Tappa: A Unique Genre of Punjabi Folk Poetry

Tappa is a beloved and concise genre of Punjabi folk literature that, despite its brief existence, holds an ocean of meaning within it. If we look at its form and structure, it is a one-line poem, but it is divided into two parts. Its greatest quality is its “playful style” which adds a special color to joyous gatherings, engagements, weddings, and festivals. In folk heritage, Tappa is considered a genre used for expressing immediate reactions. It is generally called “Tappa” because it suddenly “jumps” or “leaps” into the mind, and in it, the sharpness of thought and fluency of expression are remarkable.

In the poetic terminology, some important things regarding Tappa are: Tappa: In joyful gatherings, the playful style — parts, pieces, or fragments — is called Tappa. Its meter is like that of Mahiya, but it differs in subject matter and temperament. It can also be in question-and-answer form, where the first line is a necessity, and the meaning or essence is delivered in the second line.

From this writing, it becomes clear that Tappa is not just a poetic verse, but a major means of expressing joy and sorrow in Punjabi culture. By “parts, pieces, or fragments,” it means that Tappa is the essence of a particular moment or emotion in life. Artistically, its meter equals that of Mahiya, but what distinguishes it from Mahiya is its “subject matter and temperament.” Mahiya generally contains feelings of separation, distance, and pain, whereas Tappa is much more playful, sharp, and can also be satirical. Another special quality is that it is sung in a “question-and-answer” format, where a playful rivalry or competition arises between two groups. In the structure of Tappa, the first half (called the first line) is used only to establish rhyme and meter, while the actual meaningful content and central idea are presented in the second part.

Difference Between Tappa and Mahiya (Research-based & Artistic Comparison)

People often confuse these two genres of Punjabi folk poetry, but there are subtle artistic and thematic differences between them. It is generally believed that Mahiya and Tappa are the same thing, but linguists and critics have thoroughly discussed their distinctions. Mahiya is considered a three-line genre where the first and third lines rhyme, while Tappa consists of one long line or two short fragments that are close to Mahiya in meter.

Dr. Ismatullah Zahid’s Difference of Opinion

Punjabi folk literature researcher and scholar Dr. Ismatullah Zahid presents a unique and academic perspective regarding Tappa. He believes that although Tappa and Mahiya appear similar in structure, there is a world of difference in their spirit and expression. Dr. Sahib states:

“It is true that Mahiya has a variety of subjects,
but they also require a certain connectedness, whereas
the temperament of Tappa is playful — the playfulness found
in its expression is not present in Mahiya, Dhola, or Boli.”

— Dr. Ismatullah Zahid

From this critical discussion, it emerges that the real beauty of Tappa lies in its “playfulness.” Where Mahiya carries a certain dignity, softness, and restraint of emotions, Tappa is bold and expresses things directly and sharply. According to Dr. Ismatullah Zahid, genres like Mahiya, Dhola, and Boli are bound within their own temperaments, but Tappa possesses an even more playful and cutting expression. This difference proves that considering Tappa merely a form of Mahiya is wrong; rather, it is an independent and rich genre in its own right.

No Known Origin

A surprising fact about the history of Tappa is that its “origin is unknown.” Like other folk poetry genres, Tappa has been passed down orally through generations. Who started it? Who said the first Tappa? All of this is hidden in the veils of history. It is a spring of public emotion that spontaneously erupts and becomes the voice of an entire society rather than any specific poet.

Subject Matter (Intellectual Colors of Tappa)

The range of Tappa’s subjects is vast. It embraces every aspect of life. According to the points given in the image, the main subjects of Tappa are: beautiful scenery, observations… love of natural landscapes, reflection of society — Tappa can be on any subject. It is a form of folk singing, and especially young men and women use it at weddings.

Tappa is not just imaginary talk; rather, it is the essence of “beautiful scenery and human observations.” It expresses love for the natural beauty of the universe, and alongside that, a “reflection of society” is also visible — meaning society’s good and bad behaviors come before people in the form of Tappas. It is such a flexible genre that it is not bound to one subject; rather, “Tappa can be on any subject.” Artistically, it is an important part of “gathering singing.” Whether it’s wedding blessings or songs sung in youthful exuberance, young men and women exchange their heartfelt emotions through Tappa. Especially at weddings, Tappas are the life of the gathering, where a storm of humor, wit, and satire arises.

