Punjabi Love Story - 56 min documentary (The video's owner prevents external embedding)

 Punjabi folk music is highly rhythmic, and very diverse. The western region is the home of styles like dhoola and mahiya, while the popular boli style is performed different across the region. The vocals are another integral part of Punjabi music, as are instruments like the dhol, tumbi, dhad sarangi, algoza and Ektara.

Punjab

The birthplace of Bhangra, the Punjab is a region extending over part of Northern India and Northeastern Pakistan. Translated, the name "Punjab" means the "Land of Five Rivers." The people of the Punjab are called Punjabis and they speak a language called Punjabi. The three main religions in the area are Sikhism, Hinduism, and Islam. The region has been invaded and ruled by many different empires and races, including the Aryans, Persians, Greeks, Muslims, and Mongols. Around the time of the 15th Century, Guru Nanak Dev founded the Sikh religion, which quickly came to prominence in the region. The 19th Century saw the beginning of British rule, which led to the emergence of several heroic freedom fighters, the subject of many Bhangra songs. Finally, the Punjab was split between Pakistan and India at the end of British rule in 1947. This partitioning resulted in a large migration of Punjabis into the United Kingdom, which eventually led to the emergence of Bhangra in Western clubs and dancehalls.

Bhangra

Bhangra is a lively form of music and dance that originated in the Punjab region in Southeast Asia. As many Bhangra lyrics reflect the long and often tumultuous history of the Punjab, knowledge of Punjabi history offers important insights into the meaning of the music. While Bhangra began as a part of harvest festival celebrations, it eventually became a part of such diverse occasions as weddings and New Year celebrations. Moreover, during the last thirty years, Bhangra has enjoyed a surge in popularity worldwide, both in traditional form and as a fusion with genres such as hip-hop, house, and reggae. As Bhangra continues to move into mainstream culture, an understanding of its history and tradition helps to appreciate it.

Bhangra Instruments

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 is a lively form of music and dance that originated in the Punjab region in Southeast Asia. As many Bhangra lyrics reflect the long and often tumultuous history of the Punjab, knowledge of Punjabi history offers important insights into the meaning of the music. While Bhangra began as a part of harvest festival celebrations, it eventually became a part of such diverse occasions as weddings and New Year celebrations. Moreover, during the last thirty years, Bhangra has enjoyed a surge in popularity worldwide, both in traditional form and as a fusion with genres such as hip-hop, house, and reggae. As Bhangra continues to move into mainstream culture, an understanding of its history and tradition helps to appreciate it.

Bhangra Instruments

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 Today

Bhangra has come a long way in the 20th Century and has recently taken the entertainment industry by storm. In the 1970s and 1980s, many Punjabi singers from Southeast Asia and the United Kingdom emerged, setting the stage for Bhangra to become a hot new trend in dance music. Modern Bhangra artists, in addition to recording and performing traditional Bhangra, have also fused Bhangra with other music genres, such as hip-hop, reggae, house, and drum-and-bass.
:wait:

Syed Waris Shah (Urdu/Punjabi: وارث شاہ) (b. 1706 – d. 1798) was a Punjabi Sufi poet, best-known for his seminal work Heer Ranjha, based on the traditional folk tale of Heer and her lover Ranjha. Heer is considered one of the quintessential works of classical Punjabi literature. The story of Heer was also put to paper by several other writers, including Damodar Daas, Mukbal, and Ahmed Gujjar, but Waris Shah's version is by far the most popular today. Heer aakhdi jogia jhooth boleiN, kaun ruthRey yaar manaunda ee. aissa koi na ditha mein dhoond thakki, jehRa giya nooN moRh liyaunda ee. saade cham deaN juttiaN kare koi, jehRa jio da rog gwaunda ee. bhalla dass khaN chiriN vichhuniyaN nooN, kadoN Rabb sacha ghariN liyaunda ee. bhalla moiye te vichRey kaun mailey, aiveiN jioRha lokk valaunda ee. ikk baaz toN kaoN ne koonj khohi, vekhaN chupp hai ke kurlaunda ee. ikk jatt de khet nooN agg lagi, vekhaN aan ke kadoN bujhaunda ee. devaN chooriaN gheo de baal deevey, Waris Shah, je suna mein aunda ee.

