Drum based rhythms have long been used as coded communication signals to disseminate strategic orders during war. This study uses textual semiotics to identify such rhythmic patterns in Purulia Chhau, an indigenous masked dance theatre form of Bengal, India. The patterns are compared with those of the Mughal army. Significant similarities or influences are unveiled. In-depth interviews of dhamsa players in Purulia reveal that as their art-form transcended from one generation to the other, the key elements that maneuvered the knowledge acquisition were predominantly rasas (emotions) that adorn each performing character. Furthermore, whereas most of these Mughal war rhythms and their depicted rasas are widely used in Purulia Chhau to substantiate antagonistic characters such as Raavan and Mahisasur, divine characters such as Ram or Krishna are embellished with pleasant renditions of Hindu hymns in the form of Jhumur and Tusu Gaan. Music plays a significant role in the performances, and the conveyed emotion shapes the sentiment of the audience towards the character being represented. The “good and evil” dichotomy being communicated through most narratives, Purulia Chhau thus subtly influences the tribals’ perception of the Mughal empire and their descendants.