Chau Mask of West Bengal

Chhau dance is an indigenous performance tradition of eastern India and was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2010. Rooted in martial practices, the dance is marked by energetic movements, controlled acrobatics, and expansive leaps that demand considerable physical discipline. In the Purulia variant of Chhau, performers wear large, stylised masks that are integral to the visual and narrative character of the dance. These masks—depicting deities, mythological figures, and animals—are traditionally produced by specialist artisans based in Charida. Crafted with materials such as clay and papier-mâché, and embellished with beads, sequins, and vivid pigments, the masks lend a heightened dramatic intensity to performances. In recognition of this distinctive craft tradition, the Chhau mask of Purulia was accorded Geographical Indication status in 2018.

CRAFT HUB: CHARIDA

The tradition of Chhau mask making in Charida is believed to have emerged around 150 years ago during the reign of Madan Mohan Singh Deo of Baghmundi. At present, the village is home to approximately 377 artisans actively engaged in this hereditary craft. With the growing national and international visibility of Chhau dance, the demand for Chhau masks has expanded considerably. In response, artisans have diversified their production, creating smaller masks intended for home décor and souvenir markets alongside those used in performance.

To support and institutionalise the craft, a folk art centre with a community museum has been established in Charida by the West Bengal Khadi and Village Industries Board. The village also hosts an annual folk festival and attracts visitors throughout the year, positioning Charida as a distinctive cultural tourism destination within the state. Artists and scholars regularly visit the village to study the mask-making process and to engage in collaborative work with local craftspeople. The artisans further participate in state and national festivals and continue to seek opportunities for sustained, purposeful, and mutually enriching exchanges.

The Chhau mask makers of Charida have gained national recognition for the high level of skill and aesthetic refinement evident in their work. Within the production process, men are generally engaged in shaping and preparing the papier-mâché moulds, while women play a central role in the decoration, surface treatment, and finishing of the masks. Several senior practitioners from the village are widely acknowledged for their mastery of the craft, including Falguni Sutradhar, Kishor Sutradhar, Triguni Sutradhar, Monoranjan Sutradhar, Dwijen Sutradhar, Jagadish Sutradhar, Dharmadas Sutradhar, Porimol Duta, and Dharmendra Sutradhar.

The growing cultural and economic prospects associated with Chhau mask making have also encouraged younger artisans to take up the tradition. Emerging artists such as Bijoy Sutradhar, Janmenjay Sutradhar, Bishal Sutradhar, and Raja Sutradhar have begun to receive critical attention for their work. Among the practitioners, Dharmendra Sutradhar and Porimol Sutradhar have been honoured with state-level awards, while women artisans including Anita Pal, Kaveri Pal, and Baby Pal have distinguished themselves through their technical skill and creative contribution.

To strengthen collective practice and ensure the continuity of the tradition, the artisans have organised themselves under a collective known as the Purulia Chhau Mukhosh Silpi Unnayan Samity, Charida. The collective plays an active role in promoting the craft, supporting practitioners, and safeguarding the knowledge systems and skills associated with Chhau mask making.

PROCESS

Chhau masks are traditionally produced using a combination of paper, mud, and clay, and are shaped through a series of carefully sequenced stages before reaching their final form. The process begins with the modelling of a clay mask, which is dried in direct sunlight to achieve structural firmness. The hardened clay form is then dusted with powdered ash, over which multiple layers of paper soaked in natural gum are applied. This is followed by an additional coating of clay, and once dried, strips of cloth are affixed to reinforce the structure. The surface is subsequently smoothed and polished. After adequate drying, the initial clay core is removed, leaving a lightweight papier-mâché shell. A base coat of white paint is then applied, after which the mask is coloured and ornamented in accordance with the character being represented. Decorative materials such as wool, jute, foil, bamboo sticks, plastic flowers, and beads are commonly used to enhance visual impact. Mask making is a collective household activity, involving both men and women, with children learning the skills informally through hands-on engagement with senior practitioners.

PRODUCTS

In Chhau performances, dancers appear in richly ornamented masks and striking costumes fashioned from tinsel and brocade, which together create a powerful visual spectacle. In the Purulia tradition of Chhau, the masks are especially elaborate, with each character represented by a distinct and carefully differentiated form. The iconography primarily draws on mythology, depicting figures such as Goddess Durga, Ganesh, and various demonic characters, alongside representations of animals and birds including peacocks, tigers, monkeys, and lions. Beyond masks for performance, some artisans also produce idols and have adapted their skills to create a range of decorative objects. This diversification has enabled craftspeople to expand their markets while introducing innovation into their creative practice.