Hubbry Logo
DumallaDumallaMain
Open search
Dumalla
Community hub
Dumalla
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Dumalla
Dumalla
Dumalla
View on Wikipedia
from Wikipedia

Sikh wearing a Dumalla

The Dumalla is a type of turban worn by Sikhs. This turban is worn mainly by Sikhs who are initiated into the Khalsa, through participating in the Amrit Sanchar but can be worn by all Sikhs. However, the more common one is the Dastar. The word Dumalla means "Du" meaning two and "Malla" meaning cloth or fabric. This is because there will usually be one fabric to form the base of the turban and a second to wrap around the base to form the turban itself. There many different types of Dumalla, in many different sizes and colours.

Symbolism

[edit]

The Dumalla style may trace its origin to Fateh Singh, the youngest son of Guru Gobind Singh.[1][2] The Dumalla itself was worn by many of the Sikh Gurus, thus many Sikhs also adopted the Dumalla. During the era of Mughal rule many Mughals would wear turbans as a crown to show they were of royal stature and was seen as a symbol of noble authority, whereas the poor and those who were not Muslim were not allowed to wear turbans, leading to oppression and inequality during the rule. Sikh Gurus, most notably starting with Guru Arjan Dev, seeing this took a stand against this and said "If the Mughals wear one turban, we will wear two" to show that they would stand against the oppression and tyranny of that age. Since then, Sikhs have been wearing the Dumalla as part of practicing their way of life.

Styles

[edit]

Modern Dumalla

[edit]

This is the turban many Sikhs who wear the Dumalla will adorn. There will usually be a base made with the hair wrapped into a bun through being twisted into a cloth to form the base or forming a bun and then covering with a cloth. It is generally tied in the way that the first layer goes over the right ear to the left top side of the base in a diagonal wrap and the same follows with the over the left ear to the right top side of the base and the third wrap going from the right ear to the top in a horizontal wrap across the top of the eyebrows. The rest of the turban is tied following the same pattern as the third wrap, being wrapped above each additional wrap until it reaches the top of turban and the extra cloth is tucked in between the existing wraps.

Chand Tora

[edit]

This is a warrior style turban which was worn by Sikhs in battle. The "Chand" is a metal symbol consisting of a crescent sword and a double edged sword, it is held in place at the front of the turban by the "Tora" which is woven chainmail cord tied in a pattern within the turban to protect the head from slashing weapons. This type of turban is generally worn by Nihang Singhs.

Gol

[edit]

"Gol" means round and so this is the round dumalla, frequently called the "gol dastaar". This can also be tied with a base but instead of diagonal wraps, this turban is tied going around the head with each wrap going above the last. This is generally the simplest type of dumalla to tie and was popularised mainly by the leaders of Damdami Taksaal, the walking university of Sikhism such as Jarnail Singh and Sant Kartar Singh, as well as many in the Nanaksari sect.

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dumalla

View on Grokipedia
from Grokipedia
The Dumalla is a traditional Sikh turban style characterized by its voluminous, multi-layered construction using extended lengths of cloth, typically double that of standard s, and primarily worn by initiated members of the to signify their commitment to Sikh martial and spiritual ideals. Originating in the early ' era as an act of cultural and religious defiance, the Dumalla gained prominence when Dev adopted a double-layered turban to differentiate Sikhs from Mughal rulers who wore single turbans, symbolizing resistance to oppression and assertion of distinct identity. This turban style, often associated with Sikhs and historical warriors, emphasizes practicality for combat—providing protection and a base for weapons like the —while embodying devotion, pride, and the 's warrior ethos; it is commonly tied in prescribed colors including , black, white, or to align with Sikh Maryada guidelines. Distinct from other variants like the or Gol, the Dumalla's rounded, imposing form reflects an unbroken link to Guru Gobind Singh's era and the formation of the in 1699, serving as a visible of Sikh sovereignty and resilience amid historical persecutions.

