shaheediyan

Amardeep Singh Hearing the modern experimentalists keertanias doing keertan in highly dramatized forms leads my mind to pose some basic questions like “What does Guru Granth Sahib, our eternal Guru command us on the subject of Keertan?†“Why is that the Gurus chose Raags to classify Gurbani?†“What is the relation between Shabad and Raag?†“Do we need the aid of experimental music to propagate the message of Guru Granth Sahib?†“Have our Keertanias experimented with the vastness of Raags and Taals as prescribed by Gurus?†“What impact will experimentation have on our future generations?†Keertan today has been commercialized to such an extent that barring a few, most Keertanias are only concerned about making a quick money. Their limitations to experiment with the prescribed vastness of Guru Granth Sahib always gets camouflaged in the excuse that Sangat does not prefer to listen to Keertan as prescribed by the Gurus. Gurus wrote Shabads in poetical-metric forms and then associate them with Raags and Ghars (Beats/Taals). Does this mean that Gurus have left no scope for experimentation with music? The indication of Raag and Ghar (Beat) with every Shabad implies that Gurus had a definite motive behind fixing a framework. This framework was not set to limit the ability of human mind to experiment with music but to act as an aid in spiritual development. A simple mathematical permutation and combination on notes of any Raag would indicate that each Raag offers thousands of tunes to experiment with. Poetry (the form in which Gurbani is written) and Music (Raags) are two sides of the same coin. They are independent but yet complement each other. Music versifies and provides melody, uniformity and cadence to Poetry. The factor that binds music and poetry is their Metrical-form (Ghar). Music (Raag) is based on Sound (Swar - Notes) and a combination of Notes produce distinct musical effects. Poetry is determined by Word (Shabad), which communicates a message. Music (Raag) on the other hand conveys a feeling to the heart and is therefore universal. Spirituality after all is striking the right balance between mind and heart. Therefore when Gurbani (Poetry) is complemented with Raag (Music) and bound by Ghar , the resulting effect on mind and body can become the catalyst to change. As explained earlier that Raag conveys a feeling and Shabad a message. A Raag is capable of touching the hearts with the feeling like Joy, Sorrow, Detachment, etc. Upon studying the structure of Guru Granth Sahib it can be seen that shabads relating to common THEMES are generally placed under each Raag. When the broad THEMES of Shabads are overlaid with feelings conveyed by Raags, there emerges a reason behind classification of Shabads under a broad classification of 31 Raags. Common Theme of Shabads placed under Raags of Guru Granth Sahib 1. Soohi - Being away from Home. The soul being away from the House of Lord & the joy of meeting the true husband. 2. Bilaaval - beautification of Soul, Happiness. 3. Gaund - Separation, union, surprise. 4. Sri - Maya and Detachment 5. Maajh - yearning to merge with Lord, giving up of negative values. 6. Gauri - Principles, Serious, thoughtfulness, composed 7. Aasa - Hope 8. Gujri - Prayer (Pooja) 9. Devgandhari - Merging with spouse, Self - Realization 10. Bihaagra - Yearning due to separation of Soul and happiness due to meeting the Lord. 11. Sorath - Merits of God 12. Dhanasari - Mixed Theme 13. Jaitsree - Stability 14. Todi - Maya, Separation 15. Bairagi - motivation to sing praises of Lord 16. Tilang - many words from the vocabulary of Islamic origins are used, sadness, beautification. 17. Raamkali - to give up the life of a wandering Jogi. 18. Nat Narayan - Joy of meeting the Lord 19. Maali Gaura - Happiness 20. Maaru - Bravery 21. Tukhari - Separation and union with Lord 22. Kedara - Love 23. Bhairav - Mans' state of Hell 24. Basant - Happiness 25. Sarang - Thirst to meet God 26. Malar - State of separated and united Soul 27. Jaijawanti – Vairag (Detachment) 28. Kalyan - Bhakti (Prayer) Ras 29. Vadhans – Vairag (Detachment) 30. Parbhati – Bhakti (Prayer) 31. Kanra – Bhakti (Prayer) Feeling communicated by the music of Raag 1. Soohi – Joy & Separation 2. Bilaaval - happiness 3. Gaund - strangeness, surprise, beauty 4. Sri - satisfaction and balance 5. Maajh - loss, beautification 6. Gauri - Seriousness 7. Aasa - making effort 8. Gujri - satisfaction, softness of heart, sadness 9. Devgandhari - No specific feeling but the Raag has a softness 10. Bihaagra - beautification 11. Sorarth - motivation 12. Dhanasari - inspiration, motivation 13. Jaitsree - Softness, satisfaction, sadness 14, Todi - this being a flexible Raag it is apt for communicating many feelings 15. Bhairagi - sadness, (Gurus have however used it for the message of Bhakti) 16. Tilang - this is a favourite Raag of Muslims. It denotes feeling of beautification and yearning. 17. Raamkali - calmness 18. Nat Narayan - Happiness 19. Maali Gaura - Happiness 20. Maaru - giving up of Cowardice 21. Tukhari - beautification 22. Kedara - Love and beautification 23. Bhairav - Seriousness, brings stability of mind 24. Basant - happiness 25. Sarang - sadness 26. Malar - seperation 27. Jaijawanti - Virag 28. Kalyan - Bhakti Ras 29. Vadhans - Vairag, Loss (that is why Alahniya is sung in this Raag when someone passes away) 30. Parbhati - Bhakti and seriousness 31. Kanra - Bhakti and seriousness Its clear that the Gurus used Raags to increase delivery power of shabad to our mind by invoking complementary feelings in our hearts through the usage of prescribed Raags. Within the rules of Hindustani Classical Music, uncountable Raags can be created. In fact any form of music (non-Indian and non-classical) can be classified under some form of Raag. Hence it is a misconception that Raags are something highly classical and beyond the realms of common mans understanding. In-fact any form of music is Raag. But in Guru Granth Sahib, the Gurus have gone into depths of Poetry, Music and Metrical forms to lay the framework that is best suited to convey the feeling and message of the Shabad simultaneously to the human mind and heart. When each of the prescribed Raag offers uncountable permutation and combination of musical compositions, then why is it that the modern Keertanias are not experimenting within the prescribed framework of the Gurus? Gurbani says Among all Ragas, that one is sublime, O Siblings of Destiny, by which the Lord comes to abide in the mind. (Page 1423) Clearly, only that Raag is prescribed by which feeling of spirituality is aroused. Gurus have not prescribed catchy musical tunes that dominate the Shabad. The essence of Keertan lies in effective delivery of the message of Shabad, using Raag and Taal as a medium. The medium cannot dominate the essence. This is where our modern day keertanias are making the mistake of experimenting beyond the prescribed framework of Guru Granth Sahib and singing shabads in catchy tunes. At the end it’s the tune that remains in the mind and not the message. Music is a double edged sword. While it can be effectively used for constructive Keertan by operating within prescribed frameworks Guru Granth Sahib, on the other hand it can also be used for arousing destructive feelings by use of catchy tunes (as explained earlier, any form of music can be classified into a Raag). It would be interesting to note that the main object for having caused the current day deterioration in quality of Keertan is the most widely used musical instrument called Harmonium. Harmonium is not an Indian instrument. Over 100 year back, the Europeans bought the Harmonica to India. The air box of this European instrument was experimented by Indian musicians to develop a new instrument called Harmonium. This instrument is not best suited for Indian Classical music. According to Indian Classical Music, the human ear can recognize 22 musical notes in an Octave. The Harmonium only offers 12 discreet keys in an Octave. Only string instruments offer the ability to play 22 notes in an Octave by pressing the string at mid-points. It is for this reason that Indian Music was always played with accompaniment of only string instruments. In fact if one sees the old pictures of Harmandir Sahib, one would only find string instruments being used by the Keertanias. Although Harmonium offered a compromise to Indian Classical music and should have never been used in the Indian system but it gained rapid acceptance because it was very easy to learn and use. Learning a string instrument required close to 4 – 5 years professional training but Harmonium could be learnt in less than 2 months. This was a great blessing to aspiring Sikhs who also wanted be able to do Keertan. While there is no harm in using Harmonium and we must also accept its contribution in making it easier for the masses to learn Keertan and help them start their spiritual journey. But it also caused the biggest deterioration to Keertan singing. The professional Keertanias, were now finding it hard to keep pace with rapid generation of new breed of Amateur Keertanias. Materialistic desires lead them to shorten their classical training period by moving to Harmonium. Over generations, this trend lead to complete elimination of string instruments from the Gurudwaras. Lack of dedication that crept in because of the ability to learn Keertan in just 2 months also lead to Keertanias start doing Keertan in catchy filmi tunes. Yes our modern day Keertanias should be given 100% score for having the ability to experiment with music. But unfortunately, this experimentation with catchy tunes is causing more harm than good to the Keertan, as they have stopped experimenting within the prescribed framework of Guru Granth Sahib. An instrument that was supposed to attract the Sikhs to Gurbani has become the very reason for the downfall in present day standards of Keertan. It would have been fine if Harmonium would have been adapted but not at the expense of compromise on string instruments. It should have acted as a stepping stone for the budding Sikh Keertanias to quickly acquire musical sense and move forward to experimenting within the prescribed framework of Guru Granth Sahib. Instead they have chosen the short cut. The reason for citing above example is to show the long term pitfalls associated with un-checked experimentation. Modern day experimentalists keertanias need to be cautious and introspect. The first question that needs to be answered is that what is attracting the youth to this new style of Keertan? For all probability it is the music that is attracting them because Keertan is being done in modern day, highly dramatized form. I have heard a shabad “Mitar Pyarae Noon…..†in which Thunder, Lightning and sounds of wild animals complement the shabad to project the scene of Machiwara jungle. The only reason one would get attracted to such style of Keertan is because of music. Like any MTV Top of the Charts, such music can’t last long in the minds of the youth. On the other hand maybe the youth is getting attracted to this style of Keertan because effective English Translations are being provided. If that is the case, then the translations can also be provided while doing Keertan in the prescribed framework of Guru Granth Sahib. After all there are thousands of tunes that can be created from each of the prescribed Raag and these tunes need not be highly classical in order to cater to the tastes of the youth. Even Gurus did not allow the dominance of classical music over the Shabad. Gurus support forwardness but where should we draw the line? Who knows, next could be an experiment with Jaap Sahib being sung in RAP STYLE! Will Jaap Sahib in RAP STYLE lead to feelings of spirituality? The future of Keertan lies in the hands of present day Keertanias. They need to definitely look at ways of improvising and attracting the youth but not at the cost of further deterioration of Keertan. Our Keertanias should first make the effort to acquire full knowledge of the musical framework of Guru Granth Sahib and adapt from within it, to be attract the youth not on a short term basis but on long term basis. I have full faith in the Guru and believe that if our Keertanias make an earnest effort to implement the commands of Guru Granth Sahib in their Keertan singing style, then the pied pipers will not need to walk the streets to attract the youth, they will come to the Gurudwaras by themselves.

