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Showing posts with label Punjabi Lyrics. Show all posts
Showing posts with label Punjabi Lyrics. Show all posts

Sunday, 7 October 2012

Shabad Lyries

No Shabad Title
1 Prubh Paas Jun Kee Arudhaas (Goojree  Guru Amar Das Ji)
2 Keethaa Lorrehi So Prubh Hoe (Soohee Guru Arjan Dev)
3 Jeea Kee Biruthaa Hoe ( Goojree  Guru Arjan Dev)
4 Kar Kirupaa Mere Preethum Su-aamee
5 Kuvun Sunjog Milo Prubh Apune (Bilaaval Guru Arjan Dev)
6 Tu Beanth Ko Virulaa Jaanai (Vadhans  Guru Arjan Dev)
7 Mero Mun Juth Kuth Thujhehi Sumuaarai (Sarang  Guru Arjan Dev)
8 Prubh There Pug Kee Dhoor ( Todee  Guru Arjan Dev)
9 Prubh Jee Thoo Mere Praan Adhaarai (Bilaaval  Guru Arjan Dev)
10 Kar Kirupaa Kirupaal Aape Bukhas Lai (Raamkalee  Guru Arjan Dev)
11 Har Churun Surun Gobindh Dhukh Bhunjunaa (Dhanaasree  Guru Arjan Dev)
12 Je Bhulee Je Chukee Saaeuuee Bbhee Thehinjee Kaatee-aa (Soohee Guru Arjan Dev)
13 Subhe Jeea Sumaal Apunee Mihur Kur (Sarang  Guru Arjan Dev)
14 Sruvunee Suno Har Har (Bilaaval  Guru Arjan Dev)
15 Tehul Kuro There Dhaas Kee Pug Jhaaro Baal (Bilaaval  Guru Arjan Dev)
16 Miluhu Pi-aare Jee-aa (Gaurhee  Guru Arjan Dev)
17 Aisee Kirupaa Mohi Kuruhu
18 Ab Raakhuhu Dhaas Bhaat Kee Laaj (Svaiyay Mehl 5 Bhatt Nal)
19 Prabh Joo Tho Keh Laj Hamaree (Amrit Keertan  Guru Gobind Singh)
20 Sathigur Aaeiou Suran Thuhaaree (Todee Guru Arjan Dev)
21 Kirupaa Kuruhu Dheen Ke Dhaathe (Raamkalee  Guru Arjan Dev)
22 Hum Maile Thum Oojul Kuruthe (Sorith Guru Arjan Dev)
23 Thum Bud Dhaathe Dhe Rehe (Basant Guru Arjan Dev)
24 Thum Chundhun Hum Eirund Baapure ( Aasaa Saint Ravidas)
25 Hum Sar Dheen Dhaei-aal Na Thum Sar (Dhanaasree Saint Ravidas)
26 Ghol Ghumaa-ee Laalunaa Gur Mun Dheenaa (Tukhaaree  Guru Arjan Dev)
27 Dhulubh Dheh Paa-ee Vudubhaagee (Gaurhee  Guru Arjan Dev)
28 Thuuprusaadh Kabith
29 Mith Bolurraa Jee (Soohee  Guru Arjan Dev)
30 Hule Yaaraa Hule Yaaraa Khusikhuburee (Tilang  Saint Nam Dev)
31 Vaahiguroo Vaahiguroo Vaahiguroo Vaahi Jeeo (Svaiyay Mehl 5 Bhatt Gayandh)
32 Mere Laalun Kee Sobhaa (Kalian  Guru Arjan Dev)
33 Gobindh Jeevun Praan Dhun Roop (Jaitsaree Guru Arjan Dev)
34 Vudaa Meraa Govindh Agum Agochur (Aasaa  Guru Ram Das)
35 Mai Pekhiou Ree Oochaa Mohun Subh The Oochaa (Dev Gandhaaree  Guru Arjan Dev)
36 Ho Ki-aa Saalaahee Kirum Junth Vudee Theree Vadi-aa-ee (Soohee Guru Angad Dev Ji)
37 Nith Jupee-ai Saas Giraas Naao Puruvadhigaar Dhaa (Goojree Guru Arjan Dev)
38 Jaa Kai Vas Khaan Suluthaan (Gaurhee  Guru Arjan Dev)
39 Jogee Andhar Jogee-aa (part-1) ( Sriraag Guru Nanak Dev)
40 Jogee Andhar Jogee-aa (part-2) ( Sriraag Guru Nanak Dev)
41 Jogee Andhar Jogee-aa (part-3) ( Sriraag Guru Nanak Dev)
42 There Kuvun Kuvun Gun Kehi Kehi Gaavaa (Soohee  Guru Ram Das )
43 Kabeer Jis Maranae Thae Jag Ddarai Maerae Man Anandh (Salok Kabeer Jee)
44 Guramukh janam savar dharageh chalia (Bhai Gurdas)
45 Maerae Mohan Sravanee (Guru Arjan Dev Ji in Raag Bilaaval)

