Friday, 29 November 2013

Punjab's Biggest Food Brand

About Ajit Singh Om Parkash Limited 



Punjab's Biggest Food Brand and Organized Indian Food Company Ajit Singh Om Parkash Limited Ajit Singh Om Parkash Limited is a Multi Product, Best Food suppliers Providing Quality products indenting Services in INDIA. Best Food Suppliers providing services For over 52 years. Best Food Suppliers was set up with the objective of providing best services in INDIA. We deals in Indian and Imported Spices, Ajwain (Washed),Zeera  ,Saunf Green  ,Black Pepper  ,Dhania  ,Black Elaichi, Methi Seeds  ,Dal Chini  ,Mustard Black (Rai) and Mustard Yellow items. We are currently services our clients in Delhi, Punjab and M.P. We are exploring newer markets and hope to offer our products and services to every part of INDIA. 


Our main Heads in Company who have rich experience in the business side and they have the ability that has made Best Food Suppliers a more highlighted and pregerrable company for their clients. 

Who we are:

We are “Ajit Singh Om Parkash Limited” located in Punjab, Delhi, and Indore India. We at Foodcoast are Reliable, Professional, Fast and Flexible global service providers of high-quality food products & & glossaries.


What we do:

We source our food products from leading manufacturers around the world and export them to a growing list of international market. Our client base includes large and medium-sized importers, wholesalers,Cash & Carry, Food Chains and distributors.For our buyers, we offer combination of high-quality products at the most competitive prices. Every day,we help our clients by providing them with the best solutions, the best information, and expertise from both sides of the business: import 
and export.


Why we are better:

As a company, we are young - yet the combined experience of our team of executives makes us a trusted and seasoned expert in our field. There is an advantage that we are a young company: we can offer our clients more. We are flexible, resourceful and eager to serve. We have streamlined and developed high-tech systems that enable us to respond quickly and effectively to our clients' needs.We understand our clients' needs because we have been in their shoes. We have experience as importers, as international trade professionals, and as business executives. We are multicultural and multilingual.


"It's a business of patience, not one of making money," says Rajan Arora, CEO, APlus. When that is perfected, there are changing customer preferences to deal with. As consumers taste global cuisine, they want the real thing here. Changing tastes and dipping footfalls, however, forced them to change their look and feel.




Range of our product includes :

1. SPICES
2. PULSES
3. TEA
4. REFINED OILS
5. ATTA BESAN & FLOURS
6. MISC GROCERIES
7. RICE
8. DETERGENTS.
9. FLOOR CLEANERS .



Mr. Rajan Arora Director Ajit Singh Om Parkash Limited attended Walmart Business Meet-2013 of the Best Price in Delhi(NCR).



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Nidhi Jain [ MBA eComm]
Asst Project Manager [ eComm]
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Thursday, 28 November 2013

Harvest Festival of Punjab

Lohri is the harvest festival of Punjab, famously known as the the breadbasket state of India. Thus, people residing in Punjab attach a great significance to Lohri, the festival in feasts and foods. This harvest festival is celebrated to mark both celebration and sharing. Lohri festival prompts people to be thankful for God's provision and to celebrate his creation, its focus on farming.




In Punjab, wheat is the main winter crop, which is sown in October and harvested in March or April. In January, the fields come up with the promise of a golden harvest, and farmers celebrate Lohri during this rest period before the cutting and gathering of crops. For Punjabis, this is more than just a festival, it is also an example of a way of life.

Celebrating The Harvest Festival

Lohri is a festival of zeal and verve and marks the culmination of the chilly winter. In true spirit of the Punjabi culture, men and women perform Bhangra and Giddha, popular Punjabi folk dances, around a bonfire. Enthusiastic children go from house to house singing songs and people oblige them generously by giving them money and eatables as offering for the festival.


Logs of wood are piled together for a bonfire, and friends and relatives gather around it. They go around the fire three times, giving offerings of popcorns, peanuts, rayveri and sweets. Then, to the beat of the dhol (traditional Indian drum), people dance around the fire. Prasad of til, peanuts, rayveri, puffed rice, popcorn, gajak and sweets is distributed. This symbolizes a prayer to Agni for abundant crops and prosperity.

                                       
Lohri is also an auspicious occasion to celebrate a newly born babys or a new brides arrival in the family. The day ends with a traditional feast of sarson da saag and makki di roti and a dessert of rau di kheer (a dessert made of sugarcane juice and rice). The purpose of the Lohri harvest ceremony is to thank the God for his care and protection. During this festival the people prepare large quantities of food and drink, and make merry throughout the day and night. Therefore everyone looked forward to this day.