Prof. Surinder Singh The philosophy of the Sikh Gurus describes the concept of a positive entity and a negative entity within humans. The Sikh philosophy names these entities as the mun (mind) and the atma (conscience or soul). Whereas the mind represents the selfish and impatient side of an individual, the soul represents the honest and sincere side. It is central to the belief of the Sikhs that all humans have these two sides to their character, and that both sides are equally important for understanding oneself and becoming one with the creator. The Shabads of the Sikh Gurus are examples and lessons for the mind and soul to dialogue with each other, so that they can work together rather then against each other. This is indicative of the thoughts, discussions and debates that everyone partakes in on a daily basis inside their head. Much research has been done regarding the effects of music on one's emotional wellbeing. Thoughts, feelings and emotions are highly influenced by listening to music. The emotional experience derived from music has a powerful effect on the formation of one's moral and intellectual outlook. "Music faces us with the realization that there are two worlds: the inner and the outer. The inner is often incommunicable, a spiritual world which is difficult to enter from the outer world where we normally speak to one another. Music is bridge for us." -Alfred Nieman Music and psyche have been inherently linked in creation myths, obscure thought, legends, and now science. All intuit and theorize that the origin of the world/universe is in vibration, sound, or music. The human fetus floats in the fluid but static feminine, in which are present all of the primary elements of music. Psychologically, what does this mean? In the presence of certain music and composed feelings, a person can more fully explore the inner world with its archetypal and symbolic character. The following is an excerpt by Guru Nanak Dev Ji on pg 6 of the holy scriptures of the Sikhs so dru kyhw so Gru kyhw ijqu bih srb smwly ] so dhar kaehaa so ghar kaehaa jith behi sarab samaalae || Where is that Gate, and where is that Dwelling, in which You sit and take care of all? vwjy nwd Anyk AsMKw kyqy vwvxhwry ] vaajae naadh anaek asa(n)khaa kaethae vaavanehaarae || The Sound-current of the Naad vibrates there, and countless musicians play on all sorts of instruments there. kyqy rwg prI isau khIAin kyqy gwvxhwry ] kaethae raag paree sio keheean kaethae gaavanehaarae || So many Ragas, so many musicians singing there. The following is an excerpt from a Shabad by Guru Raam Daas Ji in Raag Gauree Majh (pg 174): hir AMqir vwjw pauxu hY myry goivMdw hir Awip vjwey iqau vwjY jIau ] har a(n)thar vaajaa poun hai maerae govi(n)dhaa har aap vajaaeae thio vaajai jeeo || O Lord, the music of the praanic wind is deep within, O my Lord of the Universe; as the Lord Himself plays this music, so does it vibrate and resound. There are numerous references to Naad, vibration, sound and music by the Sikh Gurus in the Holy Scriptures. Having realized the ability of music to inspire the listener and performer, the Sikh Gurus harnessed these effects of Raags to convey their teachings. In order for the message of the Shabad to remain as the Sikh Gurus intended, each Shabad has been set to a predefined raag, which is included in the title of the Shabad along with its author. Thus, when a Shabad is sung in its title raag, its true nature and feelings are conveyed. The title raag enhances our understanding of the Shabad by providing us with emotions that go along with the teaching in the particular shabad. The Sikh Gurus use themes and emotions that all humanity can relate to, such as love, devotion, wisdom, pain, ambition, hope, friendship, desire, determination, ego, duty, liberation, regret, faith, and sadness. The Shabads thus encourage the realization of one's true self, regardless of race, gender or creed.

