Bhangra Nation Dramaturgical Info

This virtual dramaturgical "packet" contains helpful background about the origins of the show and information about its musical and dance influences. It's also a living document -- if you have any questions you'd like to see answered, let us know!

Our Story

Rehana and Mike met each other in NYC in the Ma-Yi Writers Lab, where they wowed each other with their artistic prowess, fell desperately in love (Sam’s words) and got married. They met Sam when they were randomly paired together at the 24-Hour Musicals and tasked with writing a 15-minute show for Tonya Pinkins, Maulik Pancholy and other faves between the hours of 11 pm and 5 am, where Sam wowed Rehana and Mike with his artistic prowess and Rehana and Mike fell desperately in love (with Sam’s words <-- Mike and Rehana’s words) After they lived to tell the tale, they decided to write a full length show ‘cuz how much harder could it be?

Rehana had written a screenplay version of Bhangin’ It (now Bhangra Nation) about the collegiate bhangra circuit, a phenomenon she'd stanned for years in undergrad (exchanging writing lessons for tickets to shows and nights on friends’ couches). She pitched the idea to Mike and Sam in 2014. The idea fit Rehana and Mike’s passion for telling stories of cultural identity that poke fun at expectations. Sam was enthralled at the prospect of creating a contemporary dance-driven musical.

After our first piano-only / no-dance reading, we welcomed choreographer Rujuta Vaidya onto our core team for a Project Springboard dance workshop. We began a collaborative process of constant communication and creative torch-passing that continues to this day. STORY is the centerpiece of every discussion we have. What is the story we are all trying to tell together? How are our different disciplines contributing to this story in this moment? Who is taking artistic lead in this moment and why? What are the cultural ramifications of choice x, the theatrical implications of decision y?

In the subsequent several years, we have done residencies and readings and workshops and a world premiere production at La Jolla Playhouse (2021). We’ve written over fifty songs (!) and scrapped entire characters and watched as our creative family has grown exponentially to include the beautiful souls and brilliant minds surrounding you doing this work today. 

A full production of a brand-new musical is a rare thing in the theater; these opportunities don’t come around often. But our hope is that by creating a culture together and sharing a unified vision, there will be more renditions of “Bhangra Nation” to come.

We are so excited to share this journey with this astonishing group of artists, so… aao nachiye, y’all.

Thoughts on Style

Comedy: Bhangra Nation is a tricky comedic tone to nail because the characters are grounded in real emotions but the dialogue style is heightened. The dialogue also has a musicality - it’s more about landing the precise words and passing the baton to your scene partner than behavioral acting that stops the momentum. Rather than musical theater style humor (which - stereotypically - can be a little broad/over-acting) it’s line-precise word-based humor like 30 Rock, Parks and Rec, or Arrested Development. It’s grounded in the real emotions/wants/needs of the characters with a delivery that needs ENERGY and CONNECTION, very similar to the dance and the songs.

Musical Comedy: We are artistically galvanized by the unlimited potential of cross-cultural multidisciplinary artmaking, and a central goal of Bhangra Nation  is to celebrate this hybridity by mashing up western musical theater tropes with desi cultural touchpoints.

The golden rule of musical theater is: when a character is too emotional to speak, they sing; when they are too emotional to sing, they dance. This rule is 100% applicable to the musical sequences in Bhangra Nation. In addition to that view, we often think about the numbers in relation to:

Diegesis: Bhangra Nation is a story about performing dance teams. Is a given song or dance literally happening in the world of the show? Are these characters literally singing or dancing (both happen a lot)? Are the characters performing, and if so, what, why and for whom?

Fantasy: Is a given song imaginary, hyperbolized, or extrapolative? If so, who has access to that fantasy and why?

Straight-up Musical Theater: Why is this character singing, and why are they singing now? Why do they sound the way they do? What music comes from their soul, and how does that choice link them to time, place, culture, or their inner life and emotionalit.

Glossary & Pronunciation

Longer Phrase

Ik paasse chimta vaj-da, Dujhe paasse dhol(e)..

