Jhummar came from the Sandal Bar and the south-western districts, Jhang, Multan, Sargodha, and is danced in a slow circle with a swaying arm movement, in three-beat time. It is the dance of older men and it is the most graceful thing in the Punjabi repertoire.
Luddi is a slow, mocking, shoulder-led dance done after a victory, with one hand behind the back and the other in front of the face.
Sammi is a women's dance from the Sandalbar and Pothohar tracts, danced in a circle with a particular arm sweep, associated with the story of a woman named Sammi and her lover Dhola.
Dhamal is the Sufi dance of the shrines, done at urs gatherings to the dhol, and it crosses over into the Punjabi folk repertoire at the edges.
All four came from districts that are now in Pakistan. They survive in Indian Punjab as items in a stage bhangra programme, learned from choreography rather than from a village, and in Pakistani Punjab as living practice in some areas and as nothing much in others.
Bhangra proper is a harvest dance of the Sialkot and Gujranwala country, fast and upright and done to the dhol. Jhummar is a different thing entirely, and the two ended up on the same programme because a stage needs variety and not because they belong together.
Gidha is the women's form and it has survived better than any of the men's dances because it never needed a stage. It is done in a courtyard in a ring, with the bolis called by one woman and answered by the clap of the rest, and the verses are made up as they go and are frequently about the people standing there.
The names survive on a syllabus. A university dance programme or a school competition lists jhummar, luddi, sammi and gidha as separate items with marks attached, which is a strange way for a dance to be kept and is the only way several of these are kept now.