Who is teaching/is going to teach these youth gurmat sangeet? Why is money a problem, how much does this teacher charge?

Vahe-Guru ji ka Khalsa Vahe-Guru ji ki Fateh, I don't think anyone mentioned the source of the hukumnamey: I have read 2 things, 1 they were written by Baba Budda Ji's grandson before Maharajs ascent, or they were written by Budda Singh, son of Shaheed Bhai Manni Singh ji. I think they are recorded in by Kavi Santokh in the Sooraj Prakash granth. 45) Putari da dhan bikh jananaa - Recognize the property of a daughter as poison? In my view, Maharaj is giving women a high status, parents bring up a daughter and treat her as an honoured guest, her future/destination lies in her Husbands house. Sikh parents raise the daughter as someone's future amaanat (treasure) and when the time comes, find a suitable Gursikh groom and give her away in marriage. For this reason, one never takes money from a guest living in their house. A Sikh will always incur all costs and treat the guest with dignity. It also stops greedy parents living of their daughters wages! (albeit, there may exceptions to this i..e disabled parents etc). Bhul Chuk Maaf Daas

Did Baba Shaam Singh Ji not write 2 granths? I have been told one was on Gurmat Sangeet. The mentioned must be his recording of various events passed down oraly by his teacher, who's father/grandfather was a Guru Gobind Singh Ji Maharajs personal bodyguard. Veer's, if anyone knows of any literature or person who has puratan raag vidya, please let me know as I know people who are researching this area and writing books. We are trying to gather as much info as we can. All the well known peoples ideas i.e. Dr Gurnaam Singh, Bhai Avtar Singh, Bhai Balbir Singh have been researched. There were many sangeet taksaals set up i.e. damdama, Baba Attar Singh etc.. but most have turned modern, vajaa, bollywood or Indian Classical influence etc.. Budda Jhor (daal), remains uninvestgated (they are a little quiet), so if anyone has any relevant contacts here, would be a great help. Vahe-Guru

Rupz Ji, yes that is how many have been researched and raag rules established, however there is one more raag - Asa Asawari for which compositions are very rare, only one or two are known to exist. If you listened to the other lectures you may here Prof Ji mention this. Vahe-Guru