Kaato di pooch hil-di, Taar toombi di bol(e)

One side chimta, The other side Dhol..

The twitching of the squirrel's tail, The sound of the toombi's string

Bollywood Stars & Movies

Characters

Spanish Words

  • Abuela (Spanish) a person's grandmother.

  • Baile (Spanish) the familiar command conjunction of the verb "bailar" ("to dance").

  • Merengue (Spanish) a Dominican dance music form usually quite fast in tempo

English Words

  • Bollywood The biggest movie industry in India, based in Mumbai (Bombay).

  • Colonizing When a country (usually a dominant western power) sends a group of settlers to a place away from their origin (usually non-western and rich in resources) to establish political control over it. With humans, colonization is seen as a negative act because it tends to involve an invading culture establishing political control over an indigenous population (the people living there before the arrival of the settlers).

  • Diaspora (dai-A-spruh) a population that is scattered across regions which are separate from its geographic place of origin. The word is used in reference to people who identify with a specific geographic location, but currently reside elsewhere.

  • Feminist a person who supports feminism. Feminism is a range of socio-political movements and ideologies that aim to define and establish the political, economic, personal, and social equality of the sexes. Feminism incorporates the position that societies prioritize the male point of view, and that women are treated unjustly within those societies.

  • Ouroboros (ohr-o-BOR-os) A circular symbol depicting a snake, or less commonly a dragon, swallowing its tail as an emblem of wholeness or infinity

Aao Nachiye (ow noch-EE-ay) (Punjabi) “Let’s Dance!”

Auntie An Indian term commonly used to refer to elders even if they are not relatives

Arre, Arre (Hindi) “Hey, hey!”

Balle Balle (BUH-lay BUH-lay) (Punjabi) A phrase used in many Punjabi songs to depict a feeling of happiness. It is used in the same way as the English expressions, "Hooray!" or "Hurrah!"

Beary Biryani Biryani is an Indian dish of meat, fish, or vegetables cooked with rice flavored especially with saffron or turmeric. The Beary Briyani is a specialty of Beary (also known as Byari) Muslim community in coastal south Kannada, and has a different taste due to the flavors of coconut and fennel.

Beti (BAY-tee) (Hindi) Daughter.  Sometimes the word is used to give respect (love, care etc.) to younger girls.

Bhangra (BAANG-gruh (American); BUNGH-ruh (American/collegiate); BANG-gruh (British); or bhun-gah-RAH (alternate) -- see here for pronunciation guide A type of popular music combining Punjabi folk traditions with Western pop music.

Bharatnatyam (BAH-rut-not-ee-yum) Bharatanatyam – literally, “Dance” (natyam) “of India” (Bharata) – is a major form of Indian classical dance that originated in the modern-day region of Tamil Nadu. The Natya Shastra by Bharata Muni and Abhinaya Darpana by Nandikeshvara are considered to be the original sources of Bharatanatyam. Example

Chaat (Hindi) “to lick” or “to taste;” a traditional savory snack sold by street vendors in India that originated in the country’s northern region and is now popular throughout South Asia and at Indian restaurants worldwide.

Chak De Phatte! (chuck dhay) (Punjabi) “Get on the floor!”

Chalo (CHUH-lo) (Hindi or Punjabi, spelled “challo”) “Let’s go!”

Chandigarh (chun-DEE-gur) Chandigarh (compound of Chandi, the Hindu goddess, and Garh, meaning fortress) is the capital of the northern Indian states of Punjab and Haryana. It was one of the earliest planned cities in post-independence India and is internationally known for its architecture and urban design. The master plan of the city was prepared by Swiss-French architect Le Corbusier. Most of the government buildings and housing in the city were designed by the Chandigarh Capital Project Team headed by Le Corbusier, Jane Drew and Maxwell Fry. Chandigarh's Capitol Complex was in July 2016 declared by UNESCO as World Heritage.

Chappathi a thin pancake of unleavened whole-grain bread cooked on a griddle.