Thus the jubilation at a bountiful harvest becomes the reason for the celebration of Lohri. It is one of the most popular harvest festivals of Punjab, with fairs held at various places. Dancing men and women, sing and dance around the bonfire and people come out of their houses to greet one and all.


Origin of Lohri


The origin of the Lohri can be traced back to the tale of Dulla Bhatti. By the end of the first week of January, small groups of boys ring the doorbell of houses and start chanting the Lohri songs related to Dulla Bhatti. In turn, the people give them popcorn, peanuts, crystal sugar, sesame seeds (til) or gur as well as money. Turning them back empty-handed is regarded inauspicious. 
Lohri marks the end of winter on the last day of Paush, and beginning of Magha (around January 12 and 13), when the sun changes its course. It is associated with the worship of the sun and fire and is observed by all communities with different names, as Lohri is an exclusively Punjabi festival. The questions like When it began and why is lost in the mists of antiquity.

The origin of Lohri is related to the central character of most Lohri songs is Dulla Bhatti, a Muslim highway robber who lived in Punjab during the reign of Emperor Akbar. Besides robbing the rich, he rescued Hindu girls being forcibly taken to be sold in slave market of the Middle East. He arranged their marriages to Hindu boys with Hindu rituals and provided them with dowries. Understandably, though a bandit, he became a hero of all Punjabis. So every other Lohri song has words to express gratitude to Dulla Bhatti. 

Customs and Traditions of Lohri


The various customs and traditions attached to the festival of Lohri signifies the harvesting of the Rabi crops. The people of Northern India, especially Punjab and Haryana celebrate Lohri, to mark the 
end of winter. Harvested fields and front yards are litup with flames of bonfires, around which people gather to meet friends and relatives and sing folk songs. For Punjabis, this is more than just a 
festival; it is also an example of their love for celebrations. Lohri celebrates fertility and the joy of life. People gather around bonfires, throw sweets, puffed rice and popcorn into the flames, sing popular and folksongs and exchange greetings.


In the morning, children go from door to door singing songs in praise of Dulha Bhatti, a Punjabi version of Robin Hood who robbed from the rich and helped the poor. These visitors are usually given money as they knock on their neighbors doors. In the evening, people gather around bonfires, throw sweets, puffed rice, and popcorn into the flames, sing popular folk songs and exchange greetings.

The Bonfire Customs & Tradition

In the evening, with the setting of the sun, huge bonfires are lit in the harvested fields and in the front yards of houses and people gather around the rising flames, circle around (parikrama) the bonfire and throw puffed rice, popcorn and other munchies into the fire, shouting "Aadar aye dilather jaye" (May honor come and poverty vanish!), and sing popular folk songs. This is a sort of prayer to Agni, the fire god, to bless the land with abundance and prosperity.

After the parikrama, people meet friends and relatives, exchange greetings and gifts, and distribute prasad (offerings made to god). The prasad comprises five main items: til, gajak, jaggery, peanuts, and popcorn. Winter savories are served around the bonfire with the traditional dinner of makki-ki-roti (multi-millet hand-rolled bread) and sarson-ka-saag (cooked mustard herbs).

On the Lohri day everyone gets into their best clothes and is festive. Gifts of sweets are exchanged. The courtyard and rooms of the house are swept and sprinkled with water. As the sun sets, all people dress up in their best and gather around the bonfire. Newly wed ones wear jewelery. The new-born are given little combs to hold. The a burning fagot is brought from the hearth and sets the Lohri bonfire alight. As the flames leap up, the girls throw sesame seed in them and bow. Someone sings:

"Let purity come, dirt depart
Dirt be uprooted and its roots Cast in the fire."

People throw sticks of sugarcane into the fire and an aroma of burning sugar spreads in the atmosphere. Girls light fireworks and sparklers. The fire's glow lights faces with a golden hue. People sing and dance till the early hours of the morning, and little children sleep in their mother's laps. When people throw sesame seeds in the fire they ask for sons. The saying is: As many as the elder brother's wife throws, so many sons the younger brother's wife will bear. That is why in homes where there is a new-born son or a newly wed man, Lohri is celebrated with even greater enthusiasm, and sweets made of molasses and sesame seed are sent to relatives and friends. Since the Punjabi word for sesame seed is til and for molasses rorhi the festival is also called Tilori.


Lohri is also an occasion when parents give presents to their newly married daughters. "For peasants, Lohri marks the beginning of a new financial year because on this day they settle the division of the products of the land between themselves and the tillers.