History

Origins and Early Sikh Adoption

The Dumalla, a distinctive double-layered style, traces its origins to the early 17th century during the tenure of Dev, the fifth Sikh Guru (1581–1606). In defiance of Mughal rulers who wore single turbans as a symbol of authority, Dev is credited with declaring that would wear two turbans to signify spiritual and temporal sovereignty. This practice emerged amid rising , positioning the turban as an emblem of resistance and equality, covering the uncut hair mandated by Sikh tenets against prevailing customs of . Early adoption among intensified under , the sixth (1606–1644), who formalized the militarization of the faith by donning arms and a prominent , influencing followers to embrace similar for both religious observance and martial readiness. Paintings and historical accounts from this era depict smaller, puratan (ancient) Dumalla styles, precursors to larger variants, tied to cover the head fully while accommodating the growing emphasis on kesh (uncut ) as a core Sikh article of faith. The Dumalla gained formalized prominence with the founding of the by on April 13, 1699, at , where initiation into the required maintaining kesh and covering it with a , elevating the Dumalla as standard battle attire among warrior . Nihang Sikhs, the traditional warrior order, adopted expansive Dumalla forms from the late 17th to 18th centuries, enhancing them for combat by incorporating layers that secured weapons and provided protection. This period marked the turban's evolution from symbolic defiance to an integral component of Sikh identity, worn by initiated males to embody discipline and sovereignty.

Association with Guru Gobind Singh and the Khalsa

The Dumalla became closely associated with the Khalsa following its founding by Guru Gobind Singh on April 13, 1699, at Anandpur Sahib, where the initiation ceremony (Amrit Sanchar) established the order of baptized Sikhs committed to a martial and spiritual discipline. As part of the Khalsa's Rehat (code of conduct), members were mandated to maintain uncut hair (Kesh), one of the Five Ks, and cover it with a turban to signify their distinct identity as saint-soldiers (Sant-Sipahi). The Dumalla style, with its large, rounded layers providing head protection and accommodating the joorha (bundled hair), suited the Khalsa's military orientation, enabling warriors to secure shasters like chakrams on the turban during combat. Historical portraits from the 1600s to early 1800s depict wearing a Puratan Dumalla, characterized by a flaring top (farla or turla) formed by combining two lengths of cloth, distinguishing it from the taller, conical modern variations that emerged in the mid-19th century. This style was tied on the Guru's sons, Baba Ajit Singh and Baba Jujhar Singh, underscoring its early adoption within the Guru's family and the nascent . The dark blue Dumalla, paired with the chola , was introduced at the first baptisms in 1699, symbolizing sovereignty and readiness for defense against persecution. The association persisted among Akali-Nihangs, who preserved the larger Khalsa-style Dumalla as a boonga dastar (moving standard) in battles, reflecting Gobind Singh's vision of a community embodying both temporal and spiritual authority. While exact tying methods evolved, the Dumalla's role in embodying the Khalsa's warrior ethos remains evident in traditional Sikh art and practices from the 17th and 18th centuries.

Developments During the Sikh Empire and Colonial Era

During the (1799–1849), the Dumalla gained prominence among Sikhs, who served as irregular and shock troops in Maharaja Ranjit Singh's army, particularly during campaigns against Afghan and hill state forces. The turban's layered, dome-shaped design—often in the Chand Tora variant topped with a quoit () for combat utility—provided head protection and allowed attachment of weapons, distinguishing warriors in battles such as those in the Anglo-Sikh Wars (1845–1846 and 1848–1849). This martial adaptation reinforced the Dumalla's role as battle attire, with Nihangs tying turbans using at least 5 meters of fabric for stability amid charges and . Following the Empire's annexation by the British in 1849, colonial of —numbering over 100,000 by —introduced regulations standardizing turbans for uniformity, mandating single-layer or compact styles like the triangular "nok wali" for lower-rank soldiers to facilitate drill and identification via insignia such as the pin. These changes, driven by British emphasis on disciplined formations over traditional guerrilla tactics, influenced civilian Sikh fashion, promoting neater, symmetric turbans tied with groomed beards. However, orders preserved the Dumalla as a marker of , wearing it during anti-colonial actions like the 1857 Indian Rebellion, where they fought in full traditional bana against British forces. The persistence of the Dumalla among non-military reflected resistance to assimilation, as British policies categorized Sikhs by turban style for and , yet failed to suppress its use in religious and martial contexts outside regular armies. By the early 20th century, while army-influenced styles dominated urban elites, rural and communities maintained the larger Dumalla, tying it with double layers for cultural continuity amid colonial pressures.

