Dogri, an Indo-Aryan language of the Western Pahari group, holds deep cultural legacy in the Jammu region of India. Despite its historical significance and recognition as an official language, Dogri faces challenges in preserving its folk music and dance traditions amidst modern influences and cultural shifts. This paper explores the historical evolution of Dogri and the rich tradition of Duggar folk music and dance. It discusses contemporary challenges, including language decline and the impact of globalization on cultural identity and the revival efforts and initiatives that highlight ongoing endeavors to rejuvenate Dogri music. Personal insights from several artists have also been captured in this paper that underscore the complexities and aspirations within the Dogri music landscape. The paper concludes by reflecting on the future of Dogri culture, stressing the vital role of youth in preserving and promoting this rich heritage as global dynamics evolve.
Introduction:
Dogri, belongs to the Indo-Aryan group of Indo-European language family. It has its origin from old Indo-Aryan language i.e. language of Vedas and Laukik Sanskrit. Like other Modern Indo-Aryan languages, Dogri has also passed through Old Indo-Aryan (Sanskrit) and Middle Indo-Aryan (Pali, Prakrit and Apabhramsha) stages of development and entered the Modern Indo-Aryan stage around the 10th century A.D. (Gupta, 2013)
Dogri shares linguistic features with other northern Indo-Aryan languages, such as Punjabi, Hindi, and Kashmiri. It is classified as a Western Pahari language. Dogri has similarities with languages like Bhaderwahi, Pahari, and Chambiali in terms of vocabulary, grammar, and phonology. However, despite these shared characteristics, Dogri maintains its unique identity, shaped by the cultural and historical context of the Duggar region (Brightbill et al., 2007b).
It is primarily spoken in the Jammu region of Jammu and Kashmir, India, with smaller communities of speakers in western Himachal Pradesh, northern Punjab, and north-eastern Pakistani Punjab. As the ethnic language of the Dogras, it was historically spoken in the region of Duggar, and today it is prevalent in the districts of Kathua, Jammu, Samba, Udhampur, and Reasi. The people speaking Dogri are called Dogras, and the belt where it’s spoken is called Duggar. Several dialects of Dogri exist, including Pahari, Bhaderwahi, and Chambiali. These dialects vary in pronunciation, vocabulary, and grammar, reflecting the diversity of the Dogri-speaking community.
Historical Development of Dogri Language:
Dogri has a long and rich history. The earliest written reference to Dogri is found in the Nuh sipihr (“The Nine Heavens”), written by the poet Amir Khusrau in 1317 CE. Maharaja Ranbir Singh Jamwal, son of Maharaja Gulab Singh, played a crucial role in promoting Dogri. During his reign, Dogri was made an official court language alongside Persian, which had dominated since the time of Zain Al Abdein. Maharaja Ranbir Singh introduced a standardized Dogri script known as “Namme Dogre Akkhar” (New Dogra Letters). This script enabled lithographic and typographic printing in Dogri for official and educational use. Dogri began to be used in publications, military codes, and on stamp papers.
Dogri classes were introduced at the Raghunath Mandir Pathshala, where noble children were mandated to learn the language. Maharaja Ranbir Singh personally oversaw students’ progress and offered incentives like free board and lodging for scholars. Several scholarly works were translated into Dogri, further enriching its literary tradition.
Unfortunately, after Maharaja Ranbir Singh’s death, the British authorities replaced Dogri with Urdu as the official language. This marked the decline of Dogri’s official status, especially after the fall of the Dogra dynasty. Nevertheless, Dogri’s cultural importance persisted through folk traditions and the efforts of the Dogra people(Excelsior,2020).
According to the 2011 Census, 25,96,767 people reported Dogri as their mother tongue. This represents about 0.21% of the Indian population. Despite its rich cultural legacy, Dogri ranks 18th out of the 22 scheduled languages in India based on the number of speaker (Brightbill et al., 2007c).
Duggar Folk Music and Dance Tradition :
Duggar folk dance and music reflects the rich heritage and cultural legacy of Duggar land. Surrounded by nature, Jammu has flourished with a vibrant and accomplished tradition of folk music and dance. Dogri folk remains indirectly connected to social life and retains its significance in various ceremonies. This music, governed by traditions and customs, has evolved over time, resulting in slight differences in the presentation of folk songs due to changing times and new influences. One of the traditional ways in which it is performed is through a group of artists whose main leader sings the song as well as dances while others are sitting as background singers and playing instruments.
A few popular Dogri songs include: “bihai” songs sung on a boy’s birth and “ghodi” songs performed by women as the bridegroom dons the ‘sehra’ during marriage ceremonies. Jagarna, one of the most popular dances of the Jammu region, which is seen even today, is performed by women when the men have gone to bring home the bride. During Jagarna, women tease each other, impersonate the men of the family, and indulge in giggling, joking, and dancing to the tunes of Boliyan and the Dholak in the early hours of the night. Beyond providing entertainment and personal time, Jagarna also serves as a conduit for passing wisdom from generation to generation. (Natrang Jammu, 2023)
Other folk traditions, like Kud, are performed to honour the Kul Devdas and Kul Devis, the local gods and goddesses. Each village or tribe has its own Kul Devta or Kul Devi, and these deities are celebrated through these folk practices. While folk lyrics, dance, and instruments are key components of Dogri culture, this rich tradition has been gradually fading over time.
