Running Head: BHANGRA MUSIC AND ITS CULTURAL JOURNEY

Bhangra Music and its Cultural Journey Diana Fox Molloy College

BHANGRA MUSIC AND ITS CULTURAL JOURNEY

Abstract

Bhangra music is an significant component of Punjabi culture. The role of this music takes on many forms. Since the 1980s Bhangra music became exceedingly widespread throughout the world. There are many different instruments used to compose and perform this style of music. The Punjabi culture and bhangra music holds a strong presence in the United States. The findings suggest that bhangra music can also be successful when used in a music therapy setting. Keywords: bhangra music, Punjabi, Bollywood, roles, United States, music therapy, instruments

BHANGRA MUSIC AND ITS CULTURAL JOURNEY Bhangra is an energetic new form of popular dance music that has roots tied to the 14th century when native Punjabis would sing and dance to celebrate their annual wheat harvests (Kelly & Thind, n.d.). Since that time bhangra (like everything else) has been fine-tuned, transformed and modernized. The sounds of this exhilarating, spirited music has traveled around the world and is adored and enjoyed by people of all cultures. However, it all began in the Punjab region. The Punjab region covers the area of Northern India all the way to Southern Pakistan (Miller & Shahriari, 2012). Currently, there are three primary religions that are present in the area. They are Sikhism, Hinduism, and Islam. This area has been occupied and controlled by various empires and races. In the 19th century the British claimed the territory. After the British rule concluded in 1947, the region was divided into India and Pakistan. As a result, many of the Punjabis relocated to the United Kingdom. (Kelly & Thind, n.d.). During the late 1960s and 1970s, large numbers of Punjabi, primarily Sikhs, migrated to Great Britain(Miller & Shahriari, 2012, p. 127). This is where we first began to see bhangra music develop and surface. By the 1980s bhangra music thrived among Indian communities across the United Kingdom (Miller & Shahriari, 2012). In the 1980s the Punjabi youth that had resided in London, England started to take bhangra music to a new level. This helped the South Asian culture in this area develop an identity as British rock began to rise. It allowed South Asian individuals within a booming culture to distinguish and connect with one another. (Purkayastha, 2005). They began blending bhangra rhythms and vocal performance with modern music styles to create a new pop genre of bhangra that reflected their cultural identity

BHANGRA MUSIC AND ITS CULTURAL JOURNEY in a cultural community (Miller & Shahriari, 2012, p. 127). The transformation that bhangra had made became popular and traveled rapidly among the Punjabi communities. It eventually found its way back to India and Pakistan and became imbedded into Indian pop culture. Bhangra music began to serve as the exciting interludes that accompany Bollywood films. Currently, bhangra music also plays important roles in group celebratory dancesharvest festivals, and weddings (Miller & Shahriari, 2012, p. 127). Many intellectuals will argue that true Punjabi song and dance are complex and sonic and kinesic genres requiring natural talent and intensive training and are capable of articulating a wide range of emotions or rasas (emotions or moods) as any other folk or classical genre (Roy, 2012, p. 38). These intellectuals feel that Bollywood Bhangra breaches Punjabi ethics because of its impromptu, sexual, and spontaneous choreography. But to many in India, it is part of the Indian diaspora and bhangra is Bollywood Bhangra (Roy, 2012, pg. 38). With its wild dances, colorful costumes, and festive connotations, bhangra has become a staple in Indian culture. There are several distinct Punjabi instruments that give bhangra its unique sound. Typically, a lead male vocalist with accompanying group response is typical in both folk and popular contexts (Miller & Shahrisi, 2012, p. 127). The most significant instrument used is the dhol drum. Bhangra music cannot be defined without the presence of this instrument. The dhol drum is a large, moderately tall bass sounding drum. It is held around a players neck using a strap and two sticks are used to produce a sound. Another important instrument used is the high-pitched tumbi. The tumbi is a lute that only contains one string (Miller & Shahriari, 2012). Although it has only one string, mastering the tumbi takes many years (Kelly & Thind, n.d.).

BHANGRA MUSIC AND ITS CULTURAL JOURNEY Another instrument that is customary in bhangra music is the harmonium. The harmonium is a free-reed pump organ that is native to France. It provides the music with melodic lines and contrast (Miller & Shahriari, 2012). Other stringed instruments that are present in bhangra music are the sarangi, sapera, supp, and chimta. Comparable to the violin, the sarangi is a multi-stringed instrument. The sapera creates pleasant, up-lifting sounds, while the supp and chimta gently decorate the gathering of exotic sounds (Kelly & Thind, n.d.). Besides the dhol there are also other drums that can be used to add rhythmic interest. They are the dhad, dafli, dholki, and damru (Kelly & Thind, n.d.). The dhad is very similar to the talking drum. It has an hourglass shape and tightening ropes attached to it can alter its pitch. The dafli looks like a tambourine with skin stretched across the top of it with metal cymbals paired up in groups along the outside of the instrument. The dholki is a two-headed membranophone, which sits on a players lap. Finally, the damru is like the hourglass shaped dhad but much smaller in scale. (Massey, 1976). Bhangra held an important part in supporting South Asian communities within North America. Commodities such as bhangra music, for instance, have popularized the African, Caribbean, Latin American, Punjabi, and British connections of the South Asian diaspora with North America (May, 2012, p. 145). As Bhangra spread among this culture throughout the 1980s it unified a growing population. The emergence of clubs such as Soca Paradise, Sounds of Brazil, Club Demara, [and] Den of thieves (May, 2012, 145) represented this increasing demand for Bhangra music. It also invited other international music styles such as chutney and jungle to the North American population. The rise of bhangra music served as a source of inspiration for New York City D.J.s to