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Nidhi Jain [ MBA eComm]
Asst Project Manager [ eComm]
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Punjabi Romantic Songs



Punjabi love songs are exceptionally emotional and deeply rooted. These Punjabi songs are communicative and touching. Punjabi Romantic songs talks about the wonderful feelings of romance. Punjabi love songs make the heart jump with joy. Love songs of Punjabi express openness of love between couples. Punjabi love songs exhibits the sensual and lively feelings.





Famous Punjabi Romantic Songs are as follows:


(1) Song : Je Jatt Bigare Gaye

Album : Lehmber

Description : This love song of Punjabi language conveys the feeling of intimacy. This Punjabi love song touching the heart of Punjabi listeners tenderly.

(2) Song : tere naal

Album : ks bhamras

Description : Punjabi audiences are likely to fall in love with this Punjabi romantic composition. It candidly expresses the beauty of expressing Punjabi love.


(3) Song : tere meri gal ban jaye

Album : silinder pardesi

Description : It is a remarkable Punjabi composition that depicts Punjabi love as the essence of life. This melodious Punjabi song conveys the feelings of real love.


(4) Song : Leh meri teri hun gay ya ho soniya

Album : yaara naal bahaara

Description: This romantic Punjabi song talks about the soft feelings of love. Punjabi lovers convey the unconditional Punjabi love by singing this song.

(5) Song : Rite id go wiv ashiq tera

Album : A.S. kang

Description : This Punjabi love song allows the Punjabi people to express their love. This Punjabi love song is a big hit among the Punjabi couples. It is heart-warming Punjabi love composition.


(6) Song : Dil Tera He Deedar Mangda

Album : Gurswek Soni

Description : This romantic song of Punjabi language showcases the awesome feelings of love and affection. Punjabi audience experiences the miraculous moments of love life.



(7) Song : Teri Rab Ne Bana Di Jodi

Album : Mohammed Rafi & Asha Bhosle

Description : This romantic Punjabi song causes the intimate feelings of love . Punjabi music industry is blessed with this awesome romantic composition.



(8) Song : Kina Sona Tenu Rab Ne Baniya

Album : Gunjan

Description : This Punjabi romantic track possesses a romantic appeal and Punjabi listeners got swayed away by its emotional appeal.



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Nidhi Jain [ MBA eComm]
Asst Project Manager [ eComm]
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Monday, 25 November 2013

Punjabi Folk Music

The real spirit of a folk-song rests not only in its text but also in its tune. The popular tunes of Punjabi folk-songs ring with the heart-throbs of the simple, unsophisticated villagers. These melodies, characteristic of their deeply-felt emotions are absolutely in tune with their mode of living.



The rhythm and beat of Punjabi folk music is simple. The rhythmic patterns are determined by the day-to-day activities of the villagers, the sound of the grinding stone, the drone of the spinning wheel, the creaking of the Persian wheel, the beat of the horse's hooves etc. These rhythms refined into symmetrical patterns form the basis of the entire folk music of the Punjab.

 There is a widespread variation in the tunes and melodies prevalent in the different regions of the state. The folk tunes prevalent in the east of the undivided Punjab are different from those popular in the west. In the west specially on the plains of the Sindh Sagar Doab certain folk forms like Mahiya and Dhoola were very popular. Boli is popular all over the Punjab, though the eastern mode of performing it is different from the western one. Even in one area the same song is sung differently by different groups. This element of flexibility in Punjabi folk music adds a lot of variety to it.

Punjabi folk music is primarily vocal in character and is accompanied by instruments. It comes so spontaneously to the villager that when he is ploughing or digging his fields, driving his cart or walking homeward alone he just bursts into song in a full-throated ecstasy. When women get together and ply the spinning-wheel they sing alone, in twos and three's or in chorus. They need no instruments. But for songs which are sung on special occasions, the use of instruments is essential, particularly the dholak. The dholak is very popular with the Punjabis and is used on all occasions of social and festive significance. Innumerable memories are associated with its sound because all gaiety and celebrations of 
the family include the dholak as the basic and essential instrument. Sometimes if a dholak is not available, people improvise one, out of an earthen pitcher which they put upside down and strike with a stone to keep the beat. This improvisation is quite popular with young women who sometimes prefer it to the drum and achieve real perfection in it. Dholak has helped to preserve some of the most valuable traditional songs.
In the evenings, professional singers enliven village platforms. Bhatts and Dhadis entertain the audiences till very late in the night and keep men and women of all ages absolutely spell-bound with their ballads. These roving minstrels are sometimes accompanied by instrumentalists who carry folk instruments like an Algoza, an Iktara and a Dhad Sarangi and by playing on them add charm to the recital. 

