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A folk instrument is an instrument that developed among common people and usually doesn't have a

known inventor. It can be made from wood, metal or other material. It is a part of folk music. The
instruments can be percussion instruments, different types of flutes, the bow and different types of
trumpets. Sometimes there are a few instruments which may not meet the criteria for classifying the
definition however their common appearance in the folk music makes them to be folk music
instruments. As per the previous studies, there were around 87 folk instruments of Punjab out of
which 55 are still intact and 13 of them can be described as vanishing and 19 are gone, since long. A
few lovers of musical instruments are trying to keep them alive by teaching these instruments to
their disciples and a few have taken the responsibility to 287 preserve them. There are at present
only two places where these instruments are being preserved.

At Bhaeni Sahib Gurudwara, which is a Namdhari Gurudwara near Ludhiana, Satguru Jagjit Singh has
been training young boys and girls in classical music and Gurmatt Sangeet. He is the religious head of
Namdharis and is a trained musician and a patron. He has preserved very rare musical instruments in
the Gurudwara and is promoting music in a very systematic manner. Another place is the Javaddi
Kalan Gurudwara near Ludhiana, where a festival of Gurmatt Sangeet is organised regularly. At this
gurudwara also many rare musical instruments have been preserved. One of the greatest custodian
of Punjabi folk, Jaswant Singh Bhanwra has been living here and teaching students in the traditional
Guru- Shishya parampara(teacher –disciple tradition). Following are the pictures of a few folk musical
instruments of Punjab.

The Punjabi dhol is used in the Punjab region of Pakistan and northern India. In Pakistan, the
dhol is predominantly played in the Panjab region; however, it is also used throughout the
country ranging from as south as Karachi and as north as Khyber Pakhtunkhwa. In India it is
found in the states of Punjab, Himachal Pradesh, Haryana, and Delhi. The beats of dhol have
been an element in the ceremonies of the great Sufi mystics and their followers. The patterns
of dhol have been developed to catalyze the mind of the devotee who is seeking spiritual
trance. Traditionally the Punjabi dhol has been the domain of men.[citation needed]
Dhol was a popular musical instrument in both formal and informal dance performances for decades. Dhol
players were once sought-after individuals for occasions of celebration, such as weddings, in India, but
since the 1980s, the introduction of electronic devices such as tape recorders has led to a decline in their
importance. Though formal Bhangra performances still involve traditional dhol, casual revelries are mostly
carried out sans dhol. Nevertheless, dhol music still figures in the studio recordings of present day
Raas/Garba and Bhangra music artists. The dhol is popular not only in North and West India and Pakistan,
but is much-loved throughout India, Fiji, Trinidad, Guyana and the United Kingdom, Australia, Armenia and
North America. A smaller cousin of the dhol is called dholak or dholki.

Dhol is a very popular folk drum of northern India, Pakistan and


Bangladesh. It is a barrel shaped, sometimes cylindrical drum, with
skins on both sides. It has one side which has a high pitch and another
side which has a lower pitch. It is very popular in folk music.
The dholis essentially nothing more than a larger version of the dholak.
The term "dhol" has a generic quality about it. Virtually any large barrel
shaped or cylindrical drum may be called a dhol. Therefore, whenever
one wishes to be more specific one generally attaches a descriptive
term to make things clear (e.g., "bhangra dhol").

The history of the dhol is not clear. One source of confusion may be
that the origin of the term "dhol" may be different from the origin of the
instrument itself. The word "dhol" is probably of Persian origin. It is
probably derived from the Persian "dohol" or "duhul". However images
of dhol players appear to be present in the bas relief carvings on Indian
temple walls from the earliest times. It is possible that both the
instrument as well as the name have some deep Indo-European
connection. However, at this point it is just really difficult to make any
firm statement as to the origin of the instrument.

As one moves around North India, Pakistan, and Bangladesh, one finds
considerable variation in the technique. One finds the use of hands,
sticks, and various combinations of both. The most well known style is
the bhangra style which uses sticks on both sides. There is also
variation as to whether the low pitched side should be played on the left
side or the right side. Throughout most of South Asia, it is more
common to play the lower pitched side with the left hand.

The construction of the dhol is a very interesting affair. Naturally there are
regional differences. Even within one region, there are differences from one
maker to the next. However, we can discuss a number of general aspects
concerning the making of the dhol.