Symbolism and Significance

Religious and Martial Symbolism

The Dumalla represents a deep religious commitment in , symbolizing spirituality, self-respect, and adherence to the Guru's teachings on equality and devotion. Worn predominantly by Amritdhari Sikhs—those baptized into the through the Amrit Sanchar ceremony instituted by on April 13, 1699—it signifies the wearer's initiation into the Khalsa brotherhood and their pledge to uphold Sikh ethical and spiritual principles. This turban style also embodies martial symbolism, particularly through its association with the order, a hereditary warrior tradition tasked with safeguarding Sikh sovereignty and martial heritage. The Dumalla's expansive form, often layered to cover the ears and sides of the head, was designed for battlefield efficacy, offering protection while allowing integration of defensive items like chakrams, thus reflecting the Sikh ideal of the sant-sipahi—a saint-soldier prepared for both spiritual discipline and armed defense of the faith.

Colors and Their Interpretations

The Dumalla, as a distinctive turban style among and Sikhs, is traditionally tied using fabrics in , kesari (saffron-orange), basanti (yellow), or white, reflecting martial, spiritual, and sovereign themes rooted in Sikh tradition. These colors align with broader Sikh symbolism but emphasize the ethos in Dumalla contexts, where Nihangs often favor to evoke fearlessness and guardianship of the faith. Red and green are generally avoided in maryada, as they are linked to non-Sikh associations, though no explicit prohibition appears in the official Sikh Maryada. Blue, particularly navy or surmai shades, symbolizes the warrior spirit and divine infinity, representing a Sikh's readiness to defend without fear, as embodied by orders historically clad in blue bana and Dumalla. This color draws from Gobind Singh's ideals of protection and universal guardianship, often layered over a blue base in practice. Kesari (saffron-orange) denotes bravery, sovereignty, and sacrificial valor, evoking the Khalsa's heritage and readiness for martyrdom in service to . It parallels the kesari of the flag in some traditions, signifying temporal and spiritual authority. Basanti (bright yellow) signifies enlightenment, renewal, and sovereign light, commonly worn during the Basant festival or to affirm Khalsa independence, as it contrasts with subdued shades for ceremonial emphasis. White embodies purity, peace, and simplicity, often chosen by elders or in contemplative settings, underscoring humility amid the Dumalla's imposing form. Black appears in some modern Dumalla variants but lacks traditional endorsement in strict Khalsa contexts, where it may conflict with purity ideals.

Construction and Tying

Materials and Dimensions

The Dumalla is primarily made from -based fabrics, with common types including Mal Mal, a lightweight 100% material suitable for multi-layered wrapping due to its thinness. F74 fabric, composed of 100% with 2x2 high-twisted yarns, is frequently preferred for its balance of lightness and durability in Dumalla styles. Thicker options such as or tussar blends provide greater structure for traditional variants, though they add weight with additional layers. Some fabrics incorporate for stiffness to maintain the turban's shape, while starch-free versions are chosen for softness and ease of tying. Cloth dimensions for tying a Dumalla typically feature lengths of 5 to 10 meters or more, allowing for the extensive wraps that create its distinctive voluminous form; shorter lengths around 6 meters may be doubled for added bulk. The width is generally narrower than standard turbans, often about 0.5 meters, which contributes to the flared, half-volume profile relative to full-width pagris. These measurements enable at least five wraps around the head, with longer cloths producing taller, more elaborate structures suited to and ceremonial contexts. Variations in fabric type and length accommodate personal preference and style, such as the Chand Tora Dumalla, but adhere to traditions emphasizing practicality for extended wear.

Basic Tying Techniques

The basic tying technique for the Dumalla prioritizes a secure base followed by layered wrapping to form its tall, imposing profile, a practice rooted in traditions requiring manual dexterity and repetition for proficiency. A foundational keski, typically 2-3 meters of cloth like F74 fabric, is wound in even, relatively loose circles around the head to encase the joora (hair topknot), providing stability without excessive tightness that could shift under the main layers. This base must withstand head movement; if it loosens easily upon shaking, it serves adequately as a foundation. The primary cloth, often two pieces totaling 10-16 meters in length and 35 cm wide—such as a 5-meter dark blue segment and an 11-meter white or blue one—is prepared by folding into double layers of about 25 cm width, sometimes moistened with for pliability. One end of the longer piece is knotted for grip, then positioned at the right temple and drawn firmly across the forehead to the left side, initiating the first "larh" or foundational fold. Subsequent layers are applied by overlapping wraps angled upward from the base, with higher placements at the front descending toward the back to construct the characteristic dome or peak, bunching and folding the material using a specific hand grip to maintain even tension and cover the crown symmetrically. This building process, which may incorporate 5-10 practice sessions to adapt to individual head shape, demands consistent pressure to avoid twisting or unevenness. The turban is secured by tucking the remaining ends into rear folds, ensuring durability for extended wear of 4-5 hours or more; mastery typically emerges after 2-3 weeks of daily practice, allowing personalization while preserving the form. Variations exist, such as omitting decorative elements like the Chand Tora for simpler ties, but the core method emphasizes height and firmness over the flatter profiles of other Sikh turbans.

