhos (masks) that could cover the performers’ faces and bring the gods to life with grandeur. These artisans devised a brilliant idea — to create mukhos (masks) that could cover the performers’ faces and bring the gods to life with grandeur.And so, the dance came to be known as Chhau born from the shadow of divinity and the masks became its iconic
40 Process of making The process of Chhau mask making is divided into 8 simple but vital steps.
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42 1. Mukher Chhanch (Model of the face) Materials: Clay Clay is used to make a model of the face or any object that has to take the shame of the mask. The artist shapes the clay into a face .All details like the eyes lips nose or any details that the artist wants have to be put. This is the crucial part of the whole process. Process of making
43 2. Kagoj Chitano (Pasting paper) Material:used school notebooks This is the actual base of the mask. Paper of used notebooks is used and are put on the model of the mask layer by layer .To help the paper bind and stick together the paper is dipped in kadda(thick paste of clay mixed in water). Usually it takes 12-13 layers of paper to form a sturdy mask.
44 3. kabij lepa (a thin layer of mud) Material:mud After the structure has dried a thin layer of mud is applied to give strength.
45 4. kapor setano (pasting cloth) Material :rags of cotton sarees Cloth from rags of cotton sarees(only this works) is dipped in mud and pasted on the structure made from paper to complete the final layer of the mask. This cloth layer gives strength and brings the texture of the face.
46 5.thapi palish & khushni khoncha (polish and finish) Material:Water A wooden tool called Thapi is used to flatten and polish the surface of the mask. Fine facial details are added with precision in this stage. Once dried, the clay base is carefully removed from behind. This leaves behind a hollow, independent paper masks.
47 6. Khori lepa (painting chalk) Material: chalk paste or white colour The dry mask is coloured with white chalk paste to give base to the colouring that is going to come next which is going to give a base to the painting in the next step. It provides a friction surface on the polished face. It is like a artist prepares his canvas with white gouche.
48 7. Raang kora (colouring) Material: Pigment+Binder As per the requirement of the character the mask is painted with bold bright colours that have been made from scratch. Bold eyes and plumped lips are one of the pronounced features of the colouring part.
49 8. Shirabhushan / Mukut (Headgear Decoration) Material: chalk paste or white colour The dry mask is coloured with white chalk paste to give base to the colouring that is going to come next which is going to give a base to the painting in the next step. It provides a friction surface on the polished face. It is like a artist prepares his canvas with white gouche.
50 Materials and sourcing 1. Clay Three distinct types of clay, each varying in texture, are sourced locally from the banks of small village ponds. These are used at different stages of the mask-making process.
51 2. Paper Recycled pages from old school notebooks are used; thinner paper like newspaper is avoided due to its fragility.
52 3. Cotton Cloth Rags from worn-out sarees, often collected by local pheriwalas, are used to reinforce the mask’s structure.
53 4. Colour Natural pigments are mixed with traditional tamarind seed binders or modern alternatives like DDL to create vibrant hues, similar to those used in idol-making
54 5. Decor Decorative elements such as sequins, beads, and tinsel are purchased in bulk from Kolkata’s Burra Bazar market.
55 Materiality of the mask As a functional headgear for an acrobatic dance form, the Chhau mask must be lightweight yet durable. The layered combination of paper, clay, and cloth creates a strong, mould-like structure resembling hardened plaster. The paper also provides a secure grip to the dancer’s face, preventing slippage during performances
56 Tools Thappi Tuli
57 Khori Kanchi Board Phechuda Plaas
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60 Design and Design details (Language of the Craft) Facial Features of Chhau Mask: Chhau masks typically have bold, wide eyes, pink or red lips, a pointed slender nose, and curly hair- features that make the face look larger than life. Bold eyes and plumped lips are one of the pronounced features of the colouring part. Emotion & Expression The artisan’s sculpting of expression defines the mask’s character. Raag (Anger): As Chhau often depicts war scenes, expressions of anger are common-shown through dilated pupils, red eye veins, furrowed brows, and sharp, open mouths.
61 Alpona Details Inspired by Bengali Alpona art-drawn with rice paste-masks display floral and geometric motifs on the forehead, cheeks, and crown using white dots, spirals, and curved lines, all reflecting hand-drawn tradition. Colour & Shadow Vibrant, contrasting colours with strong shadows enhance facial features. The shading and blending echo modern makeup techniques like contouring.
