Pakistan's Mujra may date back to Moghul Empire. Mujra [Entertainment Dance] could be a throw back to the palace dancers of the earlier history of the northern region of The Subcontinent.
In this lovely video we have wonderful Pakistani actress Khushboo [Beautiful Smell] with her duo of dancing gentlemen performing a modern mujra piece on a lovely studio set for a DVD Mujra collection for Time Video. 'Gal Sun Dholna' is a Pakistani film song by playback singer Humera Arshad from the film Punjabi movie Sangram.
ORCHESTRATION
'Gal Sun Dholna' is a really well-crafted Punjabi commercial song. The FORM [sections over time] is a variation on Western Pop Song: Intro - Chorus - Bridge [mainly for dancing] - Verse - Chorus - Intro Variation as Bridge - Verse - Chorus - Intro second Variation as Bridge - Verse - Chorus - No CODA [end section].
The ENSEMBLE [group of instruments/singers] is ACCOUSTIC [live] traditional Punjabi PERCUSSION [instruments you hit]. There are is quite a large "ensemble" [probably been re-recorded on multi-track for economic reasons] of various drums from the large Punjabi drum struck with a hard stick for a high REGISTER [high, middle, low pitch of musical sounds]. There are also DHOLAKs [Punjabi double-headed floor drums played at weddings]. Also TABLA [Tuned Indian floor drums] play some MOTIFS [short rhythms or tunes] in the bridges for variety and supporting dance opportunities.
Drumming is one of The Punjab's greatest talents. In 'Gal Sun Dholna' there is a really imaginative plan employing the PERCUSSION ENSEMBLE. The composer has clearly thought out the combination and rotating of the various PERCUSSION TIMBRES [different tonal sounds of various drums]. The PERCUSSION here is a ever-changing delight of skillfully chosen TEXTURES [thickness and thinness of total music sound]. The PERCUSSION performers are of a very high standard and clearly understand their instruments and the sound possiblities required of the instruments.
The PERCUSSION not only adds fountains of tone colour but also works in ANTIPHONY [question and answer patterns] between differing drums, plus answering the vocals and melodic instrument parts. There is a lot of use of SYNCOPATION [off beat] patterns to counter the on-beat bass line.
GHUNGROOS [small bells used for dancing] give high metallic sound that provide the high REGISTER [high or low pitch] needed to complete the TEXTURE.
The PERCUSSION is supported by a programmed keyboard that is providing an underlying basic drum beat and electronic PERCUSSION effects. The METRE [number of beats per bar] is Western in a count of four.
The melody is provided by Humera Arshad mainly. The voice is typical Punjabi film style. The tightened throat and nasal twang forcing life into a melody that is repetitive and limited in RANGE [span of notes in the melody]. The song sounds easy to 'get across' but they take a lot of skill to keep variety for the audience.
There are no ACCOUSTIC melody insturments. An electronic keyboard provides a high REGISTER on-beat pulse to counter the drumming SYNCOTATION. There are occasional CADENCES [musical full stops] at the ends of sung phrases or sections in a 'vibraphone sound'. A synthetic brass figure takes the bridges at a low REGISTER. The song is extraodinarily MONODIC [singing and drums]. It is curious that these songs 'work' but they do!
VIDEO
The set is wonderful. The indoor inexpenisve sets with painted backdrop harks back to the 1970s Pakistani films. This is iconic of this set of artists. The set theatrical, cheap and very effective for escape into the created world of Pakistan's mysterious film artists. They have their own way of doing things, they hold onto traditional culture in the age of globalisation splendidly.
Khushboo is dressed in a modern version of Punjabi 'lachcha' skirt with traditional jewellery. The dance is somewhere between Kathak, Bhangra, Cabaret and Pushto Film-style Belly
Dance.
Khushboo and the male dancers know the genre well and transfer a lot of Punjabi film song to theatre.
The performances are fresh and lively. The culture is purely Pakistani.
Khushboo mimes to recorded music. This miming may go back to travelling theatres 'Tamasha' or even earlier 'BharataNatyam' Dance where singers sat at the edge of the stage and dancers danced.