Styles and Variations

Chand Tora Dumalla

The Chand Tora Dumalla represents a specialized warrior variant of the Dumalla , predominantly worn by Sikhs during martial and ceremonial contexts. This style emphasizes functionality for battle, featuring a robust, layered that secures weapons and provides head protection. Nihang orders, known for preserving Sikh martial traditions, adopt this turban to evoke the Khalsa's historical combat readiness established in the late . Central to this style is the Chand Tora shastar, a comprising a moon-shaped guard (chand) affixed to a tabar or axe-like blade (tora), often positioned at the front or side of the . This ornament, typically forged from sarbloh (pure iron) for symbolic purity and durability, weighs several ounces and requires precise tying to maintain balance during movement. Historical accounts link such emblems to 18th- and 19th-century Sikh warriors, who affixed shastars to turbans for quick access in skirmishes against Mughal and Afghan forces. Tying the Chand Tora Dumalla involves wrapping 8 to 12 meters of or fabric in a conical base (bunga) followed by ascending spirals that form a broad, rounded dome, culminating in a peaked apex to accommodate the shastar. The process, often demonstrated in Nihang akharas, prioritizes tension for stability, with the Chand Tora pinned using wire or clips to prevent displacement. Variations include triple tora configurations for enhanced symbolism, though single units predominate in active practitioners. This method contrasts with smoother profiles in other Dumalla styles by incorporating angular flares around the emblem site. Among contemporary Nihangs, the Chand Tora Dumalla signifies unwavering adherence to Guru Gobind Singh's edict for armed readiness, appearing in events like festivals since their inception in 1701. Preservation efforts by groups such as the Budha Dal emphasize authentic materials and techniques, countering dilutions from commercial fabrics. Wearing this turban underscores a commitment to sant-sipahi ideals, blending spiritual discipline with physical preparedness, though debates persist on its exclusivity to initiated members.

Gol Dumalla

The Gol Dumalla is a rounded variant of the Dumalla turban, distinguished by its compact, spherical that evenly covers the head, ears, and sides of the face without angular protrusions or decorative frames. This style emphasizes symmetry and fullness, achieved through layered wrapping techniques that prioritize structural integrity over ornamentation. It is commonly worn by Amritdhari , including members of the order, as a practical expression of martial heritage. Unlike the Chand Tora Dumalla, which incorporates a wire-reinforced quoit () for battle-ready rigidity and a crescent-shaped profile, the Gol Dumalla relies on fabric tension alone for its form, resulting in a smoother, less peaked appearance suitable for both combat and ceremonial use. Historical accounts link the broader Dumalla tradition to the early 18th century practices under , with rounded styles like the Gol emerging as adaptations for mobility during Sikh resistance against Mughal and later colonial forces. By the era (1799–1849), such turbans symbolized sovereignty and warrior ethos, often in blue fabric to evoke the Nihang's traditional garb. Construction of the Gol Dumalla typically requires 10–15 meters of lightweight or fabric, such as F74 or full voile weaves, which provide breathability and hold without excessive weight. The tying begins with a 4–5 meter base layer (bunga or keski) to coil and secure the uncut (kesh), followed by successive helical layers wound tightly from front to back to build the rounded dome; the final wraps are tucked and patted to ensure even distribution and stability. This method allows the turban to withstand vigorous movement, as documented in martial training, while maintaining a of approximately 12–18 inches depending on fabric and head size. Variations in tightness and layer count enable customization for daily wear versus formal events, with remaining the predominant color to signify loyalty to Sikh Maryada standards. In contemporary practice, the Gol Dumalla serves as an accessible entry point for younger Amritdhari learning traditional tying, often taught through oral transmission in gurdwaras or Nihang camps, underscoring its role in preserving pre-colonial Sikh aesthetics amid modern adaptations. Its enduring appeal lies in balancing tradition with functionality, avoiding the complexity of framed styles while projecting the authoritative presence associated with identity.