Importance of Stringed Instruments in Gurbani Kirtan Guru Das Singh & Kudrat Kaur Khalsa From the beginning of the Sikh musical tradition, instruments have been considered very important to the accompaniment of Gurbani Kirtan. In line with the Bhakts and Sufis, whose Kirtan won over the masses of India to a universal appreciation of the Creator through the singing of Divine Hymns, the Sikh Gurus distilled the art as a comprehensive technology of life based on musical meditation. Guru Nanak regarded hymn-singing and hymn-listening with devotion as a link between man and God: ‘Musical sound (naad) originated from God. It's holy in every sense. The best way to worship God is to blend the Divine Word with sacred music’ “The singing ([Ahat] Naad) produces a response or echo (Anahad Naad) within the soul. He [Guru Nanak] felt that Gurbani and Kirtan are superior to all spiritual practices and as such they lead to the door of salvation.†(Mansukhani: 92) It was in this spirit that Gurbani was composed and performed, an outgrowth of Indian spiritual practices and music, from Samvedic chanting to the great North Indian classical forms such as dhrupad and khayal, South Indian forms (Dakhnee), and blended with various simple, though soulful, local folk traditions. String Instruments in Sikh History The first performance of Gurbani Kirtan, conceptualized by Guru Nanak, was a special sound founded in Raga, as was all Indian music of the time. A mirasi (professional Muslim musician), Mardana, was Guru Nanak’s favorite traveling companion and fellow Kirtani. The Rabab, a plucked string instrument resembling the modern Sarode (but without the metal plate), provided a quality that was compatible with Guru Nanak’s voice and style for communicating his divine message in verse and rhyme. In fact, the Rabab was used to set the mood in Raga before Guru Nanak began his shabads. “He used to tell Mardana which string (notes) to play for a particular hymn. After Mardana had played on the rabab for a few minutes, so as to create an appropriate atmosphere, Guru Nanak would start singing his song in that raga.†(ibid.: 91) As was traditional at the time, Kirtan was also often accompanied by the Pakhawaj (Mridangam) or Dholak, popular percussion instruments of the 15th and 16th Centuries. The Taanpura, though not considered essential in 16th century Indian music, became increasingly prominent, over time, in providing a droning background, especially in classical styles. Mirasis who sang and performed Gurbani Kirtan, were renamed Rababis, and became the established singers of the Guru’s Court (in 1521 at Kartarpur). Later, the professional Rababis became largely displaced by amateur Sikh musicians and bards, known as bhatts and ragis, especially during the time of Guru Arjan Dev Ji, when the Golden Temple became the official Court of the Guru. Pictues of raditional stringed instruments of the Sikhs. Rabab, Saranda/Sarinda/Surinda, Sarangi, Taus/Taoos and Dilruba. Sikh Gurus following Guru Nanak, all placed primary spiritual importance on the singing of Gurbani Kirtan, accompanied by stringed instruments in a traditional Indian style. Other instruments grew in popularity in the Guru’s Court, as the succeeding Gurus felt the need to enhance the technology of Naad in the Sikh hymns with the invention or promotion of new instruments. Guru Arjan Dev compiled the Aad Granth as the comprehensive technology of Naad, a universal collection of hymns from many spiritual traditions. He organized the hymns according to Raga and often included instructions about style and specific tunes to be applied to the hymns. Guru Arjan Dev (1563-1606), sixth Sikh Guru, was a master musician and musicologist. He is said to have designed the Sarinda (a large bowl-shaped string instrument, played with bow), which he himself played and used as the ideal accompaniment for the male voice. The Sarinda produces a hauntingly beautiful deep tonal quality which sings in alternation and in support of the human voice in Kirtan. The next Guru of the Sikhs, Guru Hargobind, incorporated the Sarangi (also played with a bow), a much-maligned string instrument (known to be popular in commercial venues and brothels) in the singing of Gurbani Kirtan. Because of its bold and melodious sound, he considered it an important accompaniment and alternate solo voice in the performance of heroic ballads (Vars), a song form long promoted by the Sikh Gurus for raising the spirits of the oppressed and promulgating self-respect and fearlessness, including the traditional Asa ki Var. In the Guru’s Court, the Sarangi was played in a vocal style and in the field it played in a martial manner, like a folk fiddle. The use of Sarangi became a tradition of soldier-saint warriors in battle. During the time of British occupation, in the nineteenth century, a new generation of Kirtanees, called dhadhis, began. In later versions, the Sarangi became equipped with small bells (gungroos) attached to the bow, and was often accompanied by Dhadh (small drum). The folk ballads sung by dhadhis became standardized into the form known today, with two dhadh-players singing a tale of heroism, while the Sarangi player accompanies the singers. Guru Gobind Singh (1666-1708), the Tenth Sikh Guru, was also a master musician and composer, as were his predecessors. In his time, khayal was the upcoming style to become popularized in the Muslim courts of North India. It was also influential on the style of Kirtan played in the Court of the Sikh Guru, where opulence and majesty were in vogue. It is said the Guru’s Kirtan was often accompanied by a large ensemble of beautiful instruments, including the Taus (a peacock-shaped bowed string instrument), which he himself designed. A smaller version, designed by Sikhs to be used often on the battlefield or on horseback, was the Dilruba (meaning “heart stealerâ€). Again, these instruments were designed for the sole purpose of enhancing the technology of Naad instituted in Gurmat Sangeet (the Guru’s music) and were considered to be essential in the performance and “sound current†of shabads composed in the Guru’s Court. How String Instruments enhance the impact of Gurbani To understand the importance of stringed instruments in Gurbani Kirtan, one must have some familiarity with Indian music. In western classical music, melody and harmony (especially since the introduction of tempered-scale tuning in the 17th century) are intertwined, thus when a singer presents a beautiful melody, it must fit within a strict harmonic-pitch structure. There is a tendency to polish the sound and move accurately and quickly between notes. Ornaments and graces are always on pitch, except in later Romantic and Twentieth-century opera, string literature, and music inspired by folk idioms, especially in Eastern Europe and Russia, where portamenti (sliding between pitches) are richly employed. Indian music emphasizes melody and rhythm against a static harmonic background (a drone). There is much more freedom to move between the pitches in ways that play with harmonic possibilities. Also, instead of being locked into a strict twelve-tone chromatic scale, as in the West, microtonal shading and bending of pitches gives the tunes added color and variety. In each raga, various pitches are emphasized or exaggerated, some of which are made to be extra-flat or sharp in relation to each other, thus creating a natural, melodic and ‘perceived’ harmonic emphasis. In addition, melody includes much sliding (meend and gamak) between, within, and around pitches. Voice quality in Indian music is resonant but natural to the singer. Each voice has its own natural beauty and needs not conform to an artificial ‘standard’ such is found in Western music. Pitch accuracy is practiced in great detail, but with the added artistry of graceful sliding and ornamentation. The music must seem to come from ‘within’, expressing the devotion of the soul, while allowing great freedom and flexibility. Indian melody is not just a sequence of pitches, but is a flowing stream of sound, gliding in various directions, bound only by the guiding rules of raga. For instruments to enhance and support this vocal quality, they must be ‘voice-like’. Indian string instruments are designed to follow and mirror the Indian vocal style perfectly, gracefully sliding between and around pitches. The stringed instruments created and incorporated by the Sikh Gurus (especially the bowed Taus, Sarinda, Dilruba, and Sarangi) provide for a beautiful instrumental companion voice to reflect and expand the message of the poetry. Also, these instruments, especially as they are currently designed, have resonating sympathetic strings to echo and enhance the sound box, creating a rare and enchanting ‘halo’ to the sound. Students practicing Gurmat Sangeet using these precious instruments also find it much easier to learn in this manner and their vocal abilities are said to improve quickly as matching the natural voice to the string instruments is a very exact process. The sound of the instrument helps to pull the voice into the correct pitch and guides the voice into the graceful sliding movements associated with improvised melody. The Rabab, as well as the popular Sarod and Sitar, whose strings are plucked, are also suited for accompaniment of Indian vocal music but are not as naturally capable of the vocal style as the bowed instruments. They are, however, excellent accompanying instruments, especially in a large Kirtan jatha or ensemble. It has become obvious to many, after hearing Gurbani Sangeet with the inclusion the Gurus’ beloved stringed instruments, that this is the way Kirtan was intended to be accompanied, along with a drone and percussion rhythm background. It comes into the realm of common sense, that these instruments, designed and promoted by the Gurus were definitely part of the concept of sound as consciousness-raising technology. Why is it that the Sikh community is now unaware of this rich tradition of stringed instruments? Why is it that the Sarinda is no longer found in the Gurdwaras and places where Sikhs gather to sing the shabad of the Guru? Why is the Sarangi vehemently disallowed? Is it because it was known to be played in houses of ill repute, even though the Tabla was also found in the same places? Is it because of the construction using animal skins? Again, the Tabla and Pakhawaj are fully approved to this day. It is incumbent upon the Sikh community to come to grips with its extraordinary tradition, using the technology which is its birthright, as was directed and prescribed by the Gurus. It is not to say that tradition should be the only guide, but rather to say that if the Sikh Gurus gave the tradition as a prescription, should it not at least be acknowledged and given first priority, according to the definition of Gurmat Sangeet? If social taboos are to have an influence, concerning instruments such as the Sarangi, they should be evenhandedly weighed against all instruments used in such circumstances (like the Tabla and Harmonium). Even so, if five of the Sikh Gurus, beginning with Guru Harbogind Sahib Ji, blessed and treasured the wealth of such a magnificent instrument, why should anyone now quibble with its use in Kirtan, as long is it is respectfully played in the sadhsangat? Is it not time for Sikhs to explore and utilize the rich heritage, preserved for the benefit of the entire world, which is contained within Sikh musical tradition? People of this planet are ‘seeking’ an enlightened and healing technology, a universal solution which can uplift and inspire. It was for this time and purpose, and all times, that the Guru gave us music and poetry, accompanied by the instruments that best help to define it.