 Eh duniya badi anokhi a, jhutha har aitbaar ni hunda...
Is duniya de rang avlle, har kise kol pyaar ni hunda...
Sheeshe mohre beh ke vi, banda uscho paar ni hunda...
Har dil lyi is duniya kol, hamdardi te satikaar ni hunda...
Ishq smundar bada hi dunga, kachhe ghdeyan nal eh paar ni hunda...
Jittna saukha a nafrat ton, te pyaar ton kdi haar ni hunda

Ik Sharabi Apni Biwi Nu Kehnda: Je Mere Hath Ch Sarkar Hove Taan Main Desh Di Taqdeer Badal Doon...

Ohdi Gharwali Boli: Kanjara, Pehlan Apna Pajama Taan Badal Lai Savere Di Meri Salwar Payi Firda Hai. :superhappy: :superhappy: :balle: :happy: :happy:

Na maen moman vich maseetaan,
Na maen vich kufar diyan reetaan,
Na maen paakaan vich paleetaan,
Na maen moosa na pharaun.
Bulla, ki jaana maen kaun.

Na maen andar ved kitaabaan,
Na vich bhangaan na sharaabaan,
Na vich rindaan masat kharaabaan,
Na vich jaagan na vich saun.
Bulla, ki jaana maen kaun.

Na vich shaadi na ghamnaaki,
Na maen vich paleeti paaki.
Na maen aabi na maen khaaki
Na maen aatish na maen paun.
Bulla, ki jaana maen kaun.

Na maen arabi na lahori,
Na maen hindi shehar nagauri,
Na hindu na turak peshawri
Na maen rehnda vich nadaun.
Bulla, ki jaana maen kaun.

Na maen bhed mazhab da paaya
Ne maen aadam havva jaaya,
Na maen apna naam dharaaya
Na vich baitthan na vich bhaun.
Bulla, ki jaana maen kaun.

Avval aakhir aap nu jaana,
Na koi dooja hor pehchaana.
Maethon hor na koi siyaana
Bulla shauh khadda hai kaun.
Bulla, ki jaana maen kaun. :wait: :wait: :wait: :wait: :wait:

mainu ikk viaah vekhan da mauka mileya pichhay jihe. ikk bhai sahib nu ghar waalay kehan laggay ji saaday munde da sehra paRh dio...bhai sahib uThay te mike pharh ke sehra paRhan laggay.. uchhi saari awaaz vich kehan laggay

"teri bhehan nu.."

lokkaN de kann kharhe hoge.

phir bollay "teri maan nu..."

lokk bhai sahib de munh vall vekhan bittar bittar bai eh ki gall banni. shaguna da vela te kavi sahib gaalaN dein lagg pai ne.

kavi sahib ne apna mishra poora keeta, injh..

"teri maan nu,
teri bhehan nu,
ujj lakh lakh chaa chaRheya."

Guru Nanak Devji was the founder of one of the largest religions of the world, Sikhism. He was also the first amongst the ten Gurus of the Sikhs. He believed that there is only one God and we can reach him through any religion, be it Hinduism, Sikhism, Islam, etc. he was also a great poet as well as an excellent musician and could easily convince anybody through the power of his words. In this article, we have provided you with the life story of Guru Nanak Devji in brief…

Early Life
As per his biography, Sri Guru Nanak Dev was born in Nankana Sahab city of Punjab (now in Pakistan), in the year 1469. His parents belonged to the Hindu Khatri clan. It is said that at the age of five years, Guru Nanak Dev started discussing spirituality. He left school at a very tender age and initiated his own teacher as his first disciple. Seeing his inclination towards spirituality and asceticism, his family got him married at the age of fourteen. However, this did not prevent him from following the path of spirituality.

Life of Wanderer
With time, Guru Nanak Devji started assuming more and more spiritual powers. Later, he left his home, along with his Muslim friend, and led the life of a wanderer for almost twelve years. Throughout this period, he met a number of religious teachers as well Indian philosophers. Read on to know more about Guru Nanak Dev life history…

Four Major Journeys
Even though Guru Nanak spent 12 years traveling around and visited many places, his following four journeys are the most popular…
Towards Bengal and Assam
Towards Ceylon, via Tamil Nadu
Towards Kashmir, Ladakh and Tibet
Towards Baghdad and Mecca
Receiving Enlightenment
After leading the life of a wanderer for almost 12 years, Guru Nanak Devji left for the Himalayas. As per the record, it was there that he had the first direct experience of God. Thereafter, he settled in Kartarpur as 'a Guru with a family' and started giving religious discourses. He spent the last 15 years of his life in Kartarpur only and started the practice of 'Langar' (community kitchen) for the needy and deprived. Sri Guru Nanak Dev left the world and took his place in heaven in the year 1539.

