House Of Bhangra
Satti, Daljit, Karandeep, Vivek
House Of Bhangra is a documentary which teaches the audience about how Bhangra has expanded in the past few years. It proves to be enteraing, educational and imforative.
In this documentary, we show how popular Bhangra has become. We start all the way back in the 1960's and show how it has become popular and expanded since then. We interview Channi Alaap, who was an Artist in the 1960's and 70's. He talks about when he first came to the U.K, how there was no-one listing to Bhangra music and he talks about how it has expanded in 40 years, from the past to present. He also talks about how it is going to increase in populairty in the future.
The documentary is authentic compared to other Bhangra documentaries. We stuck common documentary convetions in the film.
Overall, I enjoyed working in this Production, it was fun and educational at the same time.
Monday 25 June 2007
Tuesday 19 June 2007
Vivek Pun-House of Bhangra Film review
House Of Bhangra
Directors: Vivek Pun, Karandeep Dhunna, Daljit Dogra, Satvinder Garewal- 2007
House of Bhangra is a documentary which overall proves to be all entertaining, educating and informative for audiences who may view it. Combining a range of documentary techniques and methods of footage we were able to produce a unique and authentic documentary.
The short documentary follows in a chronological order , dating back to the 60’s and 70’s to today. This clearly hence exemplifies Bhangra’s development within the U.K. The documentary starts off with archive footage of Bhangra in the past and key factors that make up the genre even today, the documentary then follows onto a interview with highly successful and influential Bhangra artist Channi from Alaap and then leads to the finale which shows how exactly Bhangra did develop in the UK into the increasingly westernised popular genre it has now become. The interview in particular plays key significance and Channi, is a Bhangra artist that came from the past and still is highly effective in working with Bhangra even today. This enables him to view Bhangra from the past and view it today, enabling him to analyse it effectively and both praise and criticise it with great hindsight.
The documentary is highly authentic and unique in the fact that there are hardly any documentaries concerning the topic of Bhangra. This enabled us to be able to stick to ordinary and common documentary conventions and not have to worry about being unoriginal as the topic that was chosen itself is all original, unique and authentic. Hence we were able to effectively compile a range of archive and self-filmed footage to produce a hard-hitting, entertaining and well educating documentary about the Bhangra genre.
Interesting facts
. Satti pranked juggy D off his phone when we were planning to use him for an interview and juggy D phoned back and arranged for a place to beef him.
. A professional artist especially produced the beat in the introduction for the production.
Directors: Vivek Pun, Karandeep Dhunna, Daljit Dogra, Satvinder Garewal- 2007
House of Bhangra is a documentary which overall proves to be all entertaining, educating and informative for audiences who may view it. Combining a range of documentary techniques and methods of footage we were able to produce a unique and authentic documentary.
The short documentary follows in a chronological order , dating back to the 60’s and 70’s to today. This clearly hence exemplifies Bhangra’s development within the U.K. The documentary starts off with archive footage of Bhangra in the past and key factors that make up the genre even today, the documentary then follows onto a interview with highly successful and influential Bhangra artist Channi from Alaap and then leads to the finale which shows how exactly Bhangra did develop in the UK into the increasingly westernised popular genre it has now become. The interview in particular plays key significance and Channi, is a Bhangra artist that came from the past and still is highly effective in working with Bhangra even today. This enables him to view Bhangra from the past and view it today, enabling him to analyse it effectively and both praise and criticise it with great hindsight.
The documentary is highly authentic and unique in the fact that there are hardly any documentaries concerning the topic of Bhangra. This enabled us to be able to stick to ordinary and common documentary conventions and not have to worry about being unoriginal as the topic that was chosen itself is all original, unique and authentic. Hence we were able to effectively compile a range of archive and self-filmed footage to produce a hard-hitting, entertaining and well educating documentary about the Bhangra genre.
Interesting facts
. Satti pranked juggy D off his phone when we were planning to use him for an interview and juggy D phoned back and arranged for a place to beef him.
. A professional artist especially produced the beat in the introduction for the production.
review
House Of Bhangra
DALJIT // KARANDEEP // VIVEK // SATTI
DALJIT // KARANDEEP // VIVEK // SATTI
Interesting Facts:
The instrumental we had used for the introduction was made specially for the work by a producer.
The instrumental we had used for the introduction was made specially for the work by a producer.
Satti got drunk at my house when we was trying to edit.
Review:
House Of Bhangra is a documentry which shows how Bhangra has become extremely popular in the last couples of years,we show how Bhangra came into the Uk and the developed onto the mainstream couple of years ago and then we show how Bhangra is now in 2008.
We interviewed Channi Alaap who is been named the God Father of Bhangra, as he was the first person to bring it into the UK, he talked about how Bhangra has changed since back in the day and also what theres too look forward to in the future.
Our aim was too give it a quick fast effect, so we used fast cuts, and alot of montages, also we used beats that were lively with catchey rythms.
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Monday 7 May 2007
Vivek Pun- Final Progress Report
Well we've finally completed the production and we felt we worked well as a team and hopefully this will be reflected on our grades. The production was a lot harder to make then we initially thought it would be, but we're all glad its finally done, because it was both something interesting and very educating for all of us. We finished it off a few days later then most off the other groups due to not finding the right voiceover, but we managed to get someone and we felt their voice fitted well with what was being shown on screen. I think everyone in the group would agree that we would do quite a few things differently to improve the production if we could do it again, but i still think the production is of a high standard and worthy of a good grade.
Vivek Pun- Practical Production Evaluation
For my Practical production I worked in a group of four to produce a documentary entitled “ The House Of Bhangra”. The metaphor “House of Bhangra” was put into effect as it instantly connotes to the Target audience, that the Documentary is solely going to be based on Bhangra as a genre, hence instantly conveying to the audience the documentaries narrative. The documentaries aim is to show how Bhangra has developed in the U.K over the years and how it has both changed and maintained its traditional values over the years, rooting back to Punjab, India.
Prior to making the documentary, we had all decided that every aspect of producing it would be equally shared amongst all the members. However we found whilst working on the production this was not always possible, as some people were unable to join other members of the group whilst filming our footage or editing it. I had felt that the group found filming the footage for the documentary just as hard as it was to edit the production. The reason for this is because we often found it hard to capture footage, as the majority of the time we had to work around people as oppose to work when it was convenient for us. For example whilst conducting interviews certain interviews had to be cancelled due to the fact that certain Bhangra Artists were unreliable, hence making it very difficult for us to gain the desired amount of footage. We also struggled to get footage of Bhangra gigs as we had to film in a somewhat lively environment, in order to make Bhangra appear in the popular manner we desired it to. We had however managed to get hold of enough footage, but it did take a lot longer then the group members had expected and this made us realise, the topic we had chosen was not going to be as easy to work on as we initially thought. We also managed to make use of archive footage that we had managed to research, hence conforming to another documentary convention.