Neo Ji has just informed me that this already exists, Satnaam Vahe-Guru! Could yo please tell from where this is accessed on the front page as I cannot see it?

Vahe-Guru Ji ka Khalsa Vahe-Guru ji ki Fateh, Could daas ask the sevadaars to start a new topic heading under the heading of Gurmat Sangeet. Here we can discuss kirtan maryada, raagis, Guur Ji's saaj, research, raag vidya, compositions, kirtan schools, articles, MP3's of kirtan etc... I think it is a minimum requirement on such a good Sikh forum. Guru Maharaj gives us endless instructions to do kirtan in our home, in sangat -- Maharaj is based around raag - 31 chapters, kirtan was the ultimate form of parchaar, naam jap, bir ras (vaaran) .... I hope you will listen to my benti, I will personally provide many articles and threads. Daas

Javanmard Ji, Nice to hear someone is interested in Guru Maharajs kirtan maryda which is all but ignored today by 99% of the panth. Could do one benti - could we carry this topic on in the music area. Vahe-Guru

Javanmard ji, Vahe-Guru ji ka Khalsa Vahe-Guru ji ki Fateh, Of course you are right, there are said to be around 700 raags Guru Gobind Singh Ji Maharaj. Guru Gobind Singh was a master musician and musicologist amonst the endless list of things he had mastered. Sri Sarbloh Granth is the next step, we need translations/kathaa of it, but most of all we need Budha Jor (daal), to share with us their rag vidya and understanding of the 10th masters granths in terms of kirtan. If you are knowledgable in this area then I would love to talk to you off line. ps there are 60 raags in Maharaj, not 31. 31 is the number of chapters. The remaining raags are mishrat raags (fused), mostly created by Shaheed Sri Guru Arjun Dev Ji. They are also complete raags, even though they fall under the headings of the parent raags. Vahe-Guru Daas

Veer ji, You shouldn't so easily discredit the great efforts made by people to revive and preserve Guru Ji's gifts. The link I have given provides access to all the lectures, all of which are 100% SIKH - GURMAT SANGEET - SIKH KIRTAN - SIKH INSTRUMENTS and SIKH utilisation of divine raags given by Akaal Purkh orientated. You say raag is Indian Classical. Please think before you speak as this could be taken offensive by a large majority of the panth. Our Guru's were not trapped by maya or culture, they structered the holy Guru Granth Sahib around a raag framework, if yo have ever read Maharaj you will know this. Each chapter represents a raag - all shabad are grouped according to raag and not the author. Are then trying to say that Sri Guru Granth Sahib Ji is a book on Indian Classical Music? Raag is utilised by means of GUR-MAT sangeet - not Indian Classical. Indian Calssical is completely different. Prof Ji did speak of raag vidya dying out, but in the context of the 60 raags our Guru's have immortalised and given us instruction to use when doing kirtan, not the other 1000s of raags that exist in Indian Classical. Please do not confuse the sangat with uneducated remarks. Raj Academy teaches pure Gurmat Sangeet - everything is derived from and linked back to Sri Guru Granth sahib Ji and Sikh history, including the instruments. I would advise sangat to visit the website, read the articles, listen to the lectures and then lsiten to the shabads to see the truth. Rupz Ji, kindly also do the same, learn a little more about the seva, you will see it is Guru orientated, nothing else, then please be a Gursikh and be supportive towards your Khalsa brothers and sisters who are spearheading this revival. The person that was cured was cured through Shabad Kirtan done in Nirdareth raag as per Guru ji's hukum. If Kirtan is done as Guru Ji instructs, it does cure - it cures and balances any person from any of the 60 emotions which bani is based around. Vahe-Guru

