Musical Inspirations
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A S Kang All Albums
A s kang all albums Home» A S Kang. A S Kang All Albums Songs Download Page 1. test1.ru Home Top 20 A S Kang Songs* A S Kang All Videos · Zip · Zip · 48 Zip · A S Kang - Bolliyan · A S Kang - The Maestro · A S Kang - Nachna Punjaban Da · A S Kang - The Dream Team · A S Kang - Immortal Bhangra 1 CD-3 · A S Kang. The Maestro test1.runder Shinda · Punjabi Classico Remix · Aish Karo · Pyar · Jawani Youth · The Untouchable · Roop De Lashkare · Nachana Punjaban Da · Gidhian Di Raniye · Flash Back · Eternity · Gani Necklace · Kang Fu · Pure Gold · Munda Te Kudi Phade Gaye · Tera Husn · Greatest Hits Vl 2 · Greatest Hits Vol 1. 2. Gidhian Di Raniye Ne Gidhe Wich Aa. 1. Sunne Rehnge Chubare Tere. 1. Jumna Kande. 1. Main Aashiq Tera. 1. Flash Back. 1. Jawani (Youth). 1. Kang Fu. 1. The Untouchable. 1. Eternity. 1. Aish Karo. Albums Of A S Kang. Thumb Bolliyan. A S Kang. Album. Thumb The Maestro. A S Kang. Album. Thumb Nachna Punjaban Da. A S Kang. Album. Thumb The Dream Team. A S Kang. Album. Thumb Immortal Bhangra 1 CD A S Kang. Album. Thumb Immortal Bhangra 1 CD A S Kang. Album. Thumb Immortal Bhangra 1. of 84 A S Kang (All) 'Mixed'. Bhangra Party Songs Vol 2 Various 20 tracks; Bolliyan A S Kang 12 tracks; The Maestro A S Kang 11 tracks; Nachna Punjaban Da A S Kang 9 tracks; The Dream Team Various 2 tracks; Immortal Bhangra 1 CD-3 Various 13 tracks; Immortal Bhangra 1 CD-2 Various 14 tracks; Immortal. -
53 Skydj Karaoke List
53 SKYDJ KARAOKE LIST - BHANGRA + BOLLYWOOD FULL LIST 1 ARTIST/MOVIE TITLE ORDER Kuch Na Kaho (Inc Video) 1942 A Love Story (1994) - Singa 92039 Ruth Na Jaana 1942 Love Story - Karaoke 91457 Ruth Na Jaana 1942 Love Story - Singalong 91458 Aal Izz Well 3 Idiots 90047 Behti Hawa Sa Tha Woh 3 Idiots 90048 Give Me Some Sunshine 3 Idiots 90049 Jaana Nahi Denga Tujhe 3 Idiots 90050 Zoobi Doobi 3 Idiots 90051 All Izz Well 3 Idiots - Karaoke 92129 Jawani O Diwan Aaan Milo Sajna - Karaoke 90559 Jawani O Diwan Aaan Milo Sajna - Singalong 90560 Babuji Dheere Chalana Aaar Paar (1954) - Karaoke 92131 Aaj Purani Rahon Se Aadami - Karaoke 90257 Aaj Purani Rahon Se Aadami - Singalong 90258 Sinzagi Ke Rang Aadmi Aur Insaan - Karaoke 90858 Sinzagi Ke Rang Aadmi Aur Insaan - Singalong 90859 Aaj Mere Yaar Ki Shadi Hai Aadmi Sadak Ka - Karaoke 90259 Aaj Mere Yaar Ki Shadi Hai Aadmi Sadak Ka - Singalong 90260 Tota Meri Tota Aaj Ka Gunda Raaj - Karaoke 91157 Tota Meri Tota Aaj Ka Gunda Raaj - Singalong 91158 Ek Pappi De De Aaj Ka Gundarraj - Karaoke 90261 Ek Pappi De De Aaj Ka Gundarraj - Singalong 90262 Aaja Nachle Aaja Nachle 90053 Aaja Nachle - Inc English Trans Aaja Nachle 90052 Aaja Nachle Aaja Nachle - Karaoke 91459 Is Pal Aaja Nachle - Karaoke 91461 Ishq Hua Aaja Nachle - Karaoke 91463 Show me your Jalwa Aaja Nachle - Karaoke 91465 Aaja Nachle Aaja Nachle - Singalong 91460 Is Pal Aaja Nachle - Singalong 91462 Ishq Hua Aaja Nachle - Singalong 91464 Show me your Jalwa Aaja Nachle - Singalong 91466 Tujhe Kya Sunaun Aakhir Deo - Karaoke 91159 Tujhe Kya Sunaun -
Song Title Artists & Movie Title Track
49 SKYDJ KARAOKE LIST - BHANGRA + BOLLYWOOD FULL LIST 1 ARTISTE / SONG TITLE ORDER SONG TITLE ARTISTS & MOVIE TITLE TRACK 2 Step Bhangra The Bilz ft So-D & Kashif 80045 Aa Bhi Ja Sur - Karaoke 90527 Aa Bhi Ja Sur - Singalong 90528 Aa Bhi Ja Sanam Prince (It's Show Tiime) 90191 Aa Chal Ke Tujhe Gagan Ki Chav Me - Karaoke 90367 Aa Chal Ke Tujhe Gagan Ki Chav Me - Singalong 90368 Aa chal ke tujhe - Karaoke Door Gagan Ki Chhaon Mein - Kara 92171 Aa Gaya Aa Gaya Hum Tumare Hai Sanam - Karaoke 91593 Aa Gaya Aa Gaya Hum Tumare Hai Sanam - Singalong 91594 Aa Jao Meri Tamanna Ajab Prem Ki Gazab Kahani 90063 Aa Laut Ke Aaja Mere Meet Rani Roopmati (1959) 91920 Aa Piya in Naino Me Deewar - Karaoke 90335 Aa Piya in Naino Me Deewar - Singalong 90336 Aa Zara Murder 2 (2011) - Singalong 80201 Aada Hai Chandrama NavRang - Karaoke 90447 Aada Hai Chandrama NavRang - Singalong 90448 Aadat JAL (Pakistani Group) - Singalon 92012 Aag Lage Fashion Nu Haal E Dil 90114 Aage Bhi Jane Na Tu Waqt - Karaoke 90545 Aage Bhi Jane Na Tu Waqt - Singalong 90546 Aahun Aahun Love Aaj Kal - Karaoke 91874 Aahun Aahun Love Aaj Kal - Singalong 91875 Aaina Dekha Khap (2011) - Singalong 80197 Aaj Din Chadheya Love Aaj Kal - Karaoke 91876 Aaj Din Chadheya Love Aaj Kal - Singalong 91877 Aaj Kal Lagta Nahi Shoharat - Karaoke 90519 Aaj Kal Lagta Nahi Shoharat - Singalong 90520 Aaj Mausam bada Beyimaan Loafer (1973) - Karaoke 92213 Aaj Mere Yaar Ki Shadi Hai Aadmi Sadak Ka - Karaoke 90259 Aaj Mere Yaar Ki Shadi Hai Aadmi Sadak Ka - Singalong 90260 Aaj Phir Jeene Ki Tammana Guide - Karaoke -
The Sikh Diaspora Global Diasporas Series Editor: Robin Cohen
The Sikh diaspora Global diasporas Series Editor: Robin Cohen The assumption that minorities and migrants will demonstrate an exclusive loyalty to the nation-state is now questionable. Scholars of nationalism, international migration and ethnic relations need new conceptual maps and fresh case studies to understand the growth of complex transnational identities. The old idea of “diaspora” may provide this framework. Though often conceived in terms of a catastrophic dispersion, widening the notion of diaspora to include trade, imperial, labour and cultural diaporas can provide a more nuanced understanding of the often positive relationships between migrants’ homelands and their places of work and settlement. This book forms part of an ambitious and interlinked series of volumes trying to capture the new relationships between home and abroad. Historians, political scientists, sociologists and anthropologists from a number of countries have collaborated on this forward-looking project. The series includes two books which provide the defining, comparative and synoptic aspects of diasporas. Further titles, of which The Sikh diaspora is the first, focus on particular communities, both traditionally recognized diasporas and those newer claimants who define their collective experiences and aspirations in terms of a diasporic identity. This series is associated with the Transnational Communities Programme at the University of Oxford funded by the UK’s Economic and Social Research Council. Already published: Global diasporas: an introduction Robin Cohen New diasporas Nicholas Van Hear Forthcoming books include: The Italian labour diaspora Donna Gabaccia The Greek diaspora: from Odyssey to EU George Stubos The Japanese diaspora Michael Weiner, Roger Daniels, Hiroshi Komai The Sikh diaspora The search for statehood Darshan Singh Tatla © Darshan Singh Tatla 1999 This book is copyright under the Berne Convention. -
The Song Title
53 SKYDJ KARAOKE LIST - BHANGRA + BOLLYWOOD FULL LIST 1 SONG TITLE ORDER 12 Saal Bilal Saeed 80216 2 Step Bhangra (Bh) The Bilz ft So-D & Kashif 80045 Aa Bhi Ja Sur - Karaoke 90527 Aa Bhi Ja Sur - Singalong 90528 Aa Bhi Ja Sanam Prince (It's Show Tiime) 90191 Aa Chal Ke Tujhe Gagan Ki Chav Me - Karaoke 90367 Aa Chal Ke Tujhe Gagan Ki Chav Me - Singalong 90368 Aa chal ke tujhe - Karaoke Door Gagan Ki Chhaon Mein - Kara 92171 Aa Gaya Aa Gaya Hum Tumare Hai Sanam - Karaoke 91593 Aa Gaya Aa Gaya Hum Tumare Hai Sanam - Singalong 91594 Aa Jao Meri Tamanna Ajab Prem Ki Gazab Kahani 90063 Aa Laut Ke Aaja Mere Meet Rani Roopmati (1959) 91920 Aa Piya in Naino Me Deewar - Karaoke 90335 Aa Piya in Naino Me Deewar - Singalong 90336 Aa Re Pritam Pyare Rowdy Rathore (2012) 80340 Aa Zara Murder 2 (2011) - Singalong 80201 Aada Hai Chandrama NavRang - Karaoke 90447 Aada Hai Chandrama NavRang - Singalong 90448 Aadat JAL (Pakistani Group) - Singalon 92012 Aadat se Majboor Ladies vs Ricky Bahl (2011) 80242 Aag Lage Fashion Nu Haal E Dil 90114 Aage Bhi Jane Na Tu Waqt - Karaoke 90545 Aage Bhi Jane Na Tu Waqt - Singalong 90546 Aahatein Ek Main Aur Ekk Tu (2012) 80233 Aahun Aahun Love Aaj Kal - Karaoke 91874 Aahun Aahun Love Aaj Kal - Singalong 91875 Aaina Dekha Khap (2011) - Singalong 80197 Aaj Din Chadheya Love Aaj Kal - Karaoke 91876 Aaj Din Chadheya Love Aaj Kal - Singalong 91877 Aaj Kal Lagta Nahi Shoharat - Karaoke 90519 Aaj Kal Lagta Nahi Shoharat - Singalong 90520 Aaj Mausam bada Beyimaan Loafer (1973) - Karaoke 92213 Aaj Mere Yaar Ki Shadi Hai Aadmi -
