Folk songs are at the heart of any culture. They are a form of oral history passed down through generations by elders with love and affection. Sung at cultural and social festivals, these songs reflect cultural values and traditions. The subjects of folk songs are diverse, including love, betrayal, respect, and familial ties. However, there is one subject that often goes unnoticed: patriarchy. This article explores Tappay for analysis—a type of Punjabi folk song traditionally sung at weddings. These tappay remind the bride and groom of their duties towards each other, family, and society.

Punjabi tappay present a dual narrative. While some reinforce patriarchal structures, others challenge societal expectations and redefine gender roles. This can be seen in almost all famous Punjabi tappay, such as “Kala Doriya,” which has been recreated a number of times. This tappa is about a woman’s life at her in-laws’ home and it creates a rather dismal picture of her relationship with them. There are verses like “Chota Devra Papi Nal Lariya Oye” and “Main Soray Ni Jana Sas Bur Bur Kardi Ae,” which sort of romanticize the domestic struggles of women in a lighthearted and humorous way, showing them as a natural and inevitable outcome of marriage. In another couplet of this tappa, “Maavan Laad Lada Dhiyaan Nun Vigadan Ni, Ke Sassa De De Matta Umar Nu Sawaran Ni,” it is........

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