Tag Archive: Style

Do the Bhangra : Punjabi Style

Bhangra dance is based on music from a Punjabi folk drum, folk singing, a single-stringed instrument called the iktar, the tumbi and the chimta. The accompanying songs are small couplets written in the Punjabi language called bolis. In Punjabi folk music, the dhol’s smaller cousin, the dholki, was nearly always used to provide the main beat. Nowadays, the dhol is used more frequently. Additional percussion, including tabla, is less frequently used in bhangra as a solo instrument but is sometimes used to accompany the dhol and dholki. This rhythm serves as a common thread that allows for easy commingling between Punjabi folk and reggae, as demonstrated by such artists as the UK’s Apache Indian.[4][5]

In the late 1960s and 1970s, several Punjabi Sikh bands from the United Kingdom set the stage for bhangra to become a form of music instead of being just a dance. The success of many Punjabi artists based in the United Kingdom created a fanbase, inspired new artists, and found large amounts of support in both Pakistani and Indian Punjab. These artists, some of whom are still active today, include, Heera Group, Alaap band, A.S. Kang and Apna Sangeet. Folk singers of Punjab have also contributed to the development of bhangra in the UK. These artists are Alam Lohar and Yamla Jatt.

Bhangra is considered to be one of the oldest dances in the world. While Bhangra historians speculate the dance may have originated in the time of the wars with Alexander no one is sure it existed until about five hundred years ago. Around the 14th or 15th Century, Punjabi wheat farmers danced and sang songs about village life to help pass the time while working in the fields. With time, these became part of harvest celebrations at Bhaisakhi (April 13) festivals, as the sight of their crops growing invigorated the farmers. From here the dance quickly moved through all divisions of class and education, eventually becoming a part of weddings, New Year parties, and other important occasions. One theory also relates it to Lord Shiva. Bhangra has been attributed to the disciples of Shiva who, while grinding bhang or marijuana, sang and danced. Hence the name, bhangra… interesting!

Though danced now at every gala day, bhangra is closely associated with the Baisakkhi festival on the day the harvesting of wheat begins. The dancers are dressed in a kurta (long, flowing, collarless shirt), waistcoats, loin cloth up to the ankles and a colourful turban with a folded tail hanging down like a plume. A golden band to keep the turban in piace is also worn. The song for the dance is called saddh or boli or the call. Adrum, musical tongs and empty earthen vessels provide the rhythmic beat.

Starting with a slow beat, the dancers circle the drummer, who, with a gradually increasing rhythmic beat, beckons them on. Being a virile dance, acrobatics are also performed to display the vigor of their bodies. A man with a whistle accompanies the party to Indicate a change in the movement of the dance. Another. holds a pole atop which a squirrel in puppet form is holsted attached to a string which indicates agility.

Jhoomer also called the the dance of the theives, is performed by male dancers with a graceful gait. The costumes are the same as worn for bhangra. To the tunes of emotional songs, the dancers with a waving of arms. move in a slow circle around a single drummer in the centre. No acrobatics are pertormed during this dance.

Luddi is danced to celebrate a victory in any field. The dance has its historical linkages to the moment when Punjabi Sardars rescued women who were forcibly taken towards the Middle East. The costume for this dance is simple consisting of a kurta, loin cloth and a turban. The performers dance by placing one hand at the back and the other before the face copying the movement of a snake’s head. Thic is also danced with the drummer in the centre. This dance, however. is not as popular as the bhangra in India.

Jalli is a religious dance associated with the Pirs and recluses and is generally danced in their hermitages. The dance is generally pertormed while in a sitting posture. After donning black clothes and a black scarf over the head, the dancer holds a thick staff in his hand and dances by revolving it. This dance is very rarely pertormed these days and is fast disappearing.

Dhankara, like other male dances, is also performed in circles generally ahead of marriage processions to exhibit joy. Also known as the gatka or tippi dance, the dancers rhythmically ply colourtul staffs in their hands crossing them with each other. The high point is reached in the sitting position when the bitons are crossed. No special costumes are worn.

Many different Punjabi instruments contribute to the sound of Bhangra. Although the most important instrument is the dhol drum, Bhangra also features a variety of string and other drum instruments. The primary and most important instrument that defines Bhangra is the dhol. The dhol is a large, high-bass drum, played by beating it with two sticks. The width of a dhol skin is about fifteen inches in general, and the dhol player holds his instrument with a strap around his neck.The string instruments include the tumbi, sarangi, sapera, supp, and chimta. The dhad, dafli, dholki, and damru are the other drums. The tumbi, famously mastered by Amar Singh Chamkila, a famous Punjabi singer, is a high-tone, single-string instrument. Although it has only one string, mastering the tumbi takes many years. The sarangi is a multi-stringed instrument, somewhat similar to the violin. The sapera produces a beautiful, high-pitched stringy beat, while the supp and chimta add extra, light sound to Bhangra music. Finally, the dhad, dafli, dholki, and damru are instruments that produce more drum beats, but with much less bass than the dhol drum.