62 Jewellery Decoration Masks are adorned with decorations inspired by Bengali gold jewellery: plastic petals, beads, and foil arranged in crescent and swirling shapes to mimic traditional adornment Male vs Female Masks Female masks feature almond eyes, a round face, and elements like bindi, sindoor, nose ring, and rosy makeup. Male masks have angular jawlines, paler lips, subtle eyes, and often a moustache.
63 The Third Eye A symbolic eye, usually in the center of the forehead, used on divine or mythological characters. Hand Gestures Artisans mostly use their index and pinky fingers to sculpt the mask and reach little details. A soft stroke with both the thumbs shapes the nose.
64 Chhau Masks over the years From Ritual to Retail & Mass production:How Chhau Mask Craft Has Changed Traditionally, Chhau masks were made seasonally between January and March, especially for festivals like Gajan. But artisans struggled to earn a steady income due to the limited demand and seasonal weather conditions that delayed drying. To sustain livelihoods, artisans began making decorative Chhau masks for home decor and tourists. This shift led to mass production using POP (Plaster of Paris) moulds instead of the original hand-sculpted clay models. While this increased output, many believe it compromises the authenticity of the craft. Younger generations now skip key steps like clay modeling, leading to a loss of traditional knowledge. What once involved a handful of skilled artists and a few shops has grown into a commercialized street with over 150 shops—raising concerns about quality, competition, and the fading heritage of Chhau mask-making.
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66 Mass production of Chhau masks using POP (Plaster of Paris) moulds has transformed the once intricate, handmade craft into a faster, more commercial process. To meet growing market demands, artisans now replicate designs with uniformity, sacrificing the individual artistry and cultural depth that defined traditional masks
67 As Chhau masks shift from ritual objects to decorative showpieces, Charida village has seen rapid commercialization. Once practiced by just 4–5 families, the craft now supports over 150 shops catering to tourists. While this growth brings visibility and income, it also risks cultural dilution and reduces the artisan’s role to that of a vendor.
68 Chhau Masks over the years The growing demand from tourists and the evolving creative ambitions of artisans have led to a significant diversification in the sizes of Chhau masks. Traditionally, these masks were large and elaborate-measuring around 18 to 22 inches in height-designed to be worn during vigorous dance performances. Today, they are also made in much smaller sizes, some as compact as the palm of a hand, making them ideal as souvenirs and decorative items for modern buyers. This shift has been made possible by the inherent versatility of the materials used-paper, clay, and cloth-which allow for detailed manipulation across scales. Techniques passed down through generations have enabled artisans to adapt their craftsmanship without losing the essence of the form. Whether creating a life-sized performance mask or a miniature fridge magnet, the foundational skills remain rooted in tradition, reflecting the deep adaptability and resilience of the craft.
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70 Product range The Chhau mask-making tradition has evolved beyond its original function in dance to include a wide range of decorative and utility-based products. While the traditional full-sized Chhau masks are still crafted for performance, artisans now create miniature versions and showpieces such as Kirat-Kiratin, Durga Mukh, Nazarbaatu, and various wall hangings. These items retain the aesthetic essence of the original masks but are made primarily for tourists and collectors. In addition, the same mask-making process using layers of paper, clay, and cloth is now adapted to produce card holders, fridge magnets, and other handcrafted artifacts. A notable shift in this expanded product line is the extensive use of moulds. These moulds allow artisans to shape diverse forms quickly and replicate them in large quantities, enabling mass production while compromising on the uniqueness and traditional value of each piece.
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72 Market The Chhau mask-making industry today serves a diverse and growing market, allowing artisans to sustain their livelihood through multiple sales channels. The blend of local, national, and international buyers has created a dynamic business model for the artisans of Charida. 1.Local Shop Sales: Artisans independently run small shops in the village, giving them full control over pricing, production, and creative choices, fostering economic self-reliance. 2.Bulk Orders for Festivals: During festivals like Durga Puja, artisans receive large-scale orders from pandal decorators and cultural committees, sometimes worth up to ₹2 lakhs, especially for themed decorations. 3.Online and International Sales: Through social media and word-of-mouth, artisans now receive commissions from global audiences who value the masks as cultural artifacts. 4.Government-Supported Fairs: Participation in national craft fairs like Surajkund Mela and Delhi Haat helps artisans gain exposure, connect with larger markets, and access institutional support.
