The first decade of Bhangra in Vancouver is marked by building new artistic foundations and breaking social barriers. Bhangra emerges as an active tool that fosters cultural understanding. It rises in popularity when universities and colleges in Punjab start competing against one another and perform at annual celebrations. When these students immigrate to Vancouver, they bring their love of Bhangra with them. Helped along by Canada’s new multiculturalism policy, these new immigrants cultivate an environment that supports the growth of Bhangra as an art form and a bridge between communities.

What we call Bhangra dance today is really a collection of different folk dances that originated in the Punjab region of Pakistan and India. These dances have developed and changed over time. The evolution of Bhangra music flowed in a similar way. Today, worldwide musicians, DJs, and singers embrace the global genre of Bhangra which incorporates many different musical styles and influences, varying from traditional beats and lyrics to Electronica, Bollywood, Hip-Hop, and R&B sounds.

Media representation has been instrumental in forming our understanding of Bhangra in mainstream and South Asian societies. Mainstream media portrayals have, until recently, spoken at a very basic level about Bhangra. On the other hand, South Asian television shows and newspapers have connected viewers in Vancouver to changing Bhangra trends and sounds in the UK, India, and beyond while providing a platform for local artists to showcase their talents.

The design of Bhangra album covers tells a unique visual history of evolving themes within Bhangra music. This collection includes popular albums from India, Pakistan, the UK, the United States, and Canada. Their design speaks to converging and conflicting ways of seeing the Punjabi Diaspora and South Asians in general. Images of the harvest and village fairs are meant to evoke a sense of home and nostalgia. Rock and Hip Hop-inspired album covers speak to a different audience of second and third-generation South Asians who may have stronger affinities with Western mainstream culture.

The current phase is defined by the rise of local bands receiving international recognition for their talent. Aided by the increasing profile of Vancouver as a centre for Bhangra and the emergence of new digital technologies, these bands can share their sound and gain popularity without leaving the city. Today, Vancouver is home to Bhangra bands that cover the spectrum from global electronica to traditional Indian sounds. This intersection of sounds and ideas creates something new. It’s a worldwide thing.

In thinking about this project, we wanted to give a voice to a silenced part of Vancouver’s history. Vancouver’s Bhangra mementos have always existed, but its artefacts and stories have not been widely accessible. This room helped tell the story of our research journey: being welcomed into people’s houses, looking through their photo albums and home videos, hearing their stories, and situating these private memories in a public space.

Bring out your inner Bhangra star! If you ever wanted to jump on stage and jam with Dil Vog or Delhi 2 Dublin but don’t know how to play an instrument, it would be no problem after a visit here. Our Bhangra Lab taught visitors how to play the instrument of their choice and to jam along with their friends on a Bhangra track. Featuring some of Vancouver’s most talented musicians on the Dhol, Tumbi, Dhad, and Chimta, the Bhangra Lab was a space to test out the instruments, learn how the professionals play, and improvise new rhythms.

What is traditional Bhangra? What is modern Bhangra? Who gets to decide? About Tradition vs. Modernity, we believe it’s a false choice. It is not that all traditional forms of Bhangra are bad and all modern forms of Bhangra are good or vice versa. Our focus is on the rich diversity of Bhangra practiced in our city. Here you will see images that might make you say “Yes, that’s Bhangra” or you might think “how did this get in here?” Let’s have these challenging discussions.

“Chak De Phattey!” is a familiar expression that literally means “lift the boards!” and is yelled out when engrossed in the joy of Bhangra. While the origins of this phrase are unknown, some believe it derives from the actions of Punjabi lumber workers in British Columbia as they took freshly cut pieces of wood off of sawmill conveyor belts. This performance art is interwoven with anti-racist movements, gender rights activism, and the pursuit of self-representation. Bhangra becomes a vehicle to view the history of the South Asian diasporas, as well as explore how ideas about Canadian identity are continuously re-imagined.

When Bhangra teams started in the early 1970s, they performed in an atmosphere steeped with racism. While South Asian immigrants had made great political and social advances, many of them still faced overt and subtle forms of discrimination. Bhangra was one of the tools for community bridge-building. Teams travelled throughout Canada, spreading awareness of Punjabi culture, and making connections between Vancouver’s different cultural groups. The celebration of Bhangra fostered opportunities for understanding that went beyond the political rhetoric of Canadian multiculturalism and moved towards deeper cultural understanding and dialogue.