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Bhangra Information

Bhaṅgṛā (Punjabi: ਭੰਗੜਾ (Gurmukhi), بھنگڑا (Shahmukhi),; pronounced [pə̀ŋɡɽaː]) is a form of dance and music that originated in the Punjab region.[1] Bhangra dance began as a folk dance conducted by punjabi farmers mainly punjabi muslim and (Sikh) in 11th centery to celebrate the coming of the harvest season. The specific moves of bhangra reflect the manner in which villagers farmed their land. This hybrid dance became bhangra. The folk dance has been popularised in the Western world by Punjabi [2] and is seen in the West as an expression of South Asian culture as a whole.[3] Today, Bhangra dance survives in different forms and styles all over the globe – including pop music, film soundtracks, collegiate competitions and cultural shows.

Contents

History

Music of Pakistan
Genres
Classical • Ghazal • Sufi • Folk Qawwali • Pop (Filmi) • Rock (Sufi rock) Hip Hop
Specific Forms
Religious music Hamd • Nasheeds • Naat
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Traditional music Sufi • Kafi • Bhangra
Media and Performance
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Music media AAG • Bandbaja MTV Pakistan • PlayTV TM
National anthem Qaumi Tarana
Regional Music
Local forms Brahui • Hindko • Khowar Shina • Siraiki
Related areas Persian • Afghani • Turkish
Music of India

Classical · Bhajan · Ghazal · Qawwali · Sufi Folk · Filmi · Pop · Rock · Hip Hop
Genres

Classical (Carnatic · Hindustani)
Awards

Filmfare Awards · Punjabi Music Awards
Festivals

Sangeet Natak Akademi Thyagaraja Aradhana Cleveland Thyagaraja Aradhana
Media

Sruti The Music Magazine
National anthem

"Jana Gana Mana"
National song

"Vande Mataram"
By state/territory

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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.

Live concert by bhangra band Alaap

In the 1980s

Major migrations of Punjabis to the UK brought bhangra music, which became popular in Britain during the 1980s, although heavily influenced in Britain by the infusion of rock sounds and a need to move away from the simple and repetitive Punjabi folk music. It signaled the development of a self-conscious and distinctively British Asian youth culture centred on an experiential sense of self, e.g., language, gesture, bodily signification, desires, etc., in a situation in which tensions with British culture and racist elements in British society had resulted in alienation in many minority ethnic groups, fostered a sense of need for an affirmation of a positive identity and culture, and provided a platform for British Punjabi males to assert their masculinity.[4][6][7][8]

Bhangra dancing was originally considered a male dance, a "man's song", with strong, intense movements. However, "Second-generation South Asian American women are increasingly turning to bhangra as a way of defining cultural identity."[9]

In the 1980s, Bhangra artists were selling over 30,000 cassettes a week in the UK, but not one artist made their way into the Top 40 UK Chart despite these artists outselling popular British ones; most of the Bhangra cassette sales were not through the large UK record stores, whose sales were those recorded by the Official UK Charts Company for creating their rankings.[10]

The 1980s is also what is commonly known as the golden age, or what the "bhangraheads" refer to as the age of bhangra music, which lasted roughly from 1985 to 1993. The primary emphasis during these times was on the melody/riff (played out usually on a synthesizer/harmonium/accordion or a guitar); the musician/composer received as much fanfare, if not more, than the vocalist.[citation needed] The folk instruments were rarely used, because it was agreed that the music was independent of the instruments being used.[citation needed]

This era saw the very first bhangra boy band, called the Sahotas, a band made up of five brothers from Wolverhampton, UK. Their music is a fusion of bhangra, rock and dance.

