Report by Santanu Ganguly, New Delhi: The International Festival of Sacred Arts, part of The Attic (Amarjit Bhagwant Singh Charitable Trust) is back with a Baisakhi Festival supported by Sir Sobha Singh Public Charitable Trust.
This festival explores Punjabi culture through its music, textiles and art. Undivided Punjab was the land of 5 rivers, 3 cultures, 3 languages, 3 religions, with a rich heritage of sufi shrines and music, Sikh artists and Hindu singers. Partition with the West going to Pakistan and a further partition between the states of Punjab and Haryana has most cruelly split the rivers, the music and the language and therefore almost its raison d’etre. Terrorism, Operation Blue Star and 1984 would have been the final nail in the coffin of this culture.
Baisakhi Festival
However, the Punjabi chak de (go for it) attitude has resulted in a revival of the food, the music, the textiles and the spirit of this now world wide community. The spirit of Punjab now lives on not only in Ludhiana but in London, in Chandigarh and in Canayda, in Amritsar and in Amrika. The sense of humor is back too. Saturday 13th April, 2.30 to 4 pm Workshop Gidda and Bhangra conducted by Tripat Kaur Dhillon.
This free workshop is an introduction to the 2 main dances of the Punjab, Giddha for women and Bhangra for men. Ages above 10. Participation by registration only. Call 23746050 or email:info@theatticdelhi.org
Giddha is a popular folk dance of women in the Punjab both India and Pakistan. The dance is often considered derived from the ancient ring dance and is just as energetic and colorful as the Bhangra. It creatively displays feminine grace, elegance and elasticity and is mainly performed at festive or social occasions.
The costume is a colorful salwar kameez or ghagra with heavy jewelry. The rhythm is kept by a dholak and clapping of hands. It is essentially danced in a circle where the women sing Boliyan (small couplets) which are emotional, humorous, teasing and cover themes from nature to the excesses committed by the husband or mother-in-law.
Bhangra refers to several styles of dances from pre partition rural Punjab. What came to be known as Bhangra was a particular type of dance to celebrate the harvest at the time of Baisakhi. (13 April)
After Partition it had lost its popularity and was being slowly revived as “the” folk dance of Punjab. Its real resurgence however was in the 1980’s by diaspora Sikhs in the U.K., often characterized by a fusion with Western dance styles and the use of pre recorded audio mixes. The infusion of rock resulted in a new “Bhangra Music” style, one of the few immigrant music genres of the world in that it is absent in the home country. The music moved away from the simple and repetitive folk music beat and signaled the development of a self-conscious and distinctively rebellious British Asian youth culture centered on an experiential sense of self, with its own language, gesture, bodily signification and above all masculinity. This music fostered a sense of affirmation of a positive identity and culture. A similar phenomenon took place in the U.S. where a large community of Punjabis, have often created their own subculture, specially after 9/11, complete with music, dance and inter college Bhangra competitions.
Meanwhile back at home Bhangra dance is based on music from a dhol, folk singing, and the chimta. The accompanying songs are bolis (small couplets).
Bhangra singers employ a high, energetic tone of voice. Singing fiercely and with great pride, they typically add nonsensical, random noises to their singing.
Likewise, often people dancing to Bhangra will yell exclamations such as hoi, hoi, hoi; balle balle; chak de; oye hoi, haripa to the music.'
Traditionally men wear a chaadra (lungi), a kurta and a pagri (turban).
Tripat Kaur Dhillon has worked with All India Radio and Doordarshan for 15 years as a voice over artist. She also worked as a stage artist with NSD Director, Mrs Sheila Bhatia group for 12 years. She has performed lead roles in the plays Chan Badla Da, Dard Ayega Daby Payoon, Sulgde Dariya, Tere Mere Lekh and Mirza Ghalib. She is featured in the first gidda video cassette “Gidda Pao Kudiyo” and in many Punjabi folk song videos. She has travelled as a dancer and as an actor in the Middle East, Africa, Canada and the UK.
She is presently working as a judge in the Punjabi Academi and in the Punjabi University Patiala, as well as with Madan Bala Sindhu.
Saturday 13th April to Wednesday 17th April 11.30 am to 6pm (closed Sunday)
Exhibition “Phulkari : Threads of the Punjab”. This exhibition consists of old pieces from the private collections of Mrs Amarjit Bhagwant Singh, Sunaina Suneja and 1469 Workshop as well as new pieces made by the Nabha Foundation.