Modern Dumalla Adaptations

In contemporary Sikh practice, the Dumalla has undergone adaptations primarily in size and layering to balance tradition with practicality, evolving from the larger "boonga dastar" style prominent during the (1799–1849) into variants suitable for daily wear or ceremonial use. Smaller or medium-sized Dumallas, often constructed with an inner gol keski base and outer layers of full fabric measuring 140 cm in length and 40 cm in width, allow for easier tying and reduced bulk compared to the towering warrior forms historically used by . These modifications maintain the characteristic round shape, ear coverage, and forehead "V" or cross pattern while accommodating modern activities requiring mobility, such as religious processions or displays. Accessories have also been refined for functional enhancement, with turban pins employed to secure layers during extended wear or physical exertion, reflecting a pragmatic response to the turban's inherent demands without altering core tying techniques. Materials have shifted toward blends of , , and synthetics for improved durability and comfort in varied climates, diverging from purely traditional handwoven cottons while adhering to prescribed colors—yellow/orange, black, white, or blue—to preserve symbolic integrity. Public figures have popularized hybrid forms, such as leader Jagmeet Singh's integration of Dumalla elements with keski styles since the 2010s, facilitating visibility in political arenas while signaling identity. During the 1980s, militant groups like Khalistani Kharkus revived fuller Dumalla adoption alongside other parna variants for ideological assertion, influencing its resurgence in Amritdhari communities beyond orders. Though less prevalent for routine urban life due to tying complexity—often requiring 5 meters or more of cloth—these adaptations underscore the Dumalla's enduring role in ceremonial contexts like Amrit Sanchar and , where elaborate versions with shastar adornments persist.

Cultural and Social Role

Wearing Practices Among Nihang and Amritdhari Sikhs

Nihang Sikhs, a traditional warrior order within the , wear the Dumalla as their standard , tying it daily as an essential element of their Bana uniform, which includes flowing blue robes and accoutrements for readiness. This style, prominent since the 17th to 18th centuries, features multiple layers of cloth forming a large, protective structure often topped with the Chand Tora—a steel quoit and circular frame symbolizing combat preparedness—and other shastars interwoven for historical battle utility. The practice underscores their role in preserving Sikh heritage through training, demonstrations, and festivals like , where the turban's bulk shields the head and projects an imposing presence. Amritdhari Sikhs, who have undergone baptism into the and adhere to the five Ks including uncut hair covered by a , adopt the Dumalla selectively to honor warrior traditions, particularly among religious leaders, youth groups, or during ceremonies such as Sanchar. Unlike the mandatory requirement, the Dumalla's adoption implies a deeper commitment to ideals, often signaling initiated status from afar and necessitating alignment with Maryada, including moral conduct and avoidance of uninitiated appearances like beards tied under the cloth. Colors are confined to blue, black, white, and yellow/orange to affirm distinct identity without spiritual hierarchy among shades. Tying involves layering at least 5 meters of cotton or wool over an inner gol keski base, demanding practiced technique for stability during extended wear in daily life or martial activities. Nihangs integrate it into a holistic maryada avoiding black in favor of blue-dominant schemes, while broader Amritdhari usage emphasizes visibility and discipline over everyday convenience compared to slimmer styles.

Role in Sikh Identity and Resistance Narratives

The dumalla functions as a prominent emblem of Sikh identity, particularly among Amritdhari Sikhs and the order, signaling initiation into the and commitment to its martial and spiritual disciplines. Worn predominantly by baptized , it distinguishes the wearer as a , evoking the 's founding in 1699 by as an army of the pure dedicated to resisting tyranny. Its larger, layered form covers the ears and face more fully than standard dastars, reinforcing a warrior ethos rooted in emphasizing and . In Sikh resistance narratives, the dumalla embodies defiance against historical oppressors, tracing to the era of Mughal persecution where adopted the double-layered —termed "dumalla" from "du-malla" meaning two fabrics—to contrast with single turbans of Mughal elites, as attributed to Dev's directive. , who favor styles like the Chand Tora dumalla equipped for battle with and shastars, have upheld this tradition through guerrilla campaigns against Mughal forces in the 18th century, such as the victories of Banda Singh Bahadur's forces despite numerical disadvantages. These warriors preserved Sikh sovereignty post-Guru Gobind Singh, resisting assimilation and embodying the Khalsa's role in establishing the under Maharaja Ranjit Singh in 1799, where dumalla-clad symbolized unyielding martial readiness. Contemporary narratives frame the dumalla as a living testament to Sikh resilience, with Nihangs donning it during protests and defenses, such as safeguarding gurdwaras amid 20th-century conflicts, underscoring its causal link to the faith's survival through armed vigilance rather than passive conformity. This association persists despite debates over stylistic authenticity, prioritizing empirical continuity from Gurus' exemplars over modern adaptations.

Debates and Criticisms

Authenticity Debates on Traditional vs. Contemporary Forms

Debates on the authenticity of Dumalla styles often center on distinctions between historical or Puratan forms and contemporary variations worn by Sikhs and others. Proponents of the Puratan Dumalla argue it closely resembles the turbans tied by in the late 17th century, featuring a specific wrapping method that secures the head without modern reinforcements, as depicted in period artwork and described in Sikh martial traditions. This view posits that the Puratan style, sometimes tied with a secondary layer for added firmness, embodies the original warrior aesthetic intended for battlefield protection and spiritual symbolism. In contrast, critics of modern Dumalla adaptations contend that post-18th-century evolutions, including larger, ear-covering versions popularized among today, incorporate non-traditional elements influenced by regional practices or material availability, diverging from Guru-era simplicity. Historical analyses of pre-modern Sikh paintings reveal smaller turban sizes during the 's formative years, suggesting that expansive contemporary Dumallas may exaggerate rather than preserve the original proportions, with some scholars attributing this shift to 19th-century orders' emphasis on visual distinctiveness amid Sikh revival movements. Advocates for authenticity urge adherence to documented tying methods from Sikh texts like the references to headgear, warning that hybrid styles risk diluting the turban's role as a marker of unwavering discipline. These discussions extend to broader Sikh forums, where traditionalists claim the Dumalla—requiring at least 5 meters of cloth and specific colors like or —was mandated for initiated to signify readiness for dharam yudh (righteous ), unlike slimmer modern dastar variants seen as concessions to urban convenience. Empirical evidence from 17th-century accounts, such as those in Bansavalinama by Kesar Singh Chhibber (1769), supports layered tying techniques akin to early Dumallas, yet acknowledges stylistic flexibility across Sikh misls, challenging rigid claims of a singular "authentic" form. While no centralized Sikh authority enforces one style, these debates underscore tensions between historical fidelity and practical adaptation, with purists citing visual and textual sources to prioritize Puratan methods over embellished contemporary ones.

Colonial Influences and Preservation Efforts

During the British colonial era in following the in 1849, policies of and uniform regulation exerted pressure on traditional headwear, favoring compact, single-layered pagri styles for regiments to enhance discipline and combat efficiency. These mandates, which prioritized neat folds over voluminous forms, gradually permeated civilian practices among urban and anglicized Sikhs, diminishing the prevalence of the larger Dumalla in favor of more standardized variants like the or styles. The British identification of Sikhs via turbans as a distinct martial community further entrenched these adaptations, though they often overlooked or suppressed the ornate, double-layered Dumalla emblematic of autonomy. Nihang Sikhs, bearers of the Dumalla, embodied resistance to such encroachments, clashing with colonial forces in the over and cultural impositions, thereby preserving the turban's expansive form as a defiant assertion of pre-colonial Khalsa warrior ethos. Their towering, weapon-adorned turbans evoked 18th-century guerrilla traditions, distinguishing them from regimented soldiers and sustaining the style amid broader Sikh integration into imperial structures. Post-independence preservation initiatives, led by orders and Sikh heritage groups, have emphasized authentic revival through training and instructional media, countering colonial legacies by documenting Guru-era techniques for the "Puratan Dumalla." These efforts, including video tutorials and community parbandhs, underscore the turban's role in reclaiming uncorrupted Sikh maryada, with transmitting tying methods—often using 20-30 meters of fabric in blue or kesari hues—across generations to affirm spiritual and martial integrity.

References

  1. https://www.sikhnet.com/news/history-sikh-turban
  2. https://www.sikhistore.com/sikh-dastars/comparing-sikh-dastar-styles/
  3. https://www.basicsofsikhi.com/post/things-to-consider-when-wearing-a-dumalla
  4. https://www.sikhnet.com/news/tracing-history-sikh-turban
  5. https://www.reddit.com/r/Sikh/comments/17kv04w/small_turbans_in_the_premodern_paintings_of_khalsa/
  6. https://www.sikhdharma.org/the-turban-of-kings/
  7. https://saitjournalism.ca/thepress/2023/12/05/sikh-turban-as-a-global-symbol-of-identity-and-unity/
  8. https://www.facebook.com/photo.php?fbid=1098015483589891&id=640855829305861&set=a.641343665923744
  9. https://www.sikhiwiki.org/index.php/Chand_Tora_Dumalla
  10. https://www.sikhsangat.com/index.php?/topic/57809-difference-between-keski-dumalla-and-dastar/
  11. https://www.facebook.com/groups/sikhmilitaryhistoryforum/posts/2598186366862377/
  12. https://blogs.baruch.cuny.edu/patinomodernimperialism/?p=38
  13. https://www.sikhnet.com/news/sikh-turban-visual-testament-sikh-values-and-heritage
  14. https://www.reddit.com/r/Sikh/comments/1fet4ha/colours_of_the_dumalla_sahib/
  15. https://www.thesardarco.com/blogs/blog/the-meaning-behind-different-turban-colours
  16. http://www.dsource.in/resource/sikh-turbans/significance-color-sikh-turbans
  17. https://www.sikhphilosophy.net/threads/turban-colour.5348/
  18. https://www.sikhawareness.com/topic/9277-history-behind-white-blue-and-saffron-colors/
  19. https://factsanddetails.com/india/Minorities_Castes_and_Regions_in_India/sub7_4j/entry-8740.html
  20. https://indianexpress.com/article/explained/explained-culture/kesri-basanti-history-politics-colour-holy-nishan-sahib-9519057/
  21. http://www.punjabmonitor.com/2013/08/blue-is-sikh-colour-not-saffron.html
  22. https://www.quora.com/What-is-the-significance-of-blue-turbans-for-Sikhs
  23. https://www.sikhistore.com/sikh-dastars/comparing-sikh-dastar-materials/
  24. https://www.thesardarco.com/blogs/blog/a-guide-to-different-turban-materials
  25. https://sacredsikh.com/pages/what-material-is-right-for-me
  26. https://www.avhturban.com/blogs/post/guide-for-different-turban-material
  27. https://www.sikhsangat.com/index.php?/topic/15254-length-of-dumalla-and-keski/
  28. https://gosikh.com/products/dumalla-black
  29. https://www.sikhnet.com/pages/tyingturbans
  30. https://www.sikhsangat.com/index.php?/topic/86618-help-with-first-time-learning-to-tie-dumalla/
  31. https://www.sikhvirasat.ca/dumala-punjabi-traditional-religious-dumall-sarabloh-sikh-small-chand-tora-brooch-pin-for-singh%27s-turban-dumala-pagri-pug-patka-coats-jackets-color-silver-size-5-4-inches
  32. https://sikhaccessories.com/product/buy-sarabloh-chand-tora-dumala-shastar-with-wire-online/
  33. https://www.youtube.com/watch?v=wTI30mWhNUE
  34. https://www.youtube.com/watch?v=6dyqy4Xq8yk
  35. https://www.youtube.com/watch?v=o1WtenTkAjc
  36. https://www.reddit.com/r/Sikh/comments/16zv94a/can_i_wear_chand_tora_dumalla_even_though_i_am/
  37. https://dtfbooks.com/the-cultural-and-practical-significance-of-dumalla-accessories/
  38. https://dtfbooks.com/sikh-turban-material-a-guide-to-fabrics-comfort-and-tradition/
  39. https://www.meridastar.com/blogs/news/history-of-dastar
  40. https://sikhexpo.com/blogs/news/who-were-the-nihang-warriors
  41. https://dvnetwork.org/page/nihangs
  42. https://www.sikhnet.com/news/nihangs-warriors-spirit-and-steel
  43. https://iji-studies.com/index.php/IJIS/article/view/245
  44. https://www.sikhnet.com/news/visual-history-sikh-turban-0
  45. https://www.reddit.com/r/Sikh/comments/1en642p/nok_wali_dastar_vs_dumalla/
  46. https://www.sikhnet.com/news/turban-kings
  47. https://uhsea.files.wordpress.com/2011/06/cohn-cloth-colonialism-india1.pdf
  48. https://www.nam.ac.uk/whats-on/turbans-and-tales
  49. https://www.sikhnet.com/news/akali-nihangs-modern-warriors-legacy-shastar-vidya
  50. https://academic.oup.com/book/568/chapter/135301505
Add your contribution
Related Hubs
User Avatar
No comments yet.