The Evolution of Dogri Music:
Dogri music has evolved significantly over time, incorporating various modern elements while still retaining its cultural essence. The music now often features memorable and easy to sing along melodies that quickly resonate with listeners, making it accessible and enjoyable for a wide audience. There is a strong emphasis on production, with music being heavily produced to achieve a polished sound quality. The latest technology and studio techniques are utilized to create a vibrant and modern sound that appeals to contemporary tastes.
Influence from current trends in music, fashion, and culture is also evident, with Dogri music blending elements from different genres to craft a fresh and contemporary sound. The influence of Punjabi beats and themes is particularly noticeable in new Dogri songs, reflecting the impact of the Punjabi music industry in terms of themes, picturization, and melodies.
Challenges Facing Dogri Folk Music:
The knowledge of a culture, art and heritage is twined with the knowledge of mother language of a community. Recent estimates depict only 10 percent of the population in urban areas of Jammu is speaking Dogri and 90 percent of this 10 percent individuals are above the age of 40 years. It is estimated that by 2050 the numbers of individuals speaking Dogri in urban areas will be negligible and the language will gradually stop to exists in due course of time. Fortunately, the new generation is making efforts to revive and preserve the vibrant folk music of Duggar land. Surprisingly a new enthusiasm has resurged amongst sansthas, Sabhas, artists, poets, citizens and cultural academies regarding promotion of mother language Dogri. It has brought profound feeling of oneness. (Excelsior, 2024)
The influence of other cultures and languages has led to the disruption of Duggar folk traditions. The proud heritage of the Dogri language is under threat as people increasingly feel ashamed to use it. Many parents in the new generation are not teaching or continuing the use of Dogri, which is leading to its decline. As a result, the number of Dogri artists is decreasing due to the diminishing demand for Duggar folk music. Globalization has also played a significant role in the erosion of the mother tongue.
Traditional Duggar folk music is losing its identity and presence in the public sphere. Traditional folk instruments such as the flute, turri, nagoze, narsingha, kaihal, nagada, and thali-ghada have been replaced by harmoniums, guitars, violins, and sitars. However, social media has become a crucial platform for reviving and promoting Duggar culture. Young artists are increasingly using social media to promote Dogri language, producing new songs with high-quality audio and video, catchy themes, and engaging lines. This new approach primarily promotes the Dogri language rather than the traditional Dogri music setup, as it is adapted to meet contemporary audience needs.
Revival Efforts and Initiatives:
Padma Shri Awardee Romalo Ram: Championing the Revival of Dogri Folk Music Recently, Dogri artist Romalo Ram was honored with the Padma Shri award in the field of art for his efforts in reviving Dogri folk dance and songs, specifically “Geetru” and “Bhakh.” His recognition has become a ray of hope and inspiration for the revival of Dogri folk dance and music. Known as the real founder of the Dogri folk song Geetru, Ram began performing Dogri folk music in 1980-81 under the banner ‘Romalo Ram and Party’ by participating in local functions. His initiative, ‘Mission Maa Dogri,’ has revolutionized the Dogri folk scene and laid the foundation for the success of many young aspirants in the region, with over 150 students currently learning the traditional art under his guidance. Ram’s dedication to preserving and promoting Dogri culture is evident through his published works, including the book ‘Geetruyen Di Fouhar,’ and his contributions in cassettes, records, and articles featured in various newspapers. (Greater Kashmir, 2024)
Innovative Approaches: “Folk Studio Melodies” –
Natya Roots Production, a few years ago, introduced an innovative concept called “Folk Studio Melodies,” reminiscent of the popular “Coke Studio.” The primary aim of this initiative is to promote Dogri folk music by presenting it in a contemporary format. This unique fusion blend traditional instruments like the dholki and sarangi with modern instruments such as the guitar and drums. The concept was conceived and directed by Akash Dogra, with Sonali Dogra as the producer.
“Folk Studio Melodies” is featured on YouTube and serves as a platform to invite Dogri artists to perform. This initiative not only preserves the rich cultural heritage of Dogri music but also makes it accessible and appealing to a wider audience by integrating modern musical elements.
Dr. Priya Dutta, Head of Department [Music and Fine Arts, Jammu:
Dr Priya Dutta recently performed a classical recital featuring Dogri songs by the revered Parmanand Almast Ji and Padma Shree Padma Sachdev Ji. She believes that integrating Kathak dance with Dogri music can help popularize the language in every household. “To popularize anything, it’s essential to stay in touch with ongoing trends while not forgetting our roots. As we become more westernized, it’s crucial to preserve our heritage. A tree without roots is nothing,” she noted, emphasizing that preserving cultural heritage strengthens identity. Dr. Dutta highlighted that every individual has unique tools to save the language. “As a Kathak dancer, I use my art form to preserve our mother tongue. Singers can use their vocal talents, and others can leverage their respective skills to reach the masses.”