There is an abundance of heroic, devotional and romantic tales in Punjabi folklore. Tales of Puran Bhagat, Gopi Chand and Hakeekat Rai belong to the devotional type whereas Raja Rasalu, Sucha Singh Surma and Jeuna Mor belong to the heroic category. Heer Ranjha, Sassi Punnu, Mirza Sahiban and Sohni Mahiwal are popular as tales of romance. These sentimental tales are always sung in typical strains. For every tale, the popular tune is different.

 Mirza Sahiban is sung in long wistful notes and the tune is known as Sad (call). It is a mournful tune and the singer generally puts one hand on his ear and makes gestures with the other while he sings.The tune used for Heer Ranjha is different form the one used for Puran Bhagat. The notes of Sindhu Bhairava raag can be traced in Heer Ranjha while Puran Bhagat is sung in the musical notes of Asavari and Mand. Sohni Mahiwal and Yusaf Zulaikhan are sung in Bhairavi raag but the tunes are different.

Mahiya, Dhola and Boli are the popular folk tunes prevalent in the Punjab. Today Mahiya is sung all over the Punjab. A triplet of Mahiya is called Tappa because it throbs with the heart-beat of the 
singers. Mahiya comprising triplets has its own special structure. The first line contains a pen-picture, a description or an illustration but sometimes it has no special meaning or relevance. The real substance is contained in the second and third lines. These two lines are very expressive and overflow with the most deeply felt longings of the people. They are very effective because they are deeply-felt emotions put into words. Every Tappa is an entity in itself.

Dhola is highly lyrical and sentimental in character and its chief contents are love and beauty. Dhola has a variety of forms.

The Pothohari Dhola is rather condensed in form. Each stanza consists of five lines which can be further sub-divided into two parts of three and two lines. The first two lines of the first part rhyme with each other while the third one is left loose. The second part which is a couplet, intensifies and polishes up the meaning of the first three lines. This couplet is a sustained part of the first three 
lines. This couplet is liberally used independently by the singers of Dhola. Dhola prevalent in Sandalbar has no fixed form, and its tune is different from that popular in Pothohar. The rhythm is different and it keeps changing according to the variety of emotions portrayed. Singers themselves are the folk poets of these songs.

Boli is the most popular form of folk music of the eastern Punjab. It is the most miniature form of folk-song. Boli is very deep, effective and interesting in its impact. It expresses a variety of emotions. A Boli may vary from one line to four, five or even more lines. The two famous folk-dances of the Punjab,  Bhangra and Giddha are danced to the accompaniment of this form of folk-song.

Loris or lullabies are sung in different tunes but the tempo is invariably slow. Every tune tends to create a droning, dreamy atmosphere which leads the child into the alleys of sleep. Its rhyme scheme is crisp and brief and takes the form of an address. At the end of each rhyming arrangement, plain and simple syllabic sounds are hummed. In the Punjab there are set tunes for typical dirges. Alahni and Vain belong to this category. The content is a sad and philosophic commentary on the transience of life. Mourning songs are generally sung as slow, dragging chants, punctuated by shrill and wailing cries.



Popular Songs 
    Aa Mil Yaar Way By Sain Zahoor Ahmed
    Sanu Ik Pal Chain Na Aave By Nusrat Fateh Ali Khan
    Allah Hoo By Sain Zahoor Ahmed
    Maye Ni Main Kinnu AakhaN By Attaullah Khan Esakhelvi
    Batti Baal Ke Banere Utte Rakhni Aan By Shamshad Begum
    AssaN Tenu Ki Aakhna By Masuma Anwar
    Ae Athra Ishq Nahi Saun Denda By Nusrat Fateh Ali Khan
    Mahi Yaar Dee GhaRoli By Abida Parveen
    Nachaan Main Oday Naal By Abrar ul Haq
    Hai O Rabba Naiyo Lagda Dil Mera By Masuma Anwar

Visit : http://aerosoft-authors.blogspot.in/2013/10/aerosoft-books.html



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Nidhi Jain [ MBA eComm]
Asst Project Manager [ eComm]
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Wednesday, 20 November 2013

Lyrics Of I Am Singh

Song Lyrics of I Am Singh by Daler Mehndi, Sukhwinder Singh & Hard Kaur

Hey na, hey na aa aa ..

