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Similar Artists See All. Dawn Penn. Glamma Kid. The Original. Tina Moore. Bally Sagoo. Livin' Joy. Jazzy B, singing in pure Punjabi, is made to embody a Punjabi tradition that is juxtaposed against the cultural values represented by Jamaican patois. However, in his personal life, he remains, like several other Bhangra practitioners, deeply committed to traditional Punjabi values including the sanctity of marriage, respect for elders and religion.
Their renaming of their band Stereo Nation underlines the polemical nature of the Indian Caribbean collab- oration that is aimed as a conscious intervention in the racial politics of Britain: We officially formed back in as I was working with DJ Kendall.
Each word of the name Stereo Nation has its own meaning. Desitunes n. A frame that reverses black and white in a negative of the image of Taz as black and Kendall as white is inserted briefly to interrogate the racialisation of bodies.
The Punjabi lyrics of the song, composed in the formulaic style of the Punjabi folksong, borrow from Punjabi folksong its fetishisation of whiteness. The retention of Punjabi rustic values in the private space in the adopted land, despite the compromises made in the professional space, makes boundary crossing other than in the sonic sphere difficult, if not altogether impossible.
By the end of the millennium, black male bodies, complementing black sounds in the Bhangra video, are integrated not only in collaborations such as the Apache Indian Maxi Priest or Taz Kendall ones but also in Bhangra albums pro- duced in India in which Punjabi munde [boys] produce a new street culture and mod- ernity in relation to blackness.
Punjabi folksong is conventionally structured by a certain ambivalence with respect to skin colour. Except in the isolated praise song to the male black beloved in the folksong kaala shah kaala [my black lord], Punjabi folksong fetishises whiteness epitomised by Sohni, the iconic heroine of the Punjabi legend Sohni Mahiwal. However, Sohni shares iconic space with the legendary Heer of Heer Ranjha, who is depicted, like the Persian Laila, as dark-skinned with big eyes, straight nose and full lips in the Punjabi poetry.
This fetishisation of the exoticised dusky beauty in Punjabi folklore permits the gradual integration of the black object of the Punjabi male desire in contemporary Bhangra texts. Gallan goriyan de vich toye, assin mar gaye ni oye hoye. Your fair dimpled cheeks drive me crazy.
Jasbir Jassi Gallan goria. Your fair cheeks. Stereo Nation Goora rang, veeni vich vaang, ni mukhde di sang. Jazzy B Tere bull ne gulabi, tak ho gaya sharaabi.
Gazing at your rosy lips, the Jat was intoxicated. Malkit Singh Gore mukhde chand de tukre noon Vekh ke kehnde ne putt sardaran de. Looking at your fair countenance like a full moon Say the sons of sardars. Jassi Sidhu Malkit Singh Although Bhangra lyrics continue to draw on traditional formulaic composition in praising the beloved, female beauty is gradually decoupled from the idealised gori chitti or milk white skin through a visual economy of representation offered by the music video.
An unexpected insertion of dusky skin in Bhangra takes place through the Bhangra video featuring dark-skinned Mumbai models like Malaika Arora Khan who do not necessarily conform to the idealised sohni of Punjabi poetry.
The naturalisation of dusky or even black skin in the Bhangra text has transformed the Punjabi represen- tational space opening up new identity positions so that the presence of black bodies in the Bhangra video circulating not only on national but also on regional television no longer seems shocking.
Even in albums where the beloved is rep- resented as Punjabi, her transposition to a different space transforms the Punjabi stereotype of female beauty. Despite strong strictures against intervarna mar- riages in Hindu scriptures defined within the discourse of miscegenation, the desire of the light-skinned arya for the dark-skinned dasyu female has been the stuff of Indian poetry.
Indipop version Performing the black body The Punjabi desire of the black body is articulated as much through the co-option of the dusky beloved in the aural and visual economy of the Bhangra text as through the Punjabi performance of the black body through the Punjabi Jat, mimicking its movements and gestures. The focus on sonic hybridisation in studies of Bhangra has concealed other kinesic features through which the Bhangra body, in addition to sound, identifies itself with blackness.
Bhangra illustrates the corporeality of identity as Punjabi youth perform blackness by mimicking black body language. No longer the body of the warrior or Vir constructed in Sikhism or imperialism, the Punjabi body performs the body of the black underclass in a gesture of solidarity to lay a claim to marginality. Complementing the juxtaposition of pure Punjabi against Jamaican patois peppered with Punjabi are the conventional and hybridised images of Bhangra represented through sartorial style as well as bodily movements and signifiers.
If the turbaned Sikh enacts the conventional representation of the kesd- hari Sikh by donning the lungi kurta and jacket, Apache sports African Caribbean youth styles. Although Malkit offers a frail version of the idealised Vir [warrior] body of Punjabi folksong as compared to the Punjab-based singers Gurdas and Harbhajan Mann, he enacts the discursive production of the body of the soldier in the imperialist army through which Sikh sub- jectivity has been traditionally constituted.
Ears in a straight line with the shoulders, chest thrust out, direct gaze, lips parted in a smile, Singh leaps and jumps, enacting the agricultural movements of the Punjabi villager as well as the martial acrobatics of the Sikh soldier. Apache, on the other hand, affects a slight slouch, his head wagging from side to side, shoulders wiggling and arms raised forward, mimicking the lan- guorous movements of the black plantation worker. An equally interesting juxtaposition may be seen in the Jassi Sidhu Malkit Singh collaboration in ki kehne in which the two Sikhs, belonging to different generations, are seen singing praises of their beloveds.
Not only their turbans, one UK and the other Indian, but their movements, dress and singing styles mark the transition from tradition to modernity as they sing ki husn tere di sift kariye jihne moh laye ne dil sardaraan de [How do we praise the beauty of the one who has captivated the hearts of the son of sardars? To appreciate the penetration of blackness in the Punjabi mindscape, one needs to mention the Canada-born Birmingham-based Jazzy B, whose hairstyle and sartor- ial preferences have ushered in a new trend in Punjabi youth styles and fashion, mak- ing him a youth icon.
It is Jazzy B rather than Apache Indian who has facilitated the unproblematic integration of black sounds and bodies in the Punjabi visual and sonic space through his borrowing of black styles and body movements in his composition of the formulaic praise song.
Jazzy B draws on both white and black youth styles to produce a quintessentially Punjabi youth grammar that reflects his sonic mixings.
It is the incorporation of the black figure in Indian popular cinema that replies to the percep- tion of blackness in the Indian popular imaginary and the caveats against miscegena- tion. But the powerful image of an African American rapper clad in ethnic Sikh attire, instead of sporting hip hop fashions, has done more to naturalise blackness in Indian popular culture than the British Asian music video.
The film pro- ceeds to explore the fraternity between the African and Punjabi migrants that enables them to survive in Canada, which is aptly captured in the image of the Bhangra the three perform in the title song.
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