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BHANGRA
Bhangra is the favourite dance of the Punjabi villager. It is a dance of stamina in sheer force and tempo. This ancient dance is associated with the ripening of the harvest. The origin of this is associated with fertility rites.
This dance is performed on Baisakhi when harvesting is over and fairs are held all over the Punjab. It can also be performed without any let or hindrance at any other social occasion of importance
No particular form of dress is indicated for Bhangra. For maintaining unifromity, the dancers wear shirts with loose sleeves, stiff-starched long-cloth tahmats (loose loin cloth reaching up to the ankles) and bright black, red, green or yellow waist-coasts. A bright strip over the turban is often regarded as a must. Tiny bells are sometimes tied over the ankles.
Bhangra is danced to the accompaniment of dhol and rhythmic clapping. The drummer stands at the centre and the dancers stand in a circle around him. At the beat of the drum, they proceed first with a slow movement of the feet then a rhythmic wriggling of the body and after the shaking of the shoulders they start strutting in rhythm. The tempo increases as the beat of the drum becomes more and more exciting. The physical movements in twist and turn take the drumming and dance to a fine climax.
The drummer and the dancers all reaching a stage of swinging ecstasy where sound and movements merge into each other. The flow of the rhythm is interspersed with chants of "Hoy, Hoy" and "Balle, Balle" by the dancers. There are short pauses in between. At each pause when the drumming ceases one of the dancers comes forward, puts one hand on his ear lifts the other and sings a Boli. As soon as he comes to the end of it, dancing is resumed. The dancers must keep the rhythm and increase or decrease the tempo in accordance with the beat of the drum. Sometimes young men divide themselves competitively into pairs, each pair performing in its turn while the rest remain in a circle. The gestures are full of vigour that they are difficult to sustain over long periods. So when a pair exhausts itself, it goes back to the ring and another pair comes forward to take its places. This may go on for hours.
With the passage of time Bhangra, is losing its gruffness and its movements are tending to become more and more sophisticated. The Bhangra which is danced on Republic Day and in the films is quite different from the one danced in villages by the unsophisticated people
GIDDHA
Giddha is the folk-dance par excellence of women. It has almost the same intensity as Bhangra. It leaves plenty of margin for the depiction of feminine grace and elasticity. Women perform this dance mainly on festive and social occasions especially marriages. In Malwa, the Giddha performed during marriages is called 'Viyahula Giddha'. Hard worked village women sometimes get together on moonlit nights and dance in tune with nature. It is customary in the Punjab to celebrate Teeyan in the month of Sawan. The festival lasts from the 3rd lunar day in the month to full moon. Fairs are held at many places, swings are put up and girls swing and dance to their heart's content. At such times Giddha is performed under a peepal or banyan tree. The rainy season is also called the season of Giddha because the drops of rain and the dark clouds inspire the girls to dance out their pent-up feelings as nothing else can. Giddha performed during Teeyan is called 'Teeyan Giddha'. For young girls whether married or unmarried it is an occasion to look forward to. The newly-married ones yearn to come to their parental homes during these days.
Giddha is danced in a circle. The girls form a ring. One of them taking up a small drum (dholki) and sitting in the centre. If a dholki is not available an earthen pitcher is substituted. The deserved rhythm is produced by striking it with a pebble. The starting procedure is the same as in Bhangra. One girl comes forward and sings a boli. As she comes to the end of it, the others pick up the refrain and join. As the dance proceeds they sing more and more spiritedly, keeping time by clapping. The girls dance in twos. The dance is stylistically simple, the jingle of the bells the thumping of the feet and the beat of the drum creating an enchanting atmosphere.
Giddha is not performed according to any cut-and-dried rule but harmony is the essence in such movements as swinging and twisting the body, shaking the shoulders, bending to a double and clapping. Sometimes four young girls perform Kikli in group of two's. Girls performing Giddha indicate through gestures the various phases of the life of a Punjabi woman spinning, fetching water from the well and grinding. Whichever phase they portray, they sing with it an appropriate boli. Mimicry is very popular in Giddha. One girl may play an aged bridegroom and another his young bride or one may play a quarrelsome sister-in-law and another a humble bride. All this gives women a chance to give uninhibited expression to their pent-up feelings.
Jaago
Literally, "wake up!" When there’s a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and singing jaagu songs. The theme of song in the ‘Jago’ is social and typically a bit of teasing (often aimed at elders) goes with the song
Bhangra is the favourite dance of the Punjabi villager. It is a dance of stamina in sheer force and tempo. This ancient dance is associated with the ripening of the harvest. The origin of this is associated with fertility rites.
