Shaukeen Jatti
Giddheyan di rani
[SIZE=+2]The Bhangra[/SIZE]
Although Bhangra has possibly existed since as long ago as 300 BC, over the past forty years it has experienced new highs in popularity and innovation. The term "Bhangra" has gradually evolved and now refers to many different sub-classes of dance and music for many occasions.
[SIZE=+2]The Origin of Bhangra[/SIZE]
While Bhangra historians speculate the dance may have originated in the time of the wars with Alexander, no one is sure it existed until about five hundred years ago. Around the 14th or 15th Century, Punjabi wheat farmers danced and sang songs about village life to help pass the time while working in the fields. With time, these became part of harvest celebrations at Bhaisakhi (April 13) festivals, as the sight of their crops growing invigorated the farmers. From here the dance quickly moved through all divisions of class and education, eventually becoming a part of weddings, New Year parties, and other important occasions.
[SIZE=+2]The Many Sub-Dances of Bhangra[/SIZE]
Bhangra has developed as a combination of dances from different parts of the Punjab region. The term "Bhangra" now refers to several kinds of dances and arts, including Jhumar, Luddi, Giddha, Julli, Daankara, Dhamal, Saami, Kikli, and Gatka.
Jhumar, originally from Sandalbar, Punjab, comprises an important part of Punjab folk heritage. It is a graceful dance, based on a specific Jhumar rhythm. Dancers circle around a drum player while singing a soft chorus.
A person performing the Luddi dance places one hand behind his head and the other in front of his face, while swaying his head and arms. He typically wears a plain loose shirt and sways in a snake-like manner. Like a Jhumar dancer, the Luddi dancer moves around a dhol player.
Women have a different but equally exuberant dance called Giddha. The dancers enact verses called bolis, representing a wide variety of subjects - everything from arguments with a sister-in-law to political affairs. The rhythm of the dance depends not only the drums, but also on the handclaps of the dancers.
Julli is a dance associated with Muslim holy men called pirs and is generally performed in their hermitages. Typically the dancers dress all in black, and perform Julli in a sitting posture, but it is sometimes also done around the grave of a preceptor. Julli is unique in that one person, alone, can perform the dance if he so desires.
Daankara is a dance of celebration, typically performed at weddings. Two men, each holding colorful staves, dance around each other in a circle while tapping their sticks together in rhythm with the drums.
Dancers also form a circle while performing Dhamal. They also hold their arms high, shake their shoulders and heads, and yell and scream. Dhamal is a true folk-dance, representing the heart of Bhangra.
Women of the Sandalbar region traditionally are known for the Saami. The dancers dress in brightly colored kurtas and full flowing skirts called lehengas.
Like Daankara, Kikli features pairs of dancers, this time women. The dancers cross their arms, hold each other`s hands, and whirl around singing folk songs. Occasionally four girls join hands to perform this dance.
Gatka is a Sikh martial art in which people use swords, sticks, or daggers. Historians believe that the sixth Sikh guru started the art of gatka after the martyrdom of fifth guru Guru Arjan Dev. Wherever there is a large Khalsa Sikh population, there will be Gatka participants, often including small children and adults. These participants usually perform Gatka on special Punjabi holidays.
In addition to these different dances, a Bhangra performance typically contains many energetic stunts. The most popular stunt is called the moor, or peacock, in which a dancer sits on someone`s shoulders, while another person hangs from his torso by his legs. Two-person towers, pyramids, and various spinning stunts are also popular.
[SIZE=+2]Bhangra Costumes[/SIZE]
Traditionally, men wear a lungi while doing Bhangra. A lungi is a colorful piece of cloth wrapped around the waist. Men also wear a kurta, which is a long Punjabi-style shirt. In addition, men wear Bhugaris - also known as turbins - to cover their heads.
Women wear the traditional Punjabi dress, salvar kameez. A salvar kameez is composed of a long colorful shirt and baggy, vibrant pants. Women also wear duppattas, colorful pieces of cloth wrapped around the neck. Many Bhangra songs make references to the duppatta.
[SIZE=+2]Bhangra Instruments[/SIZE]
Many different Punjabi instruments contribute to the sound of Bhangra. Although the most important instrument is the dhol drum, Bhangra also features a variety of string and other drum instruments.
The primary and most important instrument that defines Bhangra is the dhol. The dhol is a large, high-bass drum, played by beating it with two sticks. The width of a dhol skin is about fifteen inches in general, and the dhol player holds his instrument with a strap around his neck.