THE BAND Initially, It Was the Love of Bhangra and the Desire to Perform Live Music That Brought CMY Together This Group of Talented Friends
ENKARMA_MEDIA_lowquality.pdf 1 10-02-09 7:28 PM C M Y CM MY CY THE BAND Initially, it was the love of Bhangra and the desire to perform live music that brought CMY together this group of talented friends. In 2007, finding the need to flex their creative K muscle, En Karma began writing and recording their own style of Bhangra music. Now ready for the release of their debut album, and having vastly toured across North America and Europe,En Karma have embarked on a journey that has lead them to be the pioneers of Global Live Bhangra! They have accompanied and shared the stage with many famous North American and International artists such as Malkit Singh, Sam Roberts just mention a few. Solid musicianship, genuine friendship, and a collective vision have always remained the cornerstones of En Karma’s success. Since the beginning, En Karma has maintained creative control over their music by writing, playing, and producing all of the music themselves. In a few short years these talented musicians have established themselves in Vancouver’s growing global music scene, and have gained Hugh recognition across Europe and India. The music of En Karma captures the perfect balance of traditional Bhangra and contemporary fusion. Although there are elements of reggae, R&B, and rock n’ roll in En Karma’s music, they have remained firmly planted in their Bhangra roots. En Karma seems to especially strike a cord with their young South Asian fans. Audience members – who like the band members may have been born outside of India, will feel a connection with the music of Punjab when En Karma takes the stage (no matter where they were born). -
Gendering Dance
religions Article Gendering Dance Anjali Gera Roy Department of Humanities & Social Sciences, Indian Institute of Technology Kharagpur, Kharagpur 721302, India; [email protected] Received: 27 January 2020; Accepted: 15 April 2020; Published: 18 April 2020 Abstract: Originating as a Punjabi male dance, bhangra, reinvented as a genre of music in the 1980s, reiterated religious, gender, and caste hierarchies at the discursive as well as the performative level. Although the strong feminine presence of trailblazing female DJs like Rani Kaur alias Radical Sista in bhangra parties in the 1990s challenged the gender division in Punjabi cultural production, it was the appearance of Taran Kaur Dhillon alias Hard Kaur on the bhangra rap scene nearly a decade and a half later that constituted the first serious questioning of male monopolist control over the production of Punjabi music. Although a number of talented female Punjabi musicians have made a mark on the bhangra and popular music sphere in the last decade or so, Punjabi sonic production continues to be dominated by male, Jat, Sikh singers and music producers. This paper will examine female bhangra producers’ invasion of the hegemonic male, Sikh, Jat space of bhangra music to argue that these female musicians interrogate bhangra’s generic sexism as well as the gendered segregation of Punjabi dance to appropriate dance as a means of female empowerment by focusing on the music videos of bhangra rapper Hard Kaur. Keywords: hypermasculinity; misogyny; sexism; good girl; bad girl; bhangra; rap; Hard Kaur 1. Introduction “Munde bhangra paunde te kudian giddha paawan [Boys dance to the steps of bhangra and girls to those of giddha],” Sukhbir’s chartbusting bhangra song of the 1990s, provides a glimpse into the segregated space of Punjabi dance with its generic gendered boundaries (Sukhbir 1996). -
Hindi & Bhangra Music List