From our studies in Module 2 the group took a great deal of influence and Inspiration from Michael Moore’s Bowling for Columbine and our brief outlook on Dziga Vertov’s Documentary “ The man with a movie camera”. In particular we had taken a great look on both Documentaries use of Montage sequences, and we had chosen to add Montage sequences in particular to the opening of the documentary. We chose to do so as we could convey a narrative by adding a various amount of shots quickly placed one after the other at a quick pace without the need to go into detail or explain them. This hence makes it easy for the audience to identify that through the montages used in the opening the audience is enjoying Bhangra’s lively vibrations hence furthermore commending Bhangra as genre. This also enabled us to “cut a long story short”, as through the montage sequences in the opening we were able to convey what we had wished to but still keep the documentary within the desired time limit. We also took great influence from a Gurinder Chadha Documentary, entitled “ I am British But”. The 1989 Documentary was her first piece of work and as we aimed to do the Documentary was both “short and sweet”. The documentary was about Bhangra, and how it has developed in the U.K. The documentary was also of even higher relevance as it aimed to attract the same Target Audience as us (Young Indians). This Documentary was also very effective in providing us ideas as it included many key conventions that we attempted to apply such as Montage sequences and Vox pops. We also made use of a Linear narrative following all events in a chronological order and in a sequence as did “Im British But”.The documentary also provided us with an idea of where to film and we did initially begin filming at one of the places where she filmed for her documentary (Southall Broadway).
The group also decided to make use of on screen subtitles whilst conducting the primary interview with Channi from Alaap as oppose to using the interviewee’s voice. Despite this not being something that is commonly used in documentaries we felt this was very effective as we felt that the key attention was not to be focused on us, but what the primary audience is required to be shown on screen. Hence it could be said we were merely background characters in the documentary, and though we were involved in the production off it we were not shown on screen, hence conforming to the Documentary Mode “Fly on the wall”.
The group decided to choose Channel 4 as the institution for our Documentary as it is a commercial broadcaster and hence focuses more on the entertaining aspect of what it airs. Though we also aim to educate and inform our audience through the documentary, it was clear that due to the fact the documentary was regarding music, the documentary was bound to contain a more entertaining essence to it as oppose to Educating and informing. We also felt by choosing Channel 4 we were able to target a specific audience as Channel 4 shows usually do. Though we know that the Target audience (young Indians) were already highly likely to know about the genre, we were highly aware that they are highly more likely to view the show, as oppose to our secondary Audience (White and other ethnicities), as they were more likely to be attracted to it and pay greater interest. The group however did think about choosing the BBC as the institution for our documentary, however we did realise that the Documentary isn’t the type to be aired on a Public Service Broadcaster as it doesn’t intend to cater to all types of Audiences needs.
Therefore we felt our documentary was successful in entertaining, educating and informing our audience as we conformed to a range of documentary conventions and applied the use of key concepts into our production. The Documentary aimed to break certain stereotypes about Bhangra and reinforce others, and the group did feel we had done so. We also felt our documentary included authenticity aswell as originality and we didn’t attempt to imitate any other films hence conforming to Michael Rabiger’s thoughts that “Films that succeed—fiction and documentary—do not imitate other films.”
Prior to making the documentary, we had all decided that every aspect of producing it would be equally shared amongst all the members. However we found whilst working on the production this was not always possible, as some people were unable to join other members of the group whilst filming our footage or editing it. I had felt that the group found filming the footage for the documentary just as hard as it was to edit the production. The reason for this is because we often found it hard to capture footage, as the majority of the time we had to work around people as oppose to work when it was convenient for us. For example whilst conducting interviews certain interviews had to be cancelled due to the fact that certain Bhangra Artists were unreliable, hence making it very difficult for us to gain the desired amount of footage. We also struggled to get footage of Bhangra gigs as we had to film in a somewhat lively environment, in order to make Bhangra appear in the popular manner we desired it to. We had however managed to get hold of enough footage, but it did take a lot longer then the group members had expected and this made us realise, the topic we had chosen was not going to be as easy to work on as we initially thought. We also managed to make use of archive footage that we had managed to research, hence conforming to another documentary convention.
From our studies in Module 2 the group took a great deal of influence and Inspiration from Michael Moore’s Bowling for Columbine and our brief outlook on Dziga Vertov’s Documentary “ The man with a movie camera”. In particular we had taken a great look on both Documentaries use of Montage sequences, and we had chosen to add Montage sequences in particular to the opening of the documentary. We chose to do so as we could convey a narrative by adding a various amount of shots quickly placed one after the other at a quick pace without the need to go into detail or explain them. This hence makes it easy for the audience to identify that through the montages used in the opening the audience is enjoying Bhangra’s lively vibrations hence furthermore commending Bhangra as genre. This also enabled us to “cut a long story short”, as through the montage sequences in the opening we were able to convey what we had wished to but still keep the documentary within the desired time limit. We also took great influence from a Gurinder Chadha Documentary, entitled “ I am British But”. The 1989 Documentary was her first piece of work and as we aimed to do the Documentary was both “short and sweet”. The documentary was about Bhangra, and how it has developed in the U.K. The documentary was also of even higher relevance as it aimed to attract the same Target Audience as us (Young Indians). This Documentary was also very effective in providing us ideas as it included many key conventions that we attempted to apply such as Montage sequences and Vox pops. We also made use of a Linear narrative following all events in a chronological order and in a sequence as did “Im British But”.The documentary also provided us with an idea of where to film and we did initially begin filming at one of the places where she filmed for her documentary (Southall Broadway).
The group also decided to make use of on screen subtitles whilst conducting the primary interview with Channi from Alaap as oppose to using the interviewee’s voice. Despite this not being something that is commonly used in documentaries we felt this was very effective as we felt that the key attention was not to be focused on us, but what the primary audience is required to be shown on screen. Hence it could be said we were merely background characters in the documentary, and though we were involved in the production off it we were not shown on screen, hence conforming to the Documentary Mode “Fly on the wall”.
The group decided to choose Channel 4 as the institution for our Documentary as it is a commercial broadcaster and hence focuses more on the entertaining aspect of what it airs. Though we also aim to educate and inform our audience through the documentary, it was clear that due to the fact the documentary was regarding music, the documentary was bound to contain a more entertaining essence to it as oppose to Educating and informing. We also felt by choosing Channel 4 we were able to target a specific audience as Channel 4 shows usually do. Though we know that the Target audience (young Indians) were already highly likely to know about the genre, we were highly aware that they are highly more likely to view the show, as oppose to our secondary Audience (White and other ethnicities), as they were more likely to be attracted to it and pay greater interest. The group however did think about choosing the BBC as the institution for our documentary, however we did realise that the Documentary isn’t the type to be aired on a Public Service Broadcaster as it doesn’t intend to cater to all types of Audiences needs.
Therefore we felt our documentary was successful in entertaining, educating and informing our audience as we conformed to a range of documentary conventions and applied the use of key concepts into our production. The Documentary aimed to break certain stereotypes about Bhangra and reinforce others, and the group did feel we had done so. We also felt our documentary included authenticity aswell as originality and we didn’t attempt to imitate any other films hence conforming to Michael Rabiger’s thoughts that “Films that succeed—fiction and documentary—do not imitate other films.”