Structure and Artistry of Tappa

The greatest artistic quality of Tappa is its ability to say a lot in few words. The image describes its importance thus: “Tappa emphasizes expressing a complete and full thought, exactly as is done in a poem.” This sentence makes it clear that although Tappa is short, it does not leave the thought incomplete. Just as a complete “poem” takes its subject to a conclusion, the two parts of Tappa (first half and second half) together form a complete intellectual unit. It is this combination of brevity and comprehensiveness that makes it a masterpiece of Punjabi literature.

It is Also a Style of Singing (Sarfraz Hussain)

According to renowned Punjabi folk literature researcher Sarfraz Hussain, Tappa is not just a poetic genre but also a rich “style of singing.” It is a confluence of music and words that represents the fragrance of Punjabi soil and the aspirations of the people. Sarfraz Hussain clarifies that the presentation of Tappa has a specific rhythm and melody that makes it unique among other genres.

Regarding a special artistic quality of Tappa, the image states: “A special quality is that it begins with ‘Baarhein barsen khatan gaya’ (went earning for twelve years), meaning years passed, but this is what happened.” This line refers to a very famous and traditional style of Punjabi Tappas. A large portion of Tappas begin with the line “Baarhein barsen khatan gaya.” Here, “twelve years” means a long period — when someone who went abroad or for earning returns after a long time, what gift did he bring or what did he accumulate — this is expressed in the second part of the Tappa. This is a template through which hundreds of new Tappas have been created.

Some examples of this historical and traditional style are given below: “Went twelve years to earn and brought back a net / Be careful where you place your feet tonight is the night of promises” — In this Tappa, on one hand, there is mention of a long wait (twelve years), and on the other, the delicacy of human emotions and keeping promises is expressed. “Bringing a net” could be a metaphor or a common household item, but the actual purpose is the advice or feeling given in the second line.

“Went twelve years to earn and brought back feet / I cannot send away Ranjha my beloved’s feet” — This Tappa is an excellent example of the extremity of love and devotion. When it comes to the beloved’s (Ranjha) feet or serving him, everything else in the world seems worthless. These Tappas are still the adornment of gatherings in Punjab’s villages and regions.

Public Emotions and Social Colors

Tappa not only contains love but also has a remarkable color of social bitterness and satire. The Tappas given in the last part of the image testify to this: “O friend, O friend, I cannot live in your house, your character is low” — This Tappa is an example of straightforward and bold conversation. In the rural environment of Punjab, where there is strain in relationships or where protest against some injustice is needed, Tappa is used as a “sharp-edged” weapon. “Low character” here can also mean meanness or moral degradation, which is being expressed in the form of a woman’s protest.

“O black cloud, do not rain in our country, even now my beloved remains abroad” — This Tappa is a beautiful depiction of the blend of natural phenomena (clouds/rain) and human emotions. Rain is a symbol of happiness, but for a “separated soul,” it becomes torment. Because the beloved is abroad, the poet is forbidding the cloud from raining, as this season is very difficult to endure without the beloved. These Tappas prove that Tappa is the heartbeat of the Punjabi person, who gives voice to their emotions in every situation.

Concluding Remarks

To sum up the discussion of Punjabi folk literature, it becomes clear that folk songs or folk genres are the soul of any society. Tappa is also an important link in this chain that has been beating in the chest of Punjab for centuries. At the conclusion of this topic, these golden words of Sarfraz Hussain beautifully highlight the importance of folk literature:

“Folk songs alone are the true, supreme, and recognized heritage of any nation or any language.”

— Sarfraz Hussain

The essence of this statement is that if we wish to understand the true identity, culture, psyche, and genuine emotions of a nation, we must turn to its folk literature. The simplicity, boldness, and artistic depth found in a genre like Tappa are rarely seen in consciously written poetry. This heritage is, in fact, the foundation that keeps a language alive and, through transmission from generation to generation, preserves its nation’s legacy forever. For students of Punjabi literature, the study of Tappa is not just the study of a genre, but a means of connecting with their Punjabi identity and their soil.