WEDDING DRESSES

these r the wedding dresses......they r mostly in red, pink, brown, or maroon. now days u can where any color expect white. it depends on the religions.......!

old hindi movie KARAN ARJUN

THIS MOVIE HAVE WON A LOTS OF AWARDS AND THIS MOVIE IS VERY NICE AND HAS A A LOTS OF MEANING TO IT.

movie

PUNJABI MOVIES

move
rabb.ne.banaiyan.jodiean
this movie is about the rich family were the father have 3 sons and the mother is dead and the father have raised them. the father wants his sons to marry the rich families gurls not the ordinary gurls. father wants his sons to be just like him( don't like the poor and can't marry anyone who they have picked). the older son is married and don't have a child. the middle one have left the home and is in the look for his love which his father said no to and asked them to leave the city. the father don't like if an1 say his middle sons name because he went against his fathers wish.(loved the gurl who's father is his father's driver) same with the younger one he also loved a poor gurl and try to lie to his father that they r not poor and fight with his father for his rights. at the end his father realize it cant be the way he wants to be. so at the end they live happily ever after.




dil apana punjabi

ORNAMENTS

Ornaments of great diversity found from archaeological sites make a fascinating study. We come across several pieces of ear ornaments, which can be divided under several groups like ear-tips, ear-studs, eardrops, earrings and ear-pendants. Bangles have been found in practically all materials known to the people of the Harappan civilization. Head and neck ornaments of gold, silver and bronze, including green jasper and burnt steatite have also been found. It seems that for every part of the human body a special ornament has to be provided. But the significance of Punjabi jewelry lies outside of this amplitude, in variety and aesthetics. It is in fact a part of the Indian culture, a facet of its social pattern with deep religious overtones, and has to be viewed against this perspective. It is not surprising that jewelry was used as much by men as by women though more sparingly by the former.

Jewelry in India also has had social and economic implications. It is an investment as also a saving for emergencies. The jewelry given to the bride at the time of the marriage becomes her own possession. This was in addition to the love of personal adornment inherent in the women folk. But for mortal humans it also symbolizes the concept of immortality. Precious stones and precious metals, distinguished by this classification from other substance have, throughout the ages, stood for power and wealth. This concept of power and wealth, as imbibed through ornaments, seems to have remained integrated in the psyche of the Punjabi women.

Ornaments, as symbol of power, wealth and femininity, and also as an investment by the Punjabi women, are found in many varieties and forms.An endless variety of ornaments are used in local parlance, often only locally understood and each little change in the size or pattern of an ornament merits a different name. For instance, an ornament called sagi is a central head stud that supports the phulkari or dupatta or other headgear. It is a hemispherical with raised work all over with floral patterns carved out in horizontal circles, encased in lines and dots, and a star in the center. There are half-a-dozen varieties of sagi. When at the top-center a colored stone is fixed in it, it becomes sagi uchhi. Where several round beads are hung at the edge with silver chains, it becomes motianwali sagi. When two additional sagis are linked to the upper side they are known as sagi phul. A slight variation in its shape turns it into sagi chandiari. In addition to it there are more ornaments used for the head, followed by ornaments used for the ears, the neck, the arms, the fingers, the anklets and the feet. Thus the names of traditional ornaments used in Punjab run well into hundreds.

HEAD ORNAMENTS

Men’s

• Sarpesh – the jeweled aigrette worn in front of the turban,
• Kutbiladar – an oval pendant worn over the forehead,
• Kalgi – Plume in jeweled setting,
• Mukat or Mutakh – a head dress worn by Hindus at weddings,
• Turah-I-marwarid – tassels of pearls worn on the turban

Women’s

• Sisphul, chaunk or choti phul – a round boss worn on the hair over the forehead,it is cut or indented so as to resemble a gold flower like chrysanthemum.
• Mauli – a long chain made of rows of pearls separated by jeweled studs, about 8 inches long hanging from the head on one side.
• Sir mang – a pendant worn on the head by Hindus

ORNAMENTS WORN ON THE FOREHEAD

By Women only

• Damni or dauni – a fringe hanging over the forehead on either side of the face, some of these are richly jeweled. These are of various varieties like kutabi and sosani
• Tika or kashka – small ornament on the forehead which hangs from the middle of the head on the forehead with a chain. (pendant).
• Chand bina – a moonshaped pendant.
• Tawit – small amulets worn on the head.
• Jhumar – a tassel shaped ornament or pendant.
• Guchhi marwarid – a cluster of pearls.
• Bindi – small tinsel forehead ornament.
• Barwata – tinsel stars worn over the eyebrows, not to be confounded with Bhawata, an armlet.