Chennai (cheh-NYE) City in the Bay of Bengal and a cultural capital of southern India. Chennai is a major hub of music, art and culture.

Chup (choop) (Hindi) “Quiet!”

Dandiya Raas (DON-dee-yuh- rus) “Dandiya” means sticks, and “Raas” refers to an aesthetic Indian concept related to emotions and feelings, used throughout Indian fine and performing arts. AKA Raas, it is a socio-religious folk dance originating from the Indian state of Gujarat, and popularly performed in the festival of Navaratri. The dance is also performed in the Marwar region of Rajasthan. Dandiya-raas exists in different forms, including the collegiate competitive form. The dance style is now in a competitive format and a traditional format.

Desi (DHAY-see) Someone from “desh,” or country. Desi is a word used to describe the people, cultures, and products of the Indian subcontinent and their diaspora. Desi traces its origin specifically to the people of the countries India, Pakistan, Bangladesh, Sri Lanka and Nepal.

Dhamaal (duh-mall) Single Dhamaal - The most fundamental Bhangra move, where most other combinations stem from. Example.

Dhol (dohl) A large, barrel-shaped or cylindrical wooden drum, typically two-headed, used in South Asia Image

Fasla (fuss-luh) (Punjabi, sometimes also spelled faslaan) A bhangra dance move depicting crops blowing in the wind. Example

Filmi Of or relating to the Indian film industry or Indian films. containing the high drama typical of Indian films

Ghazal (ghuzz-ul, closest aural cognate: “guzzle”) (orig. Arabic and now used widely in Middle Eastern and South Asian/Indian) A lyric poem with a fixed number of verses and a repeated rhyme, typically on the theme of love, and normally set to music.

Ghee (GHI) (Hindi/Urdu) A semifluid clarified butter made especially in India

Giddha (GI-dhah) (Punjabi) A traditional pastoral dance performed by women of the Punjab, India, and Pakistan at festival times and at the sowing and reaping of the harvest. The dance is often considered derived from the ancient dance known as the ring dance and is just as energetic as bhangra; at the same time it manages to creatively display feminine grace, elegance and flexibility. UC Davis Giddha Link

Goa A state in India famous for its beaches and places of worship.

Guju & Gujarati (goo-JRAH-tee) A Gujarati person; an Indic language of western India; Gujarati is officially recognized in the Indian constitution and is spoken by more than 46 million people.

Gunghroos A ghungroo, is one of many small metallic bells strung together to form ghungroos, a musical anklet tied to the feet of classical Indian dancers. Image

Hai, Na (Hindi) “Isn’t it?”

Hindi A literary and official language of northern India

Holi (hōlē) A Hindu festival where celebrants light bonfires, throw colorful powder called gulal, and dance to traditional folk music.

Ishq Ko Kal Mein Khojiye (Hindi) “Find love in yesterday/tomorrow”

Jeera Aloo An Indian side dish in which potatoes are cookies with cumin seed

-Ji (gee) -ji is a gender-neutral honorific used as a suffix in many languages of the Indian subcontinent, such as Hindi and Punjabi languages and their dialects prevalent in northern India, north-west and central India. Term of respect. Eg “Auntie-ji” or “Guru-ji.”

Kal Mein Ishq Talaash Kare (KUL MAY ISHK tuh-LAHSH kuh-RAY) (Hindi) “Find love in yesterday/tomorrow”

Kama Sutra (KA-ma SOO-tra) (Hindi and Sanskrit) From “Kama” (Hinduism, one of the four essential goals of life) and “Sutra” (treatise). Attributed to Vātsyāyana, and dated c. 400-300 BCE. The Kama Sutra is neither exclusively nor predominantly a sex manual on sex positions but written as a guide to the art of living well, the nature of love, finding a life partner, maintaining one's love life, and other aspects pertaining to pleasure-oriented faculties of human life.