BHANGRA MUSIC AND ITS CULTURAL JOURNEY successfully experiment and attempt mixing disco, funk, hip-hop, house, and Punjabi folk music among the club scene. (May, 2012) Currently, bhangra still maintains a strong presence. In the New York area there are year round bhangra events like Big Apple Bhangra, a competition that hosts bhangra dance teams from all around the country. Each team presents an original performance in front of a live audience and is selected by a panel of judges to receive placings and awards (http://www.bigapplebhangra.com, 2012). New York City Bhangra is an organization that was founded in 2007 with the intention to endorse Indian dance. It is one of New York Citys most recognized dance groups, and welcomes all ages and races to join and become a member (http://www.nycbhangra.com, 2012). Based out of Brooklyn, New York, Red Baraat is an nine-piece band that combines bhangra music with funk, latin, and jazz sounds. The accomplished members of the band play a variety of diverse instruments that include the native dhol, a drum set, percussion unit, sousaphone and a five-piece horn section. In order to gain a deeper connection of bhangra music and as per the requirements of this term paper I attended a live performance of this group. I was impressed by the groups ability to blend a challenging assortment of instruments and execute ethnic determination. Each member of the group united with one another and created a flawless arrangement of jazz, funk, and bhangra. The rhythm section delivered the substance of native Punjabi music with the energies of mighty drumming while the horns encircled the music with funky melodic lines. Each section was given a chance to improvise which added a thrilling jazz element into the mixture.

BHANGRA MUSIC AND ITS CULTURAL JOURNEY There was not a dull moment of sound and each song built anticipation for the next. After attending a live performance of Red Barrat, I can say with confidence that this band will not have any trouble spreading the fusion of cultures and will continue to find enormous success by keeping the spirit of bhangra alive. I believe, when used appropriately, bhangra music can be extremely successful in a music therapy setting. Bhangra can serve as a positive assimilation tool for South-Asian individuals. It is a modern way for people of this culture to authentically identify with their ethnicity but at the same time it also introduces current trends. Current trends can be but are not limited too; electronic dance music, the art mixing music, and experimentation. It is also a good way to connect descendants of this culture with one another. There are many bhangra-based events constantly going on in numerous communities. Clients can see how their group plays an important role within a larger, outside society. Because bhangra is not limited to only song, there are many outlets available to a client. If a client prefers dancing, rather to singing or playing they have an option. This is important because you are providing a client with self-choice and decision-making. Furthermore, Bhangra music lends itself to natural improvisational techniques such as drumming. The percussive instruments utilized in bhangra are very organic and do not require the mastering of skills to play. Clients can appreciate and fundamentally explore the music of their heritage within an amiable and benign environment. Bhangras cultural journey may have began hundreds of years ago, but its ultimate destination continues to remain unknown. The essence of bhangra music

BHANGRA MUSIC AND ITS CULTURAL JOURNEY survives on resourceful adaptability, creativity, and originality. It continues to thrive and flourish among embracing communities around the world. It has become an indispensable component of Indian pop culture that will continue to evolve and prosper in a world of music that is perpetually shifting. And whether it be in Bollywood or Brooklyn, because it is so distinctive unto itself, bhangra will continue to succeed in whatever context that it is delivered.

BHANGRA MUSIC AND ITS CULTURAL JOURNEY References Big Apple Bhangra (2012). Retrived November 25, 2012, from http://bigapplebhangra.com/2012/wordpress/ Kelly, C. & Thind J. (n.d.). History of Bhangra. Bhangra History Development of Bhangra. Retrieved from http://www.punjabonline.com/servlet/library.history?Action=Bhangra Massey, R. & Massey J. (1986). Music of India [DX Reader version]. Retrieved from https://mynook.barnesandnoble.com/read.html?k=The-Music-of-India/ReginaldMassey&ean=2940012632470# May, J. (1999). Nomadic Identities: The Performace of Citizenship [DX Reader version]. Retrieved from http://site.ebrary.com/lib/molloy/docDetail.action?docID=10151132 Miller, T. E. & Shahriari, A. (2012). World Music, A Global Journey. New York, NY: Taylor & Francis. NYC Bhangra (n.d.). Retrieved November 25, 2012, from http://www.nycbhangra.com/html/home.shtml Purkayastha, B. (2005). Negotiating Ethnicity: Second Generation South Asian Americans Traverse a Transnational World. Retrieved from http://site.ebrary.com/lib/molloy/docDetail.action?docID=10114308

BHANGRA MUSIC AND ITS CULTURAL JOURNEY Roy, A. J. (2010). Is Everybody Saying Shava Shava To Bolloywood Bhangra? . In Mehta, R. B. & Pandharipande, R. (Eds.), Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora (pp. 35-49). Retrieved from http://site.ebrary.com/lib/molloy/docDetail.action?docID=10481514

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