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Bhangra is a type of traditional folk dance originating from the Punjab region of South Asia. It is associated with the Punjabi culture.[1] It is performed in the season of harvesting. According to Manuel (2001), bhangra is especially associated with the vernal Vaisakhi festival.[2]



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Bhangra was mainly done by Punjabi farmers during the harvesting season. It was mainly performed while farmers did agricultural chores. As they did each farming activity they would perform bhangra moves on the spot.[5] This allowed them to finish their job in a pleasurable way. After harvesting their wheat crops during the Vaisakhi season, people used to attend cultural festivals while dancing bhangra.[5] For many years, farmers performed bhangra to showcase a sense of accomplishment and to welcome the new harvesting season.[6]


The Bhangra has origins from the Sialkot District of Punjab dance was founded by Punjabi Jatts and heartly claimed as Jat Art [7] traditionally Performed during harvest season between April and first quarter of May. According to Dhillon (1998), bhangra is related to the Punjabi dance 'Bagaa', which is a martial dance of Punjab.[8] However, the folk dance of Bhangra originated in the Sialkot district of Majha.[8][9][6] The traditional form of bhangra danced in the villages of Sialkot district was regarded as the standard.[10] The community form of traditional bhangra has been maintained in Gurdaspur district, India, and has been maintained by people who have settled in Hoshiarpur, Punjab, India.[8] Traditional bhangra is performed in a circle[11] and is performed using traditional dance steps. Traditional bhangra is now also performed on occasions other than during the harvest season.[12][13] According to Ganhar (1975),[14] bhangra originated in Sialkot of Majha which shares high affinity with Jammu making it part of the heritage of Jammu which is danced on Baisakhi. Other Punjabi folk dances such as Giddha and Luddi have also been heritage of Jammu.[14][15][16][17][18][19] Punjabi language influences can be observed when people dance such dances.[20] Jammu falls within the Punjab region and shares an affinity with Punjab.[21]


The 1950s saw the development of the free form traditional bhangra in Punjab, which was patronized by the Maharaja of Patiala, who requested a staged performance of bhangra in 1953. The first significant developers of this style were a dance troupe led by brothers from the Deepak family of Sunam (Manohar, Avtar and Gurbachan) and the dhol player Bhana Ram Sunami.[22] Free form traditional bhangra developed during stage performances which incorporate traditional bhangra moves and also include sequences from other Punjabi dances, namely, Luddi, Jhummar, Dhamaal, and Gham Luddi. The singing of Punjabi folk songs, boliyan, are incorporated from Malwai Giddha.[8] Bhangra competitions have been held in Punjab, India, for many decades, with Mohindra College in Patiala being involved in the 1950s.[22]






Bhangra connects to a much deeper set of masculine values.[23] Most of these values are set through labour, industry and self-sufficiency in agriculture, loyalty, independence and bravery in personal, political and military endeavours; and the development and expression of virility, vigour, and honour are common themes.[23] Bhangra referred both to formal male performances and to communal dancing among men and women.[23] In the past 30 years, bhangra has been established all over the world. It has become integrated into popular Asian culture after being mixed with hip hop, house and reggae styles of music.[24] Certain bhangra moves have been adapted and changed over time but at its core remains a sense of cultural identity and tradition.[24] We see bhangra take place mainly in the Punjabi culture. Many people tend to showcase bhangra as a source of joy and entertainment at weddings, parties, and all sorts of celebrations.


Many people also do bhangra as a source of exercise, it is an excellent substitution to the gym. Traditionally, bhangra is danced by men but now we see both men and women participating in this dance form. With bhangra competitions all over the world, we see all sorts of people competing in these events.[25]


Raaniyan Di Raunaq is India's first all-women's bhangra competition.[27] Even with the abundance of female bhangra performers, many see this dance form as only masculine.[25] Historically, women have fought for the right to perform bhangra.[28] Many women that compete in bhangra shows are judged according to a criterion that is made for male performers.[25] Raaniyan Di Raunaq has customized a bhangra competition just for women or for those who identify as transgender or nonbinary.[25] This competition has coveted a safe space for women to have the ability to compete and be judged equally. Aadi


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In order to facilitate the formation of Eco WASH Clubs in schools across Punjab, to provide awareness on hygiene and sanitation including menstrual hygiene management (MHM), a two-day training programme was held in Jalandhar, Punjab on 27th and 28th May, 2019.


Speaking on the occasion, Mr. Talwar informed teachers about the efforts taken by Punjab to attain ODF (open defecation free) status; emphasizing that the State is committed to ensuring sustainability of the same. Teachers play a vital role in promoting and inculcating good habits in their students, he emphasized.


On the other hand, Ms. Jairath appealed to the teachers of all middle and senior secondary schools to form ECO WASH Clubs and spread awareness about good health and hygiene. The main tasks of the club were to promote good sanitation habits, save water, eliminate open defecation and ensure 100% toilet usage, she added.


In addition, participants were oriented to various sanitation aspects such as safe disposal of child feces, menstrual hygiene, etc., the latter being the main focus area. Break the taboo surrounding menstruation and speak to adolescent girls opening about the issue, she urged. Teachers were to take on the role of informing students about MHM, including use of clean sanitary pads and their safe disposal.

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