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waheguru simran wit kirtan


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waheguru ji ka khalsa

waheguru ji ki fateh.

:roll: :roll:

i like akhand keertan style. last week i met one singh who didnt like jatha style. he likes claasical keertan. he thinks doing simran (waheguru dhuni) during keertan is wrong.wat's right or wrong ?

waheguru ji ka khalsa

waheguru ji ki fateh.

I would like to anwser this question as per my research going on for AKJ. I have gone through most of the posts on this forum related to AKJ, and it made me do some research on AKJ to find out what their intentions are? And what really their mission is?

I won't come up with any conclusion right now as my research is going on.

But I would like to point out one thing here that whenever we ask any question for any org within sikhism, we should research on that org to make ourselves familiar with them.

Anyhow, below are the frequently ask questions they have on their own site and they have anwsers for most of the questions. Now how accurate the anwsers are? I'm not here to judge them as my judgement and yours can be differ from each other so that will lead to debate and there are so many debates already going on related to them.

Here the FAQs so please go through them before we discuss about their kirtan style so you know their side as well.

Here is the link:

http://akj.org.uk/faq/default.asp

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Here is what Sikh Kirtan Maryada say:

Kirtan System (Maryada) The traditional kirtan system current during the period of the Gurus and at format functions today is as follows:

(1) The musicians play a tune on the instruments as a prelude for a few minutes to create the proper environment and mood for kirtan. This is called Shan.

(2) Then comes the invocation or an introductory prayer called Mangla-charan. Generally the verses beginning with “Dandot bandna anak baar, sarab kala samarathâ€[9] are sung in “dhamar†or “chartalâ€. It creates the appropriate bent of mind and spirit for the main raga and the Gurbani.

(3) The main composition (or hymn) in classical raga generally follows in dhrupad style. As mentioned earlier, dhrupad is sung in four sections with appropriate tala played on the tabla. Sometimes a composition in partal follows the dhrupad.

(4) The next piece is a hymn either in bara or chota khayal style. The hymn is substantiated by appropriate lines of Gurbani or parallel quotations (parmans) which are intended to seep through the mind and fill it with great rasa or feeling of peace.

(5) The last piece is a small shabad or pauri sung as a finale. This marks the end of the kirtan session. The follows the routine of the Gurdwara. Anand sung if Karah Parsad has been prepared. This is followed by supplication (Ardas) and reading of any hymn (Hukum) from the Scripture, and the distribution of Karah Parsad.

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As you know, they support Akal Thakhat Sahib, so I will use the Rehat Maryada link from SGPC.

CHAPTER V

Kirtan (Devotional Hymns Singing by a Group or an Indvidual)

Article VI

(a) Only a Sikh may perform Kirtan in a congregation.

(B) Kirtan means singing the scriptural compositions in traditional musical measures.

© In the congragation, Kirtan only of Gurbani (Guru Granth's or Guru Gobind Singh's hymns) and, for its elaboration, of the compositions of Bhai Gurdas and Bhai Nand Lal, may be performed.

(d) It is improper, while singing hymns to rhythmic folk tunes or to traditional musical measures, or in team singing, to induct into them improvised and extraneous refrains. Only a line from the hymn should be made a refrain.

source: http://www.sgpc.net/rehat_maryada/section_..._chap_five.html

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