EAR ORNAMENTS

Men’s

• Bala – very large ring worn by Khatris, Sikhs and Dogras, they have a pearl strung on the gold wire of which they are made.
• Murki - smaller earrings of the same shape.
• Dur – a small earring with three studs.
• Birbali – a broad earring with three studs.
• Durichah – an ear-ring with pendant tassel

Women’s

• Bali or Goshwara – a set of rings worn on the edge of the ear.
• Bali Bahaduri – it has a large pointed stud in the center.
• Karnphul, Dhedu and Jhumka – all forms of tassel like ornaments, made with silver chains and little balls.
• Pipal-watta, or Pipal Pata – like a murki, but has a drop or pendant to it ending in a fringe of little gold pipal leaves.
• Kantala – A similar ornament like pipal-watta but this has a stud besides the pendant.
• Bala Khungri – a heavy fringed earring.
• Bala Katoriwalla – an earring with a bowl-like pendant.
• Khalli – small earring; Jalil – A small earring with a small jeweled central stud.
• Phumni – silk and tinsel tassels.
• Machh Machlian – a small gold figure of a fish worn as an earring.
• Tid-patang – a crescent shaped jeweled pendant. Along the lower edge of the crescent hangs a row of gold pipal leaves.
• Tandaura, Dedi – a huge star-shaped jeweled stud.
• Mor Phunwar – pendant of jewels being an imitation of the figure of a peacock.

NOSE ORNAMENTS

Women’s

• Nath – a large nose ring, one side of ring being ornamented with a belt of jewels or a few pearls hung on to it.
• Bulak – a small pendant either worn hung to the cartilage of the nose, or else strung to a nath.
• Latkan – a sort of ornament of pendants put on to the thin gold ring called a nath, and hanging from it.
• Morni – a small pendant for the above, shaped like the spread out tail of a peacock.
• Laung – a small stud let into the flesh of the nostril on one side, generally of gold, with a pearl or turquoise on it.
• Phuli – a small ring with a single emerald, or other stone of an oval shape, as a pendant.
• Bohr – a dangling pendant of gold pipal-leaves.

NECKLACES AND NECK ORNAMENTS

Men’s

• Mala – a necklace of large beads handing down long and loose.
• Kanth-kanthi – this fits rather close to the neck, the pendant may be omitted. This is also worn by women.
• Nam – an amulet, round or star shaped, suspender from a twist of colored silk thread fastened round the neck by tying at the back, nearly like jugni.
• Tawiz - a square amulet, jeweled or otherwise.
• Takhti – a flat square plate engraved with figures etc.
• Zanjiri – a set of chains. Chandarmah – a large gold flat medal suspended by a single ring on a silk chair or cord.

Women’s

• Chandanhar – a collar or necklace of a great number of chains.
• Mala – a plain necklace of pearls or gold bead, hanging down long.
• Champakali – a necklace like a collar with pendants, the pendants or rays are either of plain metal or set with stones.
• Jugni – a single jeweled pendant, hanging from a necklace of silk and elongated in shape.
• Mohran – a gold mohur or coin hung by a silk necklace.
• Haul Dil – a sort of amulet of jade cut in curves round the edge.
• Hassi or Hass – like a torque, a ring or collar of silver, thick in the middle and thin at either end.
• Guluband – a jeweled collar.
• Mohnmala – a long necklace made of large gold beads, with an interval of gold twisted thread between each bead.
• Atradan – a square jeweled or plain gold pendant attached to a silk chain.
• Kandi – a chain of silk carrying amulet cases.
• Silwatta – an amulet case, shaped like a small gold pillow or bolster, with two rings suspended from it.

ARM ORNAMENTS

• Bazuband – a broad belt-like ornament generally mounted on silk and tied on the upper arm.
• Nauratan – almost like bazuband, the ornament consisting of a band of nine gems set side by side and tied by silk ties.
• Taviz – an amulet worn on the upper arm.
• Anant – meaning endless, a large thin but solid ring of gold or silver, used chiefly by Hindus.
• Bhawatta – a square gold ornament, worn on the upper arm

BRACELETS

Men’s

• Ponchi – a series of strings of shells or small gold elongated beads worn on the wrist.
• Kangan or Kara or Gokru – a bracelet of stiff metal, when the edges are serrated, it is called gokru.

