History – Learn Bhangra

The primary mentions of Bhangra as a dance entity start to show up in historical records around the late-1800s. The present fashion and type of Bhangra formed collectively within the Forties and has developed since. It originated as a folk dance celebrated throughout the time of the harvest. Bhangra is traditionally danced to the dhol instrument, a big drum, and boliyan, brief sets of lyrics that describe scenes or stories from Punjab. These lyrics most commonly reference themes of affection, patriotism, energy, and celebration.


Bhangra is an amalgamation of varied folk dances from all throughout the region of Punjab, a lot of which can trace their roots far back before the existence of the time period Bhangra within the late 1800s. These dances embrace Sammi, Jhummar, Luddi, Giddha, Dhamaal, Sialkot, and lots of more.

For example, Sialkoti developed within the region of Sialkot, and is carried out with one leg within the air. Jhummar, from Jhang-Sial, can arguably be traced back to the Aryan period and consists of a 16-beat dhol cycle. Sammi is a dance specifically dedicated to singing a couple of fabled girl. In the 1940s, communication between villages and areas in Punjab sharply increased resulting from independence movements across the area. As a result, because of a number of celebrated dance pioneers, these dances have been shared, each in instances of celebration and to ease in occasions of hardship. Each area quickly adapted the shared dance forms into their own folk traditions. Finally, a normal Bhangra routine across Punjab came to encompass sure elements, equivalent to a Jhummar segment, or a Dhamaal segment. As a result of exponential rise in communication in Punjab and across India, Bhangra spread throughout the country. The Bollywood trade started to depict Bhangra in its movies while celebrated Bhangra pioneers emerged to actively spread and share the dance form. Consequently, Bhangra music is now quite mainstream throughout India, and all through the world!


You may have taken note of the dancers’ extremely colourful Bhangra uniforms/outfits, or vardiyaan, in the course of the performance. The vardiyaan not only emphasize the visual effect of Bhangra moves, however they also are designed to enable the dancer’s most range of motion. In different words, the vardiyaan are the proper mixture of aesthetics and mobility. Immediately, men and women typically generally tend to wear different vardiyaan while performing Bhangra.


Males are likely to wear a chadr, a kurta, a vest, and a pagh, while women wear a salwar, a kurta, a vest, and a chunni. The chadr is the bottom half of the outfit, and consists of a long, rectangular piece of unstitched cloth tied around the dancer’s waist. It covers the most importantity of the dancer’s legs and is strategically tied in order to forestall the cloth from restricting the dancer’s movement. The female complement to the chadr is the salwar. The salwar consists of loose fitting trouser pants with numerous pleats stitched into the fabric. In contrast to the chadr, the salwar covers the dancer’s leg completely. The trousers are stitched so that when the dancer performs high-knee and leg-lifting steps, the pleats artfully hold to imitate the effect and coverage of the chadr. Nonetheless, there are some girls that do wear a chadr, kurta, and/or pagh while performing Bhangra.

The kurta is frequent to each types of vardiyaan. The kurta is an extended-sleeved tunic that comes down to approximately the dancer’s knees, or just above them. The sleeveless vest is worn over the kurta. Each the kurta and chadr are colorful, and display closely embroidered intricate designs.

The pagh and chunni are head coverings that reflect the Sikh faith that is predominant within the state of Punjab. Culturally, head coverings are widespread as well. They’re a logo of pride, humility, fortitude, and respect. The Bhangra pagh is a long piece of cloth that’s intricately wrapped around the dancer’s head, culminating in a closely, starched, pleated fan (turla) that crowns the whole turban. The chunni is a colourful scarf that is artfully draped round a girl’s head and pinned to her kurta and vest. There are various different aspects to the vardiyaan as well. Not limited to just jewelry, these consist of varied accent items that serve to enhance particular parts of a Bhangra routine. For instance, earrings and necklaces (i.e. jhumke, kainthe, taveet) draw consideration to a dancer’s facial expressions. Rumaalan, or handkerchiefs, were traditionally tied around a dancer’s wrist to highlight their complicated hand movements. All parts of the vardiyaan complement the dance in that every component has origins steeped in which means, symbolism, and purpose.

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