The string instruments include the tumbi, sarangi, sapera, supp, and chimta. The dhad, dafli, dholki, and damru are the other drums. The tumbi, famously mastered by Amar Singh Chamkila, a famous Punjabi singer, is a high-tone, single-string instrument. Although it has only one string, mastering the tumbi takes many years. The sarangi is a multi-stringed instrument, somewhat similar to the violin. The sapera produces a beautiful, high-pitched stringy beat, while the supp and chimta add extra, light sound to Bhangra music. Finally, the dhad, dafli, dholki, and damru are instruments that produce more drum beats, but with much less bass than the dhol drum.
[SIZE=+2]Bhangra Lyrics[/SIZE]
Bhangra lyrics, always sung in the Punjabi language, generally cover social issues such as love, relationships, alcohol, dancing, and marriage. Additionally, there are countless Bhangra songs devoted to Punjabi pride themes and Punjabi heroes. The lyrics are tributes to the rich cultural traditions of the Punjabis. In particular, many Bhangra tracks have been written about Udham Singh and Bhagat Singh. Less serious topics include beautiful ladies with their colorful duppattas, and dancing and drinking in the fields of the Punjab.
Bhangra singers do not sing in the same tone of voice as their Southeast Asian counterparts. Rather, they employ a high, energetic tone of voice. Singing fiercely, and with great pride, they typically add nonsensical, random noises to their singing. Likewise, often people dancing to Bhangra will yell phrases such as "Hey hey hey," "Balle balle," or "Hey aripa" to the music.
[SIZE=+2]Bhangra Today[/SIZE]
Bhangra has come a long way in the 20th Century and has recently taken the entertainment industry by storm. In the 1970s and 1980s, many Punjabi singers from Southeast Asia and the United Kingdom emerged, setting the stage for Bhangra to become a hot new trend in dance music. Modern Bhangra artists, in addition to recording and performing traditional Bhangra, have also fused Bhangra with other music genres, such as hip-hop, reggae, house, and drum-and-bass.
[SIZE=+2]Bhangra in the 1970s[/SIZE]
In the late 1960s and 1970s, several singers from the Punjab set the stage for Bhangra to become a mass phenomenon. These singers, some of whom are still active today, include Kuldip Manak, Amar Singh Chamkila, and A. S. Kang.
Kuldip Manak, a Bhangra legend, has come to represent the ultimate Punjabi folk music icon. Malkit Singh, a current Bhangra star, says, "Kuldip Manak was one of my singing idols when I was growing up". He symbolizes the essence of Punjabi culture with regards to its history and people. Manak was raised into a musical family; his father was a singing priest in gurudwaras (Sikh temples) in Punjab. Manak`s first release was in 1968 when he was just 14 yrs old. He went on to author hundreds of songs, many of which are covered and remixed by contemporary artists.
Chamkila, whose music has received a recent rebirth in popularity, was born on 21 July 1961 in Ludihana, Punjab, from a poor family and lived in great poverty. He wanted to be an electrician, but his family could not afford his education, so he turned to music at a young age. When he was seven years old, he learned the Dholki drum, and he began writing songs when he was only ten. Many Punjabi singers used his songs, and in the late 70s Chamkila began performing himself. He joined a lady named Amarjyot in the early 80s and together they toured the world, visiting countries such as the USA, Canada, Dubai, and Bahrain. Chamkila was extremely popular, but also very controversial, due to his often vulgar and offensive lyrics. Despite countless death-threats, the artist refused to alter his style. However, in 1988 Chamkila and Amarjyot were killed at a show in Mesumpur as they stepped out of their car. The official blame was put on terrorists, but many believe that rival singers, envious of the couple`s success, arranged the killing. Chamkila, a legend of Punjabi folk, was only twenty-seven years old when he was killed. He had over two hundred unreleased songs finished at the time of his death, many of which have been recorded and released by modern artists.
A.S. Kang has been in the Bhangra industry for a long time, and just released a new album, The Kangsta, in 1999. With over twenty years of industry experience, he is now referred to as the "Big Daddy." Kang`s music has evolved with time, and his recent releases have featured combinations of swing, techno and dance music with his more traditional folk vocals.
Other artists that had a huge influence on the growth of Bhangra are Bhujangy, Asa Singh Mastana, Surinder Kaur and Parkash Kaur, Lalchand Yamla Jat, K. Deep and Jagmohan Kaur, and Alam Lohar.
