Cheraw dance

Cheraw dance is a traditional cultural dance performed in Mizoram, India, consisting of mostly six to eight people holding pairs of bamboo staves on another horizontally placed bamboo on the ground. The male performers then clap the bamboos rhythmically while groups of female dancers dance in intricate steps between the beating bamboos . It is the most famous and beautiful dance in Mizoram, and is the center of attraction during festive occasions. Similar dances are found in the South East Asian, Southwest China and in the India.In the Philippines they have a similar dance called Tinikling that also uses bamboo sticks and in Vietnam called "múa sạp". A Guinness World Record was made in 2010, when a large number of cheraw dancers danced together at the same time, later the record was broken by chinese bamboo dancer in 2018 consists of 11,914 participants.[1]

Cheraw dance
Jampui girls performing the Cheraw dance
GenreFolk dance
OriginIndia

The Cheraw dance is characterized by the use of bamboo staves, which are kept in cross and horizontal forms on the ground. While the male dancers move these bamboo staves in rhythmic beats, the female dancers perform by stepping in and out of the bamboo blocks. Recognized as one of the oldest dances of Mizoram, the Cheraw dance has become an integral part of almost every festival of Mizoram.

History

Mizoram was known as the Lushai Hills district of Assam before it renamed the Mizo Hills. It is believed that the Cheraw dance was adopted from Tinikling dance(a traditional Philippine folk dance which originated during the Spanish colonial era) at around 17th century AD. Long bamboo staves are used for this dance, therefore many people call it "Bamboo Dance". In those time, Cheraw dance was performed in rituals as believed, to provide solace to the soul of a deceased mother who had passed on leaving her newborn child on earth. However, the traditional beliefs have been diluted and the horizon of Cheraw Dance has expanded considerably. In fact this dance is performed on every occasion by the Mizo of Mizoram.

Format

More often than not the various movements made by the Cheraw dancers are inspired by the nature. While some expressions of Cheraw Dance resemble the swaying of trees some others indicate the flying of birds as well as the harvesting of ripe paddy. There is no denying the fact that Cheraw Dance is surely a most enchanting form of Mizoram culture. Aptly supported by two bases, the bamboos are clapped together on a particular beat by the male dancers. The females who have a perfect sense of timing, dance gracefully by stepping in and out of the crossed and horizontally laid bamboo staves. The dancers move by stepping alternatively in and out from between and across a pair of horizontal bamboos, held against the ground by people sitting face to face on either side. They tap the bamboos in rhythmic beats. The bamboos, placed horizontally, are supported by two bases, one at each end. The bamboos, when clapped, produce a sound which forms the rhythm of the dance. It indicates the timing of the dance as well. The dancers steps in and out to the beats of the bamboos whilst moving their arms in a swinging motion choreographed aesthetically with ease and grace.

Modern

Later practice of Cheraw is accompanied by accordion, mandolin and guitar played in non traditional clothes.[2]

Dress code

The common costumes worn by the performers during the Cheraw dance include:

Women

  • Vakiria - is a female headress made of bamboo and decorated with feathers, beetles wings and other colorful objects, from the 1960s it evolved into the present form.
  • Kawrchei - White red green black blouse.
  • Puanchei - White red green black sarong.

Men

All these traditional costumes of Cheraw Dance come in vibrant colors that further brighten up the surrounding environment.

References
  1. "Cheraw Dance, Indian Cheraw Dance, Cheraw Dance Mizoram, Dances of Mizoram, Mizoram India Dance Travel Guide, famous Cheraw Dance in Mizoram". www.onlytravelguide.com.
  2. Pachuau, Joy (13 April 2015). The Camera as a witness. Cambridge. p. 283. ISBN 9781107073395.


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