Sunday 6 May 2007
FINAL progress report
Wellllllllll, we have completed our production.....it has beeen a very long process but i am glad to say it was a very interesting one as well we all there where many ups and downs to our production but it seems to have worked well. Alot of time and effort went into my pratical production and it has seemed to have payed of as i now belivive the effort will be accounted for by the result of my grade which i am hopeing will be somewaht a good standard. we struggled with the voiceover not realy gettiing the rite person for the job but we still believe that we have done well as we had found an indiividual and hope that he has made a diffrence.
Alll in alll i believe that we have done a good job of the production and are expectations of a good grade should be met by our actual grades. Karandeep
Alll in alll i believe that we have done a good job of the production and are expectations of a good grade should be met by our actual grades. Karandeep
Evaluation-karandeep
Practical Production Evaluation- House of Bhangra
For my practical production, I worked in a group of four and aimed to produce a cultural documentary called ‘House of Bhangra’. House of Bhangra is a cultural documentary that aims to inform its audience about the Indian music genre ‘Bhangra’. The documentary captures Bhangra from when it was first encountered in the U.K and how it has developed through the years showing the changes the music genre has gone through and how it is progressing now. There is a sense of comparison between the authentic parts of the genre progressing to the present path taken by the music genre. To make the documentary a success we identified that the title had to hold a vital relationship with the documentary if we where to get our target audience to watch this documentary. The chosen title as you are aware was ‘House of Bhangra’ the word House gave the title a more welcoming feel to the documentary as well as giving conations to a documentary based on Bhangra, the word Bhangra was chosen to give the audience a identification of what the documentary will b be based on.
In the planning stages of our practical production, we decided no to assign individual roles and responsibilities as we could share more wider input to the maximum as well as do each task with the input from four people rather that one or two, we where also all very egger to take part in all processing that was to be carried out. We all put in a vast amount of time in our production but it became obvious that our strengths where only used in some occasions as we where not all free to record/edit at the same time. Our strength in producing our documentary was clearly editing since our enthusiasm lied most with this aspect, as we edited our production at home making it easier to gather all group members to edit together more frequently. We where strong as we had covered all necessary documentaries related to ours to bring up a suitable narrative structure to our documentary.
After studying Bowling for columbine in module 2, we gained many profound impacts which where ideal to our documentary. The use of fly on the wall was very helpful as it gave an overall insight to our gigs included in our footage. Similarly using contrapuntal non-diegetic sound in our interviews was very successful because as the dialogue is progressing images of what is being said by the interviewee are shown through cut shots this gave the audience a clearer view of what was being said by the individual as some parts of the documentary may not be understandable by our secondary target audience. We used an original music track made by one of our group members as an intro to the documentary as it created a fast paste feeling to the documentary and the music genre. The use of mise en scene is significant in this montage where parties are shown in various clubs, to show the popularity of the music genre and build a comparison for when you start watching the documentary from the earl ages.
The opening of our documentary is a montage glamorising the idealistic view of the music genre as present today. We anchored all our images with the use of a typical Bhangra paste music beat in the background as we play our opening scene the effect of this is that it would give our secondary audience an idea of what the genre sounds like. Furthermore, we used continuous dissolves during the montage to construct a smooth effect, which in reality was used to enhance the superficial of what was being shown. To contrast the montage effectively the scene slow dissolve from the opening to the old fashioned theme of Bhangra, which begins in Punjab. Here it is obvious that the montage is shown as a comparison between the two different scenes. We thought it would be a smart idea if our documentary followed a chronological order, as it would help the viewers understand our documentary better and help build comparison between the both later in the documentary.
The documentary then goes on to use a range of shots throughout the documentary to convey our intentions and the type of values we are trying to promote. For, example the disequilibrium in our linear narrative is emphasised by cinema verte style footage, which means real footage as we mediated our documentary to show authentic scenes to give the documentary a realistic approach to its audience.
We then chose to use todrovs narrative structure and Rabigar as the two sides of new and old Bhangra is compared in the documentary to show two oppositions throughout the documentary. We also chose to use an interview in our documentary of a familiar face to the Bhangra audience as the interviewee was the part of the first ever Bhangra to ever sing in England. The use of this interview gives the opinion of his views on the new faze of Bhangra and shows a more authentic view of the genre which was used to build comparison between the old and new fazes of Bhangra. The use of the famous artist gave the documentary a more professional affect as well as giving our first target audience the option to familiarising with the singer.
After showing the authentic side of the documentary we then go on to show the more modern and present side of Bhangra to build a comparison to our audience. This part of the documentary begins with a montage of the present Bhangra to show how the genre has progressed and to build friction between both sides of the genre. We also included vox pops as it was necessary for us to show views of the music genre present through the views of someone in that faze this gave the audience an opinion through the eyes of someone else into the music genre.
House of Bhangra will be shown on a typical commercial channel, which can relate to show such documtaries such as Channel 4 as they take interest in such documtaries, which means they may contain our target audience as viewers of such channels.
In conclusion, House of Bhangra shows its purpose of educating and informing its target audience as well as entertaining them through the vast amounts of footage and comparison. The documentary explores the music genre in many ways showing all sides of the argument as well as implementing one by the use of mediation.
For my practical production, I worked in a group of four and aimed to produce a cultural documentary called ‘House of Bhangra’. House of Bhangra is a cultural documentary that aims to inform its audience about the Indian music genre ‘Bhangra’. The documentary captures Bhangra from when it was first encountered in the U.K and how it has developed through the years showing the changes the music genre has gone through and how it is progressing now. There is a sense of comparison between the authentic parts of the genre progressing to the present path taken by the music genre. To make the documentary a success we identified that the title had to hold a vital relationship with the documentary if we where to get our target audience to watch this documentary. The chosen title as you are aware was ‘House of Bhangra’ the word House gave the title a more welcoming feel to the documentary as well as giving conations to a documentary based on Bhangra, the word Bhangra was chosen to give the audience a identification of what the documentary will b be based on.
In the planning stages of our practical production, we decided no to assign individual roles and responsibilities as we could share more wider input to the maximum as well as do each task with the input from four people rather that one or two, we where also all very egger to take part in all processing that was to be carried out. We all put in a vast amount of time in our production but it became obvious that our strengths where only used in some occasions as we where not all free to record/edit at the same time. Our strength in producing our documentary was clearly editing since our enthusiasm lied most with this aspect, as we edited our production at home making it easier to gather all group members to edit together more frequently. We where strong as we had covered all necessary documentaries related to ours to bring up a suitable narrative structure to our documentary.
