Music of Punjab
Punjab is a region in the South Asia which has a diverse style of music. However, it is musically best-known as the home of bhangra, a lively folk dance that evolved into a popular form of electronic music among overseas Punjabis in the United Kingdom and United States. Giddha is also a popular Punjabi dance practised by women in Punjab.
Punjabi folk music is highly rhythmic, and very diverse. The western region is the home of styles like dhoola and mahiya, while the popular boli style is performed different across the region. The vocals are another integral part of Punjabi music, as are instruments like the dhol, tumbi, dhad sarangi, algoza and Ektara.
A glimpse into the lives and culture of the people of Punjab can be got through the folk idiom of Punjab. There is a great repertoire of music, right from the time of birth to death, of love and separation of dance and rejoicement, of marriage and fulfillment. Culturally Punjab can be divided into three regions, Malwa, Majha and Doaba. Today Malwa represents the true spirit of Punjabi folk traditions. The Punjabi fold idiom is so rich, so varied and so very versatile. It is a culture of generous, vast, large hearted people which is devoid of any fanaticism and religious narrow mindedness of ideology.
If we go deep into the folk music of the land, it is difficult to classify it. But perhaps we can draw board divisions for every season, every festive occasion has music associated with it. Even food is associated with a change in season. The festivals of Punjab are numerous. Lohri is the time after which the biting cold of winter begins to taper off. In the olden days, it was more of a community festival, where the birth of a son, the first year of marriage was celebrated all through the village in front of the sacred fire. Songs like 'Sunder mundriye, tera kaun vichara, Dulla Bhathi Wala.'were sung to the beat of virourous claps. Groups of little children would go singing round the village collecting 'gur' and 'rewari' for themselves. 'Lohri' was preceded by Maagh and the famous Maaghi Da Mela, and followed by Baisakhi, where the Bhangra was danced by the men of the Village.
An energetic dance associated witht the ripening of crops, performed by the men folk of the villages. The dance manifests the vigour and vitality and exuberance of the people, in anticipation of money coming in after the cutting of a good harvest. Then comes the season of the monsoon, or 'sawan' when the married girls come home for a vacation, meet their old friends, wear the colourful Phulkaris, swing under the trees, adorn themselves with 'mehandi patterns', and glass bangles and exchange news, singing songs. 'Ni Lia De Mai, Kallean Bagaan Di Mehandi'. No occasion goes off without the association of music in Punjab. Right from the moment a woman announces the news of the conception of a baby, songs start. The third month, the fifth month, and then of the actual birth of baby is associated with joyous songs about the impending arrival. There are songs which tell about the love of a brother or a sister. Once a marriage is finalized, and preparations of the marriage start in the boy's and girl's family.
For the process of washing and cleaning the grain, of making new clothes, and household items, songs are sung by the woman in the family as they work through the night, that the 'dhol' is not used as the men folk who are sleeping should not have their sleep disturbed. And then the numerous songs associated with the wedding. In the girls side 'Suhag' is sung, and in the boy;s side, songs while he mounts the mare, 'Sehra' and 'Ghodi' are sung. When the two sides meet 'Sithaniyan' are exchanged. A kind of raunchy humour which makes it easier for both the the parties to show off their wit and repartee and also provides an opportunity to get to know each other. After the Barat is received 'Patal Kaavya' is sung after tea and while the 'Barat' is eating food together. Jugni, Sammi are basically songs centering around love, in the Jugni normally the bachelors gather together and sing about their beloved. The Sammi is more a gypsy dance, which is performed as an expression of joy and victory, around the fire at night. Sammi is an imaginary female character of folk poetry, belonging to the Marwar area of Rajasthan who fell in love with the the young prince, and it is around their love story that the music and dance is set to. In the list of happy songs are included, Luddie, Dhamal and of course the Giddha and the Bhangra, which is all set to music, which is typical of Punjab. Along with the 'Dhol' primarily, are sung 'Bolis' which can be divided into two categories, 'singly boli' and' lengthy boli'. Centering around mother-in-law, father-in-law, sister-in-law and other character from everyday life the music of these two lively traditions is extremely enervating.