Vahe-Guru ji ka Khalsa Vahe-Guru ji ki Fateh, If these kids are serious, they can learn on-line. Please visit explore the site. Please listen to all the lectures and read teh articles as well as lsiten to the kirtan. http://www.rajacademy.com/ The Academy teaches all the Guru's Saaj and is the biggest Gurmat Sangeet teaching institution outside India. It teaches pure gurmat sangeet (researched over 20 years from every known source) not Indian Classical based raag kirtan as many others teach. All Guru de saaj are taught and developed/provided - the include, Sikh Rabab, Saranda, Sarangi, Taus, Dilruba and Joraa. Sikh Raag vidya is taught as well as performance and composition. Sikh gurmat sangeet history is also taught. There is a music camp in London for 3 days for begginers 14th-16th of July. Instruments sold are also the most highly developed and of highest quality, based on puratan designs - most made from Tun wood - the prices are also cheaper than nearly all other main stream suppliers. There are 600 students worldwide and growing. Vahe-Guru

Veer Ji, Here is a fact: For the last 15 years, Unis idea of Sikh Society has been to arrange bhangra giggs and have dating events disguised as cha parties etc.. The conversion rate at Uni for Gursikhs has been zero. I have been to Uni and know people who have been to many other unis and still go to uni. In the last few years some Sikh Societies have actually begun to be run by Sikhs and the events calender has changed, there are kirtan programmes, simran programmes lectures in a variety of sikh topis etc. Today, there is a huge jump in the number of people coming into Sikhi. My point remains unanswered, bhangra contans lustful, attachment, revenge, intoxiation promoting.... songs, how can listening to this crap or being in an environment where people are smoking, drinking, wearing skimpy clothes, flirting, fighting etc - --- be of any benefit to a Gursikh? You are simply trying to justify something that blatently has no place in Sikhi. Next you will be telling me that Gursikh go to lapdancing clubs on stag nights with a pue heart just to do parchaar? Again, how you decide to have a good time is your business, promotion of these songs, clubs, social theme does not belong on a SIKH forum. As for your Sardaar Alum Singh example, please provide tangible evidence from an orinal source (not a modern book written by someone). Even is this is true, it bears no significance. 1 person out of millions of famous Sikhs is not enough to justify your actions. If anything Sardar ji would have been influenced by SUFI or Karnatik dancing, both of which are forms of artistic expression for God, not to have a good time in a nightclub. Not all Sardaars were perfect, we know what the Bhangi Misl was fond of, and we know that Ranjit Singh was FAR from a saint, so please don't draw on individuals. It could be that Alum Singh liked folk dance, but again you need to lern about Punjabi culture and see how this is completely different from nightclub dancing. Folk ws done by men seprately and Gidda by women seprately, it is only in the last century that men and women have started dancing together. The songs were family or history based. Again, even here I am talking about a cultural aspect, this still has no place in Sikhi, as we know how rude and ofensive boliyan can be. How would you feel about your sister, mum or daughter dancing in a nightclub with strange, drunk, drugged, lustful men surrounding them, would you be "cool" with that, giving all men in teh club the benefit of the doubt, and believing Gurdaas Mann when he says Kao, piya ash karo mitro, dil saaf hona chahee da?? Don't get offended by this example, for you also dance around other mens (possibly Sikhs) sister and daughters in nightclubs. Our Guru's rejected this form of expression, instead they chose a much more intellectual and higher art form (the highest), music (real music not bhangra or hip hop)- in the form kirtan being done in prescribed raags to induce exact emotions using the most beautiful and closest voice resembling instruments in the world - the Rabab, Saranda, Sarangi, Taus and Dilruba. It is not parchaar done by "pure hearted" gursikhs in shady nightclubs that causes people to jap naam, it is those peoples karam and Vahe-Guru Ji's kirpa that does. And that kirpa may come through Gursikh who are following their Guru's hukum and staying away from manmats and manmat environments and absorbing themselves in teh company of Sadh Sangat. Hope I have not offended, just trying to seperate the lotus from the chaos. Daas.

Beast Ji, There is only so much we can blame leaders, boredom and loss of faith. Maharaj has put us here, in this golden information age, we have every possible resource imaginable at our finger tips, there is nothing we cannot find or learn about Sikhi. We are our own leaders. Guru Gobind Singh Ji crowned our head with kes and then a dastaar, a sign of royalty, he made us all our leaders. The dastaar represents allegiance only to Akaal Purkh, and equally represents the non-conformist nature of a true Singh - meaning not conforming to the worldly ways where they contradict those of our Master (which are most of them). We are all blind, try and justify our actions, lifestyles and thinking. We are kidding ourselves. Life cannotbe boring for a Gursikh, it's impossible. We need to learn, Gurmukhi, to read Laridaar Saroop, learn to play an instrument (preferbaly one gifted by our Guru's), learn raag vidya, learn to sing and do kirtan, learn shaster vidya, learn politics, learn other faiths and where possible other languages, as well as do amritvela, seva in many forms, work "honestly" for a living, raise a family, study.... Boredom is not a factor. Justifying bhangra only fills a void (boredom) which was intended to be filled in other ways. I won't respond to your comment about clubbing scene having minimal impact, you are obviously not aware of the emerging clubbing scenen in Punjab, namely Chandigarh. We all know what rubbish goes on in clubs, just like drugs, it becomes an addiction, and DJs are the equivilent dealers in this trade. You may say if they don't do it someone else will? Well Guru Ji has told us to earn "Kirat" di kamai - that which is honest and does not impact negatively on others. Promoting caste, alchohol, lust, revenge and club culture does not fit into that category. Again my point is simply this, bhangra does not belong on a Sikh forum, Bhangra or modern Punjabi culture has nothing to do with Sikhi, as I said before, it detracts people from it. Daas

