m l H u=

J Tl lH
=l 2010
Raag Basant -Bundi courtesy : craftsinindia.com
uY 1/-
Hl Hl m = mHu lH 3,
= 3= 8H lH 3 3s lJHl1
= 3= l8J l8J 3l Hl,
uJl 6= l8 l lu lJHl1
= 3= 8 H =HY =
6l=l 8Y H3 lJHl1
= 3= 8 uJl l 8v
u ul3u 3=l lJHl1
U = Hl 6= 6= ==,
c = Y Hl 8lm 1
m ul3u u l ,
== He Y Vlm mJlm 1
u l 3
uH3= -Tvlm uP ==l HT=Hl H3 H3 lH
=l 2u1u 3
H= ,ml)
J Tl lH
mu8 ,HTl3, 8l, lu= mlm), lm6Jl
HlJHTl
H JJ lH = H U3u lH
ml HYJ=
H J6 lH
a Y l=6 Tc8 l=6 Y= ll J1 l8
Y H= mlu3 =l3 cHc HlJu3
JJ Pl Jl J1
a 'mlu3 =l3 Jl8=c lHlm l=JT 8,
6JlT= 3 4/8/90 lu3l 20/2/91 mH
Hllm H=Jl H=Y lm Yl88lm
Y8l =l3J1
a Donations are eligible for relief u/s 80 G of
Income-Tax Act, 1961 (43 of 1961) vide
CIT/-I/ CHD/ Tech./ 80-G/ 2008-939 dated
19-05-2008 valid upto 31/03/2012

a : l8= =l 15 , HY 15u
l= u8 15uu
a : HY 3u $, l= u8 3uu $
a 'mlu3 =l3 Y8l J=c
'mlu3 =l3 cHc u Jl J J l1
m3
mlu3 =l3 cHc ,l)
422, H=c 1-8, 6JlT= 16u u1
: u172-277266u, u9814u 363u
e-mail: drjagirsingh@gmail.com
Website : www.amritkirtan.com
www.gurshabad.com Website :
J Tl lH, 'mlu3 =l3 cHc
,
mH Hl m= 1u7, =P-7, uJYl 3 = =
422, H=c 15-8, 6JlT= 3 =lu3 =l31
lu3 mHJ= H8l 4
=U 83lm
Hu=l
The Golden Periods Of The Sikh
Religious Music
Harjap Singh Aujla
A.P. Singh rhythm shines at
National Youth Festival
Hari Mandir Poems
(Chris Mooney Singh)
J8l H3 lH 6u= 6
H lH
38Y ==
uH uJ lH 1u
Ragi Jatha of Bhai Surjan Singh
Dr. Jagir Singh 13
15
22
23
H lYul 2
lu lmY lH
H lYul =Y u8 mu 26
Please forward your e-mail id at drjagirsingh@gmail.com
l8H m= l=6
=l 2u1u
mHT J=c HlJ8 l, T3lJ! 3 mlu3=l3 mJ Jl8m J u U 3 Jl l8H
u= J1 mlu3=l3 u l= 3 =l uJ= ul8m J1 l8H uJ= H= u =l3 =
YT m3 Y Jl J =l3 lHUe l u luYl1 u l= U3= 6== l=6 mlu3
=l3 l=H l=H 3 u mT=8l l lJ J1 u l8J mue lHu 8el8m Jl8m J1 mlu3
=l3 =l uJ6 UJ u= = mu u3 lY1 l8H Y8l u mlu3 =l3 8 mu J uJl
u3 lY J1 =8l =l 3Hl UJ u3 u l J m3 =8l =l Jl u1 u u mue lHu
=l JT Jl =l31 uYc l8= H lJ =H8 J1 l8u =l3lm 8 =l =v =v lY =
J J mu u l J l8H = l8J H =l3l8 8= U3HlJ3 ulJHH = J m3 J
U6l =l3 lHY8l Ye Y8l ul3J J1
luY ll H8l=Y 3 lJT = ul 8J cc T8l1 u m =Y muel cl Pl =l3 == Jl
=uU J1 8J cce = = J lTm J1 mu =Y lY `c=HYl =l3l8 l =3 H
m8l1 u uYc l8Y= 2-3u =l3lm =l3 lHY8l l3l1 UJ =l3 lH = = =
