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University of Huddersfield Repository Sahota, Hardeep The Search for the ‘Essence’ of Bhangra through Panjabi heritage Original Citation Sahota, Hardeep (2011) The Search for the ‘Essence’ of Bhangra through Panjabi heritage. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/17518/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Search for the ‘Essence’ of Bhangra through Panjabi heritage. Hardeep Singh Sahota A portfolio consisting of a performance DVD, a hardcopy of an interactive timeline and Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts by Research. University of Huddersfield 2011 Abstract This research examines the concept of Bhangra from my perspective as a practitioner and supported by ethnographic research. The thesis explores the foundational elements that constitute the art form of contemporary Bhangra. It looks at the historical developments of dance, of music and of spiritual essence. It suggests a time at which these elements fused together in the form of Malkit Singh’s ‘Gur Naal Ishq Mitha’. This historical development is also represented in an interactive online timeline that charts other pioneering artists, poets, saints and Gurus who have contributed to its evolution. A performance was devised that pulls together all the elements explored within the thesis culminating in an experience that encapsulates the diverse nature of contemporary Bhangra within the Panjabi diaspora. 2 Dedication I would like to dedicate this research to my Grandfather, the late Phuman Singh Sahota, whose songs have helped shape my identity and have given me a deep respect to the folk arts of Panjab. He also gave me the ‘Sahota’ gene; whereby Bhangra has become an integral part of my being. Acknowledgements I would like to thank first of all ‘Waheguru’ (God) from whom I acquire divine inspiration. A loving thank you to my wife, who became my ‘Ardangani’ (other half of my soul), especially throughout the performance period. An embrace to my children who have helped with their continued support and patience. I would like to express my sincerest appreciation to my research supervisor and mentor, John Britton, who gave me this unique opportunity to take my passion for dance and channel it into academia. Thank you also to Professor Paul Ward who encouraged me to grasp every available opportunity. I am indebted to the commitment and professionalism of Pat Hill whose guidance was invaluable. Finally, the artists, singers, dancers and academics alike who gave up their valuable time willingly to accommodate me for the ethnographic oral interviews that took place for this research. Their sincerity and knowledge about their art was extremely insightful and very inspiring. It has been my privilege to have met legendary artists from the world of Bhangra and to have made many new friends who have helped me along the way. From the bottom of my heart I thank you. 3 Contents Page Abstract …........................................................................................................................... 2 Dedication & Acknowledgements ……................................................................................. 3 Introduction …….............................................................................................................. 6 An Essence of Bhangra ………………….………………………………………………………………………. 6 Bhangra in Academia ……...……………………………………………………………..…………………… 9 Research Questions ………………………………………………………………………….………………… 10 Methodology ……………………………………………………………………………………………….…….. 11 VIRSA Timeline (see Appendix 3) …………………………………………........……..…………….. 11 VIRSA Performance (see Appendix 4) …………………………………………..…………………….. 12 Chapter 1. The Music of Bhangra – Exploration of Panjabi Sangeet Etymology of Bhangra ………………………………………………………………………………………… 13 Land of the Five Rivers ………………………………………………………………………………………. 16 Sufism in Panjab ………………………………………………………………………………….……………. 17 A New Vision for Humanity ………………………….…………………………………………………….. 19 Compilation of the Sikh Guru’s Poetry ………………………..………………………………………. 20 The Sound of the Sikh Martial Tradition ……………………………………………………………… 21 Saint-Soldier – Siri Guru Gobind Singh Ji ………………………………………….……………….. 22 The Troubadours of the Panjab …………………………………………………………………….…….. 23 The Great Lovers of the Panjab ……………………………………………..……………………………. 