After studying Bowling for columbine in module 2, we gained many profound impacts which where ideal to our documentary. The use of fly on the wall was very helpful as it gave an overall insight to our gigs included in our footage. Similarly using contrapuntal non-diegetic sound in our interviews was very successful because as the dialogue is progressing images of what is being said by the interviewee are shown through cut shots this gave the audience a clearer view of what was being said by the individual as some parts of the documentary may not be understandable by our secondary target audience. We used an original music track made by one of our group members as an intro to the documentary as it created a fast paste feeling to the documentary and the music genre. The use of mise en scene is significant in this montage where parties are shown in various clubs, to show the popularity of the music genre and build a comparison for when you start watching the documentary from the earl ages.
The opening of our documentary is a montage glamorising the idealistic view of the music genre as present today. We anchored all our images with the use of a typical Bhangra paste music beat in the background as we play our opening scene the effect of this is that it would give our secondary audience an idea of what the genre sounds like. Furthermore, we used continuous dissolves during the montage to construct a smooth effect, which in reality was used to enhance the superficial of what was being shown. To contrast the montage effectively the scene slow dissolve from the opening to the old fashioned theme of Bhangra, which begins in Punjab. Here it is obvious that the montage is shown as a comparison between the two different scenes. We thought it would be a smart idea if our documentary followed a chronological order, as it would help the viewers understand our documentary better and help build comparison between the both later in the documentary.
The documentary then goes on to use a range of shots throughout the documentary to convey our intentions and the type of values we are trying to promote. For, example the disequilibrium in our linear narrative is emphasised by cinema verte style footage, which means real footage as we mediated our documentary to show authentic scenes to give the documentary a realistic approach to its audience.
We then chose to use todrovs narrative structure and Rabigar as the two sides of new and old Bhangra is compared in the documentary to show two oppositions throughout the documentary. We also chose to use an interview in our documentary of a familiar face to the Bhangra audience as the interviewee was the part of the first ever Bhangra to ever sing in England. The use of this interview gives the opinion of his views on the new faze of Bhangra and shows a more authentic view of the genre which was used to build comparison between the old and new fazes of Bhangra. The use of the famous artist gave the documentary a more professional affect as well as giving our first target audience the option to familiarising with the singer.
After showing the authentic side of the documentary we then go on to show the more modern and present side of Bhangra to build a comparison to our audience. This part of the documentary begins with a montage of the present Bhangra to show how the genre has progressed and to build friction between both sides of the genre. We also included vox pops as it was necessary for us to show views of the music genre present through the views of someone in that faze this gave the audience an opinion through the eyes of someone else into the music genre.
House of Bhangra will be shown on a typical commercial channel, which can relate to show such documtaries such as Channel 4 as they take interest in such documtaries, which means they may contain our target audience as viewers of such channels.
In conclusion, House of Bhangra shows its purpose of educating and informing its target audience as well as entertaining them through the vast amounts of footage and comparison. The documentary explores the music genre in many ways showing all sides of the argument as well as implementing one by the use of mediation.
Monday 26 March 2007
progress report (19th March)
this week we have continude with our editing and a have finished caputering all our data in the correct way and will hopefully put all the caputered data together in this week and hopefully complete editing.
KARANDEEp
KARANDEEp
Monday 19 March 2007
progress report
this week has been a very sucessful week as our final intro has been edited and ready to use on our documentary. the diting has been going well and we have now started to edit the main footage that is to entertain our audience. we have used many difreent edits to keep our audince entertained and hope it will be achieved at a high level as we have carefully edited our work making sure it is not to much but not to less as it is important to edit our documentary to follow our ideolgy as documentarys are usually constructed to follow one ideolgy .karandeep
Sunday 18 March 2007
Self Evaluation
*Attainment- 3
I feel my attainment has not been up to its best stanards
*Effort-3
I also feel ma effort has not been upto my best standards either
*Punctuality-1
I feel as though my puncyuality is excellent
*Submission Of Homework-2
I've been handing in all my homework, but sometimes its not to the best standards
*Ability To Work Independently-2
I feel as though I can work good independently
*Quality Of Writing-3
Sometyms rushed and not that good, but I can improve on tht
*Organisation Of Media Folder-1
I have organised my media folder, very well and it's all orgainised and in place
*Oral contribution to the class-4
*Quality Of Coursework-2
It's going good, we just need to work more on it
*Standard Of Moduel 3 Blog(Year 12's Only)-2
*What to improve on- Writing and
Homework
Satti
I feel my attainment has not been up to its best stanards
*Effort-3
I also feel ma effort has not been upto my best standards either
*Punctuality-1
I feel as though my puncyuality is excellent
*Submission Of Homework-2
I've been handing in all my homework, but sometimes its not to the best standards
*Ability To Work Independently-2
I feel as though I can work good independently
*Quality Of Writing-3
Sometyms rushed and not that good, but I can improve on tht
*Organisation Of Media Folder-1
I have organised my media folder, very well and it's all orgainised and in place
*Oral contribution to the class-4
*Quality Of Coursework-2
It's going good, we just need to work more on it
*Standard Of Moduel 3 Blog(Year 12's Only)-2
*What to improve on- Writing and
Homework
Satti
Progress Report
Over the last week, we have just been editing and I've been organising my media folder.
12/3/07-19/3/07
Satti
12/3/07-19/3/07
Satti
Saturday 17 March 2007
*Self Evaluation*
*Attainment= 2
I am very well attained lol
*Effort= 2
Recently ive been putting in alot of effort with the practical production to get it all done to a very high standard n that
*Punctuality= 1
Punctual to the max
*Submission and quality of homework= 2
Its aswell there unless i have a very good valid excuse lol
*Ability to work independently=1
I can work inderpendatly find it easier to work bcoz i dont have someone disagreeing with something i want.
*Quality of writing= 3
Abit rusty but nothing that i cant fix up on
*Organisation of Media folder=2
Most of its up2date in the right order i think
*Oral contributions in class=3
Only when im asked
*Quality of coursework= 2
Its looking aite at the moment but need to put some more time into it
*Standard of Module 3 blog (Year 12s only)= 2
Yeah its live, hitler the gangster BIG UP and the editing is lookin aite and its fun
*what to improve on:
1. writing
2. quality of homework
DALJIT
PAWAGWANNNNNN ROADSHOWW
I am very well attained lol
*Effort= 2
Recently ive been putting in alot of effort with the practical production to get it all done to a very high standard n that
*Punctuality= 1
Punctual to the max
*Submission and quality of homework= 2
Its aswell there unless i have a very good valid excuse lol
*Ability to work independently=1
I can work inderpendatly find it easier to work bcoz i dont have someone disagreeing with something i want.
*Quality of writing= 3
Abit rusty but nothing that i cant fix up on
*Organisation of Media folder=2
Most of its up2date in the right order i think
*Oral contributions in class=3
Only when im asked
*Quality of coursework= 2
Its looking aite at the moment but need to put some more time into it
*Standard of Module 3 blog (Year 12s only)= 2
Yeah its live, hitler the gangster BIG UP and the editing is lookin aite and its fun
*what to improve on:
1. writing
2. quality of homework
DALJIT
PAWAGWANNNNNN ROADSHOWW
Sunday 11 March 2007
Vivek Pun- Progress Report
This week we've captured most of our footage and managed to get the additional footage of a lively gig we required to complete all filming. We've been attempting to sort out the opening and introduction of the documentary and we've tried out a few ideas. We also managed to get a few more interviews done this week, with the primary and secondary audience in order to make us aware how much both audiences know about the genre aswell as make it more relevant to them when the productions completed. So for the next 3 weeks now it's all solid editing.
