Punjabis Folk Dance Bhangra - Research Paper Example

Punjabis Folk Dance Bhangra Introduction The bhangra dance originated in Punjab region as a dance conducted by Punjabi Sikh farmers on the coming of the harvest season. The basis of the dance is from Punjabi folk, drum, folk singing and iktar, the tumbi and the chimta, a single-stringed instrument. Bolis are small accompanying songs which are couplets written in Punjabi language (Chaudhary 11). In provision of the main beat in Punjabi folk music, the dholki which is a smaller cousin of the dhol was used. The research is aimed at examining the survival of Bhangra dance form in Diaspora. Bhangra is more about joy and celebration not resistance, power or spiritual Additionally, the research offers a variety of ways of looking at the dance, including a consideration of the culture's history, environment, economics and worldview. Sometimes additional percussions including the tabla were used to accompany the dhol and dholki although it was less frequently used as a solo instrument. The bhangra lyric majorly cover social issues such as love, money, relationships and marriage and is always sung in Punjabi language. The lyrics are mostly tributes to the rich cultural traditions of the Punjabis especially those ones devoted to Punjabi pride, themes and Punjabi heroes. Many of the bhangra tracks are written about Udam Singh and Bhagat Singh. Punjabis Folk Dance Bhangra The survival of Bhangra dance form in Diaspora has been achieved from many aspects of the song like rhythm, language, beat and the instruments used among others. The rhythm acts like a common thread that that ensures easy commingling between reggae and Punjabi folk (Sharma 76). This is demonstrated by artists like Apache India n from United Kingdom. The main beat is also provided by dholki, dhol’s smaller cousin. Songs that accompany the dance are written in small couplets of Punjabi language called bolis. Between 1960s and 1970s, bhangra was used more like of a form of music than a just a normal dance. Katz (32) observes that success of many artists of Punjabi from UK formed a strong base that really inspired new artists and hence, it gathered enough support from Indian Punjab and Pakistan artists are active up to date and include Allap Band, Heera Group, Apna Sangeet, among others. Punjab folk singers have also developed bhangra in United Kingdom. Major Punjabis’ migrations to the United Kingdom led to the spread of bhangra music, thus making it popular in Britain (Katz 33). However, it was heavily influenced by rock sounds infusion in Britain as well as the need to do away with the repetitive, simple Punjabi folk music. Furthermore, it triggered the development of Asian British youth culture which was distinctive and more self conscious. This culture revolved around experimental sense of gesture, language, desires and bodily signification in situations of tension between racist elements and British culture that had signaled alienation of minority ethnic groups. This situation fostered the need for positive culture and identity affirmation and gave way for Punjabis males in Britain to show their masculinity. Another factor that has helped in the survival of Bhangra is involvement of women in the dance in the second generation in south Asian America where women are increasingly using bhangra to define their cultural identity (Katz 33). As opposed in the past, it was purely a male dance that involved intense and strong movements. 1980s was the golden era for Bhangraheads with melody as the primary emphasis where it was played out on a harmonium, synthesizer, guitar or accordion; the composer received very many fans which exceeded those of the vocalist. The music was also independent of the used instruments (Sharma 77). This made it easy to be played by many communities’ world wide using own instruments. Further more, it gave room for the artists and other performers to use instruments of their own choice and which they were comfortable in. therefore, many people irrespective of their culture enjoyed the music and adopted it their dances. This has also allowed many bhangra stars to travel worldwide to entertain their fans while at the same time selling their albums. Incorporation of the traditional Punjabi instruments with synthesizers and western drums has also succeeded in ensuring the survival of the music form in Diaspora. Further incorporation of Bhangra by rock-influenced beats by bands like Heera and Alaaphas allowed Asian youths to positively affirm their identity within the broader alternative rock environment as another way of expression. The progress of Bhangra music brought about an intermezzo culture within the Southeast Asians’ unitary definitions within the Diaspora, therefore creating a home far away from home, hence establishing a brand new community (Anonymous 