Situating bhangra dance: a critical introduction.
Punjabi bhangra has been a recurrent topic of discussion within the studies of South Asian identity and vernacular culture since the 1980s. Such discussions, however, have suffered due to lack of published information on bhangra's cultural and historical contexts. Consequently, discussants have had...
| Publicado en: | South Asian History & Culture Vol. 4; no. 3; pp. 384 - 413 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
2013
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=89239764&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 89239764 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 19472498 B7KP jtl: South Asian History & Culture issn: 19472498 maglogo: N pubinfo: dt: 2013 vid: 4 iid: 3 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 89239764 10.1080/19472498.2013.808514 ppf: 384 ppct: 29 formats: fmt: – @attributes: type: T db: hlh ui: 89239764 – @attributes: type: P db: hlh ui: 89239764 tig: atl: Situating bhangra dance: a critical introduction. aug: au: Schreffler, Gibb affil: Department of Music, Pomona College, Claremont, CA, USA su: Asia Social history Diaspora Bhangra music Panjabis (South Asian people) Folk dancing sug: subj: Social history Diaspora Asia Bhangra music Panjabis (South Asian people) Folk dancing keyword: culture eastern Punjab identity western Punjab culture eastern Punjab identity western Punjab ab: Punjabi bhangra has been a recurrent topic of discussion within the studies of South Asian identity and vernacular culture since the 1980s. Such discussions, however, have suffered due to lack of published information on bhangra's cultural and historical contexts. Consequently, discussants have had to rely upon information available from recent popular media and casual participants. Popular narratives tend to oversimplify bhangra as being or deriving from ‘Punjab's traditional folk dance,’ often without a clear sense of what constitutes ‘folk dance’ in this context or the relationship between such a dance and the particular bhangra with which one may be familiar. The resultant picture of contemporary bhangra as the quintessential Punjabi harvest dance, even if ‘modernized,’ is inadequate to interpret the acts of performers and audiences of what are, in fact, several dynamic phenomena. There is a danger of characterizing bhangra as a too-uniformly understood aspect of Punjabi heritage, and of reducing its performances to mere displays of Punjabi identity, if the past and present practical needs, aesthetic decisions, and situational intentions of participants are not registered. Intended to offer such a contextual framework, this article provides a social history of bhangra dance, in three theatres: Western Punjab before 1947, Eastern Punjab after the Partition, and the Punjabi Diaspora since the late twentieth century. Particular attention is paid to the individuals who have shaped the development and their circumstantial motivations. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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