23 Sikh Scholars ……………………………………………………………………………………………………. 26 Summary ………………………………………………………………………………………………………….. 28 Chapter 2. The Dance of Bhangra Spirituality of Panjab and the Art form of Dance ……………………….…………………………. 29 The Siri Guru Granth Sahib ……………………………………………………………………………….. 29 Epiphany through Dance ………………………………………………………………………………..….. 31 Origins of Contemporary Bhangra Dance …………………………………….………………………. 32 4 Divinity of the Dhol …………………………………………………………………….……………………… 33 Folk Dances of the Panjab …………………………………………………………………………….……. 35 Different Incarnations of Bhangra Dance ……………………………………………………….……. 36 Giddha – The Female Counterpart of Bhangra ………………………………………………..…… 37 Bhangra and India’s National Identity ………………………………………………………………... 39 Bhangra in Popular Culture ………………………………………………………………………………... 42 Commercialisation of Bhangra ……………………………………………………………………………. 44 Summary ……………………………………………………………………………………………………….…. 45 Chapter 3. Bhangra in the 20th Century and the Sikh Identity Prelude to the British Raj and the Impact of the Sound of Panjab ……………………..…… 46 Panjab in the Early 1900s …………………………………………………………………………………… 47 Evolution of Bhangra Music …………………………………………………………………..…………… 50 Music from Pre-partition ‘Sanjha-Panjab’ ……………………………………….…………………… 50 The Godfather of Panjabi Sangeet ………………………………………………………………….……. 52 Bhangra Recordings ………………………………………………………………..………………………… 53 Sufism – Reprise ………………………………………………………………………………………..……… 53 Turbulent Times in Panjab …………………………………………………………………………………. 55 The Development of Panjabi Music in its Diaspora ………………………………….…………… 59 The Birth of British Bhangra ………………………………………………………………………………. 59 Summary ……………………………………………………………………………………………..…………… 63 Conclusion – Bhangra in Renaissance ……………………………………......…………. 64 Bibliography ……………………………………………….……………………………………………….……. 67 Appendices ………………………………………………………………………..………………….………….. 76 Appendix (1). Ethnographic Oral Interviews. Appendix (2). Sample of online questionnaire responses. Appendix (3). VIRSA – Performance DVD. Appendix (4). VIRSA – Hardcopy of Interactive online timeline. Appendix (5). Further information on the Great Lovers of the Panjab. 5 An Essence of Bhangra Touching the ground to honour Mother Earth they evoke the spiritual essence of their fertile land that has bestowed abundant harvests. The fields of golden wheat witness the steady, regal pace of the dancers, as they slowly gather speed. As fine dust is raised high into the air, dancers begin to move with exploding vibrancy, energy and zeal. Their costumes are myriad colours with intricate embroidery that shimmers in the heat of the Indian sun. The thundering sound of the dhol drum being played resonates through every kernel of the body. These are the Bhangra dancers from the land of the five rivers, the Panjab. These are the visions in my mind’s eye that evoke my cultural and spiritual heritage when I touch the floor before any Bhangra-dance performance. I am an artist and active practitioner of the art form of Bhangra, which has formed an integral part of my life and my identity. It has a multi-layered history and has evolved in modern times to form a crucial element in most Panjabi social interactions. It has both physical and emotional benefits, as it promotes fitness, reduces stress and gives enjoyment. Through Bhangra, spirituality can be expressed; through Bhangra, sexuality can be expressed. It is a natural, earthy dance with warrior rhythms that seduce the dancer and the audience. Bhangra is being able to shed your inhibitions completely, to move to the music, without any hesitation, not thinking about a particular move. At best a dialogue through body movements is achieved; it becomes instinctive, spontaneous and interactive. Gesturing through Bhangra-moves with fellow dancers inspires a connection with them, and for me, personally, the realisation of a connection to a higher spiritual plane. What is Bhangra? There have been many suggestions made to me throughout my life to give explanation to this art form, but for me as a second generation British Sikh I have to look back at my childhood and analyse the music and dance of the time that has formed my perception of Bhangra. The research suggests that one of the defining moments in 6 contemporary Bhangra occurred with the release of Malkit Singh’s ‘Gur Naal Ishq Mitha’1 in 1986. The first sound on