One of the biggest bhangra stars of the last several decades is Malkit Singh — known as "the golden voice of the Punjab" — and his group, Golden Star. Malkit was born in June 1963 in the village of Hussainpur in Punjab. He attended the Khalsa College, Jalandhar, in Punjab in 1980 to study for a bachelor of arts degree. There he met his mentor, Professor Inderjit Singh, who nurtured his skills in Punjabi folk singing and bhangra dancing. Due to Singh's tutelage, Malkit entered and won many song contests during this time. In 1983, he won a gold medal at the Guru Nanak Dev University in Amritsar, Punjab, for performing his hit song "Gurh Naloo Ishq Mitha", which later featured on his first album, Nach Gidhe Wich, released in 1984. The album was a strong hit among South Asians worldwide, and after its release, Malkit and his band moved to the United Kingdom to continue their work. Malkit has now produced 16 albums and has toured 27 countries in his bhangra career. Malkit has been awarded the prestigious MBE by the British Queen for his services to bhangra music. In the 2000's one particular bhangra singer, Lehmber Hussainpuri, rose to a fame for his distinctive voice. Lehmber has had many hits such as Das Ja, Sadi Gali, Ah ni Kuriye, Ne Baliye and much more.

The group Alaap, fronted by Channi Singh, the man made famous by his white scarf, hails from Southall, a Punjabi area in London. Their album Teri Chunni De Sitaray, released in 1982 by Multitone, created quite a stir at a time when bhangra was still in its early days in the UK. This album played a critical role in creating an interest in bhangra among Asian university students in Britain[citation needed]. The music produced for Alaap included the pioneering sounds by Deepak Khazanchi[citation needed].

Heera, formed by Bhupinder Bhindi and fronted by Kumar and Dhami, was one of the most popular bands of the 1980s[citation needed]. Fans were known to gate-crash weddings where they played[citation needed]. The group established itself with the albums Jag Wala Mela, produced by music maestro of the time Kuljit Bhamra, and Diamonds from Heera, produced by Deepak Khazanchi, the man behind the new sound of UK bhangra, on Arishma records. These albums are notable for being amongst the first bhangra albums to mix Western drums and synthesizers with traditional Punjabi instruments successfully.

Bands like Alaap and Heera incorporated rock-influenced beats into bhangra, because it enabled "Asian youth to affirm their identities positively" within the broader environment of alternative rock as an alternative way of expression. However, some believe that the progression of bhangra music created an "intermezzo culture" post-India's partition, within the unitary definitions of Southeast Asians within the diaspora, thus "establishing a brand new community in their home away from home".[11][12]

Several other influential groups appeared around the same time, including The Saathies, Premi Group, Bhujungy Group, and Apna Sangeet. Apna Sangeet, best known for their hit "Mera Yaar Vajavey Dhol", re-formed for charity in May 2009 after a break-up.[13]

When bhangra and Indian sounds and lyrics were brought together, British-Asian artists began incorporating them in their music. Certain Asian artists, such as Bally Sagoo, Talvin Singh, Badmarsh, Black Star Liner, and State of Bengal, are creating their own form of British hip-hop.

Even more well-established groups, such as Cornershop, Fun-Da-Mental, and Asian Dub Foundation, are finding different means and methods to create new sounds that other Asian groups have never formed.[14] By mixing the sounds of bhangra with the popular sounds of hard rock and heavy metal, Asians are able to stay true to their own culture, while being open to a world of change. Many British Asians are conscious of both cultures in their everyday life and now are doing so in their music as well.[15]

In the 1990s

Bhangra took large steps toward mainstream credibility in the 1990s, especially among youths. At the beginning of the nineties, many artists returned to the original, folk beats away from bhangra music, often incorporating more dhol drum beats and tumbi. This time also saw the rise of several young Punjabi singers.

Beginning around 1994, there was a trend towards the use of samples (often sampled from mainstream hip hop) mixed with traditional folk rhythm instruments, such as the tumbi and dhol. Using folk instruments, hip-hop samples, along with relatively inexpensive folk vocals imported from Punjab, Punjabi folk music was able to abolish bhangra music.

An influential singer was the "Canadian folkster", Jazzy B, who debuted in 1992. Having sold over 55,000 copies of his third album, Folk and Funky, he is now one of the best-selling Punjabi folk artists in the world, with a vocal style likened to that of Kuldip Manak.

Other influential folk artists include Surinder Shinda - famous for his "Putt Jattan De" - Harbhajan Mann, Manmohan Waris, Meshi Eshara, Sarbjit Cheema, Hans Raj Hans, Sardool Sikander, Sahotas, Geet the MegaBand, Anakhi, Sat Rang, XLNC, B21, Shaktee, Intermix, Sahara, Paaras, PDM[disambiguation needed], Amar Group, Sangeet Group, and Bombay Talkie. A DJ to rise to stardom with many successful hits was Panjabi MC.