One of the most important parts of the dhol is the shell. There are
regional variations as to both the size, dimensions, and the woods
used. It will generally be cylindrical or barrel shaped. The most
commonly used woods are mango wood and shisham
Mango-wood (genus - mangifera)is commonly used for the drum shell.
There are advantages and disadvantages to this wood. On the positive
side, mango wood (a.k.a. "aam") is extremely light; this is a very
important consideration for a drum as large as the dhol, because the
majority of the weight of the instrument is made up of this shell.
Another advantage is that mango trees are readily available. However,
mango wood is not without its disadvantages. Mango wood is general
considered to have a sound which is much thinner than other heavier
woods. Undoubtedly the biggest disadvantage of mango wood is its
susceptibility to insect infestation (i.e., the "false powder-post beetle"
- Xylopsocus capucinus ). However, this problem is often addressed by
liberal applications of an infusion made from the neem tree; this is a
well known natural insecticide

Shisham (genus - dalbergia) is another wood which is commonly used


to make dhols, this too has advantages and disadvantages. One
advantage of shisham is its superior sound quality. It also has the
advantage of being very resistant to insects. Unfortunately shisham is a
very hard wood, so it is difficult to cut and work with. Furthermore it is
extremely heavy, so instruments made of shisham are difficult to carry
and even more difficult to dance with.

One may find a variety of skins and membranes used to skin the drum.
The most common is goatskin, but the past few decades have seen a
rising popularity of artificial materials. Generally a thicker skin is used
on one side, this thicker skin is then sometimes loaded with a small
amount of a pitch-like application known as "dholak massala". The
combination of the thicker skin and the acoustic loading of the
application gives this side a deeper sound. On extremely rare occasions
one may find an application to the thinner, high pitched head.

There are several ways of tightening the dhol. Sometimes they are
laced with rope, or rawhide, in which case, a series of metal rings are
often used to pull and tighten the instrument. Sometimes metal
turnbuckles are employed.

The dhol in Punjab plays a very important part in the local culture. It
has emerged as an instrument that Punjabis use as a symbol of their
ethnic identity. This strong attachment is especially evident among the
expatriate Punjabi communities dispersed across the earth.

The use of the dhol is varied in the Punjab. Its use is not limited to
artistic events, because it is found at political rallies, sporting events,
and virtually any place that one wishes to create a festive mood.

The Punjabi dhol is also known as the "bhangra dhol"; this is due to its
importance in the folk dance/ song style known as bhangra. Since
the bhangra has attained a worldwide audience, this version of
the dhol is probably the most well known example.

The orientation of the Punjabi dhol is fairly standard. The deep side is
generally played with the left hand while the treble side is generally
played with the right hand. Of course, this may be reversed for left-
handed performers

The Punjabi dhol tends to be played with sticks on both sides. However
the sticks are different. There is a curved drumstick known as
the dagga, and a straight drumstick known as the chanti.
The chanti (straight drumstick) is used upon the high pitched side which
is referred to as the "madeen". This drumstick is generally made of a
light material such as cane. The curved one (dagga) is used on the
deep pitched side side (nar); this drumstick is made of a heavier wood.

The construction of the dhol in Punjab is not significantly different from


what it is in other parts of India, Pakistan, and Bangladesh. There are
but a few small exceptions. Most of the differences are merely one of
nomenclature. Let us now look more closely at these small Punjabi
characteristics.

There is a tendency for the Punjabi dhol to be a bit smaller and a bit
lighter than elsewhere in the subcontinent. Many times it is barely
larger than the dholak. The heads on the Punjabi dhol tend to be
around 13 inches, while the shell balloons out to a diameter of around
15 inches. This small size reflects the tendency for Punjabis to dance
and run around with the dhol during a performance.

As in other parts of India, there are a variety of tightening


arrangements. There are rawhide lacings, rope, and, screw turnbuckle
systems. One curiously Punjabi innovation is a hybrid where one finds
turnbuckles (screws) on one side and rope lacing on the other.

The wood that one generally finds on the Punjabi dhol is either
mango (aam) or shisham. In Punjab, shisham is known as "taahlli".
However since a light portable dhol is more important to Punjabis, the
heavy weight of shisham is a disadvantage.

The heads have traditionally been of goat skin, but as the Punjabi
dhol has risen in international popularity, one is finding plastic and other
artificial materials being used.

There is one decorative aspect of the Punjabi dhol which deserves


attention. Tassels are an obligatory addition to the Punjabi dhol. These
are usually attached to the tightening rings.