Tmlm l=6 =l3 = J J1 u l8H l8Y= l=6 l=H HJ HHu l8H H=c Hu, ul =3
Jl ul1 u u J l= 8J3lm HHu= UJ =l3lm Jl Hul3=lm J lJ
ulJY Jl 8J3Hu luY 6= J J UJ ul8m l =8l u=Jl Jl1
mu =Y lJ= c=HYl =l3l8 l =3 lYl T8l J UH ul8m l Y= Jl u ul
JY3 8=l =uP J1 u l8H =Y ul8m l 8J3 Y= J1 u lJ =l3lm =l3 mlmu=
=l J UH l HJY =l 3 lH HT3 Jl =l J1 u mlu3 =l3 Jl mue l=lmulm m3
lH HT3 83l = 6J J l= u l8H =Y ul8= HJl83 l3 = 3 u u=3H3J
= HT3 l =l3 Jl H= = J1 u u3 J lYlm J
Mangat Singh Mastana
C/o Sangam Radio & T.V. College (Regd.),
G.T. Road, Malout - 752 102
Mobile : 92178-20647, 94637-82514
drkanwaljitsingh@gmail.com
Dr. Jagir singh ji's contribution towards Gurmat Sangeet tradition is a mile stone. By
launching website he has done a remarkable job for the benefit of the students and
admirers of Gurmat Sangeet. His collection of Kirtan by various ragis and articles on
the subject are very informative and popular in the Sikh Sangat.I wish the the best for
him.
Website www.amritkirtan.com 8 u3
lu3 mHJ= H8l
4
=l 2u1u
u 3 u Jl H l= ul mlHHcc Hl= = 8l J8 Y = u =l8 l=6 m T8l1
UH Y 3 l =Y= =Yl= Hl1 UH l=J-
YU H, 8l uu = m3 Hl= =8l lU1
u ulm - =l ulm J
-l8J Tm HlJ8 3 Jc luY T8l J1
-=Jl Jc
-88 l uY 6=Ue l Jc, l8J luY HY 3 Jc uT J H1 Je = uJ
l8J l Hel J1 l8J He Hl J8l Hl Hl= l =l YTTl U 88 l uY Jc
=Tl1 Je l8J =Y l Jc luYl J1
-uY 6=Ue Y8l =l Jc Yel ul J u Jl Y ulm1
-H l8J =8l H uY Jl J1 l8J cl =l U3 Hl lm l=6 lm e J1 3Hl
=Y 6 = cl =l P e1
3l l Hl= 3 m8l1 UJ =v UH lJl Hl1
u ulm- 6= m8 uY
-J l 6= 3 m8, u u=l lJl uul J T8l1 mHl uY Y = T8 3 J8l HlJ8
ulm l= 3Hl uY l=u Y = m8 J 3 mHl lHm l= mHl 3 mue ulJ 3 Y = m8 J 3 J8l
HlJ8 =lJe YT- l8J uY 3 Jl 6=l8m H=, 3Hl Yel = 3 uY Y = mUe
Hl1 l mHl mue 6mu HlJ8 l lHlu um8l 3 J8l HlJ8 uY 6=Ue Y8l u1
-l8J uY l= Hl
u UH l =lu3 Hel 3 J uu J lTm1 Hl= muel uJl l 3J
l8H uY 3 6 = l3l Hl1 UH u3l 3 J8l= J1 Hl= lu3 muel mu 8
uH l8H Y==l l ul J8l= Y l8H Y8l =l3l l= UH l =l u=l Hl m3 Hl= l =l
=6l Hl1 l8J c c 86 J1 u Huv Jl Hl m Jl l= u l8H u 3 u J= l= l J=1
mHl u8 T lH l=J= uH J J1 mJ cl =l 6Y 3 T8el =l3 uHl3J lJ
J 1 T8el 3 J lY mH =v u =l J-
nwnk sbdu vIcwrIAY pweIAY gux inDwn..
aUqm krxI sbd bIcwr ..
rqnu Amolku pwieAw gur kw sbdu bIcwru..
