Dhol, a drum that unites India

Delhi is a multi-layered cultural region and its music tradition stretches back for hundreds of years.
Due to an exposure to a number of cultures from nearby states of Punjab, Haryana and Uttar
Pradesh, it has developed its own unique musical mode. The importance of music in the region can
also be estimated due to the fact that all the Gods and Goddesses of the region are associated with
one or the other musical instrument like God Shiva is the bearer of damroo, Vishnu is recognised
with a Shankh (Coonch shell), Krishna as Murlidhar (flute), Saraswati, the Goddess of Learning is
never seen without Veena. As the religions, Sikhism, Hinduism and Islam are dominant and they
have their own musical forms.

The Punjabi dhol is used in the Punjab region of Pakistan and is found in the states
of Punjab, Himachal Pradesh, Haryana, and Delhi. The beats of dhol have been an element in the
ceremonies of the great Sufi mystics and their followers. The patterns of dhol have been developed
to catalyze the mind of the devotee who is seeking spiritual trance.

Dhol was a popular musical instrument in both formal and informal dance performances for
decades. Though formal Bhangra performances still involve traditional dhol, casual revelries are
mostly carried out sans dhol. Nevertheless, dhol music still figures in the studio recordings of present
day Raas/Garba and Bhangra music artists.

The term "dhol" has a generic quality about it. Virtually any large barrel shaped or cylindrical drum
may be called a dhol. Therefore, whenever one wishes to be more specific one generally attaches a
descriptive term to make things clear (e.g., "bhangra dhol"). The history of the dhol is not clear, one
source of confusion may be that the origin of the term "dhol" may be different from the origin of the
instrument itself. The word "dhol" is probably derived from the Persian word
"dohol" or "duhul". However, images of dhol players appear to be present in the bas relief carvings
on Indian temple walls from the earliest times. It is possible that both the instrument as well as the
name have some deep Indo-European connection. However, it is difficult to make any firm
statement as to the roots of the instrument.

The dhol emerged as an instrument that Punjabis use as a symbol of their ethnic identity. This
strong attachment is especially evident among the expatriate Punjabi communities dispersed across
the earth and its use is not limited to artistic events, because it is found at political rallies, sporting
events, and virtually any place that one wishes to create a festive mood.

The Punjabi dhol is also known as the "bhangra dhol"; this is due to its importance in the folk dance/
song style known as bhangra. Since the bhangra has attained a worldwide audience, this version of
the dhol is probably the most well-known example.

The Punjabi dhol tends to be played with sticks on both sides. There is a curved drumstick known as
the dagga, used on the deep pitched side this drumstick is made of a heavy wood and a straight
drumstick known as the chanti. used upon the high-pitched side which is referred to as
the "madeen".

Originally, the bhangra was just a folk dance that was confined to the Punjab during the harvest
festival of Baisakhi. Traditionally the Bhangra season starts with wheat sowing. On full moon nights
the young males used to gather in open fields and dance in rows. The dance starts with slow
movement of feet and then higher as the rhythm goes faster and the tempo of movement is there.
The whole body comes into action. They whirl round and round, clapping along with colourful
handkerchiefs in their hands. At the intervals the dance slows down the movement. One of them
comes forward near the drummer and sings a boli or Dholla while covering his left ear with one
hand. Picking up the last lines of the boli all the dancers again start dancing. They use various
instruments and accessories while dancing like Chimta, tongs, Bugchu etc. The dancers wear very
colourful patka, lacha / lungi and shirts with bright coloured jackets. Dancing with terrible spirits, the
dancers at occasions exclaim slogans like ‘Bale Bale‘ and ‘Shava-Shava.’ There are several styles of
Bhangra i.e. Sialkoti, Sheikhupuri, Tribal, Malwa and Majha.

The seeds of bhangra's growth as an international art-form began not in India, but in Great
Britain. The Indo-Pakistan expatriate community was lacking a clear symbol of its own ethnic
identity. This community was starting to be comprised of second and third generation South
Asians. They could no longer easily relate to a changed India or Pakistan, but were also unable to
completely assimilate into traditional British society. In this cultural vacuum, the bhangra grew to
become an important symbol of their self-identity.

Bhangra first began to make its mark internationally during the 1970's. At this time, artists such as
A.S. Kang and Kuldip Manak began to make a commercial success out of it. It was also in this period
that bhangra began to be widely accepted as a genre of music rather than simply a dance form. As
this music has become internationalised, it has undergone quite an evolution; where it was once a
purely folk music of Punjab, today elements of rap, hip-hop, and other commercial Western forms
may be found enfolded within it.