Arts

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.

[Back]