Bhangra lyrics (Boliyan), always sung in the Punjabi language, generally cover social issues such as love, relationships, alcohol, dancing, and marriage. Additionally, there are countless Bhangra songs devoted to Punjabi pride themes and Punjabi heroes. The lyrics are tributes to the rich cultural traditions of the Punjabis. In particular, many Bhangra tracks have been written about Udham Singh and Bhagat Singh. Less serious topics include beautiful adies with their colorful duppattas, and dancing and drinking in the fields of the Punjab. Bhangra singers do not sing in the same tone of voice as their Southeast Asian counterparts. Rather, they 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 phrases such as “Hey hey hey,”Balle balle,” or”Hey aripa” to the music.

Do the Bhangra : Punjabi Style

Do the Bhangra: Punjabi Style

Do the Bhangra: Punjabi Style

Do the Bhangra : Punjabi Style


Move your Body : Samba Style

Samba  is a Brazilian dance and musical genre originating in Bahia and with its roots in Brazil (Rio De Janeiro) and Africa via the West African slave trade and African religious traditions. It is recognized around the world as a symbol of Brazil and the Brazilian Carnival. Considered one of the most popular Brazilian cultural expressions, samba has become an icon of Brazilian national identity. The Bahian Samba de Roda (dance circle), which became a UNESCO Heritage of Humanity in 2005, is the main root of the samba carioca, the samba that is played and danced in Rio de Janeiro.

The modern samba that emerged at the beginning of the 20th century is basically 2/4 tempo varied with the conscious use of chorus sung to the sound of palms and batucada rhythm, adding one or more parts or stanzas of declaratory verses. Traditionally, the samba is played by strings (cavaquinho and various types of guitar) and various percussion instruments such as tamborim. Influenced by American orchestras in vogue since the Second World War and the cultural impact of US music post-war, samba began to use trombones, trumpets, choros, flutes, and clarinets.

The Samba National Day is celebrated on December 2. The date was established at the initiative of Luis Monteiro da Costa, an Alderman of Salvador, in honor of Ary Barroso. He composed “Na Baixa do Sapateiro” even though he had never been in Bahia. Thus 2 December marked the first visit of the Ary Barroso to Salvador. Initially, this day was celebrated only in Salvador, but eventually it turned into a national holiday.

Samba is a root style in Southeastern Brazil and Northeast Brazil, especially in Rio de Janeiro, Sao Paulo, Salvador and Belo Horizonte. Its importance as Brazil’s national music transcends region, however; samba schools, samba musicians and carnival organizations centered around the performance of samba exist in every region of the country and, while regional musics prevail in other regions (for instance, in Southern Brazil, Center-West Brazil, and all of the Brazilian countryside, Sertanejo, or Brazilian country music, is extremely important),[5] there is no single musical genre that Brazilians use with more regularity than samba to identify themselves as part of the same national culture.

Move your Body :Samba Style
Move your Body : Samba Style
Move your Body :Samba Style
Move your Body : Samba Style

Move your body: Samba style

Watch BRANGELINA do it

Smooth Criminal” is the seventh single from Michael Jackson‘s 1987 Bad album. The song contains a fast-paced beat intertwined with Jackson’s lyrics about a woman named Annie, who has been attacked in her apartment by a “smooth” assailant. It was released as a single on October 24, 1988 and peaked at No. 7 on the Billboard Hot 100.[1] It was re-released on April 10, 2006 as a part of the Visionary: The Video Singles box-set. The re-released Visionary single charted at No. 19 in the UK. The piece is one of Jackson’s signature songs, and has appeared on numerous greatest hits albums, including Number Ones, The Essential Michael Jackson, Michael Jackson: The Ultimate Collection, King of Pop and This Is It (for the New version of song).

“Smooth Criminal” was a song that almost didn’t make it into the Bad album, with Jackson having to convince producer Quincy Jones that it was worthy of inclusion. With the final decision to include the song, Jackson originally decided to make the short film a western-styled short film. However, he later decided to change the style into a 1930s nightclub style.

The song was performed live during the second leg of Jackson’s 1988–89 Bad World Tour. The performance featured a dance routine modeled after the scene from Moonwalker. By the time the 1992 Dangerous World Tour came around, this performance became a regular on Jackson tours, including his HIStory Tour. A spoken word and synth recording preceded the song on the second leg of the Bad tour and on the subsequent Dangerous World Tour, the same recording having been used as an intro for the song “This Place Hotel” on the first leg of the Bad Tour. By the time of the Dangerous Tour, Jackson had devised a way to perform the patented anti-gravity lean, which was featured in the Moonwalker video, on stage. Much like the robot move from “Dancing Machine” and the Moonwalk from “Billie Jean“, this showcased Jackson’s talent for creating unique moves to enhance stage performances. This performance can be seen on the Bucharest Dangerous Tour performance which is included as a DVD in The Ultimate Collection boxed set.

Part of the song was also briefly used in the middle of the live version of the song “Dangerous” since Jackson’s performance at the 1995 MTV Video Music Awards. In the HIStory Tour, he used a small snippet of this song during his performance of “Dangerous“. Jackson was also going to use it again in his “Dangerous” performance in his This Is It concerts, along with the full track, had the concert series not been canceled due to his sudden death.

Spin, Lean and Moon Walk : Smooth Criminal Style

Spin and Moon Walk : Smooth Criminal Style

Spin, Lean and Moon Walk : Smooth Criminal Style
Anti Gravity Lean  : Smooth Criminal Style

Spin, Lean and Moon Walk : Smooth Criminal Style