Vahe-Guru ji ka Khalsa Vahe-Guru ji ki Fateh, Sangat Jeeo, Could someone with knowledge of Seva-Panthi history/resources kindly shed some light on where Baba Shaam Singhs writings can be found. I am particularly interested in learning Baba Ji's Raag Vidya in order to help fill some gaps which the panth has in it's understanding of certain issues within gurmat sangeet. Particulary relating to Kirtan maryada and the rules of certain raags, possibly shedding some light on the Dhuni Vaars in Maharaj. Any help or direction would be hugely appreciated. I am aware a Gur Ghar was set up in Baba Ji's name before he left us (and that he humbly changed the name to that of Maharaj). I think that there may be a related dera there? Also could his family possibly be in possession of any manuscripts? Dhanvaadh Daas

Beast Ji, Apologies for not showing you more love, I am far from perfect, but when Sikhi is being discussed I do not appreciate sarcasm, you can't tell me you were serious about your dirty comment, i was obviously refering to the nightclub scene and atmoshere. If I am wrong, accept my sincerest and humblest apologies... Music is the same as anything else in life, it can be used for good and bad, I hope you agree. What you listen to is completely your choice and right, I am no one judge, but my point is that bhangra plays ZERO role in Sikhi, and in fact detracts the listner from Sikhi in most ways, and does not therefore belong on a Sikh website. Our Guru's have given music the highest honour, the Sri Guru Granth Sahib Ji Maharaj is compiled in a raag structure. All shabads have been grouped according to the ras-emotion - raag, and furthermore, instruction has been given by our Guru's as to how to render those raags and how to perform kirtan. Kirtan is unquestionably a necessity in a Sikhs life as per Guru Ji's hukum. So in answer, music is not bad, quite the opposite, it can help you to find God, but only if used correctly. No bad feelings. God Bless You. Daas

Rupz Ji, Of course truth is everywhere, Sat Sri Akaal, and always will be. It's not a question of living in a pretty little box, that is very patronising of you to say. Of course everything happens as per his will. My problem is not with people exercising their right to make their own choices, nor is my purpose to judge anyone, I am simply not happy about what is bhangra and inevitably and indirectly, nightclub culture being promoted on a Sikh website, where people come o learn about how our Guru's have told us how to live rather than a maya - commercial orientated culture. If you have something to say or discuss as gurmat vichaar then please in the 1st instance respond to the Gurbani I have quoted in relation to your opinions. Bhangra and nightclubs exist and people are free to enjoy them (if that's what they think they are doing). Sikh websites should take responsibilty to seperate faith from culture, so that those youth who are seeking their Guru, are not distracted by this non-Sikh related diversion. I simply possed some questions to be asked as per the initial post requested, not sure why some people are getting hot under the collar. If this forum is not a place to discuss Sikhi, then could admin kindly let me know. Ex-Sodhi Ji, This forum is not about judging personalities, I was speaking in general terms and posing questions which on a Sikh forum are not just relevant to these bhangra DJs, but anyone else who is being promoted here. My issue is with the lyrics in these peoples songs and the objective of the product which is predominantly blasted in seedy nightclubs, where sex, alchohol, dance, drugs and violence are common additives, not exactly what those poor hard working parents were dreaming of when sending their daughters to Uni to have a better life. It never ceases to amaze me that people defending this rubbish are so bling and ignorent to the fact that youth in Punjab are nw 90% monai, drug taking and alchohol being the norm, and abortions growing daily, all of which is not helped by alchohol and lust promoting bhangra songs. Not to mention the fact that these same people are crying about the fact that their sisters and daughters are running off with men of other faiths, not accepting an ounce of responsibilty themselves, but simply taking the decision to defame a whole people of another faith. We all have a responsibilty to makethe world a better place, 1st of all by making ourselves better, then as per his will, reflecting on others. I personally am not to concerned with "Punjabi's" identity crisis problems, but I am hurt when my Guru's sublime name is attemped to be dragged through the dirt. My simple request is that bhangra belongs on a bhangra/punjabi forum, Kirtan belongs on Sikh forums, the former is and will continue to aid to the downfall of the Punjabi diasphora, whilst the latter will promote and increase Guru Ji's kirpa and light accross the world, to people of all backgrounds and faiths. To put it simply, Chinese man, newly interested in Sikhi, a dynamic, philosophical, non-discriminatory - yet hard-line path to finding the ultimate truth - wants to learn more about the ultimate tool gifted to the Sikh from Guru Ji to aid them in this quest - Kirtan - as per Guru's maryada, in nirdaareth raag, which gives the seeker the opportnity to communicate with the creator in the most beautiful method known to man, by invoking the exact emotion our Guru's felt when singing his praises... and what does he find - Specialist, True School, Malkit Singh and Jazzy B? I am not trying to force my opinion on you or win an arguement, I am relating this discussion to a Sikh forum and trying to initiate a Gurmat Veechar, using Maharaj as a point of reference rather than our own ego - opinions. God bless you. Daas