Women’s

• Ponchian – worn on the wrist, which are a several categories called kutbi, chuhadandi (the beads like a rat’s teeth), iliachdana (like cardamom grains) etc.
• Kangan - worn on the wrist are generally of gold.
• Banka – thick gold bracelets, mostly used by Hindus.
• Gajra – a flexible bracelet made of square gold studs mounted on a silk band.
• Churi – of several varieties generally made of a flat ribbon of gold or silver, bent round.
• Bain – long silver sleeve or tube worn on both arms, like a lot of churis fastened together.
• Band – an armlet, broad and heavy.
• Jhankangan – small hollow karas with grains introduced into the hollow to rattle.

FINGER RINGS

• 
  Anguthi – a ring set with stones also called mundri.
• Challa – a plain hoop or whole hoop ring, with or without stones, being of gold or silver, but the same all round, challas are worn on the toe also.
• Angutha – a big ring with a broad face worn on the toe.
• Khari Panjangla – a set of finger rings of ordinary shape.
• Shahelmi or Khari – a ring of long oval shape.
• Birhamgand – a broad ring.

ANKLETS

• Pahzeb – various ankle ornaments made with chains and pendants of silver, which clink together when the weaver walks.
• Chanjar – a large hollow ring which rattles when the wearer walks.
• Kharian-apir or khalkhal – like karas worn on the ankles.
• Khungru – a ring or ankle of long ornamental beads of silver worn on the feet.
• Zanjiri – a set of chains with broad clasp, also known as tora.

Toys and Games

People of Punjab entertain themselves in a variety of ways. These include games, dhangals (wrestling bouts), folk songs and dances, kite flying, cock fights, etc. The games in Punjab are suitable for children, youth, adult and old people alike. Many of these games have been lost in the evolution of history, and the ones that remainare losing for perhaps these are not in fashion except a few which still survive.
GAMES

Tirinjen:
One of the popular organized forms of work and entertainment for young girls is Tirinjen - where the girls spin and sing. Tirinjen is a kind of social club, which can be organized in any home, where place for spinning wheels and the girls is available for a day/night. The girls would sing and dance, would express their sorrow and happiness, pangs of separation and joy of meeting. The spinning wheel plays a significant role in the life of the women, as a companion, counselor in distress, friend and guide. An example of a song sung by a married girl during

Tirinjen:
(Charkha mera rangla, vich sone dian mekhan,Ni mai tenu yaad karan, jad charkhe wal dekhan.My spinning wheel is multi coloredInlaid with nails of gold,I think of youWhenever I see my spinning wheel.Har charkhe de gereYad awen toon mitraEach circle of the wheel,Brings your sweet memories to my mind.)

'Teej' or Teeans:

which is celebrated in the month of Sawan (July), is also a source of entertainment for girls. Teej festival starts on the third day of Sawan and continues for about thirteen days. This is a period when rainy season is at its best, having said good bye to the scorching heat, people are out to enjoy the rains. It is also the time for sowing. The whole atmosphere is relaxed and people have a sigh of relief. The girls celebrate it by having swings. One sees girls, even today, on the swings all over the villages during the rainy season. They have new clothes, special dishes to eat and special songs for the occasion. This festival has also made inroads into the urban society. A number of songs are sung during the occasion pertaining to various aspects of the social life.
(Ral auo sahio ni,Sabh tian khedan jaiyeHun aya sawan niPinghan piplin ja ke paiyePai ku ku kardi ni,Sahio koel Hanju dolhePapiha wekho ni,Bherha pee-pee kar ke bole.Paye pailan pande ni,Bagi moran shor machaya.Arhio khil khil phaulan ne,Sanu mahia yad kariya.Come on all friends!Let’s go and play Tian,The Sawan Heartens us,Let us hang the swings on the Peepal.Swinging ku-ku O friends!The cuckoo sheds its tearsAnd behold this PapihaWhich goes on singing pia-pia.The peacock dances gleefullyFilling the garden with its crowingsThese wretched blossoming flowersRemind us of our Ranjan.)
Kikli:

This is another game, basically for women. Two girls clasp their hands and move in circle. This was a game, which was played by two or four girls and multiple of two thereof.