T8el uJ= l=u u lJ J1 u Huv Jl m Jl1 u= l, 3Hl Jl =v H

=U 83lm
5
l8= =Jel =Jel Jl J
=l 2u1u 6
= l=H Tu =l3l8 uu muY l=6 lYm1 T Uuu 3 UH
l== l3 J 3 lH T3 UH l=6 Uue =Y 3 Jl uu u=3l
lY l J8l 3 mJ= =l3 J1 lum =Y 86 = =Y Tu =l3lm
Hl3= Jv = J 3 UH =l3l8 lH-HT3 3 l==lTm1
Y8l T HlJ8 uH m8lm mH mue H8l=Y lu Julmu 8
=l3lm1 lH m3lu= HH l=6 l8= =, H l6c =ul=m l=6, Tu Hu
Tu l= =Y lu =l3l8 J J8l H3 lH `6u= 3 =8l l==Yl
=l3 uul Y8l u3 =T lum J luJ Jl P Y l=lm T
J, lH mUe l H UJl=, He =l3lm Hl, lH 17 HY l Uu
Hl=l 6m 3 u l mluc J Jl l=6 T8el u=, He, Huve m3
J1 Tl8 l m3c YT YT T8l J
86 =lm l u=l m=Hu l=6, u l8J 66 H H6 lH l 1921 l=6
6 HY YT3 T8el lu, Hl =e HlJ8 H= l=6 uJll
HlJ 3 lJ c8e =Yl l=mlm uu3 = T81 mue uu Hl u3u lH
Y Ju lYJ =l3 l Y8l H= 3 =l3 l lHlm 3 uu3 = J
= uT J8l HlJ8 H3 lH 6u= J1 Je l8H uJll 3 ul3 J = mue
28 =l 199u H= 6 = m=Y l= Jl =l3 l H= Y8l mu =
6Ye lH T3 Y8l l8= mlJl c l31 =l3 m3u l = 8e lTm1
J lH UJ Y Hl3m lm T8el J mlm mJ =l31
m l=6 Jv lYm1 UJ H3uc H lHl l= l8= l3 muY mJ
l=, lu3 Ju lu=u 8Y- Jl8m1 Hv 3 3le J Jl Hl, UH
l=J, T8el l Hv, Huv, u, lTm 6e 3 Tl8 l uH3l l=6
Tl8 = =Yl m3u, T-T = lYm = l8= m l=m=3l3= u=u
J= l6J lJe 6m, l= Ju =l31 l8J u=u J8l H3 lH l
T8el =l3 lm U63u =l8m3 3
J8l H3 lH 6u=
H lH
=l 2u1u 7
l8= ==Y l= Uuu, l=6 -`J8l HlJ8 m= =l3 Y8l
VT, l=J = mu 3 lH Hu 83l =l3l Jl8l l=6 UJ Hu l=H J
l H= mu 8e = UJlm1 Y8l lH3 Hl1 J8l HlJ8 u8l
e Ju = lu uTl1 UJ lH 8l -Hl Uu l=H 3 =l3 u Jl
Hl1 H Y= U3 UJ muel ul8m ulTm1 muel Jl8l l=6 Hu, Hu 3
6Ye e Hl1 UH lem uH lY 1 mu mue u Hu3
l8J J8l HlJ8 3 =l 6Y m8T1 Uu uJ6 ulJY ml8m UH l
8=l 6H3l Y J8l HlJ8 3 Jl8l Y ulJY, 8m l=6 ml8m UH l
= ulJY lYlm uTu =c = UH l u ulJY, 8m l=6 ml8m UJ J=
mue u , u3 ml lY = Y Jl H8 Huu J= UH 3 lu uT Y1
- = mu J 3 =l3 l8= JP u Jc =l c = l3l1 J8l