Progress Report
Over the last week, we have finidhed of interviews with artists and we have been editing and we hope to carry that on through out the rest of the week.
12/3/06-19/3/06
SATTI
12/3/06-19/3/06
SATTI
Tuesday 6 March 2007
PROGRESS REPORT- WWW.PARAGONROADSHOW.COM
HELLO THERE,
IN THE LAST WEEK OR SO WE HAVE COMPLETED OUR INTERVIEWS WITH THE FAMOUS ARTISTS AND ALSO CAPTURED OUR FOOTAGE ONTO THE COMPUTOR AND ALSO STARTED 2 EDIT THE INTRO OF OUR PRODUCTION (TOOO BAD) FOOTAGE AINT FULLY COMPLETE YET WILL B DONE BY SATURDAY 01:00.
BUB BYEEE
DALJIT
PAWAGWANNNNNNNNNN
IN THE LAST WEEK OR SO WE HAVE COMPLETED OUR INTERVIEWS WITH THE FAMOUS ARTISTS AND ALSO CAPTURED OUR FOOTAGE ONTO THE COMPUTOR AND ALSO STARTED 2 EDIT THE INTRO OF OUR PRODUCTION (TOOO BAD) FOOTAGE AINT FULLY COMPLETE YET WILL B DONE BY SATURDAY 01:00.
BUB BYEEE
DALJIT
PAWAGWANNNNNNNNNN
Thursday 22 February 2007
PROGRESS REPORT!
WE HAVE GOT HOLD OF ALAAP, HEERA AND BAHARA PUNJAB DIYAN FOR INTERVIEWS! THE ORIGINAL GODFATHERS OF BHANGRA MUSIC... SPANNING DECADES WITH THEIR GOLDEN VOICES AND DANCE MOVES..THEY ARE GONNA TELL US WHAT THEY THINK OF THE BHANGRA INDUSTRY NOW AND HOW ITS CHANGED SINCE THE 70's IN THE UK . . . NOT 2 MENTION THE HOUSE OF BHANGRA LIVE SESSIONS!
BAHARA PUNJABI DIYAN ON FRIDAY!
ALAAP ON SATURDAY!
HEERA ON SATURDAY!
DALJIT!
PAWAGWANNNNNNNNNN
BAHARA PUNJABI DIYAN ON FRIDAY!
ALAAP ON SATURDAY!
HEERA ON SATURDAY!
DALJIT!
PAWAGWANNNNNNNNNN
Wednesday 21 February 2007
Vivek Pun- Progress Report
This week we have gotten the most amount of work done so far. Myself and Daljit went to Des Pardes publishing co. and managed to get contact details for Heera, Channi from Alap, and Bahara Panjab diyan. All of the artists listed above have been confirmed for interviews, and the misce-en-scene being used is perfect, as we will be interviewing all of the artists in their studios. Due to the artists confirmed we definetely have a high amount of information regarding the history of Bhangra. We also aim to definetely get hold of 1 or 2 more modern Bhangra artists along with DJ H to include in our documentary which we aim to complete for this week. Me and Daljit have already made a draft of the questions we will be using for the interviews and all the answers will provide the audience with a high amount of information regarding the history of Bhangra. Daljit, myself and Karandeep will be conducting the interviews throughout the week, and we also will attempt to get into contact with artists to arrange even more interviews to add to the documentary. We will also be interviewing normal Indians about Bhangra, and also our secondary audience the white middle class as we aim to see how much they know about the Genre.
Tuesday 20 February 2007
RESEARCH!
BHANGRA IN DA UK!
AND NOW!
Bhangra is an icon of Punjabi culture in the UK. With the emergence of so many talented Bhangra artists, integrating Bhangra folk songs and musical instruments with Western music, enthusiasm for Bhangra has developed to become an important part of mainstream music and the UK’s arts industry.
London and Birmingham are the hubs of UK Bhangra and home to some of the best bands.
London and Birmingham are the hubs of UK Bhangra and home to some of the best bands.
BACK IN THE DAYS!
Bhangra was introduced to the UK in the early 1970s with the migration of many Punjabi singers. It created an entirely new stage for the performance of Bhangra music but it was only when bands such as Heera and Alapp fused Bhangra beats with Western music in the 80s that the music took off and the groups had hits throughout the 80s and 90s.
Heera, Alaap, and DCS were some of the pioneer bands of Bhangra music in the UK, successfully combining Western drums and synthesisers with traditional Punjabi instruments.
Heera, Alaap, and DCS were some of the pioneer bands of Bhangra music in the UK, successfully combining Western drums and synthesisers with traditional Punjabi instruments.
Heera, Alaap, and DCS were some of the pioneer bands of Bhangra music in the UK, successfully combining Western drums and synthesisers with traditional Punjabi instruments.
In 1990's Golden Star Malkit Singh took the Bhangra world by storm early on in its career, with music, lyrics and singing that added a unique element to Punjabi music and ushered in a new era for Bhangra sounds in the UK. Malkit’s album Tutak Tutak Tutyian made record sales all over the world.
Subsequently, many singers including A.S. Kang and Balwinder Safri produced brilliant Bhangra music in the UK to move the Bhangra industry forward.
The regular visits to the UK from India of Bhangra legends Kuldeep Manak, Evergreen Gurdas Maan, Hans Raj Hans etc. have not only helped to keep the Bhangra tradition alive but have also enabled the music to flourish and make a real impact on the UK charts.
AND NOW!
In the UK, there are many Bhangra bands and producers who have succeeded in raising the profile of Bhangra music in the pop industry. Punjabi MC, Sukshinder Shinda, Jazzy B (Canada based), Malkit Singh, B21, are some of the multi-talented music producers and singers, who have electrified the genre by producing new sounds. Others, such as Bally Sagoo, Rishi Rich, DJ Sanj and RDB have fused Bhangra and Western music to make crossover music, which is becoming increasingly popular in the UK charts. Mundeya to Bach ke Rahi (Beware of Boys), by Punjabi MC, stayed in the charts for many weeks, and introduced contemporary and world musicians to Bhangra music.
Some new bands, however, have been criticised for fusing folk tunes with Western beats. Although this trend can be seen as good news for the longevity of folk in the industry, it has led to accusations of plagiarism on the part of the music producers, with musicians remixing old songs rather than producing new sounds. It is precisely this remixing, however, which has caused the astounding rise in popularity of Bhangra music within the UK.