Dr Dutta also described how the three main regions of Jammu and Kashmir—Pahadhi (mountainous), Pathrila (where water is scarce), and Maidani (plains)—influence local dances. For instance, in Fumni, dancers use hand movements to depict flowers and incorporate prayers to protect themselves from wild insects. The natural influence of Punjab is evident in Dogri Gidda, like Punjabi Gidda, reflecting shared lifestyles and cultural practices. Dr. Dutta also expressed optimism about the youth’s role in promoting Dogri, noting that people are reconnecting with their roots. “There was a time when folk songs faced neglect, but now they are being preserved. The Dogri Sansthan is actively working towards this cause.”[Personal interview, July 2024]
Shubham Banerjee, Singer, Composer and Producer:
In contrast, Shubham Banerjee discussed the challenges he has encountered within the Dogri music scene. His debut in Dogri was marked by the song “Jaan Sha Pyara” from the Jammu Diary, a piece he both composed and sang. Despite having many opportunities, Shubham has often faced disappointment, with his contributions sometimes unacknowledged and credit taken by others. He highlighted the struggles of genuine artists in Jammu and Kashmir, where recognition is often elusive. According to Shubham, even artists who have achieved significant milestones, such as performing in Bollywood, frequently lack the support and promotion they deserve. This lack of recognition has led some artists to abandon their craft, while others persist solely out of passion for Dogri music.
Reflecting on his experience, Shubham observed that despite the high quality of his Dogri songs, which were often compared to Bollywood standards, he did not receive the necessary support. He lamented the absence of press coverage and the oversight of his synchronization during videography, describing such neglect as demotivating for an artist. Shubham also expressed admiration for the older generation of artists, whose work he believes remains unmatched despite the lack of social media to boost their popularity. “Old is gold,” he remarked, “The old artists sang so well that nobody can compete with them. Just because there was no social media back then, they didn’t get the hype.”
Both Dr Dutta and Shubham Banerjee agree on the importance of preserving Dogri music, though their experiences highlight different aspects of this journey. While Dr Dutta focuses on cultural integration and optimism for the future, Shubham draws attention to the challenges and disillusionment faced by contemporary artists. Despite these differences, they converge on the belief that the future of Dogri music lies in the hands of the youth, with their choices determining its preservation and growth. [Personal interview, June 2024]
Future Directions for Dogri Language and Culture
As we look ahead, strengthening the Dogri language and culture will require a multifaceted approach, with education at its core.
1.Incorporating Dogri into Curricula: Introducing Dogri as an optional language in school and college curricula can help early familiarity and interest among younger generations. Regional languages often thrive when children have structured exposure to them in educational settings, which would also increase Dogri’s visibility in mainstream academia.
2. Teacher Training and Resources: Providing specialized training for teachers in Dogri language and literature, along with well-curated resources, can enhance the quality of language education. Developing accessible Dogri textbook and digital resources will make learning Dogri more engaging and relevant for students.
3. Cultural Exchange Programs: Collaboration with institutions from other states and countries could bring Dogri culture to a wider audience. Cultural exchange programs that focus on Dogri music, dance, and literature would deepen appreciation for the language, especially among young enthusiasts and scholars.
4. Youth Engagement and Creative Arts: Engaging the youth through music, dance, theater, and multimedia projects in Dogri can breathe new life into the language. By integrating Dogri into creative arts and modern media, young people can experience and express their culture in ways that feel authentic and modern.
5. Community Events and Festivals: Hosting community events, such as Dogri literary festivals, language workshops, and cultural days, would not only celebrate the language but also inspire more people to learn it. Engaging local Dogri speakers and performers in such events could foster a stronger sense of community pride and participation.
By investing in these initiatives, the Dogri language can continue to grow, bridging traditional roots with modern advancements and becoming an integral part of educational and cultural landscapes in the years to come.
Conclusion:
Dogri language and culture are at a crucial turning point. Traditional elements like folk music and dance are fading, influenced by modern trends and other cultures. However, there is renewed enthusiasm among the younger generation and cultural organizations to revive and modernize Dogri music. Key figures such as Romalo Ram, who has been instrumental in promoting traditional Dogri folk music, and initiatives like “Folk Studio Melodies,” which blend traditional and modern instruments, play vital roles in this revival.
Despite these efforts, genuine Dogri artists still face significant challenges in gaining recognition and support. The influence of social media has created a platform for promoting Dogri culture but also poses challenges as true artistic talent can be overshadowed by the pursuit of entertainment.
The future of Dogri music and culture lies in the hands of the youth. Their decisions and actions will determine the preservation and growth of Dogri heritage. It is essential to maintain a balance between embracing modern influences and preserving traditional roots to ensure the continued vibrancy and relevance of Dogri culture. This balance will help keep the rich heritage of Dogri alive for future generations.