The Origin of Sikhism
Guru Nanak Dev formalized the three important pillars of Sikhism in Sultanpur. They are…
Kirt Karnaa (Honest Earning)
Naam Japna (Chanting God's name in a meditative manner)
Vand ke Shakkana (Sharing with others)
Beliefs of Sri Guru Nanak Devji
God is one and the true way to attain Him is to worship Him.
Human Beings are equal.
Women are equal to men in all respects.

Mirza–Sahiba is a treasure of Punjabi literature. It is a romantic tragedy. Sahiba was a love-lorn soul. Shayer Pillo raves about her beauty and says," As Sahiba stepped out with a lungi tied around her waist, the nine angels died on seeing her beauty.
Mirza and Sahiba were childhood playmates and both were born in Jat family [1], as mentioned in many books and folk tales in punjab,and they fell in love with each other. But when this beauty is about to be wedded forcibly to Tahar Khan by her parents, without any hesitation she sends a taunting message to Mirza, whom she loves, to his village Danabad, through a Brahmin called Kammu.
"You must come and decorate Sahiban’s hand with the marriage henna.....
Mirza Khan was the son of Wanjhal Khan, the leader of the Kharal tribe in Danabad, a town in the Jaranwala area of Faisalabad, Pakistan. Sahiba was the daughter of Mahni, the chief of Khewa, a town in Sial Territory in the Jhang district Punjab. Mirza was sent to his relatives' house in Khewa to study, where he met Sahiba and they fell in love. Her family opposed the relationship, and instead arranged a marriage with a member of the Chadhar family.
This is the time you have to protect your self respect and love, keep your promises, and sacrifice your life for truth. Mirza arrived on his horse, Bakki, the night before the wedding and secretly carried her away, planning to elope. Sahiba's brothers got to know about this and decided to follow them. On the way, as Mirza lies under the shade of a tree to rest for a few moments, Sahiba's brothers and chanders caught up with them.
Sahiba was a virtuous and a beautiful soul who did not desire any bloodshed to mar the one she loved. She did not want her hands drenched in blood instead of henna. She knew Mirza was a great archer and he will not miss his target, and if he strikes, her brothers would surely die. Before waking up Mirza, Sahiban breaks his arrows so he can't use them. She presumes on seeing her, her brothers would feel sorry and forgive Mirza and take him in their arms. But the brothers and chanders attack Mirza and kill him. Sahiban takes a sword and slaughters herself and thus bids farewell to this world.
Out of all the legendary stories, Mirza Sahiba's story is the only story where the guy's name comes first and then the girl's. All others start with girl's name for example: Heer Ranjha, Sassi Punnun, Sohni Mahiwal, Laila Majnu. Actually the other folk love stories where the guy's name comes first as (Yousaf khan Sherbano)(Mosa khan Gul maky)(Umar Marvi).
Innumerable folk songs of Punjab narrate the love tale of Sassi and Punnu. The women sing these songs with great emotion and feeling, as though they are paying homage to Sassi with lighted on her tomb. It is not the tragedy of the lovers. It is the co ly believed that the soil of the Punjab has been blessed. God has blessed these lovers. Though their love ended in death, death was a blessing in disguise, for this blessing is immortalized.
Waris shah who sings the tale of Heer elevates mortal love to the same pedestal as spiritual love for God saying," When you start the subject of love, first offer your invocation to God". This has always been the custom in Punjab, where mortal love has been immortalized and enshrined as spirit of love.
Just as every society has dual moral values, so does the Punjabi community. Everything is viewed from two angles, one is a close up of morality and the other is a distant perspective. The social, moral convictions on one hand give poison to Heer and on the other make offerings with spiritual convictions at her tomb, where vows are made and blessings sought for redemption from all sufferings and unfulfilled desires.
But the Sassis, Heers, Sohnis and others born on this soil have revolted against these dual moral standards. The folk songs of Punjab still glorify this rebelliousness. Furthermore the introduction of this story in a song format was best illustrated by the late legendary Alam Lohar. His presentation is the best and has sung this story eloquently. Nevertheless:
"When the sheet tear, It can be mended with a patch: How can you darn the torn sky? If the husband dies, another one can be found, But how can one live if the lover dies?"
And perhaps it is the courage of the rebellious Punjabi woman, which has also given her a stupendous sense of perspective. Whenever she asks her lover for a gift she says,
"Get a shirt made for me of the sky And have it trimmed with the earth"

 :omg: :break: :won: