The Chamkila story: From Dalit labourer Dhani Ram to a music icon

Born on July 1, 1960, in an impoverished household in Ludhiana district’s Dugri village, Chamkila faced early hardships. Named Dhani Ram at birth, he worked as a labourer in Ludhiana’s Haibowal area to support his large family. Despite the challenges, his passion for music drove him to join drama groups. It was in these groups that he honed his acting skills, and mastered the harmonium and tumbi by the age of 16.

Despite working as a labourer, Dhani Ram continued to pursue his musical aspirations, including collaborating with renowned folk singer Shinda. From setting up the stage to writing lyrics, Dhani Ram immersed himself in every aspect of the music industry, ultimately establishing himself as a prolific songwriter for Shinda.

A pivotal moment in Dhani Ram’s life occurred when Shinda embarked on a solo singing tour in Canada during the early 1980s. Four songs penned by him and recorded with Shinda’s duet partner Sonia made him a star. Dhani Ram was reborn as Chamkila.

The music label released another tape, “Baapu Saada Gum Ho Gaya”, once again featuring the dynamic duo. Chamkila and Sonia’s combined talent and unique style captured the hearts of audiences, leading to high demand for their performances at weddings and other events. Despite their joint success, Chamkila received only Rs 200 for each performance, while Sonia earned Rs 600. This culminated in Sonia’s decision to part ways with Chamkila after he insisted on equal compensation.

Shortly after parting ways with Sonia, Chamkila found a new collaborator in Amarjot Kaur. The talented singer was already gaining recognition through her association with Kuldeep Manak. Chamkila and Amarjot’s partnership marked a significant milestone in Punjabi music history. Their debut LP record, “Bhul Gayi Main Ghund Kadna”, featured an unforgettable track, “Pahile Lalkare Naal Main Darr Gayi”. Meanwhile, Chamkila’s distinctive style and poignant lyrics resonated deeply with Punjabi audiences, solidifying his status as a musical icon.

Unlike some of his contemporaries, Chamkila refrained from borrowing from other singers or lyricists. Instead, he crafted original lines that captured the essence of Punjabi folk culture. His compositions not only entertained, but also immortalised the region’s rich heritage.

Chamkila’s collaborations with Sonia and Amarjot resulted in the recording of a remarkable 99 songs, including hymns, leaving a lasting legacy in the world of Punjabi music.

Already married to Gurdial Kaur, with whom he had two daughters, Chamkila fell in love with Amarjot, an upper caste woman. There was much outrage over their relationship, but the couple got married and went on to have two sons.

Chamkila was a multifaceted talent. Renowned as a top lyricist, singer, trainer, flautist and harmonium player, his versatility set him apart as an institution in his own right. “His mastery of the Punjabi language was unparalleled, allowing him to weave magic with words and deliver them in a booming voice. Whether he was playing the flute or the harmonium, his fingertips conjured melodies that captivated audiences, showcasing his remarkable musical prowess,” said Harpreet Singh Kahlon, a prominent Punjabi movie and music critic.

Davinder Singh Rauke, a lyricist and singer, acknowledged that while Chamkila’s repertoire included double entendre songs, his talent transcended mere controversy. “His deep understanding of Punjab and its culture is evident in his songs, which not only encompassed double entendre, but also addressed broader cultural and moral issues. For instance, ‘Sajna De Nal Dhokha Nai Kamal Da’ outlines a code of conduct for Punjabi gentlemen,” Rauke said.

In an interview before his death last year, Sawarn Sivia, Chamkila’s close friend and lyricist, said, “He preferred recording his songs during the monsoon. The rest of the year was filled with two or three marriage performances per day. At the peak of his career, he attended an astonishing 411 programmes in just 11 months. His sudden emergence had a profound impact on other popular singers of his time. His immense popularity overshadowed theirs, so much so that people would solely demand performances by Chamkila.”

His eight-year career as a singer coincided with one of the most tumultuous periods in Punjab’s history — the armed conflict between Sikh militants and Punjab Police. Chamkila began receiving threats from Sikh militants due to his controversial songs, adding to the challenges he faced during those turbulent times.

In an article, Swarn Sivia recounted, “Chamkila was targeted by three different Khalistani militant organisations for his controversial songs. I acted as a mediator and facilitated a meeting between Chamkila and a five-member committee of Khalistani leaders at Darbar Sahib Amritsar. Chamkila apologised for his songs and the matter was resolved. Following that, he performed some timeless songs on Sikh history, including ‘Sathon Baba Kho Laya Tera Nankana’, which I had penned. This is why I remain sceptical that Khalistanis were responsible for his murder. Throughout my life, I have continued to investigate who was behind his killing.”

Movie critic Kahlon says Chamkila’s religious compositions were as beloved as his other songs and deeply moving. His compositions about the younger sons of Guru Gobind Singh could evoke tears, while his depiction of the pain of the Partition in his song about Nankana Sahib was unparalleled.

On March 8, 1988, Chamkila and Amarjot were shot dead near Mahismampur village in Jalandhar district’s Phillaur tehsil. They were on their way to perform at a function. Although militants were blamed for their murder, the identity of the assailants and the motive behind the killings have remained shrouded in mystery.

Explaining Chamkila’s enduring legacy, Rauke says Punjabis tend to romanticise death by bullet, citing the recent case of Sidhu Moosewala, who was shot dead nearly two years ago.

“The manner in which Chamkila’s life ended elevated him beyond the criticisms he faced during his lifetime for his double meaning songs. The suspicious circumstances surrounding his death only add to his intrigue.”