The only worry for Bhangra music as it stands at present is the lack of new song writing in the UK: either old folk songs are being re-mixed, or new songs are being recorded to remixed folk tunes. There are two schools of thought: one believes in keeping Bhangra music in its real and authentic form in order to keep its traditional and folk roots alive; the second supports the influence of Western music and the fusion of the two genres. Both approaches have their advantages, but it is hoped that music appealing to lovers of both styles will continue to be produced.
DALJIT!
PAWAGWANNNNNNNNNN!!
Monday 19 February 2007
progress report
This week we have recorded more footage on bhnagra party's which will hopefully be used in our documentary as it will be necassary to show examples of the bhnagra genre and how it is being used in the present, as well as the past by showing footage of the more dated aspect of bhangra in the earlt begginig of the genre in britain. Karandeep(jatt)
Friday 16 February 2007
Test Screening Feedback
Media Language (A-E)-According to the Test screen feedbacks on average for Media language so far we on a C.
Conventions (A-E)-According to the Test screen feedbacks on average we are on C for use of Conventions.
Creativity (A-E)-According to the Test screen feedbacks on average for creativity we are on a D.
Attention to Detail (A-E)-According to the Test screen feedbacks on average we are on a D for Attention to Detail.
Technical Proficiency (A-E)-According to the Test screen feedbacks on average for Technical profiency we are on a D.
Positive Comments:
Cinematography – People commented saying we made a good use of high and low angle shots whilst filming at the gig in particular.
Mise en scene – On the feedback sheets people commented the place where the gig was filmed was a good location but we failed to cover a more lively audience
Lighting – The lighting used whilst interviewing "DJ H" was very good.
Sound – Popular Bhangra music used which was filmed at the gig, which means a more western audience are more likely to recognise them.
Criticism:
Cinematography – Camera not stable whilst filing no tripod used and too many zooms making it look amateur.
Mise en scene – audience at the gig not live enough, not emphasising Bhangra's popularity.
Lighting – Lightings too dark in some bits making it difficult to see clearly.
Sound – difficult to hear whilst doing the interview with DJ-H despite the good questions and highly relevant answers.
What else would you like to see in this production?
People would like to see more professional looking filming i.e. more use of the tripod given to us e.t.c. People would also like to see the clarity of the sound improve and would also like to see different types of shots applied.They would also like to see a range of things relating to the history of the genre.
What would you like to see for the postproduction editing?
People think we should use Voice overs, and film a greater range of gigs with highly lively crowds to emphasise Bhangra's popularity.
Conventions (A-E)-According to the Test screen feedbacks on average we are on C for use of Conventions.
Creativity (A-E)-According to the Test screen feedbacks on average for creativity we are on a D.
Attention to Detail (A-E)-According to the Test screen feedbacks on average we are on a D for Attention to Detail.
Technical Proficiency (A-E)-According to the Test screen feedbacks on average for Technical profiency we are on a D.
Positive Comments:
Cinematography – People commented saying we made a good use of high and low angle shots whilst filming at the gig in particular.
Mise en scene – On the feedback sheets people commented the place where the gig was filmed was a good location but we failed to cover a more lively audience
Lighting – The lighting used whilst interviewing "DJ H" was very good.
Sound – Popular Bhangra music used which was filmed at the gig, which means a more western audience are more likely to recognise them.
Criticism:
Cinematography – Camera not stable whilst filing no tripod used and too many zooms making it look amateur.
Mise en scene – audience at the gig not live enough, not emphasising Bhangra's popularity.
Lighting – Lightings too dark in some bits making it difficult to see clearly.
Sound – difficult to hear whilst doing the interview with DJ-H despite the good questions and highly relevant answers.
What else would you like to see in this production?
People would like to see more professional looking filming i.e. more use of the tripod given to us e.t.c. People would also like to see the clarity of the sound improve and would also like to see different types of shots applied.They would also like to see a range of things relating to the history of the genre.
What would you like to see for the postproduction editing?
People think we should use Voice overs, and film a greater range of gigs with highly lively crowds to emphasise Bhangra's popularity.
GREAT NEWS!
hey everybody just to let you know ive just had a baby boy so i wont be able to help the group for a while, heres a picture of him
see you soon
Satvinder A.K.A Satti
Monday 12 February 2007
Blog Comments
1. Wat do u think of our blog?
Wat do u particularly like about it? Wat's especially impressive?
Wat cud b improved? Wat's missing or cud b added?
2. Based on wat you've read on the blog (nd maybe seen in test screenings in class) what suggestions do you have regarding what we culd do 2 make our Practical Production really successful?
What other things could we include in the production?
How should we go about filming any remaining scenes or editing the footage during post-production (+ suggestions for music, etc.)??
Wat do u particularly like about it? Wat's especially impressive?
Wat cud b improved? Wat's missing or cud b added?
2. Based on wat you've read on the blog (nd maybe seen in test screenings in class) what suggestions do you have regarding what we culd do 2 make our Practical Production really successful?
What other things could we include in the production?
How should we go about filming any remaining scenes or editing the footage during post-production (+ suggestions for music, etc.)??
Vivek Pun- Progress Report
So far i have completed a high amount of research and analysed a range of media texts relating to our documentary. I have also aided the group in filming footage that we can use in our opening scene to combine a range of Montage sequences. For example we went to Southall Broadway and filmed a range of things such as instruments and shops which are either key to the Genre, or in the cases of the shops highly influential in the development of Bhangra as a Westernised music genre.We also got footage of someone playing the dhol which is a Key drum in the Bhangra Genre providing the beat almost all the time, and we also filmed someone playing the Tumbi which is a stringed instrument also highly used in many Bhangra tracks. Along with the group i have also planned what we are going to be filming throughout the course of the week and we have also started to discuss and plan in detail how everything will be edited and put together. For example this week we will be interviewing our secondary audience the white middle and working classes to ask them what they know about the Bhangra Genre and their views on its development as a Westernised Genre.I also along with Daljit will be going to one of the gigs on tuesday or friday to get some footage of a lively audience and potential interviews with artists. Our group will also get an interview with a well known Mc in the Paragon Roadshow Gurpz(g-Man) who is an example of the collaboration of bhangra with a western genre (Drum and bass)
Sunday 11 February 2007
detailed progresss report
so far, we have most of our shooting footage such as, interview with a famous bhangra artist(DJ H) and footage on instruments used in the typical bhangra song as well as this we have footage of a bhangra gig(we have tooken various angle shots to use in our production). we have also record basic footage of the indian genre in Southall heart of bhngra music in england. we need to do more filming at people of diffrent backgrounds and get a view from their point of view, tis filming will hopefully happen by the end of this week. We also have yet to record more footage of bhangra fans and ask for their opinoins and ask verios questioins to a mass amount of people. All necassary footage will hopefully be completed by next week therefore we can start editing our recorded footage by next week.