Sunday, 30 September 2012

Punjabi Dress

 Punjabi Dress


 
 A generation ago, the turban was the "crowning glory" of all Punjabis whether Muslim, Hindu or Sikh. Muslims and Hindus have given up their turbans, but it remains, literally, an article of faith for Sikh men whose religion forbids them to cut their hair. The kurta, a long straight-cut, loose shirt teamed with pyjamas, the loose baggy salwar  or a kind of sarong called a loongi or tehmat makes up the traditional dress for men. Winter sees the rustic Punjabi in colourful sweaters that wives and mothers are so skilled in making. A blanket finishes his ensemble. When the urban, educated Punjabi steps out to work he will be in shirt and pant or a suit-sartorially indistinguishable from his counterparts in Tokyo or Toronto. Back home in the evening, he is likely to be found in more traditional dress. The traditional Punjabi shoes, called juttis retain their popularity with both rural and urban men; they are both elegant and comfortable. Patiala and Muktsar are famous for juttis.

It is impossible to tell by dress whether a Punjabi woman is a Hindu, Muslim, Sikh or Christian – they all dress in salwar topped by a kameez (a garment that can be fitted like a dress loose like the kurta) and accented by a rectangular scarf about 2.5 metres long called the chunni or duppatta.She’s fond of her sweaters, but she is passionately proud of her collection of woollen shawls. These can be breathtaking. The women of Punjab are responsible for the state’s most famous item of handicraft - the phulkari.
 
Traditional Dresses:
Phulkari
Turban
Salwar Kameez
Punjabi Jutti
Saggi Phull
Parandi

Punjabi Virsa

Bhangra Instruments

Bhangra Instruments
Bhangra Instruments:
Many different Punjabi instruments contribute to the sound of Bhangra. Although the most important instrument is the dhol drum, 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. 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 tumbi, sarangi, sapera, supp, and chimta. The dhad, dafli, dholki, and damru are the other drums. The tumbi, famously mastered by Amar Singh Chamkila, a famous Punjabi singer, is a high-tone, single-string instrument. Although it has only one string, mastering the tumbi takes many years. The sarangi is a multi-stringed instrument, somewhat similar to the violin. The sapera produces a beautiful, high-pitched stringy beat, while the supp and chimta add 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.

Bhangra Today:
Bhangra has come a long way in the 20th Century and has recently taken the entertainment industry by storm. In the 1970s and 1980s, many Punjabi singers from Southeast Asia and the United Kingdom emerged, setting the stage for Bhangra to become a hot new trend in dance music. Modern Bhangra artists, in addition to recording and performing traditional Bhangra, have also fused Bhangra with other music genres, such as hip-hop, reggae, house, and drum-and-bass.

Bhangra in the 1980s:
It was not until the early eighties that Bhangra moved from "secluded halls and venues to the bright lights of the clubs and cities of England." First generation Asians were intrigued by their musical heritage, and helped bring Bhangra to the mainstream in their new country.
Gurdaas Mann also had a huge impact on Bhangra music. He started his career in 1982 with his first album, Dil Da Mamla. Since then he has become an idol for many, not only for his musical talent, but also his acting ability. He appeared in the Punjabi film Long Da Lishkara, which included the mega hit Challa (recently remixed by Punjabi MC on his album Legalised). Since 1982 Gurdass Mann has released a number of hit albums, performed at sold-out concerts around the world and recently released the hugely popular single, Apna Punjab.

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

Bhangra in North America:
Punjabi immigrants have encouraged the growth of Bhangra in the western hemisphere. However the Bhangra industry has not grown in North America nearly as much as it has grown in the United Kingdom. Indian Lion, a UK Bhangra artist explains why:
he reasons there`s a lot of bands in England is because there`s a lot of work in England.
However, with the emergence of North American Bhangra artists such as Jazzy Bains, Bhinda Jatt, and Sangeet Group, and the growth of the remix market, the future for Bhangra in this continent looks good.