Kathak (KUH-thuk) (Hindi) Kathak is one of the eight major forms of Indian classical dance. The origin of Kathak is traditionally attributed to the traveling bards in ancient northern India known as Kathakars or storytellers. Kathak Link 

Kati Roll A kati roll is a street-food dish originating from Kolkata, West Bengal. In its original form, it is a skewer-roasted kebab wrapped in a paratha bread, although over the years many variants have evolved all of which now go under the generic name of kati roll.

Kato (KAH-toe) Kato literally means squirrel in Punjabi and the Kato instrument is named after it because its design is similar to that of a squirrel but used as a symbol of happiness. It is used in various cultural activities specially in folk dances like Bhangra, Malwai Giddha. 

Khaana Khaana (plural of Khunda) (Hindi): Eat, eat!

Khunda/ Khunde (plural of Khunda) A 5-foot long stick that is typically hooked at the top and is used to add some excitement to Bhangra occasions. Collegiate Bhangra teams will create Khunde out of PVC pipes or broomsticks and decorate them with colored tape and large rumaals (handkerchiefs) on the end. Khunde can be used in a variety of ways in a Bhangra performance. Performers can sway side to side while holding the khunda out with their hand, or place the khunda over or against their shoulders while performing bhangra moves. (Originally in Punjabi the word is “Kunda” (hook) and the plural of that is “Kundey” Sometimes in the Bhangra circuit they pronounce it “Khunda” with an aspirated “K” and the plural of that is also “Khundey”. Non-Punjabi speakers in the Bhangra Circuit tend to use only the plural form.)

Kurta (KURR-tuh) a long-sleeved, hip-length shirt worn by men in India

Lassi (LUHS-ee) (Hindi) a cold drink made with yogurt, water, and sugar

Matar (Hindi) peas

Mazaa MAH-zuh (Hindi) a Coca-Cola fruit drink brand from India

Mudra (MOO-drah) (Hindi) a gesture

Mulligatawny A curry soup, most often made with chicken, vegetables, apples, and rice

Naan / NaanWaali The famous bread from northern India and Pakistan that is baked in a distinctive tandoor oven

Nahin Nahin  (Hindi) “No, no”

Nakhre (NAHK-ray) (Hindi) “Tantrum” (Punjabi) “Attitude” 

Nihari Curry A traditional Indian dish of beef stew that is flavored with long pepper

PaniPoori A deep-fried breaded sphere filled with potato, onion, or chickpeas. It is a common street food in the Indian subcontinent

Pataka (puh-talk-uh) Loosely translates to "firework." An explosive 4-count combo used to mimic the music of a drop/hit or beginning of chorus. Watch here.

Phaal a curry which originated in the Bangladeshi-owned curry-houses of Birmingham, England and has also spread to the United States

Phul Punjab Phul = flower/flourish, so this move is meant to have the curling of the hands mimic the unfolding of a flower's petals and be more graceful. It is a variation of the Punjab move which is a fundamental Bhangra move. Example

Punjabi vs Panjabi (poon-JOB-ee) Punjabi, also spelled Panjabi, is one of the most widely spoken Indo-Aryan languages. The old British spelling “Punjabi” remains in more common general usage than the academically precise “Panjabi.” In the early 21st century there were about 30 million speakers of Punjabi in India, and it is the 9th most spoken language in the world.

Pooja/ Puja A worship ritual performed by Hindus, Buddhists and Jains to offer devotional homage and prayer to one or more deities, to host and honor a guest, or to spiritually celebrate an event

Saag Paneer A popular Indian vegetarian dish made of spinach and other leafy greens (called saag) and paneer (Indian cottage cheese)

Shabash (shaa-BOSH) (various South Asian languages) Meaning, “Good job!”

Shami Kabab Tender patties made with beef and chana dal (yellow split peas), and then dipped in eggs and pan-fried

Shukriya (SHOO-kree-yah, sometimes also shukria) (Urdu) “Thank you”

Tabla (THUB-la) a pair of small hand drums attached together, used in Indian music; one is slightly larger than the other and is played using pressure from the heel of the hand to vary the pitch.