In 2010, the story of how bhangra arrived and developed in the UK was told in the stage musical Britain's Got Bhangra, produced by Rifco Arts. The show was the first ever bhangra musical, with much of the show in Punjabi, making use of the live dhol, dholak and tabla throughout, and has traditional folk melodies as well as an original score by Sumeet Chopra with crossovers into pop, rap and R&B. The production had its world premiere at Theatre Royal Stratford East in May 2010 and went on a UK Tour[citation needed]. Another major tour is expected in 2011[citation needed].

Dances

Bhangra tournament concert

Bhangra has developed as a combination of dances from different parts of the Punjab region. The term Bhangra now refers to several kinds of dances and arts, including Jhumar, Luddi, Giddha, Julli, Daankara, Dhamal, Saami, Kikli, and Gatka.

In addition to these different dances, a bhangra performance typically contains many energetic stunts. The most popular stunt is called the moor, or peacock, in which a dancer sits on someone's shoulders, while another person hangs from his torso by his legs. Two-person towers, pyramids, and various spinning stunts are also popular.[16]

Outfits

Traditional men wear a chaadra while doing bhangra. A chaadra is a piece of cloth wrapped around the waist. Men also wear a kurta, which is a long Indian-style shirt. In addition, men wear pagadi (also known as turbans) to cover their heads.

In modern times, men also wear turla, the fan attached to the pagadi. Colorful vests are worn above the kurta. Fumans (small balls attached to ropes) are worn on each arm.

Women wear a traditional Punjabi dress known as a salwar kameez, long baggy pants tight at the ankle (salwar) and a long colorful shirt (kameez). Women also wear chunnis, colorful pieces of cloth wrapped around the neck.

These items are all very colorful and vibrant, representing the rich rural colors of Punjab.[17] Besides the above, the bhangra dress has different parts that are listed below in detail:

Lyrics

Bhangra lyrics, always sung in the Punjabi language, generally cover social issues, such as love, relationships, money, dancing, getting drunk 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 ladies 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 hoi, hoi, hoi; balle balle; chak de; oye hoi; bruah (for an extended length of about 2–5 seconds); haripa; or ch-ch (mostly used as slow beats called Chummer/Jhoomer) to the music.

One famous bhangra or Punjabi lyricist is Harbans Jandu (Jandu Littranwala), who has written famous songs such as "Giddhian Di Rani".

Instruments

Many different Punjabi instruments contribute to the sound of bhangra. Although the most important instrument is the keyboard, 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 - known as daggah (bass end) and tilli (treble end). 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 guitar (both acoustic and electrical), bass, sitar, tumbi, violin and sarangi. The snare, toms, dhad, dafli, dholki, and damru are the other drums. The tumbi, originally played by folk artists such as Lalchand Yamla Jatt and Kuldip Manak in true folk recordings and then famously mastered by chamkila, a famous Punjabi folk singer (not bhangra singer), is a high-tone, single-string instrument. It has only one string; however, it is difficult to master. The sarangi is a multi-stringed instrument, somewhat similar to the violin and is played using meends. The sapera produces a beautiful, high-pitched stringy beat, while the supp and chimta add an 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.

The keyboard and guitar are the most important melodic instruments used in bhangra, with even the sitar being used on certain albums.

Percussion

With skilled keyboard, tumbi, guitar and dhol players, bhangra today has evolved into a largely beat-based music genre, unlike until 1994, when it was slightly more mellow and classical. Pandit Dinesh and Kuljit Bhamra were trained exponents of Indian percussion and helped create the current UK sound, albeit mainly with tabla and dholki for bands like Alaap and Heera. The generation that followed became overly dependent on folk music.

Talented 15-year-old percussionist Bhupinder Singh Kullar, aka Tubsy, of Handsworth, Birmingham, created a more contemporary style and groove that seemed to fuse more naturally with Western music. Songs such as "Dhola veh Dhola" (Satrang) and albums such as Bomb the Tumbi (Safri Boyz) contained this new style and were very successful.

