bhangra from india has in a way [size=0px]separated itself from its cultural roots (folk dances which have specific meanings and occaisions vs. dancing on a stage for entertainment) The very essence of folk dancing in northern india/pakistan has been lost, more so in india than in pakistan...so let's talk about bhangra in india and start from there.[/size] [/size] [/size][size=0px]When did bhangra in india start? If you think it's some ancient dance then you don't know the history...i refuse to be held to a standard, which isn't even the standard. Because there is no standard.[/size]
This is the best form and style of live Bhangra. All the stuff that has come out in the last 5-8 years is not folk enough. This is Punjab, this is what Bhangra is all about. The idea of getting MADDDD LOW on jugni is not folk, it's not correct. Watch the jugni in this set, the Mirza the phumania, that's the 70s-90s style. The best style.
The formations were perfect. That's why this set is amazing. There are 2-3 main formations in folk Punjabi dancing, lines, circles and V's. This is the essensce, dancing for a crowd or dancing for each other. All these formations live teams do are silly and not the correct way to showcase Punjabi folk dances.
As someone who has danced on a team and also run a competition, everyone just needs to take a step back.
Gary has organized a great competition for 3 years in a row, and it has grown each time. MCB has a simple theme, being folk. MCB has been consistently working hard to keep the traditional aspects of modern bhangra at the forefront. I'm sure there are tons of issues everyone has with him, but still, it's not easy. With DDA, Fusion and other folk comps disappearing, everyone needs to understand how important MCB is. It gives a real outlet to a huge segment of our circuit. I love that the show is only in punjabi. You want english, go to wbbc or elite 8, lol.
He and his team worked really hard, and dancers should understand he's not perfect, no one is.
I'd love it if BTF could begin a thread regarding the visual history of bhangra in the diaspora.
As bhangra gained a foot hold in Canada and the UK in the 70's and 80's it evolved, and continues to do so with the rise of bhangra circuits in Australia, New Zealand and Singapore (yes, there are teams in Singapore, and yes WBBC has reached out to teams in random places, and will continue to do so). From the floppy turlas and awkward chaadars, to today's romesh inspired masterpieces, there is a great story to be told re: bhangra as it exists in the diaspora.