Tandoori South Asian dish of chicken marinated in yogurt and spices and roasted in a tandoor, a cylindrical clay oven

Tanpura The tanpura is a long-necked, plucked, four-stringed instrument originating in India, found in various forms in Indian music.

Theek hai (TEEK heh) (Hindi or Urdu) “Okay,” or “All Right.”

Tikka Masala A fusion dish consisting of roasted marinated chicken chunks in a spiced sauce.

Tumbi (TOOM-bee, also toombi, tumba, or toomba) A traditional musical instrument from the Punjab region of the northern Indian subcontinent. The high-pitched, single-string plucking instrument is associated with folk music of Punjab and presently very popular in Western Bhangra music.

Turban or Pagg (pag) A man's headdress, consisting of a long length of cotton or silk wound around a cap or the head, worn especially by Sikhs

Urdu (URR-doo) Urdu is the official language of Pakistan, but it also has fifty-one million native speakers in India and is one of the nation's twenty-two official languages.

Vaisakhi (VAY-saa-kee, sometimes also Baisakhi) (Sikh, some Hindus) A holiday that marks the first day of the month of Vaisakha and is usually celebrated annually on 13 or 14 April as the solar new year. A major Sikh festival celebrating the spring harvest in the Punjab.

Vindaloo (VIN-duh-loo) A popular Indian curry known for its spicy and tangy flavor. 

Thoughts on Dance

Kathak

Kathak is one among the eight Indian classical dance forms. The word 'Kathak' has its origins from the Sanskrit word Katha which means story. Kathak is an amalgamation of three arts- music, dance and drama. Both Hindu and Muslim rulers patronised this dance form giving it the status of a court entertainment. As such, this classical art carries with it the quaint charm of folk arts and is a blend of Hindu and Muslim traditions. Kathak originated in the villages of Northern India, when the natives shared their life experiences with each other. These people or Kathakkars (storytellers) travelled from village to village and kingdom to kingdom spreading their art. These Kathakkars would occasionally stop at the temples in these regions to take rest and here they began to enact stories from the great Indian epics and also started to stylise the art by giving it a classical touch.

Significance of Ghungroos:
Ghungroo holds a vital and important place in Indian Classical Dance and it is the primary instrument and ornament that a dancer must wear before practicing or performing. It emphasizes and intensifies the rhythmic percussion that is produced by the Ghungroo while attempting and performing any footwork or dance. It is a very essential and crucial part of many Indian Classical Dances.

In Kathak, worshipping by Guru and disciples is an important ceremony and plays a vital role. Ghungroos are the intrinsic part of Indian Classical Dance that can’t be separated. It is prerequisite in Kathak to worship Ghungroo and to be touched by the Guru even before tying.

GURU (teacher) / SHISHYA (student) Relationship:
India’s heritage and culture bring about a lot of admirable and heart-warming traditions and beliefs. The people have rooted these traditions deep in their hearts. Despite the developing time, people continue to follow and respect their lineage. Guru-Shishya tradition is one major tradition that has existed in the history of India. It continues to be in practice even today. One can easily witness the essence, especially in Indian classical dance.

The Guru-Shishya tradition is common in Indian performing classical dances, like Kathak, where the guru (teacher) is equivalent to god. It is the guru that helps his/her shishya find purpose in life and achieve the final goal of self-enlightenment. A guru is considered to be a mentor who shares his/her wisdom. It is only by the guru’s presence, and following the guru, the shishya can gain wisdom and find meaning in life. This tradition rests on one simple ideology in the dance form: the guru is the last word for discipline.

Helpful Links for Kathak:

Bollywood

Bollywood dancing is a style of dance that is heavily influenced by Indian art, music and culture. It originated in Bollywood films. Bollywood dance is a fusion dance form which has always has an underlying base of Indian Classical or Folk dance. It has many genres within which it can be influenced by many other dance forms. When Bollywood dance first began it was only common and popular in areas where Indian films were published such as the Middle East and Asian countries. There is a huge history behind Bollywood dance from cultural to religious however one thing that can be stated is that the international appeal of Bollywood dance blew up in the early 21st century. The success of Bollywood dance can be seen through the artists like Britney Spears, Shakira and the Pussycat Dolls incorporating the Bollywood style of dance and music into their songs, videos and concerts.