Kaarandeep(jatt)
Kaarandeep(jatt)
Progress report
We went to southall and got somebody to play the tumbi which is a famous instrument which is played in most of the bhangra tunes out there and we got some filming done on the 9th feb at sexy back of the crowed dancing around and also some of the djs dj'in and also we got a interview with the one and only DJ-H and theres also a few big ups for house of bhangra which will be at the end of the show, we was suposed 2 go and interview a dhol player on wedensday but he floped so we going to see him some time during this week.
This week daljit is going to cranford valentines gig on Tuesday prob take vivek or karandeep with him and also going monsoon on friday,it gunna be packed out bcoz of valentines also daljit gonna interview 1 of the founders of the PARAGON ROADSHOW (MR POPES U DUN NOOOO)LOL and hes gunna give some of the back ground info about how bhangra has changed as hes been in the industry for over 15 years.. but daljits going to have to go by himself as he might beat up the rest of the group lollll U DUN NOO!!!
DALJIT
PAWAGWANNNN
Sunday 4 February 2007
Plans for next week- Vivek Pun
For next week the group aims to get a substanial amount of footage, predominantly getting a range of interviews from non-asians to see what knowledge they have of the Genre. We also aim to get 1 or 2 interviews from older Indians who have knowledge on the history of Bhangra and its development. Daljit is also going to get footage of gigs and possibly some interviews with artists.
Progress Report- Vivek Pun
So far i have completed research and analysed a range of things relating to Bhangra and the groups next aim is to watch " I'm British But" as it is related to the Genre and aims to educated, inform and entertain its audience as we aim to do. We also went to Southall Broadway to get a few minutes of footage of cd covers, instruments, shops e.t.c. that we can use in our opening scene to combine a range of Montage Sequences.
Tuesday 30 January 2007
Progress Report
22 - 29 January 2007
Over the last week, I have researched productions linked to my group's production. For example, using the search 'Bhangra Productions' on the Youtube.com website, I found several videos showing Bhangra. This allowed me to collect information on the topic of my group's production. I am going to give particular examples and discuss this at my group's next meeting.
Satti
Over the last week, I have researched productions linked to my group's production. For example, using the search 'Bhangra Productions' on the Youtube.com website, I found several videos showing Bhangra. This allowed me to collect information on the topic of my group's production. I am going to give particular examples and discuss this at my group's next meeting.
Satti
PROGRESS REPORT!
LAST WEEK I GOT SOME FILMING DONE AT THE ASIANA ASIAN BRIDAL SHOW 2007 AND SOME RESEARCH DONE LIKE BOOKLETS AND STUFF COZ WE HAD A STALL THERE TO PROMOTE PARAGON ROADSHOW ALSO IT WAS A PERFECT OPPORTUNITY FOR ALL OF OUR CUSTOMERS TO COME AND MEET US AND DISCUSS REQUIRMENTS.
ALSO THIS WEEK I MADE AFEW BEATS WITH A FRIEND THAT WILL BE PLAYED IN THE BACKGROUND AND OPENING OF THE DOCUMENTARY AND WE GOT SOME FILMING DONE DOWN SOUTHALL BROADWAY AT SOME MUSIC SHOPS AND JAS MUSICALS A INSTRUMENT SHOP
DALJIT
PARAGON ROADSHOWWWWWWWWW!!!
ALSO THIS WEEK I MADE AFEW BEATS WITH A FRIEND THAT WILL BE PLAYED IN THE BACKGROUND AND OPENING OF THE DOCUMENTARY AND WE GOT SOME FILMING DONE DOWN SOUTHALL BROADWAY AT SOME MUSIC SHOPS AND JAS MUSICALS A INSTRUMENT SHOP
DALJIT
PARAGON ROADSHOWWWWWWWWW!!!
PLANS 4 FILMING!
WE ARE GOING TO BE FILMIMG SOME FOOTAGE OF SOME ASIAN WEDDINGS WITH THE PARAGON ROADSHOW AND ALSO AT A DINNER AND DANCE ON FRIDAY SO WE CAN HAVE DIFFERENT SORTS OF CROWEDS, THEN WE WILL GET LITTLE SHOTS TOGETHER AND START ON THE OPENING OF THE DOCUMENTARY
DALJEET
PARAGON ROADSHOWWWWWWWWWWWWWWW
DALJEET
PARAGON ROADSHOWWWWWWWWWWWWWWW
Friday 26 January 2007
I'm British But- Gurinder Chada, Analysis- Vivek Pun
"I'm British but" by Gurinder Chada (1990)uncovers the rising of a defiant popular culture, gradually unfolding itself amongst a Western Audience. The rhythms of Bhangra music set the pace for this lively collage of interviews with British Asian youth. Mixing archival footage with present day street scenes of Asians in England, this film exemplifies Britains multicultural society, and how along with the rising range of British Indians during this time period, came the rising of a popular Asian music Genre Bhangra.I'm British but..., shows both cultural diversity in Britain, and shows how Bhangra plays a role in the everyday life of British Asians, and how it has developed into a Genre contending with other Western Mainstream Genres, such as Hip hop , Drum n Bass e.t.c. This film will be of great influence to us as it was one of the first if not the first, to uncover how Bhangra is a developing Genre with rising Western Popularity. Moreover it will provide great input to our documentary as it's running time is short and effective ( 30 Minutes), as we aim to do with our Production.
Analysis of Bhangra Performance, and Dj sanj Next Episode Video-Vivek Pun
The video below clear signifys how the influence of Bhangra from the past has enabled its success to thrive in the Western World. We can see this performance alone is being viewed by a predominantly western audience. Due to the influence from the artists that merely sung in the "Villages" of India, Bhangra was enable to Influence its western Audiences to inspire Western born Indians to follow careers as Bhangra Artists. Below there is also a video of the track by DJ sanj- The next Episode Remix (Patola). This Bhangra track combines Western Music ( Next Episode- Dr Dre) with Old school Bhangra Lyrics, producing a fusion of both Hip Hop and Bhangra. These two videos illustrate how the Bhangra Movement was able to generate itself from being a Genre merely popular in Punjab into a Mainstream Genre forming a Fusion with highly Popular Western Genres such as Bhangra.
Monday 22 January 2007
Bhangra originated in India as a male folk dance performed in the villages of Punjab during the harvest festivities. Following the migrations of Punjabis to Britain, a new form of bhangra, characterised by the encounter between the traditional dance and mainstream Anglo-American popular music, spread through the communities of the Indian Diaspora, coming to the constitute one of the means for immigrants both to identify themselves as “Punjabis in England” and to reaffirm their tradition and social values.
Multimedia exhibition charting the History of Bhangra music and culture – This archive exploration into the U.K Bhangra sound presents some of the unsung hero’s who pioneered this cultural event.
Bhangra has undergone many changes since its inception five hundred years ago and has become one of the most popular forms of music within the UK and abroad. Birmingham has led the way internationally as a centre of Bhangra music. West Midlands based artists including Malkit Singh, Apna Sangeet, DCS, Apache Indian and Dr Zeus are all idols for a younger generation of Dj’s to look up to.