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74 Dharmendra Sutradhar- Age 42 years Dharmendra Sutradhar is a renowned Chhau mask artisan from Charida, celebrated for promoting sustainability in the craft. In 2010, while exhibiting at a reputed Delhi institute, a foreign visitor refused to buy his mask due to its plastic decorations. This moment became a turning point— Dharmendra decided to eliminate plastic and began using natural,biodegradabl materials like seeds, dried grasses, and naural paints. His dedication earned him the National Award in 2018, and he has since gained recognition across India. His work has been featured by platforms like MeMeraki, and his masks have been exported internationally. A notable highlight includes Bollywood actor Sonam Kapoor purchasing one of his masks, which was later displayed at the NMACC Museum in Mumbai. Originally a bus conductor with no artistic background, Dharmendra credits his journey to divine grace and dedication to the craft.
75 Dharmendra ji has stood out among his community with his constant efforts towards sus- tainaibility and his dedication to make the craft globa.After being awarded the nationaal award his popularity on the internet has grown and people from far
76 Muchiram Sutradhar – Age 55 Traditional Artisan and Knowledge Keeper Muchiram Sutradhar is one of the few ar- tisans in the village who still focuses on making traditional Chhau masks for perfor- mances rather than tourist sales. With deep pride in his tools and techniques, he shared old photographs and stories from the past, expressing joy in passing down his knowledge. He is vocal about the lack of government pension or financial support for aging art- ists like himself. Muchiram has taught the craft to his son, Abhijeet Sutradhar, and they now work together to keep the tradi- tion alive.
77 Falguni Sutradhar – Age 56 Internationally Recognized Artisan and Workshop Leader Falguni Sutradhar has taken the Chhau mask tradition beyond borders, having trav- eled to Norway and other countries to con- duct mask-making workshops. He regularly represents his craft at major cultural events like the Surajkund Mela in Haryana. His workshop, over 100 years old, is one of the most established and vibrant in the vil- lage. Falguni works closely with his brother, keeping both the family legacy and the local craft economy thriving.
78 Bulla Sutradhar – Age 45 Master Mask-Maker Behind the Scenes Bulla Sutradhar, wife of Falguni Sutradhar, is the main artisan behind many of his ac- claimed works. While he paints the masks, she is the one who expertly sculpts them in clay. Married into the craft, she has perfect- ed her skills over the years, creating some of the smallest and most detailed Chhau masks—sometimes as small as a palm. Her talent has been recognized on Bengali tele- vision shows and through multiple awards, yet she remains a humble and essential part of the Chhau community
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81 Conclusion Insight: Chhau Mask-Making – Between Tradition and Commercialization Chhau mask-making is a heritage craft from eastern India, rooted in the regions of Purulia, Seraikela, and Mayurbhanj. Traditionally used in Chhau dance performances, these masks are crafted from clay, paper, and natural colors-each piece a reflection of local mythology, ritual, and identity. In recent years, however, the craft has undergone significant changes. The rise in tourist demand and decorative use has led to mass production and mould-based techniques, compromising the individuality and expressive depth of the masks. Many artisans now prioritize speed and uniformity over traditional methods, resulting in a loss of skill and cultural meaning. The transmission of knowledge-once taught through family apprenticeships-is fading, and younger artisans often skip the intensive learning process. The craft also remains largely male-dominated, with limited roles for women despite their often unseen contributions. Government initiatives and exhibitions have brought visibility, but grassroots artisans feel left behind. As Chhau masks shift from tools of performance to static decorations, the risk of losing their ritual and artistic essence grows. Preserving the authenticity of Chhau mask-making requires a balanced approach-one that values both cultural depth and sustainable livelihood
82 “দশ দিকেতে আঁচল পেতে কোল দিয়েছে মাটি … সবার হাতে সবার পাতে অন্ন দেয় সে বাঁটি।” The earth has spread her drape in all ten directions, offering her lap She feeds every hand,every plate,from th same bowl. ~Rabindranath Tagore
83MUKHOSHER ARALE MUKHOSHER ARALE Chhau masks of CHARIDA,WEST BENGAL Aakancha Kumari