Traditionally, dhol players occupied a lower strata of society; this


however is changing. The urbanisation and internationalisation
of bhangra is reflected in the fact that dhol players may now come from
any strata of society. Even women are now taking up the dhol.
Bhangra was originally a Punjabi folk dance which has expanded in
several ways. As far as dance is concerned, the term bhangra has
expanded to include the style of music used to
accompany bhangra dance. In terms of its reach, it has expanded
beyond rural Punjab to become an internationally recognised style of
song and dance.

Originally, the bhangra was just a folk dance that was confined to the
Punjab during the harvest festival of Baisakhi. This was performed only
by men, while the women would perform the giddha. Over the
centuries, bhangra grew to encompass not only the giddha but a
number of rural Punjabi folk dances. It grew in popularity, and
expanded its range to the point where bhangra was then found over
much of Northwest India and Pakistan. Furthermore, it could be
performed on any festive occasion, and not just during the harvest
festival.

Heads of dhol are about 13 inches in diameter. Out of two heads ,one contains a thicker skin and
produces a low frequency sound due to the presence of masala. The other one with thinner
skin generates a higher frequency sound. Due to its larger diameter, it produces a magnificent bass
sound and creates an atmosphere of liveliness.
Punjabi Dhol is played with the help of a pair of sticks out of which one is used for thicker side and the
other one for thinner side. The thicker side stick is known as dagga and it is bent at a quarter-circular
arc at the end that strikes the skin. The other one called tilli is more flexible and thinner.
A dhol is slung over the neck of a player with the help of cotton/nylon strap while playing as shown in
the figure:
Pitch of the Dhol can be adjusted either by tightening or loosening the dhol which can be
accomplished by either altering the position of metal rings or adjusting the turnbuckles.
Another decorative feature of Punjabi Dhol due to which it gains attention are Colored
Tassels(Phumans) which are attached to the tightening rings.
Punjabi Dhol plays an integral part in local culture. Its use is not only limited to artistic events, but can
be commonly found at political rallies, sporting events, or at almost any situation where one wishes
to create a festive feeling. Some of the widely used rhythms of punjabi
dhol are bhangra, dhamaal and kaharva.
In Punjab, it has became the root of Bhangra music. In Assam, it is used at the most popular festival
called Rongali Bihu. It is used by Gujaratis in Navratras. Hence it can be said that it is a widely used
musical instrument both at formal and non-formal occassions.
Famous Dhol Manufacturers of india are: Maharaja musicals, Bina Music Store, Delhi Musical Store,
Chopra Musicals etc.

The seeds of bhangra's growth as an international art-form began not in


India, but in Great Britain. The Indo-Pakistan expatriate community
was lacking a clear symbol of its own ethnic identity. This community
was starting to be comprised of second and third generation South
Asians. They could no longer easily relate to a changed India or
Pakistan, but were also unable to completely assimilate into traditional
British society. They were struggling to have a clear symbol of their
own identity. In this cultural vacuum, the bhangragrew to become an
important symbol of their self identity.

Bhangra first began to make its mark internationally during the 1970's.
At this time, artists such as A.S. Kang and Kuldip Manak began to make
a commercial success out of it. It was also in this period
that bhangra began to be widely accepted as a genre of music rather
than simply a dance form. In the next few decades bhangra grew into a
truly international phenomenon. It is to be found wherever there is a
large expatriate Indian community.

We have seen bhangra expand further until now it is almost a


subculture. Implicit in the bhangra are not just the music and dance,
but also a lifestyle. At first, this might be hard to conceive, but it
certainly is not a unique occurrence. Perhaps the most well known
example of this sort of thing was the disco movement in the late 70s;
disco too encompassed music, dance, as well as a whole lifestyle.
Today, bhangra is not just a dance but is also a musical style. As this
music has become internationalised, it has undergone quite an
evolution. Where it was once a purely folk music of Punjab, today
elements of rap, hip-hop, and other commercial Western forms may be
found enfolded within it.

Melodically the bhangra uses an extremely small number of notes. The


range seldom extends an octave. Still, even with the limited number of
notes used, the bhangra may be extremely expressive, due in great
part to the lyrical nature of the songs.

The rhythms of bhangra tend to be very lively. They are usually based
upon a very fast kaherava tal of eight beats. However this eight beat
pattern is almost never performed straight, but usually incorporates a
strong syncopation (i.e,. a heavy "swing"). The jhumartends to be
much slower, and at times utilises a half cycle version of punjabi
theka (i.,e based upon eight beats rather than 16). At other times,
the jhumar may be based upon a hemiola in a manner somewhat
similar to the Gujarati raas music.

Folk dance is a physical expression of the inner feelings of human beings. The
inner happiness of human beings make them dance. Dance is the performing art of
a particular cultural area. Folk dance gives expression to the artistic instincts of the
masses. While performing folk dances, the performers get emotional, mental,
physical and spiritual satisfaction. The folk dances also reflect the creative intellect
of the related folk masses. The research says that the expression of feelings of joy,
happiness, ecstasy, dreams etc are not possible through any other medium of
cultural manifestation. The enthusiasm and the vigour of Punjabi people is evident
from the zestful performance of their folk dances. Punjab‘s folk dances are
embedded with foreign influences. It is only in Punjab where there are separate folk
dances for men and women.
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3.11.1 Bhangra The most virile folk dance of Punjab is Bhangra and is generally performed by the
males. Traditionally the Bhangra season starts with wheat sowing. On full moon nights the young
males used to gather in open fields and dance in rows. The dance starts with slow movement of feet
and then higher as the rhythm goes faster and the tempo of movement is there. The whole body
comes into action. They whirl round and round, clapping along with colourful handkerchiefs in their
hands. At the intervals the dance slows down the movement. One of them comes forward near the
drummer and sings a boli or Dholla while covering his left ear with one hand. Picking up the last lines
of the boli all the dancers again start dancing. They use various instruments and accessories while
dancing like Chimta, tongs, Bugchu etc. The dancers wear very colourful patka, lacha / lungi and
shirts with bright coloured jackets. Dancing with terrible spirits, the dancers at occasions exclaim
slogans like ‗Bale Bale‘, ‗Shava-Shava‘ etc. This form is considered the king of dances. There are
several styles of Bhangra ie Sialkoti, Sheikhupuri, Tribal, Malwa and Majha. It is also considered to be
a kin of Shiv-Tandav dance.

The Punjab is a multi-layered Cultural Region and its music tradition stretches back for thousands of
year to the Vedic Period‖4. Due to an exposure to a number of cultures, Punjab has developed its
own unique musical mode. Just as the hardships have made the people lively, the same impact can
be seen on the folk music of Punjab which is very lively and vibrant. The importance of music in the
region can also be estimated due to the fact that all the Gods and Goddesses of the region are
associated with one or the other musical instrument like God Shiva is the bearer of damroo, Vishnu is
recognised with a Shankh(Coonch shell), Krishna as Murlidhar(flute), Saraswati, the Goddess of
Learning is never seen without Veena. Talking Specifically of Punjab, the Harappan figure of a dancing
girl and the excavations at Sanghol, carved female musicians on stupa railings depict the importance
of music in a Punjabi‘s life since centuries. As the religions, Sikhism, Hinduism and Islam are
dominant in Punjab they have their own musical forms. ―The four divisions of Punjab‘s musical
repertoire are Sufiana Qalam, Qawwali, Gurmat Sangeet and Bhakti Sangeet are rooted in religious
experience. The Hindu Kirtan, Muslim Milad, Majlis and Qawwali and the Sikh Vaar and Shabad
Kirtan are usually performed by trained musicians.‖5 (Pandey Alka1999) However at the same time,
strong secularism can be seen in the folk music of Punjab.

Folk Songs

The general and the most popular folk songs of Punjab can today be heard every where. The Punjabis
are proud of their vibrant and sweet music and the young generation today is patronising the folk
tradition. The life style of Punjabis which infuses colour to every aspect of life, has songs to be sung
in all walks of life.

There are six basic themes of Punjabi folk songs which are described below:

1. Life Cycle Songs: Songs Sung at the birth of son, Wedding Songs

A folk singer is the Culture bearer of a society and has the responsibility of carrying forward the value
system of a society to the next generation ie they keep the tradition alive and pass it on to the next
generation. Here it is important to mention the names of a few folk singers of Punjab, who are
credited with keeping the folk traditions of Punjab alive. The Culture bearers like Hans Raj Hans, his
Guru Puran Shah Koti, Mundari Lal, a naqqual, Gurmeet Bawa, a singer, Garibu ,who plays Been-
Saperas, Sadhu Khan, who is a Sufi Dhadi; Kharaiti, who plays Sarangi, Toombi and Dholak; Surrindra
Shinda, a renowned Punjabi folk singer; Barkat Ali Sidhu, a singer; Baldev Singh Riyard, who plays
Algoza, Kuldeep Manak, who is famous for vaar singing; Mangat Ram Dholi; Parveen Tumbi wali,
Saudagar Ram, who plays Iktaara; Paramjeet Sidhu, popularly known as Pammi Bai have kept their
love of the art and many of them despite economic problems have kept the tradition alive.

Gurcharan Mall is 65 years – King of Dhol

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