Soho Road is one of Birmingham’s cultural hubs. Situated in Handsworth, it acts as the main conduit that connects a large Asian community Birmingham’s city centre. The road is also thriving space for cultural and business. Soho Rd was instrumental in creating a landscape for Bhangra to be popularised and was the meeting ground for many artists in the 60’s to the present day. Bhangra was popular in these areas primarily because Asian people who lived in these areas were from Punjab.
The Punjab is the birthplace of Bhangra music. Photographer, Gursharan Chana, a stalwart of the Bhangra scenes has been taking pictures for the past 20 years and has records, flyers, archive footage and posters of events. A short documentary has been devolved, highlighting the unsung heroes who were originators & innovators of the Bhangra scene.
Satti
Multimedia exhibition charting the History of Bhangra music and culture – This archive exploration into the U.K Bhangra sound presents some of the unsung hero’s who pioneered this cultural event.
Bhangra has undergone many changes since its inception five hundred years ago and has become one of the most popular forms of music within the UK and abroad. Birmingham has led the way internationally as a centre of Bhangra music. West Midlands based artists including Malkit Singh, Apna Sangeet, DCS, Apache Indian and Dr Zeus are all idols for a younger generation of Dj’s to look up to.
Soho Road is one of Birmingham’s cultural hubs. Situated in Handsworth, it acts as the main conduit that connects a large Asian community Birmingham’s city centre. The road is also thriving space for cultural and business. Soho Rd was instrumental in creating a landscape for Bhangra to be popularised and was the meeting ground for many artists in the 60’s to the present day. Bhangra was popular in these areas primarily because Asian people who lived in these areas were from Punjab.
The Punjab is the birthplace of Bhangra music. Photographer, Gursharan Chana, a stalwart of the Bhangra scenes has been taking pictures for the past 20 years and has records, flyers, archive footage and posters of events. A short documentary has been devolved, highlighting the unsung heroes who were originators & innovators of the Bhangra scene.
Satti
Introduction
Our practical production is about the rapid popularity of the bhangra music genre which has become more and more popular in the uk. we have chosen this issue to base our production on as we all can relate to this music genre and have a great understanding of the genre and its famous artists such as the new revlution idol jazzy B to the master of folk and bhangra himself Gurudaas maan. we are going to prupose the issue of how bhangra is being included in more westernised music which has tooken of at a very rapid rate of sucess. we can relate this issue to famous groups such as the rishi rich project as they themeselves have took of through this image. As we can know see people like juggy D are shown on such mainstream music channels such as Mtv for there indian and english mix of music. We hope to acheive our goal which is to inform our audince of this genre through our documentry .
Karandeep.D. {jatt)
Karandeep.D. {jatt)
Plans For Next Week...
We plan to complete all our research for our production ASAP and also DALJIT can take some footage of afew gigs that he'll be at during the weekend and VIVEK will be making some beats that we will be adding to the production and KARANDEEP along with ANAMUL will be going down to southall broadway to get some research done and SATTY will just be at home sleeping
Also DALJIT will be attending the ASIANA BRIDAL SHOW 2007 in RIVERBANK PARK PLAZA with his crew PARAGON ROADSHOW as they have a stand there and would be a perfect opportunity for customers to ask some questions and discuss requirments!!
DALJIT!
PARAGON ROADSHOW!!
Also DALJIT will be attending the ASIANA BRIDAL SHOW 2007 in RIVERBANK PARK PLAZA with his crew PARAGON ROADSHOW as they have a stand there and would be a perfect opportunity for customers to ask some questions and discuss requirments!!
DALJIT!
PARAGON ROADSHOW!!
Introduction
We are doing a bhangra documentry. We will be looking at the past bhangra documentries, and we will be comparing the style of bhangra fromt the past, to the present. We will be interviewing some celebrities and getting thier point-of-view on the whole bhangra topic. We will be using clubs such as the works and a ministry of sound. We will also be informing our audience about bhangra and its history. We will be interviewing such artists as Jazzy B and Nihio. We will also be interviewing past artists, and getting thier opinion on how the bhangra gernre as changed over the past few years.
Satti
Satti
Introduction!!
In our practical production i will be working in a group of 5 with vivek, karandeep, anamul and satty to produce a opening of a documentary called HOUSE OF BHANGRA, it is going to have exclusive v.i.p backstage interviews with some celebratys and djs, also ull be able to see some of them preforming live on stage at some of the biggest clubs in the UK (NEWLIGHT & ZOO BAR), and some of main aritist that will be interviewed are JUGGY D, BOBBY FRICTION, DJ-H (ISHQ BRANDY) AND ALSO JAGZ KLIMAX, and there are plenty more.
Our main aime is show to how bhangra has changed in the many years from back in the days of HEERA and ALAAP and now big names like DR ZUES and AMAN HAYER, PMC hit the mainstream with a big bang with THE NIGHT RIDER tune, its very well know in all the clubs world wide and also has been played in the background of eastenders.
DALJIT!
PARAGON ROADSHOW!
Our main aime is show to how bhangra has changed in the many years from back in the days of HEERA and ALAAP and now big names like DR ZUES and AMAN HAYER, PMC hit the mainstream with a big bang with THE NIGHT RIDER tune, its very well know in all the clubs world wide and also has been played in the background of eastenders.
DALJIT!
PARAGON ROADSHOW!
Sunday 21 January 2007
RDB TV
http://www.rdbtv.com/wvx/show062.wvx
This is a one of the shows taken from the RDB show, its very similar to our production as its showing you behind the scenes of a club and also interviews with big time promoters and famous live p.a at one of his shows, difference is that ours is gonna be a documentary which means no shout outs and compertitions, we will have some footage of a couple of gigs and also some back stage interviews with some of the famous acts of the nights.
It is a show made for people all over the world for people who like bhangra music and gigs and also for people who want to know about bhangra music, this was recored in summer 2006 in central london at the ministry of sound by RDB who are djs and producers.
The target audience for this is teenagers who like their bhangra music and i no this bcoz of house the RDB brothers speak using slang and bhangra music because thats what its all abt.
I would expect it to come on channel four at about 10 o'clock on a thursday or friday but as its never been done before on televion im not quite sure.
F.B.I
DALJIT
PARAGON ROADSHOW
This is a one of the shows taken from the RDB show, its very similar to our production as its showing you behind the scenes of a club and also interviews with big time promoters and famous live p.a at one of his shows, difference is that ours is gonna be a documentary which means no shout outs and compertitions, we will have some footage of a couple of gigs and also some back stage interviews with some of the famous acts of the nights.
It is a show made for people all over the world for people who like bhangra music and gigs and also for people who want to know about bhangra music, this was recored in summer 2006 in central london at the ministry of sound by RDB who are djs and producers.
The target audience for this is teenagers who like their bhangra music and i no this bcoz of house the RDB brothers speak using slang and bhangra music because thats what its all abt.
I would expect it to come on channel four at about 10 o'clock on a thursday or friday but as its never been done before on televion im not quite sure.
F.B.I
DALJIT
PARAGON ROADSHOW
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