This dance is performed on Baisakhi when harvesting is over and fairs are held all over the Punjab. It can also be performed without any let or hindrance at any other social occasion of importance
No particular form of dress is indicated for Bhangra. For maintaining unifromity, the dancers wear shirts with loose sleeves, stiff-starched long-cloth tahmats (loose loin cloth reaching up to the ankles) and bright black, red, green or yellow waist-coasts. A bright strip over the turban is often regarded as a must. Tiny bells are sometimes tied over the ankles.
Bhangra is danced to the accompaniment of dhol and rhythmic clapping. The drummer stands at the centre and the dancers stand in a circle around him. At the beat of the drum, they proceed first with a slow movement of the feet then a rhythmic wriggling of the body and after the shaking of the shoulders they start strutting in rhythm. The tempo increases as the beat of the drum becomes more and more exciting. The physical movements in twist and turn take the drumming and dance to a fine climax.
The drummer and the dancers all reaching a stage of swinging ecstasy where sound and movements merge into each other. The flow of the rhythm is interspersed with chants of "Hoy, Hoy" and "Balle, Balle" by the dancers. There are short pauses in between. At each pause when the drumming ceases one of the dancers comes forward, puts one hand on his ear lifts the other and sings a Boli. As soon as he comes to the end of it, dancing is resumed. The dancers must keep the rhythm and increase or decrease the tempo in accordance with the beat of the drum. Sometimes young men divide themselves competitively into pairs, each pair performing in its turn while the rest remain in a circle. The gestures are full of vigour that they are difficult to sustain over long periods. So when a pair exhausts itself, it goes back to the ring and another pair comes forward to take its places. This may go on for hours.
With the passage of time Bhangra, is losing its gruffness and its movements are tending to become more and more sophisticated. The Bhangra which is danced on Republic Day and in the films is quite different from the one danced in villages by the unsophisticated people
GIDDHA
Giddha is the folk-dance par excellence of women. It has almost the same intensity as Bhangra. It leaves plenty of margin for the depiction of feminine grace and elasticity. Women perform this dance mainly on festive and social occasions especially marriages. In Malwa, the Giddha performed during marriages is called 'Viyahula Giddha'. Hard worked village women sometimes get together on moonlit nights and dance in tune with nature. It is customary in the Punjab to celebrate Teeyan in the month of Sawan. The festival lasts from the 3rd lunar day in the month to full moon. Fairs are held at many places, swings are put up and girls swing and dance to their heart's content. At such times Giddha is performed under a peepal or banyan tree. The rainy season is also called the season of Giddha because the drops of rain and the dark clouds inspire the girls to dance out their pent-up feelings as nothing else can. Giddha performed during Teeyan is called 'Teeyan Giddha'. For young girls whether married or unmarried it is an occasion to look forward to. The newly-married ones yearn to come to their parental homes during these days.
Giddha is danced in a circle. The girls form a ring. One of them taking up a small drum (dholki) and sitting in the centre. If a dholki is not available an earthen pitcher is substituted. The deserved rhythm is produced by striking it with a pebble. The starting procedure is the same as in Bhangra. One girl comes forward and sings a boli. As she comes to the end of it, the others pick up the refrain and join. As the dance proceeds they sing more and more spiritedly, keeping time by clapping. The girls dance in twos. The dance is stylistically simple, the jingle of the bells the thumping of the feet and the beat of the drum creating an enchanting atmosphere.
Giddha is not performed according to any cut-and-dried rule but harmony is the essence in such movements as swinging and twisting the body, shaking the shoulders, bending to a double and clapping. Sometimes four young girls perform Kikli in group of two's. Girls performing Giddha indicate through gestures the various phases of the life of a Punjabi woman spinning, fetching water from the well and grinding. Whichever phase they portray, they sing with it an appropriate boli. Mimicry is very popular in Giddha. One girl may play an aged bridegroom and another his young bride or one may play a quarrelsome sister-in-law and another a humble bride. All this gives women a chance to give uninhibited expression to their pent-up feelings.
Jaago
Literally, "wake up!" When there’s a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and singing jaagu songs. The theme of song in the ‘Jago’ is social and typically a bit of teasing (often aimed at elders) goes with the song
, meh neh bhi chakeh seh 2 yrs back..in my cousin bro marriage... ayeh neh jago aya.. gande peehche , i mean that whole jagoo gang
...tu kehri bhasha bolda...menu kuj samaj ni aundi
....
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