DJ NEIL JAY – HINDI & BHANGRA MUSIC LIST MOVIE SONG / Hindi (Bollywood) ALBUM Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Mitwa Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Where’s the Party Tonight Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Tumhi Dekho Naa Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Mitwa Revisited Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Rock n Roll Soniye Kabhi Alvida Naa Kehna Kabhi Alvida Naa Kehna Farewell Trance Fanaa Fanaa Chand Sifarish Fanaa Fanaa Mere Haath Mein Fanaa Fanaa Des Rangila Fanaa Fanaa Dekho Na Fanaa Fanaa Chanda Chamke Fanaa Fanaa Destroyed in Love Fanaa Fanaa Fanaa For You Fanaa Krrish Koi Tumsa Nahin Krrish Krrish Dil Na Diya Krrish Krrish Main Hoon Who Aasman Krrish Krrish Aao Sunao Pyaar Ki Ek Kahani Krrish Krrish Choru Chori Chupke Krrish Krrish Bang Bang Mix Krrish Krrish Koi Tumsa Nahin Krrish Krrish Pyar Kie Kkahani Krrish Zeher Woh Lamhe Zeher Zeher Agar Tum Mil Jao (femail version) Zeher Zeher Agar Tum Mil Jao (Duet) Zeher Rang De Basanti Rang De Basanti Rang De Basanti Rang De Basanti Tu Bin Bataye Rang De Basanti Rang De Basanti Roobaroo Rang De Basanti Naksha Lets do Balle Balle Naksha Naksha Jat Yamla Naksha Naksha Dil Se Mile Dil Naksha Naksha U & I Naksha Omkara Shake It Naksha Omkara O Saathi Re Omkara Omkara Omkara Omkara Omkara Beedi Omkara Omkara Jag Ja Omkara Omkara Naina Omkara Gangster Bheegi Bheegi Gangster Gangster Tu Hi Meri Shab Hai Gangster Gangster Ya Ali Gangster Bluffmaster Sabse Bada Rupaiyya Bluffmaster -
Masarykova Univerzita Globální Kultura, Minority a Kulturní
Masarykova univerzita Fakulta sociálních studií Globální kultura, minority a kulturní hybridizace Global culture, minorities and cultural hybridization Magisterská diplomová práce Veronika Bröcknerová Brno 2012 Čestné prohlášení Prohlašuji, že jsem tuto magisterskou diplomovou práci vypracovala samostatn ě s použitím pramen ů a literatury uvedené v bibliografii. V Brn ě dne 19. prosince 2012 Veronika Bröcknerová Pod ěkování Cht ěla bych p ředevším vřele pod ěkovat vedoucí práce PhDr. Monice Metykové, PhD. za ochotnou spolupráci, nekone čnou trp ělivost a velmi podn ětné rady a p řipomínky. Pod ěkování pat ří i British Library v Londýn ě a University of Birmingham za umožn ění přístupu ke knižním zdroj ům. Dále srde čně děkuji Mgr. Radoslav ě Krylové a Mgr. Antonínu Zitovi za konzultace v dobách nejistoty a korektury. V neposlední řad ě pat ří díky mým rodi čů m za ohromnou podporu b ěhem studia, i mimo n ěj. Anotace Tato magisterská diplomová práce se zabývá hybridním kulturním produktem videoklipu v kontextu globalizace. Zkoumá tento produkt v rámci diaspory Britských Asiat ů a Pa ňdžábu. Cílem práce bylo metodou sémiotické analýzy u vybraných videoklip ů odhalit, do jaké míry jsou ob ě produkce propojené, do jaké míry a jakým zp ůsobem se lokální diasporické produkty stávají globálním aktérem a jakým zp ůsobem ovliv ňují produkci v zemi p ůvodu diaspory. Klí čová slova Výzkumná práce, globální kultura, kulturní hybridizace, Britští Asiaté, Pa ňdžáb, diaspora, hudební videoklip, sémiotická analýza. Annotation This master thesis deals with music video as a hybrid cultural product in a context of globalization. It examines the product within British Asian diaspora and in Punjab. -
Aaja Nach Lai [Come Dance] Performing and Practicing Identity Among Punjabis in Canada Nicola Mooney