109). There were also influential groups such as Premi and Saathies who helped bring together Indian lyrics and sounds that have never been formed by other Asian groups. Mixing Bhangra sound with famous sounds of heavy metal and hard rock has helped Asia to preserve their culture while at the same time opening to the world of change. This music has therefore permitted many British Asians to be conscious of the two cultures in their daily life as well as their music. Bhangra music has also been internationally recognized Asian fashion is a mixture of sounds from beats of hip-hop and influences of R&B and is not destined to be removed from the world music store of record (Sharma 231). Immigrants from Punjabi contributed to the growth of Punjabi rural music in northern America instead of Bhangra music. Melodic instruments used in Bhangra music are keyboard and guitar, which are also very common in many parts of the world. Bhangra lyrics, sung in the language of Punjabi normally cover social issues like money, relationships, love, dancing and marriage. Other topics are about beautiful ladies in Punjab, who are colorfully portrayed dancing or drinking. These are common occasions that happen everywhere. This music is therefore incorporated in these great occasions by various communities thus enhancing their features and fame globally. Comparison of the Punjabis Folk Dance Bhangra with Other Dances Like Bhangra dance, ballroom dance is also popular in the whole world but it is more entertaining. It is also a dance for the elites while Bhangra is a dance for people from all social backgrounds. Similarly, it has many dance styles and techniques and also uses a variety of instruments. Ballet dance is however common in Russia and France, though it is slowly penetrating in other countries. Folk dances are performed at social events just like bhangra but are performed in dance groups. Folk dances are performed differently by different communities from various parts of the world. From the Moroccan Muslims, Indian folk, to Scottish dances, they all have their own charm and beauty. Theses dances have their own different styles that differentiate them from others. Modern dances, by Isadora Duncan, Brazilian Dance and classical dance of Kobuki Theater, "The Dancing Maiden at Dojo Temple", involve many unusual dance steps that normally interpret the moods and emotions of the dancer. They also perform on bare feet. In this case, the emotions to be conveyed are not only spoken by the choreographer. Like all other folk dances, it is performed with great creativity, costumes and lighting to create unusual and interesting dance sequences. This type of dance has not effectively survived in the dance form Diaspora, as it mainly common in the western countries and is very little appreciated in the African continent. Like Bhangra, many traditional Indian dances embrace a wide mix of cultures. They have also been witnessed in a wide range of dances that range from classical to folk styles. However, they vary in styles and costumes according to their region of origin. On the other hand, they represent a certain culture and step styles are strictly followed by each student (Anonymous 23). Unlike Bhangra, it also portrays the theme of the dance by a story and is mainly based on religious mythologies. Conclusion The survival of Bhangra dance form in Diaspora has been achieved from many aspects of the song like rhythm, language, beat and the instruments used among others. The rhythm acts like a common thread that that ensures easy commingling between reggae and Punjabi folk. It has been appreciated in all parts of the world as it uses rhythms and instruments that are globally known and used. It mainly focuses on themes of social issues like love, money, relationships and marriage makes it common and charming to many cultures of the world. It differs and compares with other forms of dances like Modern dances, by Isadora Duncan, Brazilian Dance and classical dance of Kobuki Theater, "The Dancing Maiden at Dojo Temple", ball room dance, ballet and tribal dances. It is closely related to traditional folk dances than modern forms of dances such as ballroom and ballet dances. Work cited Anonymous. Types of Dances and Dancing Styles. 2010. Retrieved on 13th April, 2011 from http://www.buzzle.com/articles/types-of-dances-and-different-dancing-styles.html. Chaudhary, Vivek. "The Big Bhangra". The Guardian (London). http://arts.guardian.co.uk/fridayreview/story/0,,1018545,00.html#article_continue. Retrieved 2010-04-26. Katz, Michael. Recycling Copyright: Survival & Growth in the Remix Age. Princeton Hall, Princeton Press. 2008. Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996. Tillin, Louise (2003-10-06). "Diwali Comes to Manhattan". BBC News. http://news.bbc.co.uk/2/low/south_asia/3167232.stm. Retrieved 13 December 2011. Read More