Saturday 13th April 6.30 pm
‘Punjabi Ethos’ a remembrance of old Punjab by Reena Nanda, 7.00 pm
‘Phulkari: Threads of Identity’ – a talk by Sunaina Suneja.
Reena Nanda will talk about Punjabi agrarian culture, influenced by the geography of its rivers. The Biradaris - multi-lingual (Persian/Urdu, Punjabi, Hindi) that gave this society a rich repertoire of music from Afghanistan and Persia. Festivals, music and dance are the fabric of Punjabi life and Baisakhi is particularly important because of the association with the Sikh khalsa panth. The gurubani is as important a thread in Punjabi culture as the cotton spun by the women. .
Reena Nanda is the author of the biography of Kamaladevi Chattopadhya (OUP 2002). In the 1980’s and 90’s she conducted heritage walks of Delhi which were published as a series in the Indian Express Weekend. Since the last few years she is working on her mother’s memories of the social and cultural lives amongst the Punjabi community in Quetta (Baluchistan), Lahore and Jhang (her natal home)
Phulkari: Threads of Identity’ – a talk by Sunaina Suneja
Phulkari is a darn stitch embroidery technique from the Punjab. It literally means flower working and where the work covers the whole cloth is known as Bagh (garden) Phulkaris and Baghs were worn by women all over Punjab during marriages and other joyous occasions. They were embroidered by women for their own use making this a purely domestic folk art. The colorful silken threads embroidered on a coarse cotton cloth satisfied the creative and practical needs of the families. The head scarves and shawls were the main items embroidered.
The Nabha Foundation initiated its income generation program for women of Nabha’s villages in early 2009 as part of an integrated and sustainable rural development, infrastructure upgradation and heritage conservation in Nabha region of Punjab. Young women who did not have any embroidery skills were trained in traditional phulkari work using a modern sensibility to create marketable products using traditional skills. These items as well as traditional Baghs and Phulkaris will be available for sale in this exhibition.
Sunaina Suneja will present the journey of this project, from its inception till today. The talk will include the cultural and social imagery of Phulkari in Punjab and in its folklore and music as well.
Sunaina Suneja has been working with textile crafts since the mid-80s beginning appropriately with khadi. Her presentations on Khadi and Textiles of India, in English and French, have been appreciated by audiences in Delhi and abroad.
Sunday 14th April 11 am to 2 pm
Gurudwaras Walk - “ An Empirical Experience of the Sikh Faith on the occasion of Baisakhi” – conducted by Robinson
The two historic Gurudwaras included in this walk are Gurdwara Rakab Ganj and Gurudwara Bangla Sahib about 2 kms walk away. Participants will meet at Rakabganj. A brief history of the Gurudwara will be given before beginning the tour of the premises. The group will walk to Bangla Sahib where after the historical introduction the group will participate in the langar lunch (see below)
Delhi has an integral link with the Sikh faith owing not only to its close proximity to Punjab but also of the fact that Five Sikh Gurus have had direct visits to it. From the visit of the founder, Guru Nanak commemorated at the historic Gurudwara Nanak Piao to Gurudwara Mata Sundari, Delhi has been an important site for Sikh pilgrimage with nine historical Gurudwaras, two of which will be the focus of our walk. The walk will highlight and bring forth the richness of culture and the values embedded in the Sikh faith.
The site of Gurudwara Rakabganj marks the spot where 2 disciples of Guru Tegh Bahadur the ninth Guru of the Sikhs burnt their own houses to cremate the Guru. The Guru had earlier been beheaded on the site which is now Sisganj Gurudwara in old Delhi on the orders of the Mughal emperor Aurangzeb when he refused to be converted to Islam.
Gurdwara Bangla Sahib was originally a bungalow belonging to Raja Jai Singh in the seventeenth century, and was known as Jaisinghpura Palace.
The eighth Sikh Guru, Guru Har Krishan resided here during his stay in Delhi in 1664, where during a smallpox and cholera epidemic he helped the suffering by giving aid and fresh water from the well at this house. Raja Jai Singh constructed a small tank over the well. The water of the ‘Sarovar’ is now revered as having healing properties and is taken by Sikhs throughout the world back to their homes.
