Bhangra - Folk Dance of Punjab, India

Originating in the region of Punjab in India, Bhangra began as a folk dance done by farmers. Bhangra commemorated the coming of the Spring and marked the birth of the new harvest, a time known as Baisakhi celebrated by Sikhs. Bhangra ushered in a new beginning, a rebirth of the Earth, a means for farmers and the common people of Northern India to salute the new season. Today, Bhangra survives in different forms and styles all over the globe. In fact, Bhangra has been hailed by many as the world’s fastest growing dance and musical form. Today, bhangra is celebrated everywhere by people of all ages and races – from the radio, to pop music, and even to collegiate competitions. As Bhangra becomes more well-known, some of its practitioners try to maintain its traditionalism while at the same time embracing its evolution as an art form.

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. Pavan's dance moves are also very popular.

Bhangra Costumes

Traditionally, men wear a chaadra while doing Bhangra. A chaadra is a piece of cloth wrapped around the waist. Men also wear a kurta, which is a long Indian-style shirt. In addition, men wear Pugdee - also known as turbans - to cover their heads.

In modern times, men also wear turla - the fan attached to the pugdee. Colorful vest are worn above the kurta. Fumans - small balls attached to ropes - are worn on each arm.

Women wear the traditional Punjabi dress, ghagra. A ghagra is composed of a long colorful shirt and baggy, vibrant skirt. Women also wear duppattas, colorful pieces of cloth wrapped around the neck. Many Bhangra songs make references to the duppatta. Also, women wear suits called salwars which are baggy pants and a long colorful shirt.

In addition to describing the Bhangra dressing/costumes, as aforementioned, it is very colorful and vibrant, as it represents the rich rural colors of Punjab. Referring to some sources, Besides the above, the Bhangra dress has different parts that are listed below in detail, Turla or Torla this is fan like adornment on the turban, a Pag : This is tied different to the traditional type of turban that you can see Sikh's wearing in the street. The turban has to be tied before each show, and is not ready made like a hat. Kaintha (necklace), some men also wear earrings Kurta - Similar to a silk shirt, with about 4 buttons, very loose with embroidered patterns. Lungi or Chadar - This is a loose loincloth tied around the dancer’s waist. Again it would be decorated. Jugi: A waistcoat, with no buttons. Rammal: These are essentially scarves worn on the fingers. They also look very elegant and effective when the hands move during the course of bhangra performance.

Bhangra Lyrics

Bhangra lyrics, always sung in the Punjabi language, generally cover social issues such as love, relationships, 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", "Haripa" or "Ch-Ch" to the music.