Document generated on 09/29/2021 4:59 p.m. Ethnologies Aaja Nach Lai [Come Dance] Performing and Practicing Identity among Punjabis in Canada Nicola Mooney Danse au Canada Article abstract Dance in Canada This article discusses the performance of Punjabi folk dances bhangra and Volume 30, Number 1, 2008 giddha in some Canadian contexts. After introducing a notion of Punjabi identity, the article provides a brief description of these dance forms, their URI: https://id.erudit.org/iderudit/018837ar agrarian origins and their gendered natures, as well as of the types of events at DOI: https://doi.org/10.7202/018837ar which these dances are performed among Canadian Punjabis, and specifically, Jat Sikhs. I argue that not only do these dances express and maintain Punjabi identity in diasporic contexts, but that these identities refer to a Jat “rural See table of contents imaginary” that is actively constructed through dance and music in response to the displacement of urban and transnational migration. This rural imaginary is usurped by bhangra’s increasing Westernization and popularity in the non-Jat Publisher(s) South Asian diaspora, thus raising challenges to Jat centrality, meaning, and identity. Association Canadienne d'Ethnologie et de Folklore ISSN 1481-5974 (print) 1708-0401 (digital) Explore this journal Cite this article Mooney, N. (2008). Aaja Nach Lai [Come Dance]: Performing and Practicing Identity among Punjabis in Canada. Ethnologies, 30(1), 103–124. https://doi.org/10.7202/018837ar Tous droits réservés © Ethnologies, Université Laval, 2008 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. -
Bhangranation New Meanings of Punjabi Identity in the Twenty First Century
111 Anjali Roy: Bhangra Nation and Punjabi Identity BhangraNation New Meanings of Punjabi Identity in the Twenty First Century Anjali Gera Roy Indian Institute of Technology, Kharagpur ________________________________________________________________ Punjabi identity, punjabiyat, has been fissured several times by religious, linguistic and national boundaries in the last century or so. Historians, anthropologists and religious studies scholars have turned their attention in the recent years to recover the meaning of punjabiyat in the everyday lives of people. Their research has uncovered a shared Punjabi place differentiated by region, religion, and caste with porous, fluid, multiple boundaries. The construction of formal religious boundaries, reinforced by linguistic, resulted in their closure, which was completed through the division of Punjab in 1947. Even though a literal return to the shared Punjabi place might not be possible, ordinary Punjabis have resisted its reinscription and division through new cartographies by returning to the memory of the Undivided Punjabi place. Advanced travel and communication technologies have opened new possibilities of contact between dispersed Punjabi groups enabling virtual, if not real, reconstructions of punjabiyat in cyberspace. ________________________________________________________________ Introduction Those of you who do not belong to my generation will live to see Punjab’s identity overcome the effects of the religious divide of 1947 and enjoy the fruit of a prosperous and happy Punjab which transcends the limitation of a geographical map. (Khizar Hayat Tiwana, Minister of the Punjab Union 1947, in 19641) Several attempts to carve out a distinctive Punjabi identity have been made before and after the 1947 Partition, including ethno-linguistic constructions such as Azad Punjab and Punjabi suba movements or ethno-religious ones such as the movement for Khalistan or the Sikh Nation. -
Aaja Nach Lai [Come Dance]: Performing and Practicing Identity Among Punjabis in Canada"
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Aaja Nach Lai [Come Dance]: Performing and Practicing Identity among Punjabis in Canada" Nicola Mooney Ethnologies, vol. 30, n° 1, 2008, p. 103-124. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/018837ar DOI: 10.7202/018837ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 06:23 AAJA NACH LAI [COME DANCE] Performing and Practicing Identity among Punjabis in Canada Nicola Mooney University of the Fraser Valley At Arjun’s tenth birthday, celebrated in high style at a banquet hall, his elder female relatives put on an energetic giddha performance. Running around with his cousins in the hall’s forecourt, he apparently wasn’t that enthralled by their dancing, but his father and uncles seemed to enjoy seeing their wives and sisters-in-law in this traditional guise.