How immigrant workers singing their sorrows in Black Country pubs gave birth to British Bhangra

Indian immigrants toiled in Smethwick factories which inspired their lyrics for a new genre of Bhangra

If you've ever been to an Indian wedding chances are you've seen Bhangra dancing. The traditional Punjabi shoulder bop is one of the most iconic dance styles in the world.

British Bhangra spawned a genre of it's own thanks to icons like Apache Indian or Bally Sagoo putting a local spin on the folk movement in the 80s-90s. Here's what Brummies may not know, it goes back even further.

Before daytimer raves and Punjabi MC, British Bhangra sprouted in the most unlikely place - Black Country pubs. Bhangra historians and academics reveal how Indian immigrants would slap tables and sing folk songs in pubs after tough factory shifts.

Read more Apache Indian on Birmingham's best feature and one thing that 'breaks my heart'

After a long, hard day of manning machinery the beer-soaked tables were their salvation, as they chanted and reminisced about farm life back in India. These after work rituals paved the way for British Bhangra to spread across the UK and cement the Midland's multicultural identity.

These stories will be part of The British Bhangra and Birmingham project in collaboration with Birmingham City University. Narinderjit Singh Winnie, 62, Bhangra historian and musician, said: "Bhangra is associated with the Punjab (state in India) and celebration of Vaisakhi Mela, the majority of people came from farming backgrounds and many were Sikh.

"When the farmers would rear their crop over the years and sell it to the markets they would celebrate earning their money and the coming of the harvest. Bhangra is a celebration and it could be a wedding, birth or function. That is why Bhangra is a way of life.

"In the 60s-70s our people immigrated from Punjab to England and spread out into Birmingham and Southall. Some worked in the manufacturing industries as they were called over after WW2 to help restructure Great Britain.

"The work was very manual and there was not much health and safety. Our people worked in these factories and it wasn't a lot of money, and they had to send some back to their home country.

"They needed release and found pubs they were allowed in, some didn't allow Punjabi people, they would sit in the side rooms drinking beer. They would reminisce about their life in Punjab, village life, famers and markets.

"They would tap their hands on the tables and make rhythmic sounds singing about village life. Boliyan are short ballads of happiness and this is where folk music originated from, the factory workers."

This wasn't folk Bhangra from Punjab farms, this was British Bhangra where the workers would throw English into the lyrics and even Black Country dialect. Many immigrants settled in Smethwick the then heart of the steel industry.

One of the original factory workers Balbir Bhujangy in BBC's Sikhs of Smethwick documentary, turned pain into poetry:

"The foreman told us to push the barrows faster,

But pushing harder was breaking our legs,

But there was no-one to tell my sorrow to,

As I struggled to push the barrow on.

When I came to England I was overjoyed,

I didn't know how hard life would be,

Who shall I sing my sorrow to,

As I struggle to push the barrow."

Racism was rife as locals feared these foreign visitors, public buildings would be segregated and business owners bluntly turned Indians away. The situation was so tense civil right's icon Malcolm X visited Marshall Street in 1965 and was shocked at the divisive state of Smethwick.

As Bhangra grew the South Asian community brought instruments from back home such as the tabla, tumbi and harmonium. Then folk music bands emerged from Black Country such as Anari Sangeet Party and Bhujhangy Group who would play at family functions.

Eventually Bhangra progressed through the West Midlands, Southall and even Manchester. The movement also bloomed underground at daytimer raves where South Asian teens would party during the day, hiding their shenanigans from strict parents.

Live Bhangra bands were stars of the stage decked out in colourful costumes, including Safri Boys and Shakti. Dr Rajinder Dudrah, 51, Professor of Cultural Studies and the Creative Industries at BCU, said: "It will bring to life that unknown part of British history.

"These were men and women who made Britain, working in the factories and NHS but they also contributed to the creative industries. Bhangra gigs, daytimer gigs, weddings and henna nights are where Birmingham was one of the centres of it.

"It is about bringing those cultures together and telling that story. It is British history as well. It's important when we are learning about rock, pop and hip-hop we are learning about British Bhangra."

The project will compile Bhangra pioneers and archives to create a resource for the next generation. This includes a website compiling the full history of Bhangra for universities and schools, it will be released to the public next year.