Beast Ji, Grow up, Sikhi and Guru's life giving hukums are not a joking matter: Page 47, Line 11 jin keetaa tiseh na jaan-ee manmukh pas naapaak. ||2|| The self-willed manmukh is an insulting beast; he does not acknowledge the One who created him. ||2|| Guru Arjan Dev - view Shabad/Paurhi/Salok Page 266, Line 14 sagal kir-aa meh ootam kiri-aa. Of all religious rituals, the most sublime ritual saaDhsang durmat mal hiri-aa. is to erase the filth of the dirty mind in the Company of the Holy. Guru Arjan Dev Rupz Ji, What business does a Gurmukh have at nightclub? Your statement is a non-starter, Guru Ji has told us to find and remain in Sadh Sangat in order to become true Gursikhs. And please don't try and create a scenario where sangat would be found in a nightclub. Our Guru's may (not a fact, just a maybe) have entered places of disrepute, but the aim would have been to change peoples lives and give them mukti, they were at one with God, they had the power to not be influenced or tempted by filth. We are not our Guru's, we have been given instructions on what we need to do to achieve the darshan of Akaal Purkhs charan. But don't listen to me, listen to your Master: Page 44, Line 15 ਸਾਧਸੰਗਤਿ ਹੋਇ ਨਿਰਮਲਾ ਕਟੀਐ ਜਮ ਕੀ ਫਾਸ ॥ साधसंगति होइ निरमला कटीऐ जम की फास ॥ saaDhsangat ho-ay nirmalaa katee-ai jam kee faas. In the Saadh Sangat, the Company of the Holy, you shall become absolutely pure, and the noose of death shall be cut away. Guru Arjan Dev Page 10, Line 6 ਜੋ ਸਤਿਗੁਰ ਸਰਣਿ ਸੰਗਤਿ ਨਹੀ ਆਏ ਧ੍ਰਿਗੁ ਜੀਵੇ ਧ੍ਰਿਗੁ ਜੀਵਾਸਿ ॥੩॥ जो सतिगुर सरणि संगति नही आए ध्रिगु जीवे ध्रिगु जीवासि ॥३॥ jo satgur saran sangat nahee aa-ay Dharig jeevay Dharig jeevaas. ||3|| Those who have not sought the Sanctuary of the True Guru and the Sangat, the Holy Congregation; cursed are their lives, and cursed are their hopes of life. ||3|| Guru Ram Das - view Shabad/Paurhi/Salok To complete, you may say as we have sadh sangat then a balance is achieved and mixing with manmukh won't have a bad affect: Maharaj says: A very relevant to nightclub quote: Page 20, Line 8 ਗੁਰਮੁਖਿ ਚਾਨਣੁ ਜਾਣੀਐ ਮਨਮੁਖਿ ਮੁਗਧੁ ਗੁਬਾਰੁ ॥ गुरमुखि चानणु जाणीऐ मनमुखि मुगधु गुबारु ॥ gurmukh chaanan jaanee-ai manmukh mugaDh bubaar. The Gurmukh knows the Divine Light, while the foolish self-willed manmukh gropes around in the darkness. Guru Nanak Dev - view Shabad/Paurhi/Salok Page 29, Line 7 ਮਨਮੁਖ ਮੈਲੇ ਮਲੁ ਭਰੇ ਹਉਮੈ ਤ੍ਰਿਸਨਾ ਵਿਕਾਰੁ ॥ मनमुख मैले मलु भरे हउमै त्रिसना विकारु ॥ manmukh mailay mal bharay ha-umai tarisnaa vikaar. The self-willed manmukhs are polluted. They are filled with the pollution of egotism, wickedness and desire. Guru Amar Das - view Shabad/Paurhi/Salok I do ardaas do Guru Ji that we will not fall under this category: Page 36, Line 2 ਸੋ ਪ੍ਰਭੁ ਨਦਰਿ ਨ ਆਵਈ ਮਨਮੁਖਿ ਬੂਝ ਨ ਪਾਇ ॥ सो प्रभु नदरि न आवई मनमुखि बूझ न पाइ ॥ so parabh nadar na aavee manmukh boojh na paa-ay. God's Glance of Grace does not come to them; those self-willed manmukhs do not obtain understanding. Guru Amar Das - view Shabad/Paurhi/Salok God Bless You. Daas

As they are apparently so Sikhi orientated... Could you ask them what the difference is between a pimp, a drug dealer and someone who poisons the potential Sikh youths minds with filth about drinking, dancing, revenge, caste and other rubbish Bhangra/Punjabi song subjects? Also, could you ask them what benefit they are bringing to the panth by going to dirty nightclubs and promoting their album in a drinking, dancing, egotistical and lust filled environment, what kind of role models they think they are and do they accept responsibilty for bing partly responsible for tempting youth to this rubbish environment and lifestyle rather than a Gurmukh and pure one that millions of our ancestors sacrificed their lives for? Also could you ask them give their understanding on the following: REHAT thriyaa raag sunehi chith laae || sunahu laal so jamapur jaae ||17|| Those who listen to dirty lyrics and lustful tunes with attention, listen Nand Lal Jee, they will be punished by the angel of death.; Rehatnama Bhai Nand Laal Jee GURBANI maerae mohan sravanee eih n sunaaeae || saakath geeth naadh dhhun gaavath bolath bol ajaaeae ||1|| rehaao || O my fascinating Lord, may I never listen to the faithless cynic, singing his songs and tunes, and chanting his useless words. ||1||Pause|| Page 820 Guru Arjan Dev Jee Raag Bilaaval Lastly, a question for admin, this website is great and has some excellent sangat and posts, instead of having a general music thread, could I do a benti and ask you to mae this "SIKH AWARENESS" related and have a gurmat sangeet thread, it's not nice for real Sikh youth who are trying to find raag, tanti saaj, Sikh musicology, compositions, raagis, kirtan, shabas etc to have to trawl through all this bhangra rubbish. It would make your website even better than it already is, tie up the loose end if you will? Daas Dhanvaadh Vahe-Guru ji ka Khalsa Vahe-Guru ji ki Fateh.

Professor Kartar Singh Ji Dr Gurnaam Singh Ji Professor Surinder Singh Ji See http://www.rajacademy.com