Then came Sunil Kalyan of Southall, London, who also sessioned on many songs and albums. He added a smoothness and sweetness never heard before on the tabla, hailing him as one of the best tabla players in UK bhangra.

Sukhshinder Shinda later introduced his unique style of dhol playing with the album Dhol Beat. He added a very clean style of dhol playing and helped create the sound for artists such as Jaswinder Singh Bains and Bhinda Jatt. He was regarded at the time as the best dhol player in UK.

Another influential percussionist was Parvinder Bharat (Parv) of Wolverhampton, who for many years had been percussionist for DCS' his style, speed and improvisational skills were second to none. Parv also introduced playing the dholak and tabla top end (dhayan) with great effect into the live bhangra scene, a style that has been adopted by most bhangra percussionists ever since.

Other important percussionists include Juggy Rihal of Coventry, Aman Hayer of Leamington Spa and Billy Sandher of Gravesend.

Remixes

Punjabi folk remixed with hip hop, known lovingly as folkhop, is most often produced when folk vocals are purchased online to be remixed in a studio. Folk vocals are usually sung to traditional melodies, that are often repeated with new lyrics.

Many South Asian DJs, especially in America, have mixed Punjabi folk music with house, reggae, and hip-hop to add a different flavor to Punjabi folk. These remixes continued to gain popularity as the 1990s came to an end.

Of particular note among remix artists is Bally Sagoo, a Punjabi-Sikh, Anglo-Indian raised in Birmingham, England. Sagoo described his music as "a bit of tablas, a bit of the Indian sound. But bring on the bass lines, bring on the funky-drummer beat, bring on the James Brown samples", to Time magazine in 1997. He was recently signed by Sony as the flagship artist for a new sound. The most popular of these is Daler Mehndi, a Punjabi singer from India, and his music, known as "folk pop". Mehndi has become a major name not just in Punjab, but also all over India, with tracks such as "Bolo Ta Ra Ra" and "Ho Jayegee Balle Balle". He has made the sound of bhangra-pop a craze amongst many non-Punjabis in India, selling many millions of albums. Perhaps his most impressive accomplishment is the selling of 250,000 albums in Kerala, a state in the South of India where Punjabi is not spoken.

Toward the end of the decade, bhangra continued to slow down, with folkhop artists such as Bally Sagoo and Apache Indian signing with international recording labels Sony and Island. Moreover, Multitone Records, one of the major recording labels associated with bhangra in Britain in the 1980s and 1990s, was bought by BMG. Finally, a recent Pepsi commercial launched in Britain featured South Asian actors and Punjabi folk music. This, perhaps more than anything else, is a true sign of the emergence of Punjabi folk into popular culture.

Cultural impact

The interpretation of bhangra must exist in the space where Asian, UK and hip-hop cultures meet. There is an expressed concern that oversimplification of the genre by outsiders is detrimental to the music's message, but artists are responsible for how they express their music's content as well.[18] In "Bhangra's Ambassador, Keeping the Party Spinning" from the New York Times, DJ Rekha is conscious of her cultural accountability to her music.

Bhangra followers often feel that the music is an expression of identity. As the movement gains momentum, bhangra music has also gained international recognition. "Asian fusion is a melding of the sounds of the sub-continent with hip-hop beats and R&B influences, and it's no longer destined to be tucked away in the World Music section of your record store," says Ashta Mehta.[19]

In North America

Punjabi immigrants have encouraged the growth of Punjabi folk music/rural music in the Western Hemisphere instead of bhangra music. The bhangra industry has not grown in North America nearly as much as it has grown in the United Kingdom. Indian Lion, a Canadian folk artist explains why:[citation needed]

The reasons there's a lot of bands in England is because there's a lot of work in England. In England the tradition that's been going on for years now is that there's weddings happening up and down the country every weekend, and it's part of the culture that they have Bhangra bands come and play, who get paid 1800 quid a shot, you know. Most of the bands are booked up for the next two years. And England is a country where you can wake up in the morning and by lunchtime you can be at the other end of the country, it helps. In Canada it takes 3 days to get to the other side of the country, so there's no circuit there. And it isn't a tradition [in Canada] to have live music at weddings. There are a few bands here that play a few gigs, but nothing major. —Indian Lion