The Sikh tradition of langar is a prominent part of this Gurudwara. In the tradition of equality for which this religion is famous all people, regardless of race or religion may eat in the Gurdwara kitchen (langar hall). The Langar (food) is prepared by gursikhs who work there and also by volunteers who like to help out.
Participants are requested to dress modestly, remove footwear outside and keep their heads covered in the Gurudwara.
Robinson, an alumnus of St. Stephen's College, Delhi is a Theologian, Meditation Practitioner, Poet, Art Critic and Heritage Walks Curator based primarily in Delhi. He describes himself as a traveler in life who intends to journey well.
Participation is by registration only. Call 23746050 or email info@theatticdelhi.org. Meeting point at 11 am Rakabganj Gurudwara Main Gate Pandit Pant Marg (opposite Parliament House Library)
Monday 15th April 6.30 pm
“The Tragic Love Story of Heer and Ranjha” a performance by Madan Gopal Singh
Location: SUJAN SINGH PARK LAWN
Co-sponsored by Shakunt Nanda Memorial Fund.
This event will contain an introduction “Jhang Remembered” by Reena Nanda. Her mother Shakunt came from the village of Jhang, the scene of this tragic story and location of the tomb of Heer and Ranjha. There will also be an exhibition of photographs of Jhang taken by Shumita Didi during her recent visit to Pakistan.
Heer Ranjha is one of the four popular tragic romances of the Punjab. The other three are Mirza Sahiba, Sassi Punnun and Sohni Mahiwal. There are several poetic narrations of the story, the most famous being 'Heer' by Waris Shah written in 1766. It tells the story of Heer , an extremely beautiful woman, born into a wealthy Jat family and Ranjha, the youngest of 4 brothers who loves to play the flute while his brothers toil in the fields. Ranjha has to leave home and comes to Heer’s village where the 2 fall in love. The jealous uncle gets her married to another man and Ranjha wanders the countryside alone till he meets a jogi, Baba Gorakhnath, and himself becomes an ascetic. Many years later they are reunited but die in a poisoned ladoo episode very reminiscent of the death of Romeo and Julie200 years earlier.
Madan Gopal Singh has written and lectured extensively on cinema, art and cultural history. He co-wrote the screenplay, dialogues and lyrics for the film ‘Name of a River’, composed the music for the documentary film ‘Paradise on a River of Hell’ and for the film ‘Khamosh Pani”. He was a Presenter – Performer at the Smithsonian Folklife festival 2002 and performed at the 2nd Sufi Soul World Music Festival. He taught English Literature at Satyawati College in Delhi.
Accompanists: Deepak Castelino- Guitar and Banjo , Pritam Ghosal- Sarod. Gurmeet Singh- Multiple percussions.
For a sampling of Heer Ranjha, listen to this.
Tuesday 16th April
This Program is in the Sujan Singh Park Lawn
6.30 pm “ Gurbani Kirtan Parampara: Insights On Traditional Medieval Compositions” – a lecture demonstration by Bhai Baldeep Singh
On the occasion of Baisakhi celebrations, Bhai Baldeep Singh will offer insights on the classical dhrupad, prabandh, chantt and vaar genre repertoire of Gurbani Kirtan tradition, evoking the atmosphere of the medieval period in which the sacred music traditions of the Guru-Sikhs flourished.
Various music compositions will lead us through the spiritual journey from Baba Sheikh Farid to Guru Gobind Singh including Bhakti Saints and other authors of Guru Granth Sahib.
Bhai Baldeep Singh descends from a long lineage of masters of the Gurbāni Kīrtan maryadā, and today is its 13th generation exponent. His repertoire includes masterpieces that were first composed by the Sikh Gurus and the Bhagats themselves. Bhai Baldeep Singh is also the prime exponent (khalifā) of this oldest gharāna of classical percussions, pakhāwaj/mridang playing, of Punjab known as Sultanpur Lodhi - Amritsari Bāj.
Dhrupad has been the music of the devotees of India's many spiritual traditions. The Sikh gurus also expressed deep spiritual mysteries through musical compositions in the dhrupad, or originally, pade, style.
Bhai Baldeep Singh has performed the herculean task to revive almost all the instruments from the Gurus’ times by personally handcrafting them under the guidance of master luthier Gyani Harbhajan Singh of Village Dandian, Hoshiarpur. Today, he has the unique distinction of having carved the nomadic rebāb, sarandā, tāus, dilruba, tamburni (tanpura), jori and pakhāwaj - mridang.