Being a frontier state war played an important part in the lives of the people of Punjab. There was also a tradition of wrestlers living in every village, and while they practiced at the 'Akhara' a music grew around their practice called 'akhara singing'. The drum plays a very important part in the folk music of Punjab. It provides the basic accompaniment to most of folk music. The 'Dhol' and 'Dholik', the male and female drum, had it's own relevant use. The information of an impending army was communicated by the sound of the 'Dhol', when information was given to the neighboring villages through a particular beat. The instruments used in Punjabi folk are typical to the region. The 'toombi', 'algoza', 'chheka', 'chimta', 'kaanto', daphali', dhad' and 'manjira' are some of the popular traditional folk instruments.
There are songs which are specific to death. Called 'Siapah', there are different kinds of 'siapah'. Special to individuals, the song of mourning deal with the loss of a brother, sister, mother, father, mother-in-law, father-in-law, and are sung in a particular format.
As in the rest of the country Sikh religion is deeply connected with music. In fact a glossary of music and Ragas are given at the end of the Guru Granth Sahib, the tradition starting with Mardana, who accompanied Guru Nanak on his travels who sang the bani of Guru Nanak with an ‘ektaara’ and the ‘rhubarb’. Classical ragas are used in the ‘shabad kirtan’, gayaki of Punjab. The sixth Guru Hargobind gave patronage to sect of singers who sang only martial songs. Called ‘Dhadis’, they sing at shrines and festivals, ballads, vars, and about the heroic feats of the Sikhs. Along with the "Dhad" the ‘dhadi’ also uses a sarangi, as a musical accompaniment.
A strong tradition of the ‘kissa sahity’ of Punjab is very much part and parcel of Punjabi folk music. The legends of Heer Ranjha , Sohni Mahiwal, Sassi Punnu, Puran Bhagat are sung more in a semi classical style. The Punjabi ‘kaffi and kali’ are part of this genre. Related to this is the ‘sufiana kallam’ of Punjab as a result of a strong Sufi tradition in the state. The Heer in particular has a strong sufi base.
Later in the eighteenth and nineteenth century there started in Punjab a strong school of classical music centering around Patiala known today as the Patiala Gharana. The founders of this gahrana were Ustaad Ali Bux and Ustaad Fateh Ali who were great singers in the Patiala Darbar. Their disciples and admirers were numerous. Notable amongst them were Ustad Bade Ghulam Ali and his brother Barkat Ali who brought the Patiala Gharana on the forefront of Khayal gayaki. And thus started the ‘chau-mukhia’ style, which included dhrupad, khyal thumri and the taraana. Each of these styles too have their particular flavour, the energy and zest of the soil of Punjab. Highly decorated, Ustaad Bade Ghulam Ali Khan composed numerous ‘bandishes’ or compositions under the penname of Sabarang. Parallel to this was the growth of a gharana of tabla playing which is also known as the Punjab style, of which Alla Rakha the great tabla maestro belongs.
What has been written about is just a broad canvas of Punjab. Every village of Punjab has something typical of the soil. Over the years the success of the green revolution, with large mustard fields, and ‘kanak da sitta’ or the grains of wheat, along with the disco culture has provided a ‘purdah’ or a covering over the varied tradition of folk music of Punjab. For any discerning appreciator of music, Punjab provided enough for every occasion and every season, completely obliterating the statement that Punjab is a land of "agriculture and no culture". Culture lives and thrives in Punjab in spite of its stormy past.
