Topics: Bhangra, Sikh, Sikhism Pages: 4 (1406 words) Published: March 29, 2012
Bhaṅgṛā (Punjabi: ਭੰਗੜਾ (Gurmukhi), بھنگڑا (Shahmukhi), भांगड़ा (Devanagari); pronounced [pə̀ŋɡɽaː]) is a form of dance and music that originated in the Punjab region.[1] Bhangra dance began as a folk dance conducted by Punjabi Sikh farmers(Jatts) to celebrate the coming of the harvest season. The specific moves of Bhangra reflect the manner in which villagers farmed their land. This dance art further became synthesized after the partition of India, when refugees from different parts of the Punjab shared their folk dances with individuals who resided in the regions they settled in. This hybrid dance became Bhangra. The folk dance has been popularised in the western world by Punjabi Sikhs[2] and is seen in the West as an expression of South Asian culture as a whole.[3] Today, Bhangra dance survives in different forms and styles all over the globe – including pop music, film soundtracks, collegiate competitions and even talent shows.

Bhangra dance is based on a Punjabi folk dhol beat called 'bhangra' singing and the beat of the dhol drum, a single-stringed instrument called the iktar (ektara), the tumbi and the chimta. Bhangra music however, is a form of music that originated in 1980s in Britain. The accompanying songs are small couplets written in the Punjabi language called bolis. They relate to current issues faced by the singers and (dil di gal) what they truly want to say. In Punjabi folk music, the dhol's smaller cousin, the dholki, was nearly always used to provide the main beat. Nowadays the dhol is used more frequently in folk music however in bhangra dholki is still preferred, with and without the dholki. Additional percussion, including tabla, is less frequently used in bhangra as a solo instrument but is sometimes used to accompany the dhol and dholki. The dholki drum patterns in Bhangra music bear an intimate similarity to the rhythms in Reggae music. This rhythm serves as a common thread which allows for easy commingling...
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