Dhol Sammi

This is the Punjabi variant of the widespread but originally Rajasthan tale, "Dhola-Maru." Scholars date the genesis of this tale to as early as 1000 C.E., based on such criteria as its language. It is likely to have emerged among bards in the oral tradition, which were the progenitors to today's dhadi-s and tumba-algoza singers, who still keep the tale in their repertoire.

The first written manuscripts by Jain scribes of the Rajput courts appear in 1561. The conflict of the story relates to the separation of Prince Dhola from the woman he was engaged to as a child, Princess Marvani (Who becomes known in Punjab as Sammi). Marvani/Sammi pines for her true husband, Dhola, who is far away in the Rajasthani desert. In Punjab they say that in her pains of seperation, Sammi danced and sang songs of Dhol.

The phenomenon of 'Dhol' as an epithet for the lover gone abroad may have its origin in this tale. The word "dhol/dhola" itself, in this context, is probably from the Sanskritic word 'dulha,' meaning bridegroom or husband. [The drum word 'dhol' is probably from the Persian 'duhul.']

Dhola songs

A (originally) West Punjabi genre of song is called "dhola." These romantic songs are often heartwrenching, as they call to the separated lover. There are at least two varieties of dhola songs. The 'common' variety bears some relation to 'mahia' (another love song form). It is found in a number of fixed-verse forms and tends to mention 'dhola.' The other variety is the dhola of the Sandal Bar area of West Punjab. These songs, which are in no fixed form and which deal with a range of subjects, were the poetic art of the 'Jaangli' (native inhabitant) people of the region.

Jhummar dance

Jhummar seems to have been the most widespread dance of the West Punjab, present in several regional variants. The Jaangli style jhummar of the Sandal Bar included the singing of dhola songs along with the dance. The presence of the dhol (instrument) during the dance may enhance the overall aesthetic experience.

Sammi dance

This females-only dance of the Sandal Bar also sought expression through dhola songs. Perhaps it was if the women were at the same time singing to their far-away lovers. It is tempting to connect the name of the dance with the heroin in the 'Dhol-Sammi' tale, but such a conclusion demands careful consideration.