Singh hai shaan, Singh hai shaan
Singh maan, Singh hai maan
Sardaran di vakhri shaan, Sardaran di vakhri hai shaan
Singh sab di anakh ghuman
Singh sab di anakh ghuman hai

Aha, I'm so Punjabi
Aha, I'm so Punjabi

Eh gal sab manndi Singh kalla hi sab te bhaari
Hoye eh gal sab manndi Singh kalla hi sab te bhaari
Saadi vakhri tor nayari, saadi har thaan hai sardari

Aah aah oh go

Ho eh gal sab manndi Singh kalla hi sab te bhaari
Saadi vakhri tor nayari, saadi har thaan hai sardari

Assi hi gaane jag te jo, assi hi gaane jag te jo
Ho kar sakde everything, thing, thing, bring it on, bring it on, let's go

Ho sher jeha dil saada, I am Singh
Saade jeha koi nahin, I am Singh
Ambaran nu chumbde haan, I am Singh
Dilan vich vasde haan, I am Singh
Sher jeha dil saada, sher jeha dil saada
Saade jeha koi nahin, saade jeha koi nahin
Ambaran nu chumbde haan, I am Singh
Dilan vich vasde haan, I am Singh
Hoo Punjabi thaan thaan karde ne - 4 times

Ho eh gal sab manndi Singh kalla hi sab te bhaari

Aha, will the real Singh please stand up, please stand up, please stand up
Will the real Singh in the house please stand up, please stand up, please stand up
Singh is in the house now move it
Singh is in the house now rock it
Singh is in the house now move it, move, shake, rock it

Dil naal paayi ae rishte sacche
Yaaran de vi yaar haan pakke
Jad mushkil aawe yaaran te, aake khade sab toh aggey

Put the microphone on

Dil naal paayi ae rishte sacche
Yaaran de vi yaar haan pakke
Jad mushkil aawe yaaran te, aake khade eh sab toh aggey oo

Yaaran de layi karde ne haan
Yaaran de layi karde ne haan
.. everything, thing, thing, bring it on, bring it on, let's go

Ho sher jeha dil saada, I am Singh
Chalda hai zor saada, I am Singh
Khadiye toofan vich, I am Singh
Ho ucche assi sheharan vich, I am Singh
Punjabi, Punjabi, Punjabi
Punjabi thaan thaan karde ne - 4 times (I'm so Punjabi)

Eh gal sab manndi Singh kalla hi sab te bhaari

Yo saada Singh hai sab toh sohna
Ohde warga koi nai hona
Hovi jo vi US-UK, jithe jaave sab nu nachauna
Oye panga na le, Punjabi's got baby everyday
Singh nu ik lak hilde, Bhangra paan layi yo hath phade

Aa aa ..

Sar zameen ka karza utaar dete hain dete hain dete hain
Jaan kadd layi ae jaan vaar dete hain dete hain dete hain
Nazro se cheer hum pahaad de, nazro se cheer hum
Nazro se cheer hum pahaad de, nazro se cheer hum
Dushmano ko jhad se ukhaad de dete hain dete hain dete hain
Hoo sava lakh de phatte chak de
Sava lakh de phatte chak de
Kalla yaaro ik hi Singh, Singh

Ho sher jeha dil saada, I am Singh
Seena zara chalde haan, I am Singh
Kise kolon darrde nahin, I am Singh
Sacch layi ladhde haan, I am Singh
Oh karde salaam saare, I am Singh
Hit saade kamm saare, I am Singh
Chaare paase balle saadi, I am Singh
Gabru Punjab de haan, I am Singh
Hoo Punjabi, Punjabi
Punjabi thaan thaan karde ne - 8 times (I'm so Punjabi)

Song Details:-
Song Name: I Am Singh
Album: I Am Singh
Singer(s): Daler Mehndi, Sukhwinder Singh, Hard Kaur
Music Composer: Monty Sharma
Length: 6:37
Music Label: Sony Music


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Nidhi Jain [ MBA eComm]
Asst Project Manager [ eComm]
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Tuesday, 19 November 2013

Punjabi Song With Lyrics

Here is a collection of new and old Punjabi Songs Lyrics. Lyrics are included from all popular Punjabi Music albums released along with song details. All types of songs lyrics from the latest Desi Punjabi 
Bhangra songs to Urban Punjabi songs from UK, US and rest of the world.

