The term "bhangra" sparks immediate recognition among many, conjuring images of vibrant dance and energetic music. However, the sources argue that this common understanding of "bhangra" is riddled with misconceptions and potentially harmful simplifications. They advocate for a more nuanced perspective, one that acknowledges the term's complexities and advocates for its evolution.
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One of the primary arguments is that "bhangra" is not a genre of music or a specific dance form. Instead, it operates more as a loose label, akin to categorizing all popular music as "pop." This misconception, the sources posit, stems from a colonial and consumerist lens that seeks to commodify and simplify complex cultural expressions for wider consumption.
This simplification, while potentially beneficial for marketing, ultimately obscures the true essence and diversity of traditional Punjabi music and dance.
Furthermore, I contend that the term "bhangra" carries negative connotations within Sikh and Islamic communities. These negative associations stem from the emphasis on consumerism, exhibitionism, and the pursuit of external validation often associated with "bhangra" performance, elements that clash with the principles of these faiths. This critique raises important questions about cultural sensitivity and the potential unintended consequences of perpetuating a term that may be viewed as problematic by some within the very culture it is attributed to.
I propose a solution to these issues: a conscious shift in terminology and perception. Instead of using the catch-all term "bhangra" I encourage a more specific and accurate categorisation of activities involving Punjabi music. I suggest differentiating between:
- Socialising to Punjabi music: This encompasses informal gatherings and events where Punjabi music is enjoyed as a social activity.
- Performing to Punjabi music: This refers to staged performances and presentations of choreographed dances set to Punjabi music.
- Exercising to Punjabi music: This category denotes structured fitness classes that used Punjabi music as a motivational element.
This distinction, I argue, allows for a more accurate understanding of the diverse ways in which Punjabi music is experienced and used. It moves away from the potentially reductive labeling of all movement to Punjabi music as "bhangra" encouraging a more nuanced and respectful engagement with the culture.
I go beyond simply critiquing the term "bhangra"; I also challenge the notion that all movement to Punjabi music is inherently beneficial for fitness. I am concerned over the proliferation of unqualified individuals teaching "bhangra fit" classes, and I highlight the potential for physical and emotional harm when fitness instruction is not grounded in proper technique and safety protocols.
Specifically the prevalence of:
- Inadequate warm-up and cool-down routines: Many instructors, lacking formal fitness training, incorporate high-intensity movements and bouncing into these crucial phases, increasing the risk of injury.
- Potentially harmful dance moves: Certain traditional "bhangra" steps, when performed repeatedly or with improper form, can put excessive stress on joints like the knees and hips.
- Lack of emphasis on safety precautions: Encouraging participants to move barefoot or perform complex, physically demanding sequences without proper guidance can lead to injuries.
- Potential for emotional harm: Unqualified instructors may lack the training and awareness to create a safe and supportive environment for all participants, potentially leading to negative experiences.
This critique is not intended to discredit the use of Punjabi music in fitness settings entirely. I acknowledge the positive aspects and the growing popularity of fitness classes using such music. However, I urge caution and advocate for a more discerning approach, one that prioritises participant safety and well-being over the allure of branding and cultural trends.
To further solidify my argument for a shift in perspective, I have introduced the concept of "Pungra" (spelled with a capital "P"). This term, I argue, represents a new movement within the realm of fitness that aims to distance itself from the negative connotations and potential pitfalls associated with traditional "bhangra" performance.
Pungra, as envisioned by me, emphasises:
- Fitness over performance: The focus shifts from showcasing dance skills to promoting physical activity and overall well-being.
- Safety and proper instruction: Qualified instructors with a deep understanding of exercise science and safety protocols lead classes.
- Inclusivity and positive encouragement: A welcoming and supportive environment is fostered, ensuring that all participants feel comfortable and empowered.
In essence, Pungra represents a conscious effort to reclaim and redefine the use of Punjabi music in fitness, emphasising ethical considerations, participant well-being, and a genuine commitment to promoting health and positive body image.
I stress the importance of questioning commonly held assumptions and engaging with cultural expressions on a deeper, more critical level. They challenge us to move beyond superficial understandings and to embrace a more nuanced, informed, and respectful perspective. Whether or not one agrees with the proposed solutions, I'd like to offer the opportunity to re-evaluate our perceptions of "bhangra" and its evolving role in contemporary society.
Image by John Pannell, CC BY 2.0, via Wikimedia Commons
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