Bollywood dance is made to tell mythological tales or stories. This is demonstrated by the dancers and performers through the use of many hand gestures which are taken from Indian culture. For example, two hands together in a prayer position is Namaskara which means adoration, hand gestures speak as sign language which is an international language that has no cultural or language barrier. Facial expressions are also vital in Bollywood dance as they assist with telling the story of the dance.

The transnational hand gestures and facial expressions are one of the main reasons for Bollywood’s international appeal, it is a dance that everyone can understand. The success of the dance is most evident through the use of the dance in popular films such as Disney kids film The Cheetah Girls: One World which introduces young western audiences to the beauty and nature of the dance. As shown through popular movies and music videos, costumes are essential to Bollywood dance

Costumes play a crucial role in the storytelling aspect of Bollywood dance. The attire has become the symbol of Bollywood dance for its bright and colourful nature which fits with the vibrant and loud movements of the dance. Clothing is important as it determines the feel of the dance and has a significant impact on the story.

It is important to note that unlike the West, where musical is considered its own genre, in South Asia the relationship between theatre, music and dance is more intertwined. Bollywood films, where the dance originated, are full of dance and music as it is a major component to the genre. Bollywood dance is the essence of the film and is expected when watching a Bollywood film.

Bollywood dance is an important part of Indian culture, it is unique in its ability to tell a story through bodily movements. Bollywood dance is full of colour, showing a perfect amalgamation between music, dance, storytelling and costumes.

Helpful Links for BOLLYWOOD

Helpful Links for the Song “Commit” 

  • Dekha Ek Khwab Song: This is one of THE most iconic Bollywood numbers (Ruj's heart literally skips a beat when she watches or hears this song). Key elements are wind, flowers/nature

  • Dalfi Instrument:  This instrument (dalfi -- a type of hand drum/percussion instrument) used to be in many classic Bollywood songs

  • KISSING!:  Commit has a big moment which focuses on A KISS. In Bollywood, kissing was taboo for a very long time, and often masked by shaking flowers in a field or a sudden rain shower and all sorts of strange things. This link beautifully sums up the history of a KISS in Bollywood

  • Soni Soni Full Song:  This number truly encompasses many of the typical BOLLYWOOD song and dance components, all in one: a GAZILLION PEOPLE (very typical of old school Bollywood), lots of color (including holi powder), beautiful colored fabrics which are always flowing through the frame, the boy vs girl central theme, and of course fantastic Bollywood dancing

  • Chaiyya Chaiyya: "Commit" has a moment saying "where we dance in the rain on top of a train..." which refers to this iconic Bollywood song filmed on a train. I don't think there was any other song ever filmed like this and has gone down in history for its beauty of both picturization and musical composition

  • "Khalibali” the world's absolute best song, which inspires the music of Billy's verse

  • VIDEO: "Tattad Tattad," from RAAM LEELA

  • VIDEO: "Ghoomar" from PADMAAVAT which is worth seeing for its SHEER SCOPE

  • VIDEO: "Dola Re Dola" from DEVDAS

  • VIDEO: "Cham Cham" from BAAGHI, more trains and rain

Bhangra

Bhangra is an energetic, folk dance and music form that originated from the state of Punjab in India dating back to the late-1800s. Originally, it was considered a celebratory dance to welcome the harvest of the farmers’ crops. Danced to the beat of the dhol, a large percussion drum instrument, and boliyan, short sets of lyrics that describe scenes or stories from Punjab, Bhangra has lyrics that commonly reference themes of love, patriotism, strength, and celebration. Today, it has evolved into its own genre of music, a form of exercise and an entire community of competitive dancing all over the world. Bhangra has made its way to the largest stages, such as America’s Got Talent, the London Olympics, and even the White House.