(Kikli kleer di,Pag mere vir de,Daupatta mere bhai daPhitte mun jawai da)
Gheeta Pathar

Some pebbles, stones or broken earthenware could be broken further into pieces and used for playing Gheeta Pather. This was a game, which did not involve running or jumping and was played sitting on the floor.

Khidu:

The girls would sing along with Khidu (Ball), in fact these rhymes and game is suitable for the children: This was for the first round, there was the second and third till the end was reached by counting ten and singing the tenth song.

Kokla Chhapaki:

This game is popular even today amongst the children. Both boys and girls play it. Children sit in a circles and a child who has cloth in hand goes around the circle-singing: It is a kind of warning for the children sitting in a circle not to look back. The cloth is then dropped at the back of a child. If it is discovered before the child who had placed it there had completed the round, the child who discovered the cloth would run after him and try to touch him with it till he sits in the place vacated by the one who had discovered the cloth.
Chicho Chich Ganerian:

This game is for both boys and girls. It is generally played by two teams and involves drawing as many vertical lines as possible.
Lukan Miti (Hide & Seek):

This was also played by both boys and girls and continues to this day. Two teams can also play this. One has to hide, the other has to seek but before doing it a call is given.
Guli Danda:

This is basically a game for the boys and is the simplest version of modern cricket. It is played with a wooden stick and 'guli' (another small wooden piece pointed at both the ends.) Two teams divide themselves, one throws the guli and the other team uses the danda- (stick) to strike it. There are various other games that are played with Guli Danda
Kidi Kada or Stapoo:

This is a game played both by the girls and boys. It is still common amongst some of the children. This game is played with in small boundary (court), drawn on the ground and a piece of stone.
Ghaggar Phissi:

This is another game for the boys. One boy would bend and the other boys, may be one or two or three get on top of him, if he could bear the weight, he would win. In case he could not bear the weight and fell, he would lose.
Kabbadi:

This game is popular even today and is played now by both boys and girls. This was included in the Asian Games also and is popular all over south Asia. The game is played between two teams. A line is drawn between the two teams and each team would send a player across the line. If the player after crossing the line is able to touch a player of the opposite side and came back without being caught, the team doing so would win and a point was added to its score. This process by the player crossing the line has to be performed in a single breath. The team with higher score would be the winner
Rasa Kashi (Tug of War):

The men generally played this game. These day’s women also participate in the game which is played by two teams. A line is drawn between the two teams, each having one end of the rope in its hands. The team, which is able to drag the other team to its side, is the winning team.
Akharas:

These were very popular. Located near the well outside the village, sometimes near the temple. These were the places where the boys learnt wrestling from a Guru or Pehlwan-Wrestler.
Martial Art:

This was also a part of the teaching in Akharas, where the boys learnt the use of weapons. Nihangs practice martial arts to keep up the traditions.
Kite Flying (Patang Bazi):

It is now very much an urbanized game and is popular with the rural folks as well. It has now assumed an International character.Besides the games mentioned above, Chaupat, Shatranj (Chess), camel and bullockcart races, cock fights in addition to Kabutar bazi, chakore bazi and bater bazi are well known.LATTOO ( yo-yo), played mostly by the boys.

SPORTS MEET

Today in almost 7000 villages in Punjab in one decade or the other rural sports competitions are being held. Rural folk organize them. In fact these village sports have opened the floodgates of village development.Before Independence in 1947 major importance was given only to Kabaddi and wrestling, after Independence the circle of rural sports also got widened. The rustic "Khido Khaoondi" (literally a ball made out of cuttings of cloth and a stick twisted at the end like a flat hockey and players from villages, having no facilities beyond uneven grounds to play began to dominate in the game. Twelve of our country’s greatest hockey players have come out of a single village called SANSARPUR in Jalandhar District.