Besides giving many concerts, he has also conducted workshops, lecture-demonstrations and seminars in India, Europe, North America, Southeast Asia and Australia. He has received the Bhai Batan Singh Memorial Award and Delhi State Annual Award for contribution in the field of Music. He has also been conferred the Sikh Gaurav Award and the Kapurthala Heritage Award and on August 15, 2011, he received the Punjab State award for his seminal contribution to music (Gurbani Kirtan and classical music) and the arts.
He is the Founder and Managing Trustee of The ANĀD Foundation, a non-profit organization dedicated to the promotion and preservation of traditional culture, with particular focus on the preservation of South Asia's intangible heritage and cultural traditions.
He has served in the Core Committee of the Khalsa Heritage Complex (Anandpur Sahib), Executive Committee of the Punjab State Sangeet Natak Academy. He currently serves as member of the Advisory Council of the Punjab Languages Department and the Sultānpur Lodhi Development Board.
He is currently a Visiting Professor, Division of Musicology, Guru Nanak Dev University, Amritsar.
Wednesday 17th April
This Program is in the Sujan Singh Park Lawn
6.30 pm “Geet Punjab De” - Folk Songs of the Punjab by Madanbala Sindhu
A Punjabi song is not merely a lyric or a composition but an expression of the soul of its people, its environment, culture and traditions. Its four major romantic tragedies, the farmers songs on their way to the fields, the songs around the “khu” (village well) and the beautiful songs of a Punjabi wedding contain the history, geography and literature of an undivided Punjab, not yet separated by politics and religious discord.
Madanbala Sindhu presents a miscellany of Punjabi folk songs. Starting with the early morning gathering at the “khu” where a lot of the social life of the village took place to the wedding songs which make Punjabi weddings one of the most noisy and colorful events in India. She also presents Baisakhi songs where singing and dancing are an intrinsic part of the joyful harvest festival of Baisakhi. Typical Baisakhi folk songs depict the joy of the farmer. This festival is celebrated in rural Punjab with exuberant young boys and girls coming out in the fields in their colorful attire to participate in the traditional Baisakhi dances Gidda and Bhangra.
Most often Punjabi folk songs are sung on the beats provided by the drum where 'Dhol' and 'Dholak' is the male and female drum respectively. Other musical instruments traditionally used in Punjabi music are 'toombi', 'algoza', 'chheka', 'chimta', 'kaanto', 'dhad', 'daphali' and 'manjira'.
Madanbala Sindhu trained as a singer under Music Directors like Jialal Vasant, Master M.L.Sonik, Satish Bhatia, Ustad Yunus Malik, Ustad Gulam Mustafa Khan and even the great Begum Akhtar. At present her Ustad is Gulam Hussain of the Sahaswan Gherana. She commenced her musical career from Mumbai and Jalandhar stations of the All India Radio. Her top hit recordings “CHAN CHAN CHANKAN WANGAN” and “BERIAN DE BER MUK GAI” remain popular even today!
In the Delhi theatre of the 60’s and the 70’s she combined the talents of ‘An Opera Actress’, ‘A Folk Singer’ and ‘A Dancer’. In 1965 she played the role of “Sassi” in “Sassi Punnu”, directed by Mr. R.G Anand. And has subsequently played lead roles in Punjabi (Chan Badlan Da, Heer Ranjah, Prithvi Raj Chauhan) and Urdu (Ghalib Kaun Hai, Nadir Shah, Amir Khusro) theatre. She also acted and sung in “Monsoon Wedding”. She has also directed many Punjabi musical and other plays “Wichree Pani, Yaadan- (“Down the Memory Lane”), Jo Rang Rangya – (Sufi Poets), Vajje Dholki and Mast Kalandar.
Madanbala has recorded Shabads poems and musical plays of Bhai Veer Singh and a collection of folk and wedding songs of Punjab.
She has received the Sangeet Natak Academy Award for her contribution in keeping alive the music of Punjab, the Punjabi Academy Award from Delhi Administration.
She has travelled worldwide and has recently recorded “The Great Big Punjabi Wedding” for Music Today and has been a key person keeping alive the cultural traditions of Punjabi folk music.
You can listen to “lathe de chaadar” here.