However, with the emergence of North American (non bhangra) folk artists such as Manmohan Waris, Jazzy Bains, Kamal Heer, Harbhanjan Maan, Sarabjit Cheema, and Debi Makhsoospuri and the growth of the remix market,[20][21] the future of Punjabi folk music in North America looks good.[citation needed]

In 2001, the archenemy of bhangra, Punjabi folk, and its hip-hop form, folkhop, began to exert an influence over US R&B music, when Missy Elliott released the folkhop-influenced song "Get Ur Freak On". In 2003, Punjabi MC's "Mundian To Bach Ke" ("Beware of the Boys") was covered by the U.S. rapper Jay-Z.[22] The great popularity of these two tracks led to an even greater usage of Punjabi folk in American music. Additionally, American rapper Pras of The Fugees has recorded tracks with British alternative bhangra band Swami. Because the original Punjabi folk beat is different from the commercialized version we see today, the use of bhangra beats shows the complexity and ingenuity of hip-hop in North America and how artists gain inspiration from all different genres of music. The commercialization of Punjabi folk and the way it has traveled around the world speaks to the versatility and longevity of the musical style.[11]

Bhangra, the dance, has also expanded into the world of fitness. Fitness instructors like television host Sarina Jain have developed fitness routines based on bhangra dance moves for their workout programs.[23] Bhangra Empire, a bhangra dance group from California, has appeared on America's Got Talent and in Harper's Bazaar.

Bhangra dance competitions

Bhangra competitions have been held in the Punjab for many decades. However, now universities and other organizations have begun to hold annual bhangra dance competitions in many of the main cities of the United States, Canada, and England. At these competitions, young Punjabis, other South Asians, and people with no South Asian background compete for money and trophies. For example, Bruin Bhangra in Los Angeles has become one of the biggest bhangra competitions in the nation. Teams from all over United States and Canada come together to compete and show their talent. Every year, Bruin Bhangra also invites different well-known Punjabi singers. SoCal Bhangra's past list of artists includes RDB, Manak-e, Sukhshinder Shinda, Jassi Sidhu, KS Makhan and Malkit Singh.

Twenty ten was the first year for Elite 8 Bhangra Invitational, in Washington, D.C. This event invited eight of the top teams from North America to showcase their routines and compete for the number one spot. Virginia Commonwealth University of Richmond, Virginia, was crowned champion. Sonay Gabroo Punjab De (SGPD) from Toronto, Canada took the title in 2011. [24]

In the West, unlike in the Punjab, there is less emphasis on traditional songs and more focus on the flow of a mix; an easy example of this is a team such as Da Real Punjabis, which is notorious for mixing traditional bhangra music with hip-hop or rock songs. This synergy of the bhangra dance with other cultures parallels the music's fusion with different genres. University competitions have experienced an explosion in popularity over the last five years and have helped to promote the dance and music in today's mainstream culture.

In the UK, the first ever major bhangra competition, The Bhangra Showdown,[25] was organised by students from Imperial College London and held on 1 December 2007. The competition was held at Indigo2 in the O2 in Greenwich and was attended by over 1000 people. Kings College London won the inaugural Bhangra Showdown, followed by Brunel and Imperial College. All proceeds from this show were donated to two charities, Wateraid and The Child Welfare Trust, and the show looks to continue on an annual basis. The show was held once again on 31 January 2009 at the Sadler's Wells Theatre, with proceeds going to the MND Association and The Child Welfare Trust, and was attended by around 1,500 people. Six universities took part: Imperial, Queen Mary's, Kingston, Brunel, Birmingham and Leicester/DMU. Birmingham came in 3rd place, Imperial came a very close 2nd, and Queen Mary's took 1st place. This was followed by another sell-out show at London Palladium in January 2010, with crowds of around 2400, where Imperial won, followed by Queen Mary and Barts in second place and Brunel in third. Most recently, the 4th Bhangra Showdown was held at HMV Hammersmith Apollo on Saturday, 5th February, featuring 10 teams (Imperial College, Kings College, UCL & LSE, Manchester, Brunel, Kingston, Birmingham, Queen Mary and Barts, Leicester and St Georges). The number one spot went to Birmingham, followed closely by Imperial in 2nd place. They performed in front of yet another sell-out crowd of 3500.