Malkit Singh's Aj Bhangra Paun noo Ji Karda 




Vekh ke CLUB vich bethi kurdi kahli
Aard de munde ne aa kol SEAT mal le
Kehnda "Kurdi noo bulaon noo ji karda
Aj bhangra paun noo - hoyyyyyee
Aj Bhangra paun noo ji karda
Aj Bakre buloan noo ji karda"

Galan-batan maar kurdi nachne noo lalayee,
Mundiyan de vich tdhan-tdhan karva laye. 
Bulle Shadh var kari jandi oh kumar, 
Ohnoo vekh josh-jiha see charda.
Ve kehnda "Bhangra paun no...

Aard di kurdi de naal akh jadoon lard gayee,
WHISKEY de PEG naalon vad nasha chard gayee.
Sare ohnoo kehn HEMA MALINI di pehn,
Jirda tahke ohnoo vekh thande hawke parda.
Ve kehnda "Bhangra paun no...

Urdi marik naloo, saroo jiha kad se,
Saariyan de vich bas uhde NUMBER vad se.
Surme di tari, ohnoo lagdi piyari,
Munda vekh ke yaaron ke karda?
Ve kehnda "Bhangra paun no...

Patla shareer jane phook maar ud jaoo,
Naenan vala teer kise gabroo noo chub jaoo.
Gal vich paani MALKIT di nishani,
Par pher vi to rakh duniya ton parda.
Ve kehnda "Bhangra paun no...


Today I feel like doing Bhangra (English Translation)

On seeing this girl sitting alone in a CLUB,
This nearby guy quickly took the SEAT near her
He said (kehnda) " I feel like calling her to come to near
Today I feel like doing Bhangra.... hoyyyyyee
Today I feel like doing Bhangra
and calling out challenges".

I smooth-talked her into dancing with me,
And all the guys to bowed to me
Like Bulle Shah's (Punjabi Poet) stories, she mesmerized everyone
Seeing her got me into a frenzy-like state
...and I felt like doing Bhangra

When my eye entangled with this same-aged girl,
It was more intoxicating than a peg of Whiskey
Everyone called her Hema Malini's sister
Whoever sees her, sighs cold sighs
...and I felt like doing Bhangra

She walked with an attitude, was tall like the saroo tree
She scored higher than all the others
The lines of Surma look lovely on her
friend, What's a guy supposed to do?
...feel like doing Bhangra and call out challenges.

That thin body would fly away if I just blew some air at her
The arrows from her eyes will pierce some bachelor for sure
Around your neck, you wear a sign of Malkit
But still I want you to hide from the world.
...and I felt like doing Bhangra

Regards,

Nidhi Jain [ MBA eComm]
Asst Project Manager [ eComm]
www.AeroSoftCorp.com 
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Monday, 18 November 2013

Punjabi Dance Forms Jaago Dance

Literally Jaago means wake up! When there is a marriage in the house, girls dance through the village streets carrying a pot (gaggar) decorated with lightened candles and sing Jaagu songs. The themes of the songs are social and usually a bit of teasing, often aimed at elders, goes with the song. 

Punjabi culture does not merely symbolize the ancient Sikh legacy. The industrious Punjabis like to have a bit of fun at the end of a hard day's work and thus their culture abounds in lively music and colorful dances. Jago, a dance that is performed to celebrate the wedding festivities deserves special mention.

The term 'Jago' in Hindi literally means to 'wake up'. Like its connotation, this popular dance tends to arouse the members of a household where a marriage is in progress. The young and frivolous girls of the family, where is a wedding is about to take place dance gaily through the village streets carrying a pot of jaggery decorated with illuminated candles and loudly chant the Jago tunes.


The social verses are almost usually aimed at elders and have a slight teasing and witty tone. The night before the consumption of the nuptial vows, the female relatives and friends of the bridegroom prepare a 'Jago' on the balconies on a myriad of surfaces. Lamps are made out of dough consisting of wheat flour in the pattern of stars. They are then filled with ghee or oil and the cotton wicks are lit. This model is then placed on the head of the of groom's mothers' brothers' wife who leads the bevy of women folk who gaily sing, dance and frolic about the groom's village. They visit the groom's 

neighbors and accept humble gifts of food, grain and ghee for the lamps as blessings for the couple and spend nights rejoicing in gaiety and merriment.


Jago is a beautiful Punjabi cultural celebration to ensure conjugal bliss.


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Punjabi Folk Dance- SAMMI And KIKLI

SAMMI

This is a popular dance of Sandal Bar. This is a women's dance and like the Giddha it is danced in a circle. The dancers stand in a ring and swing their hands bringing them up from the sides, right in front, up to the chest and clap. They take the hands down in accordance with a rhythm and a system and clap again. Repeating this gesture, they bend forward and clap again and go round and round in a circle, as the rhythm is maintained with the beat of the feet. Various kinds of swinging movements are performed with the arms.