TOYS

The earliest hand-made toys of Punjab can be traced back to the Indus Valley Civilization, dating from 2500 to 1700 BC. These bear a remarkable resemblance to the traditional toys of a much later period, which remained popular though the ages till recently when factory made toys found their way to the villages. However, in some the remote village’s traditional toys are still made, though the factory made mass-produced toys are pushing them out gradually.Among the most prominent toys of Indus Valley Civilization is the exceptionally large number of small terracotta carts. In their expression is a preoccupation characteristic of Indian Art of the subsequent epochs. As example we may cite the immense 12th century Temple of the Sun at Konark, a building of vast dimensions supported by gigantic stone wheels and conceived and erected in the form of a cart. Or the Indian temple cart in which images of the gods, taken from the shrines, were carried in solemn procession through the streets. These more obvious instances are paralleled by later works of folk art depicting animals, equestrian figures and wheeled vehicles, all of which, though varying in quality and intended for different purposes, also mostly as toys, may be regarded as belonging to a constantly recurring type.Traditional toys generally serve a two-fold purpose. They can be used as playthings by the children and as decoration pieces by the adults. Toys of cloth stuffed with cotton are still made by the women in the villages. Dolls, birds and animals are some of the common subjects. These are embellished with colorful additions of beads, buttons, feathers, tinsels and tassels. Sometimes the body of the toy is appliqued. The material used in this folk art reflects the dynamic spirit of improvisation. Besides their ornamental quality these toys have a sentimental value as well as emotional appealThe popularity of the clay toys is diminishing day by day but still there are to be seen sporadic instances of miniature dolls in clay, animals and kitchen utensils, roughly colored with kharia mitti and decorated with motifs in bright colors.Edible toys in sugar have a great variety of shapes. In village fairs one comes across toys with a scientific touch though naively native in character. In a basin of burnt clay is a figure of a man carrying Lord Krishna and a concealed siphon. When the water is poured into the basin, it rises to the feet of Lord Krishna and flows away, commemorating the rise of the waters of the Jamuna to touch the divine feet.
In the past, village workers would bring a newborn infant toys, representative of their respective trades. Thus a carpenter’s wife would bring a miniature bedstead or a toy cart to earn a rupee from the infant’s parents. The potter would bring a small earthen vessel or a toy in clay and the cobbler a leather necklace and receive some grain in return.As the countryside is becoming more urbanized, the tradition of handmade toys is dying out and with it the individuality of design. This is not something, which can be revived artificially, for to do so would be to get the antithesis of the genuine tradition. But by preserving samples from the past we may, through contemporary designers, regain some of the beauty, individuality and delight of the simple form of old toys.

Folk Toys of Punjab

A large number of those belonging to art circle tend to ignore creative works of the village folk and thus add their bit not to conserve village culture already gravely undermined by rapid changes. Their concern, particularly of those whose philosophy of life-style revolves round self-ego, are little concerned with the past and the cultural heritage. This vision of theirs often perpetrates that of their former colonial masters and, sometimes, they even go to the extent of deprecating observations made by the great Indian men of art like A.K. Coomaraswamy. In this context it is nearly paradoxical that they appreciate great modern masters like Gauguin and Picasso without even realising that Gauguin's success depended on his interest in primitive art and that of Picasso on the discovery of African Negro sculpture. Among the native art forms one of the most ignored is of folk toys, which unfortunately, like many other forms of village culture, has been considered a kind of vanity or at the most as synonymous with mere decoration, but this is not true. They are the products Of artistic and social values combined. The earliest hand-made toys of punjab can be traced back to the Indus Valley Civilisation, dating from 2500 to 1700 B.C. These bear a remarkable resemblance to the traditional toys of a much later period which remained popular through the ages till recently when factory made toys found their way to the villages. However in some of the remote villages traditional toys are still made, though the factory made mass produced toys are pushing them out gradually. Among the most prominent toys of Indus Valley Civilisation are the exceptionally large number of small terracotta carts. In their expression is a preoccupation characteristic of Indian Art of the subsequent epochs. As example we may cite the immense 12 th century Temple of the Sun at Konark, a building of vast dimensions supported by gigantic stone wheels and conceived and erected in the form of a cart. Or again we might recall the Indian temple carts in which images of the Gods, taken from the shrines, were carried in solemn procession through the streets. These more obvious instances are parallelled by countless later works of folk art depicting animals, equestrian figures and wheeled vehicles, all of which, though varying in quality and intended for different purposes, also mostly as toys, may be regarded as belonging to a constantly recurring type. Traditional toys generally serve a two-fold purpose. They can be used as playthings by the children and as decoration pieces by the adults. Toys of cloth stuffed with cotton are still made by the women in the villages. Dolls, birds and animals are some of the common subjects. These are embellished with colourful additions of beads, buttons, feathers, tinsels and tassels and also with coweries. Sometimes the body of the toy is appliqued. The material used in this folk art reflects the dynamic spirit of improvisation. Besides their ornamental quality these toys have a sentimental value as well as emotional appeal. The popularity of the clay toys is diminishing day day but still there are to be seen sporadic instances of miniature dolls in clay, animals and kitchen utensils, roughly coloured with kharia mitti and decorated with motifs in bright colours. Edible toys in sugar have a great variety of shapes. In village fairs one comes across toys with a scientific touch though naively native in character. In a basin of burnt clay is a figure of a man carrying Lord Krishna and a concealed syphon. When the water is poured into the basin, it rises to the feet of Lord Krishna and flows away, commemorating the rise of the waters of the Jamuna to touch the divine feet. In the past, village workers would bring a new-born infant toys, representative of their respective trades. Thus, a carpenter's wife would bring a miniature bedstead or a toy cart to earn a rupee from the infant's parents. The potter would bring a small earthen vessel or a toy in clay and the cobbler a leather necklace and receive some grain in return. In the eastern districts of Haryana, the ironsmith's wife would bring a tiny iron ring for the child's foot and be given a garment or some sweetened bajra in return. As the countryside is becoming more urbanis , the tradition of handmade toys is dying out and with it the individuality of design. This is not something which can be revived artificially, for to do so would be to get the antithesis of the genuine tradition. But by preserving samples from the past we may, through contemporary designers, regain some of the beauty, individuality and delight of the simple form of old toys. But a prerequisite for this would be that those of the art circle who repudiate everything of the cultural heritage, particularly of native arts and crafts, shun this attitude and, thus, strengthen the mutual understanding of cultural diversity and the affirmation of that identity on which each people's creativity is based.