Punjabi folk is so rich, so varied and so versatile that even common man feels it-s charm. The exuberance and vitality of the people of Punjab are vigorously displayed in their folk dances. With the drum beat or to the tune of some other instrument of folk music, the energetic feet of the people of Punjab are spontaneously set in to give birth to a folk dance - an expression of the soul triumphant, an outburst of emotions. The dances of Punjab are the clear depiction of the vitality and exuberance of the youth of Punjab
A folk song is essentially a subjective expression of the emotions walling up from the depths. It borrows its metamorphous and imagery from the simple things in life. Punjabi folksongs are varied and colorful. Laughter, happiness, pain, sorrow, all form ingredients of these songs. They are simple, charming, and full of the sincerity of emotion, and the purity of feeling. The entire Punjabi culture, so to speak, is reflected in them
The Suhag and Vidai Songs
The suhag and vidai songs are intertwined with each other. Love and the loss of love, a meeting and a separation, anticipation and farewell were all an integral part of a girl’s marriage, at least in the traditional context. Most of the vidai songs are sung at the suhag gatherings.
Suhag is that stage in a woman’s life when her husband is alive; a state of marriedness, if you will. This is considered to be a blest and auspicious state, a time of abundance and fruitfulness, emotionally dense with the love and companionship of a mate.
The suhag and vidai songs are a reflection on the passage of time. The end of childhood, the mourning for the past, the nature of our bonds with our parents and siblings, the desire to love and be loved, anticipation and excitement about the changes ahead – all these feelings are expressed. Thoughts and feelings that cannot be put into words easily in ordinary life, are expressed in poetry and song. In each of these songs lies a recognition that one stage of life is coming to an end and another is about to begin, Furthermore these momentous changes must be described, dealt with and finally, celebrated. As the women sing, their own experiences are revived, their feelings stirred. The entire group has a shared memory and as they sing, it is as though they are pouring this shared knowledge and understanding into the young bride.
The suhag songs are sung at the home of the bride during the days prior to the marriage when the house is filled with family and friends. A number of the songs start with a daughter asking her father for a husband or reminding him of his duty to her of finding the ideal match. She describes the kind of husband she would like. She reminds her father of her childhood occupations. She is shy, mischievous, vain, a loving sister, a tearful daughter, an eager bride.
Suhag Songs
view the article Suhag Songs
Bibi Chandan De Ohle Ohle, Saahdda Chiddiyaan Da Chamba Ve, Ae Mere Baabul Ve Mera Kaaj Racha, Uchhi lammi maaddi, Baabul Nu Maen Aakheya, Gaddo Chaare Thambiyaan, Ni Tu Aangan Aa Pyaari Raadhika, Deyin Ve Baabul Os Ghare, Baabul Ik Mera Kehna Keejiye, Maaye Ni Mera Ajj Muklaava Tor De, Kadd Ni Ammaddi Kuj Sajjeya Sajaaya
Vidaai & its Songs
View the article Vidaai Songs
These are songs which sings during vidaai i.e Post Wedding Rituals or Doli. The Vadaai ritual marks the end of the marriage ceremony. It is a very emotional episode for the bride's family members, friends and relatives as she leaves her parents home and goes to her husband's home to start a new life with new dreams and hopes. It is a new beginning for her as she bids farewell to her parents and goes to build a new life with her husband and his family. She leaves her parent's home with tears of joy and sorrow. The bride's father gives her hand to her husband and tells him to take care and protect her loving daughter.
The ritual of vidaai is marked as one of the most emotional aspect of the wedding festivities. It is the formal departure of the bride from her parents' home. The fun side of the ritual is that the saalis or sister in-laws are gifted with a kalichari, which is a gold or silver ring or sometime cash money for returning the groom's shoes, which were hidden by the sister-in-laws after the marriage ceremony as a joke. As she leaves her house she embraces her friends and family members. As she steps out of the door she throws back five handfuls of rice over her head as a symbol of prosperity and wealth. This custom signifies that she is paying back or retuning whatever her parents have given her in all these years of her stay with them and that may the prosperity flourish in the house she is leaving behind.
When the car starts, the brides brothers and cousins pushes the car a little signifying that they have given her a push ahead as she starts her new life with her husband. After the last car starts, money is thrown on the road to discard the evil. Mostly younger brother or sister accompanies her to her new home to give her moral support. In North India this ceremony is called Vidhai