This is a very simple dance. Most of the gestures and confined to the movements of the arms, clicking and clapping. No instrument is required as an accompaniment to this dance. Rhythm is kept up with the beating of feet and clapping. The dance is named after the young heroine of a legend, Sammi, who was madly in love and used to sing and dance as best she could for the sake of her lover.




The tribal communities of Punjab perform the Sammi Dance, which is popular in Sandalbar, which now is in Pakistan. Wearing vibrant kurtas and lahangas, the women of Punjab perform the Dance of Sammi. The unique feature of this Dance lies in a traditional hair adorning jewellery that is used by the Dancers.




KIKLI


Kikli is a highly popular folk dance among the young girls of Punjab. This dance is generally performed in pairs. Two girls stand facing each other as they get ready to perform the Kikli dance. As the dance performance starts the folk dancers move in circles in fast rhythmic movements. It makes for a beautiful experience as the dancers swirl their whole body with their colourful orhnis` or `daupttas`. 

Traditional folk music and songs are also important part of Kikli dance and are used to enhance the charm of this impressive folk dance of Punjab. Kikli is generally popular with the younger girls. They form pairs and then the two girls of each pair stand opposite each other holding each other's hands crosswise. Then they lift their heels and swing round and round on their toes. The movements gets faster and faster, the upper part of the body bends backward and the arms remain fully stretched. As the spinning gathers momentum, it creates an ecstasy and the girls go on and on till they reach the point of exhaustion. Even though they move very fast, they are very careful to maintain rhythm and keep singing various kinds of songs about the mother, the father, the brother, the mother-in-law and about various incidents connected with daily life.













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Nidhi Jain [ MBA eComm]
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Saturday, 16 November 2013

Punjabi Art & Culture

Punjab is the 15th largest state in India. Many races of people and religions made up the cultural heritage of the Punjab. The genius of Punjabis finds expression in love stories, lusty dancing, and humour. Punjab is very rich in terms of dance. Most popular Punjabi dances are:

Bhangra, Giddha, Jhumar, Luddi, Dankara Julli, Sammi, Dhamal, Jaago, Kikli and Gatka. These days, many non-Punjabis are also getting into Punjab's folk dances, as you occasionally see a European or Chinese in various Bhangra competitions. These non-Punjabis have simply made Punjabi dance a part of their own culture as well.

Basketery :-

The craft of basketry is widely practised all over Punjab. After shaving, thin straws of this grass, are woven into beautiful carpets, curtains etc. Among these products the hand fan is very popular and fascinating on account of its curled shape. These fans are popularly known as Peshawari Pakkhe. The ones smaller in size are very fine and delicate. These are called Kundaldar Pakkhi on account of their curled ends. Another useful household contrivance called Chhaj in Punjabi was manufactured out of sarcanda which is used for separating edible stuff from .the grain. The basketware was intended to fulfil only the daily needs of the people. In most cases, no effort was made to give them a decorative or artistic touch.



Wood Work :-

The woodwork of Punjab has been traditionally famous. Artistic beds with comfortable, skillfully made back rests fitted with mirrors, low seats called Peeras, Peerian were made by carpenters in almost every village. Furniture designed in Punjab and boxes, toys and decorative pieces made out of lacquer finish to wood crafts, in adorning it with engraving wood, inlaying ivory (now white plastic only) the workmen of Punjab have been renowned. Woodcarving in Punjab is practised in Batala, Amritsar and Hoshiarpur.



Clay Toys and Pottery :-

The indigenous traditional clay toys had a decisive psychological effect upon children. They also reflect their sensibilities. The inherent sensibility in the young mind could be properly poked, guided and fostered from early childhood through the judicious choice of playthings of taste and beauty. Toys are made of wood, clay, paper and cloth. Deeva or Clay lamps are made expressly on the occasion of Diwali.



In the villages, the potter obtains his raw material, i.e. clay, free of cost from a nearby pond (Chhappar). In addition to the toys he makes clay pottery, Surahi and Ghara (vessels for storing water), dishes, jars, etc., which he sells at very little profit. The traditional forms have good proportions that only objects whose shapes are dictated exclusively by function. Constant repetition with slight variations often brings refinements of proportion to a classic purity. Each shape fulfils its function admirably. The tall narrow-necked jar (Martaban) and similar specimens of pottery have disappeared from post-partition Punjab. Some specimens of clay pottery can still be seen on certain festivals. They are decorated with different colours, which reinforce and strengthen their form. In pre-partition Punjab, a light wooden toy called Reloo Pehalwan used to be made. It represented an acrobat balancing himself pre-cariously on a small stool. Slightly different from this was another toy also called Reloo; made of paper. It balances itself on a small lump of clay. This specimen of Reloo is the restless type and cannot stand still. It keeps moving from right to left and vice versa, much to the mirth and delight of small children.