The Competition Circuit:
Bhangra has expanded into a worldwide competitive dance circuit, featuring competitions all over the world. Dancers compete in teams of 8-upwards of 20, ranging in ages from 15-35. Competitions are hosted by colleges, companies, or independently to spread awareness of the dance form as well as provide a comradery for viewers to see.

Regional/Culture Fair Performances:

State level performances:

Live vs. Music Routines:
Teams create original 8-9 minute nonstop routines to impress the judges, showcase their knowledge of the dance form, and push the envelope to win the top prize. The choreography must also include types of Bhangra segments such as Sammi, Jhummar, Luddi, Dhamaal, Sialkot, Saaps, Khunde, Mirza and many more.

Live Bhangra Routines are usually 10 minutes long with about 8-10 dancers that perform with a live band, featuring a dhol player, singer, sirangi, chimta and flute players. These routines feature Bhangra’s truest form with simple moves named after certain elements found in the life of Punjab. Dancers are also required to use traditional props like saaps, khunde, and katos in their dancing.

Music Bhangra routines bring in influences from pop culture today through mix elements in a routine’s music, dance moves, or gimmicks has become more common. Technique moves are varied in choreography to add more wow factor elements and be more of a spectacle of a performance.

Types of Teams:
Collegiate Bhangra Teams are affiliated with a local university and students who attend said university form a team to compete at these competitions (however, sometimes you don’t necessarily have to necessarily have to attend the college in order to join the team). Dancers’ ages range from 18-30 years old. There are a few competitions that are specifically for college students held around the world such as Bhangra Blowout in Washington D.C. and The Bhangra Showdown in the UK.

Some videos of what Nationals might look like:

Independent Teams are run by a coach or captain that gathers a group of dancers to create a team and perform. They are not affiliated with a university or academy and are usually friends who enjoy dancing together.

Academies are run by a coach that is usually trained to by an ustaad, or teacher, to learn Bhangra in its truest form.

Bhangra Vardiyaan:
You may have taken note of the dancers' extremely colorful Bhangra uniforms/outfits, or vardiyaan, during the performance. The vardiyaan not only emphasize the visual effect of Bhangra moves, but they also are designed to enable the dancer's maximum range of motion. In other words, the vardiyaan are the perfect combination of aesthetics and mobility. Today, men and women typically have a tendency to wear different vardiyaan while performing Bhangra.

Elements of the Vardiyaan:
Men tend to wear a chadr, a kurta, a vest, and a pagh, while women wear a salwar, a kurta, a vest, and a chunni. The chadr is the bottom half of the outfit, and consists of a long, rectangular piece of unstitched cloth tied around the dancer's waist. It covers the majority of the dancer's legs and is strategically tied so as to prevent the cloth from restricting the dancer's movement. The female complement to the chadr is the salwar. The salwar consists of loose fitting trouser pants with numerous pleats stitched into the fabric. In contrast to the chadr, the salwar covers the dancer's leg completely. The trousers are stitched so that when the dancer performs high-knee and leg-lifting steps, the pleats artfully hang to mimic the effect and coverage of the chadr. However, there are some women that do wear a chadr, kurta, and/or pagh while performing Bhangra.

The kurta is common to both types of vardiyaan. The kurta is a long-sleeved tunic that comes down to approximately the dancer's knees, or just above them. The sleeveless vest is worn over the kurta. Both the kurta and chadr are colorful, and display heavily embroidered intricate designs.

The pagh and chunni are head coverings that reflect the Sikh religion that is predominant in the state of Punjab. Culturally, head coverings are common as well. They are a symbol of pride, humility, fortitude, and respect. The Bhangra pagh is a long piece of cloth that is intricately wrapped around the dancer's head, culminating in a heavily starched, pleated fan (turla) that crowns the whole turban. The chunni is a colorful scarf that is artfully draped around a woman's head and pinned to her kurta and vest. There are many other aspects to the vardiyaan as well. Not limited to just jewelry, these consist of various accent pieces that serve to enhance specific elements of a Bhangra routine. For example, earrings and necklaces (i.e. jhumke, kainthe, taveet) draw attention to a dancer's facial expressions. Rumaalan, or handkerchiefs, were traditionally tied around a dancer's wrist to highlight their complex hand movements. All parts of the vardiyaan complement the dance in that each element has origins steeped in meaning, symbolism, and purpose.