The largest student-run organization in Pittsburgh was a bhangra competition called Bhangra In The Burgh. Bhangra In The Burgh was organized by students from Carnegie Mellon University and is held yearly, most recently on January 30, 2010, at the Soldiers and Sailors Memorial in Oakland. Over 2100 people attended, and the show was sold out. All proceeds go to the Children's Home of Pittsburgh.

Relation to other Indian dance forms

Bhangra can be related to Assam's Bihu dance performed during Bihu festival. Magh Bihu is associated with farming, as the traditional Assamese society is predominantly dependent on farming. Parallels between bhangra and bihu can be drawn from the fact that the merriments for both of these music forms involve characteristic overtones with dances along with the enthralling beats of percussive musical instruments. Moreover, both bihu and bhangra involve high-energy dance moves and sequences with young dancers in colorful clothing and the folk music played with the dhol. Both music/dance varieties, though having the similar themes, are distinctly different and have their proper origins in the respective regions of Punjab and Assam Valley.

See also

References

  1. ^ Pakistan almanac, Volumes 2001–2002. Royal Book Company. http://books.google.com/books?id=rRYZAQAAIAAJ&q=bhangra+pakistan&dq=bhangra+pakistan&lr=&cd=1. Retrieved 2007-11-03. "Bhangra refers to both a traditional dance and a form of music invented in the 1980s. Bhangra, the punjabi folk dance be has become popular all over Pakistan. Panjabi folk songs have been integral part of fertile provinces"
  2. ^ http://www.bhangra.org/about/bhangra-history/ Bhangra History
  3. ^ Social control and deviance: a South Asian community in Scotland. Ashgate. http://books.google.com/books?id=sMnZAAAAMAAJ&q=bhangra+pakistan&dq=bhangra+pakistan&lr=&cd=12. Retrieved 2007-11-03. "The whole institution of the Bhangra and its related processes are clearly an expression of Indian/Pakistan culture in a Western setting."
  4. ^ a b Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music
  5. ^ Apache Indian
  6. ^ Sehyon.com, a composer of bhangra music
  7. ^ Moodle.brandeis.edu
  8. ^ FT.com / Arts & Weekend - What's right with Asian boys
  9. ^ Return to Bhangra
  10. ^ DholClips.com - Bhangra Videos, Punjabi Songs, Punjabi MP3s
  11. ^ a b Sharma, Sanjay. "Noisy Asians or 'Asian Noise'?" In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996.
  12. ^ The Discontents of the Hyphenated Identity: Second Generation British Asian Youth Culture and Fusion Music
  13. ^ Sonaweb.co.uk, Bhangra superstars choose Sona Web
  14. ^ Chang, Jeff. "It's a Hip-hop World." Foreign Policy 163, November/December 2007, 58-65.
  15. ^ Chaudhary, Vivek (2003-08-15). "The big bhangra". The Guardian (London). http://arts.guardian.co.uk/fridayreview/story/0,,1018545,00.html#article_continue. Retrieved 2010-04-26.
  16. ^ Redearthindia.com, Roy Anjali Gera; "Bhangra in the Global Bazaar"
  17. ^ Baisakhi Dress, Bhangra Dress, Gidda Dress, Dress for Baisakhi Festival
  18. ^ Sharma, Sanjay. "'Noisy Asians' or 'Asian Noise?'" In Disorienting Rhythms: The Politics of New Asian Dance Music. 32-57.
  19. ^ BBC - Birmingham Music - Bhangra Birmingham
  20. ^ iLounge.com (2006) Study: Digital music market sees 'remarkable growth
  21. ^ Katz, Michael (2008) Recycling Copyright: Survival & Growth in the Remix Age (pdf-format)
  22. ^ American Bhangra - History of American Bhangra
  23. ^ Tillin, Louise (2003-10-06). "Diwali comes to Manhattan". BBC News. http://news.bbc.co.uk/2/low/south_asia/3167232.stm. Retrieved 31 December 2008.
  24. ^ http://www.elite8bhangra.com/
  25. ^ The Bhangra Showdown Official Website

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