Although Bhangra has possibly existed since as long ago as 300 BC, over the past forty years it has experienced new highs in popularity and innovation. The term "Bhangra" has gradually evolved and now refers to many different sub-classes of dance and music for many occasions.
[SIZE=+2]The Origin of Bhangra[/SIZE]
While Bhangra historians speculate the dance may have originated in the time of the wars with Alexander, no one is sure it existed until about five hundred years ago. Around the 14th or 15th Century, Punjabi wheat farmers danced and sang songs about village life to help pass the time while working in the fields. With time, these became part of harvest celebrations at Bhaisakhi (April 13) festivals, as the sight of their crops growing invigorated the farmers. From here the dance quickly moved through all divisions of class and education, eventually becoming a part of weddings, New Year parties, and other important occasions.
[SIZE=+2]The Many Sub-Dances of Bhangra[/SIZE]
Bhangra has developed as a combination of dances from different parts of the Punjab region. The term "Bhangra" now refers to several kinds of dances and arts, including Jhumar, Luddi, Giddha, Julli, Daankara, Dhamal, Saami, Kikli, and Gatka.
Jhumar, originally from Sandalbar, Punjab, comprises an important part of Punjab folk heritage. It is a graceful dance, based on a specific Jhumar rhythm. Dancers circle around a drum player while singing a soft chorus.
A person performing the Luddi dance places one hand behind his head and the other in front of his face, while swaying his head and arms. He typically wears a plain loose shirt and sways in a snake-like manner. Like a Jhumar dancer, the Luddi dancer moves around a dhol player.
Women have a different but equally exuberant dance called Giddha. The dancers enact verses called bolis, representing a wide variety of subjects - everything from arguments with a sister-in-law to political affairs. The rhythm of the dance depends not only the drums, but also on the handclaps of the dancers.
Julli is a dance associated with Muslim holy men called pirs and is generally performed in their hermitages. Typically the dancers dress all in black, and perform Julli in a sitting posture, but it is sometimes also done around the grave of a preceptor. Julli is unique in that one person, alone, can perform the dance if he so desires.
Daankara is a dance of celebration, typically performed at weddings. Two men, each holding colorful staves, dance around each other in a circle while tapping their sticks together in rhythm with the drums.
Dancers also form a circle while performing Dhamal. They also hold their arms high, shake their shoulders and heads, and yell and scream. Dhamal is a true folk-dance, representing the heart of Bhangra.
Women of the Sandalbar region traditionally are known for the Saami. The dancers dress in brightly colored kurtas and full flowing skirts called lehengas.
Like Daankara, Kikli features pairs of dancers, this time women. The dancers cross their arms, hold each other`s hands, and whirl around singing folk songs. Occasionally four girls join hands to perform this dance.
Gatka is a Sikh martial art in which people use swords, sticks, or daggers. Historians believe that the sixth Sikh guru started the art of gatka after the martyrdom of fifth guru Guru Arjan Dev. Wherever there is a large Khalsa Sikh population, there will be Gatka participants, often including small children and adults. These participants usually perform Gatka on special Punjabi holidays.
In addition to these different dances, a Bhangra performance typically contains many energetic stunts. The most popular stunt is called the moor, or peacock, in which a dancer sits on someone`s shoulders, while another person hangs from his torso by his legs. Two-person towers, pyramids, and various spinning stunts are also popular.
[SIZE=+2]Bhangra Costumes[/SIZE]
Traditionally, men wear a lungi while doing Bhangra. A lungi is a colorful piece of cloth wrapped around the waist. Men also wear a kurta, which is a long Punjabi-style shirt. In addition, men wear Bhugaris - also known as turbins - to cover their heads.
Women wear the traditional Punjabi dress, salvar kameez. A salvar kameez is composed of a long colorful shirt and baggy, vibrant pants. Women also wear duppattas, colorful pieces of cloth wrapped around the neck. Many Bhangra songs make references to the duppatta.
[SIZE=+2]Bhangra Instruments[/SIZE]
Many different Punjabi instruments contribute to the sound of Bhangra. Although the most important instrument is the dhol drum, Bhangra also features a variety of string and other drum instruments.
The primary and most important instrument that defines Bhangra is the dhol. The dhol is a large, high-bass drum, played by beating it with two sticks. The width of a dhol skin is about fifteen inches in general, and the dhol player holds his instrument with a strap around his neck.
The string instruments include the tumbi, sarangi, sapera, supp, and chimta. The dhad, dafli, dholki, and damru are the other drums. The tumbi, famously mastered by Amar Singh Chamkila, a famous Punjabi singer, is a high-tone, single-string instrument. Although it has only one string, mastering the tumbi takes many years. The sarangi is a multi-stringed instrument, somewhat similar to the violin. The sapera produces a beautiful, high-pitched stringy beat, while the supp and chimta add extra, light sound to Bhangra music. Finally, the dhad, dafli, dholki, and damru are instruments that produce more drum beats, but with much less bass than the dhol drum.
[SIZE=+2]Bhangra Lyrics[/SIZE]
Bhangra lyrics, always sung in the Punjabi language, generally cover social issues such as love, relationships, alcohol, dancing, and marriage. Additionally, there are countless Bhangra songs devoted to Punjabi pride themes and Punjabi heroes. The lyrics are tributes to the rich cultural traditions of the Punjabis. In particular, many Bhangra tracks have been written about Udham Singh and Bhagat Singh. Less serious topics include beautiful ladies with their colorful duppattas, and dancing and drinking in the fields of the Punjab.
Bhangra singers do not sing in the same tone of voice as their Southeast Asian counterparts. Rather, they employ a high, energetic tone of voice. Singing fiercely, and with great pride, they typically add nonsensical, random noises to their singing. Likewise, often people dancing to Bhangra will yell phrases such as "Hey hey hey," "Balle balle," or "Hey aripa" to the music.
[SIZE=+2]Bhangra Today[/SIZE]
Bhangra has come a long way in the 20th Century and has recently taken the entertainment industry by storm. In the 1970s and 1980s, many Punjabi singers from Southeast Asia and the United Kingdom emerged, setting the stage for Bhangra to become a hot new trend in dance music. Modern Bhangra artists, in addition to recording and performing traditional Bhangra, have also fused Bhangra with other music genres, such as hip-hop, reggae, house, and drum-and-bass.
[SIZE=+2]Bhangra in the 1970s[/SIZE]
In the late 1960s and 1970s, several singers from the Punjab set the stage for Bhangra to become a mass phenomenon. These singers, some of whom are still active today, include Kuldip Manak, Amar Singh Chamkila, and A. S. Kang.
Kuldip Manak, a Bhangra legend, has come to represent the ultimate Punjabi folk music icon. Malkit Singh, a current Bhangra star, says, "Kuldip Manak was one of my singing idols when I was growing up". He symbolizes the essence of Punjabi culture with regards to its history and people. Manak was raised into a musical family; his father was a singing priest in gurudwaras (Sikh temples) in Punjab. Manak`s first release was in 1968 when he was just 14 yrs old. He went on to author hundreds of songs, many of which are covered and remixed by contemporary artists.
Chamkila, whose music has received a recent rebirth in popularity, was born on 21 July 1961 in Ludihana, Punjab, from a poor family and lived in great poverty. He wanted to be an electrician, but his family could not afford his education, so he turned to music at a young age. When he was seven years old, he learned the Dholki drum, and he began writing songs when he was only ten. Many Punjabi singers used his songs, and in the late 70s Chamkila began performing himself. He joined a lady named Amarjyot in the early 80s and together they toured the world, visiting countries such as the USA, Canada, Dubai, and Bahrain. Chamkila was extremely popular, but also very controversial, due to his often vulgar and offensive lyrics. Despite countless death-threats, the artist refused to alter his style. However, in 1988 Chamkila and Amarjyot were killed at a show in Mesumpur as they stepped out of their car. The official blame was put on terrorists, but many believe that rival singers, envious of the couple`s success, arranged the killing. Chamkila, a legend of Punjabi folk, was only twenty-seven years old when he was killed. He had over two hundred unreleased songs finished at the time of his death, many of which have been recorded and released by modern artists.
A.S. Kang has been in the Bhangra industry for a long time, and just released a new album, The Kangsta, in 1999. With over twenty years of industry experience, he is now referred to as the "Big Daddy." Kang`s music has evolved with time, and his recent releases have featured combinations of swing, techno and dance music with his more traditional folk vocals.
Other artists that had a huge influence on the growth of Bhangra are Bhujangy, Asa Singh Mastana, Surinder Kaur and Parkash Kaur, Lalchand Yamla Jat, K. Deep and Jagmohan Kaur, and Alam Lohar.