The popularity of the clay toys is diminishing day by day but still there are to be seen sporadic instances of miniature dolls in clay, animals and kitchen utensils, roughly coloured with kharia mitti and decorated with motifs in bright colours. A wide variety of traditional wooden toys are still being produced in Hoshiarpur. They are lacquer painted in bright colour-yellow, red, green etc. These include dolls, household articles, train, wheel birds, baby walkers (gadda) etc. About 30 years ago, small girls used to love to possess these toys. Traditional toys generally serve a two-fold purpose. They can be used as playthings by the children and as decoration pieces by the adults. Toys of cloth stuffed with cotton are still made by the women in the villages. Wood and clay tops (lattoo) are still quite popular in some areas of Punjab such as Amritsar. Edible toys in sugar have a great variety of shapes.

In village fairs one comes across toys with a scientific touch though naively native in character.

Dolls, birds and animals are some of the common subjects. The world of these colourful and joyful toys has gradually receded into the background, yielding place to cheap plastic products flooding our markets. The folk objects made by professional potters or toy-makers have no market; so they have had to give up their occupation. The same is true of the artisan community who used to make toys of straw.

Mudwall Painting :-




The tradition of painting on the mudwalls dates back to very ancient times when the earliest man sought protection in the magical drawing which was thought to prevent the aura of evil spirits from coming into the house. Certain symbols were also used to express the wish of the creators for boons of plenty, progeny and well-being. The art of mudwall painting is known as Chowk-Poorana in the Punjab. It is necessary to make it clear that despite its name Chowk-Poorana, the Punjabi rustic women do not draw decorative designs at the threshold of their homes, but on the mud-walls. The mudwalls of rural houses in the Punjab are painted on festive occasions like the "Navaratra poorna" before and on Dussehra day, Karva-Chauth (the day on which fast is observed by Punjabi and U.P. women for the well-being of their husbands), Hoi or Ahoi, and Diwali. All these festivals are celebrated in September, October and November-the months known as the festive season. If one finds oneself in a Punjab village during this season, one is spell-bound by attractive and intricately composed patterns and designs painted on the mudwalls which are intended to invoke the blessings of and welcome Lakshmi, the goddess of wealth and plenty. These drawings and paintings are done by the peasant women. Some of these paintings deserve to rank among genuine creative art. The art of mudwall painting does not require special training. Young girls just pick it up from their mothers or elderly women. In fact, as a leisure hour occupation, it is essentially a rural and feminine art. This typical art depends entirely on individual capacity and skill. Painting the mudwalls was the only means for them to add colour and richness to their poor, humble and lowly surroundings. The formal simplicity and beauty of these patterns revealing the inherent sense of design on the part of these peasants would make any artist envious. The symbolic designs and motifs drawn on the mudwalls are born of unconscious and ancient knowledge, potent with power and energy, and used by the woman as an auspicious mark for worship, decoration, beautification and protection of hearth and home. They have also been making paper mache utensils for storing house hold necessities in colourful designs for a long time past, out of a paste made by mixing paper and various kinds of earth.

Metalwork is the most important of Punjab's arts and crafts. The common use of metal objects in daily life has necessitated the evolving of various products and techniques. The metal-workers of Amritsar are known for their skill in various forms of casting, soldering, methods of decoration such as repousse, pierced work, chasing, engraving, etc. Metal pots and other utensils are used by the housewife in her kitchen. Metal objects are necessary for religious rituals in the homes as well as in the temples. Among these objects are included temple lamps and trumpets (Narasinga). Decorative objects are for those who can afford them.

The most remarkable are engraved metal doors and the Kalashas of the temples, the Chhattra and the three-dimensional life-size metal sculptures of lion, Durga's charger, and Nandi, Shiva's mount outside their respective temples. In the 19th century, figurative panels engraved in low relief were very common in the Hindu temples and Sikh gurudwaras. Metal craftsmen engaged in repousse work were called Chitera in Amritsar. It may be noted here that the word 'Chitera' means a painter; the term is commonly used in this sense in the erstwhile Hill states of the Punjab Himalaya, now incorporated in Himachal Pradesh.

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