HOSPITALITY

The culture of Punjab from among the cultures of the world has its own unique fragrance. It is unmatched. The scent of this fertile land is such in which the warmth of you-are-my-own is inborn. All communities hold pride in their traditions and the Punjabis whose open-mindedness has become proverbial also hold their unique tradition of hospitality high in their estimation as well as in their values of life. A guest in Punjab is considered as a representative sent by God.Hospitality promotes brother-hood and holds a special significance for bringing people closer, love and kindness flow out of it and in Punjab they say that the more you love the more it multiplies and you receive back many more times the kindness that you give.
The land of Punjab which is described as the land of the Gurus, Pirs and the warriors, as a matter of faith believes in earning honest living through hard labor and in sharing the fruits of this labor with others without expecting any returns. Hospitality is a living aspect of our culture, which is shown even to the migratory birds that seek sojourn here.Since time immemorial Punjab has known the art of respecting other people’s aspirations. Waves after waves of invaders, settlers, traders, travelers, in fact whoever came to take succor in this richly endowed land was absorbed in its mainstream.

Punjabis don’t profess and practice hospitality in their own land only but carry it, untainted and virgin to the lands where they emigrate and keep alight the zest of humane love which is an organic trait of their culture. There in no country in the world where they have not created waves.

Hospitality binds people together in bonds of love; it increases the circles of friendship and makes the atmosphere aglow with human warmth. Punjabis have proved this in all corners of the world in seemingly alien lands and because of these qualities they have been willingly accepted as useful, responsible citizens of the world, warm neighbors and good friends Man is a social animal and hospitality is an initimate aspect of social intercourse in which Punjabis excel. When the British landed in Punjab as victors they were astonished to find that every little village and every mohalla in the larger cities of Punjab had special places to receive and honour guests and that the people of this land were irrepressible extroverts. The District Gazetteers of the time bring forth Punjab's generous hospitality in bold relief. Although Punjab has received hospitality as a God's gift yet, on account of recent disturbances and rising prices it is coming under strain in the cities of Punjab. However, in villages it still remains supreme. It resides in the soul of rural folks. Reach a home in the middle of the night, the ladies will happily get up and cook fresh food for you. You can't pass by certain vilIages without enjoying hospitality. You'll be looked after so long as you stay. You will be warmly sent off, not empty handed, but with a gift of whatever is available in the house. Like all other human traits of the people of Punjab their hospitality is also guileless, rare and intense. It is an ubiquitous theme of Punjabi folk lore. When the crow, sitting atop the roof, crows, or dough when it is being kneaded bubbles, folk songs tell us that these are auspicious omens which convey that a guest is on his way. There are several other sayings which speak of the pleasures that are derived by looking after visitors.

Good habitat, laughter, playfulness and love form the enviornment in which hospitality grows. May the culture of this blessed land of the five rivers perpetuate and ever grow !