PHULKARI131, SAMMI AND SAADA PIND – UNDERSTANDING PUNJABIYAT

Abstract

Punjab, one of the diverse states of India, is known for its composite culture, impeccable hospitality, delish food and incredible history; having been the site of great partition, it is also replete with the stories of loss, suffering and resilience. While Punjab can be seen and comprehended through various vantage points, the current paper proposes and focuses on the proposition that ‘Punjabiyat’- the essence and way of being a Punjabi, is reflected specifically through its attire-folk embroidery (Fulkaari and Baag), Folk-Dance and Music Art forms (Sammi and Jaago) and the focal point of hospitality (Saada Pind). Phulkari, literally translated as flower shape, is a folk-art embroidery that originated in 15th c by rural women in Punjab, and is popularly arranged on Dupattas135. “Many Punjabi women used phulkari (literally, “flower-work”) embroidery to decorate their daily garments and handmade gifts in the nineteenth century. Illustrations only partially convey the vibrant visual impact of phulkaris, and even color photographs fail to capture fully the sheen of the silk thread. The embroidery ranges from striking geometric medallions in reds, shocking pinks, and maroons, through almost monochromatic golden tapestry-like, fabriccovering designs, to narrative embroideries depicting people and objects of rural Punjab”.136 Initially intended to be given away to daughters in marriage and holding a strong emotional value, the use of Fulkaari has widened and transitioned in the recent past. This study asserts that it can now also be seen as a cultural symbol and an artefact, to convey the bright and cheerful attitude of Punjabis and their general happy disposition towards lifeCarpe Diem. Similarly, the folk-dance art form of Sammi- a dance performed originally by tribal women of Punjab, represents the true culture and spirit of Punjabiyat- the friendship, longing, celebration of love and a sense of optimism for life. While Bhangra and Giddha folk dance art forms have gained wide popularity; folk dance art forms like Sammi and Jaago too need representation and space in academic and historical discourse. This paper also intends to trace these two relatively lost dance art forms as signifying essentiality of ‘Punjabiyat’. Further ‘Saada Pind’- roughly translated as ‘my village’; conveys a sense of oneness, camaraderie, raw emotion and a place in time-space continuum where each stranger is welcomed with ‘Ji Aaayan Nu’137. This study would establish how ‘Punjabiyat’; and consequentially ‘Indian’ cultural art forms can be a possibility of re-looking at the lost values of friendship, camaraderie, connection with the outside real world rather than a disparate and robotic connect with the monotonous clicks on our smart devices.