DOs and DON’Ts for Performances

  • If your pagh comes off during the performance, go off stage and place it on a table then come back and perform. Don’t put it on the ground or kick it with your feet by any means

  • Before performing, once you step foot on stage, touch the ground and say a prayer to ask for blessings for your performance and do the same once you finish the routine before leaving stage

  • Don’t throw props once you’ve finished using them

  • Make sure your thighs don’t show when dancing and wearing a chadr

  • No lipsyncing or sticking out your tongue when dancing

  • Stage performances should be barefoot but if you are outside it is okay to wear shoes

Helpful Links for Bhangra:

The first three links are to performances that feature hard Jhummar, the more aggressive type of Bhangra -- references that we drew as inspiration for "Not Wrong"

Additional:

A Bhangra Routine that incorporates elements of respect and cultural sharing

Resources for More Info:

The Overlap Between Salsa x Bhangra
This article, while super academic, is tremendously inspiring to us in terms of the overlap between Salsa and Bhangra in diasporic Latinx and South Asian communities, respectively. We find it amazing how much universality there is in the why of dancing . . . and think that conversation is a beautiful way to bring these two characters <cough cough> closer together.

Setting

This play marries a midwestern setting with a liberal arts college vibe.

About Michigan

Michigan is located in the upper Midwestern United States. Though it may contain every midwest stereotype: friendly residents, endless outdoor recreation, and rural farmland, the state is also visually stunning. It’s known for its bucolic shorelines along the (four out of five) Great Lakes bordering it, cherries that would make you salivate, and winter wonderland landscapes. (Lansing gets an average of 46 inches of snow.) Most of Michigan’s residents live in a suburban county or diverse urban area —like Detroit, the birthplace of both the automobile and motown. 

Fun Michigan quirk: when Michiganders refer to their hometown, they will hold up their palm like a mitten, as a device for locating their city or town.

And a Liberal Arts School?

Liberal arts colleges (LACs) are four-year undergraduate institutions that prioritize a comprehensive education by focusing on the arts, sciences, humanities, and social sciences. As opposed to directly preparing students for a specific vocation, the LAC curriculum develops their communication, critical thinking, and problem solving skills. 

LACs prefer well-rounded students. And their students prefer a well-rounded education. (Like Sunita being a pharmacology major/ visual artist.) 

Many LACs are also known for their liberal politics and tight-knit communities. Students usually attend full-time and live on campus, especially if their institution is located in a suburban or rural area. Typically, Greek life doesn’t exist on these campuses, so clubs/organizations help students meet other like-minded people and develop friendships.

Just how popular are extracurricular activities at LACs? 

Well, Williams College (a LAC located in Williamstown, Massachusetts) has 125 student organizations on campus, and 96 % of its students are involved in at least one extracurricular activity. Most LACs boast a variety of clubs and organizations, which usually foster community and a sense of belonging. College is a formative period in an adolescent’s life, and clubs/extracurriculars offer the possibility of experimenting with one’s identity.

Bhangra’s place in the college system

“Halftime performances, assemblies and culture shows have helped bhangra become a more visible fixture on US university campuses.” (Reference)  In Quisqueya G. Witbeck’s thesis on Bhangra as a Mechanism for Identity Formation, she writes of one team: “The term ‘family’ was used to describe the bonds between the dancers and also to set a standard of responsibility regarding how an individual’s performance reflected on or affected the performance of the entire team as an interconnected unit.” She goes on to explain that dancers often enjoyed getting to meet people throughout the bhangra circuit in addition to their own team members. Additionally, bhangra helped them form “a space and an identity through which the dancers could share their hybrid cultural references.”