mlJYul mu m= mu l Jl8l HlJ8 mT Jl8l = ue YT,
l=6 Hu, Hu 3 uH lY 1 mu `YU uJ, Je u lUT
J8l HlJ8 3l H6 = m8 l31 mue u Hu3 Uu uJ6 1 ul8m
`J, Tu m=T, u 3H m 3 u =Y u l l83l Je ==, =l3
l==e Y l3 J1 Je 3 3Hl l = Y l=6 H m J1 T =Y luY
6Y, = uT =8l J = uY 3 UJ u= =1 HT3 UJ ul=3
=Y m lTm 3 3JJ u =lcm uJ= TlJe =lm1 Tul3 H3
=T 3 Uu UH lYlm =T1 lH u6 J1
lH l =l3 l H= Y8l 8J UH VlH J8l HlJ8 l uP=c
e l 6l Jl =8l Tl u8l = T8l1 muel JY Huv lTm1
=lJe YT, u l8H uu JTl Jl Jl 3 muel Jl8l l=6 mTU c =
8eT1 3Hl mue ulJY lH3 l `=l3 lYe Pl =u J1
mue l8J lHu T8el =l3 uTu Jl lJU1
l8H c 3 J8l HlJ8 l lm U63u =l83 m=Y Hl, Hl
mHYuH3l 3 lYJ lucl Y Uu 8=l l=3 Y lJl8m1 l8=
UJ l Hu H6, YlY u=3l 3 u= l T uJ l8H lYJ =l3l8
HJYe l HT3 u3 YT J1 J8l l l= ullm Y8l l8= 8= V
HlJ8, l8H lucl 3 m3 U6 l= lPTl lH Jl31
=l 2u1u 8
Y H lJH3 l=6 l=61 me=J Hl l= UJ m mlm3lu= uHT muel
uY= l=6 luu= 3 =Y=3 3 =uul u, H 3 mu Huv =Yl Ju m
3 J HlJ8 3= u u l=61 8= J l8m =1
lHl uJ= uHlm1 HP HTl3 Y8l HP H Je Pl
u ue 3 mu l u3 H l J1 u3 T8el =l3 Y8l HP, m=P
lH UJ l3 l=J 3 Tl 3 =l3l8 l m3u l l3=l
l= 8 lHm - l8=H3 6Jll J1 J8l HlJ8 l8H
TY lTm Hl l= mH 3 ul8m `J8l H3 lH l uVY l= 3
l l6 l=6 Tml6m u =l3 l=6 muel uJ = 3 lu3 =lmu lH l
Jl = H=1 ==Y T 6 l=6 l=uu uJ= Hl1 mu l l u3l 8l8l
l=m u Jl mu u=3 3 uT J H= = = T =3u Hl1
J 3 H HT3 u u= = T 6 1966 l=6 u3l H=T=H J lTm1
mu H= V8l = T u1 l8u Y = H= J1 l8H H6 J8l HJl8
= Uu3 =l3 mlJmH = 3 muel8m 3 u6lm1
ulHl 3 lm=l uHH l l8 3 u8 l l=mlm 3 mu Huve Y8l
JY m3lu= u ul Y8l l83l Jl uH3= mlm =1 lH l=u 3
u 3 Jl== J l3l ul8m1 J8l 8Ye J UH 8 ul l3ml = 3
HlJ8 muel J u 3 U6l HT3 3 lY3l c =l Y1 l83l l=6 l83l
=l3 =Y l=6 lu3 8= = =Y Hv Hl l= mue =u= mu Hl,
=l JlU u 3 uTu = l ulm Ue Y, muelm llm
l8 uTc Jl =l3l1 u Y Y8 uH3= lm lY =l mu 8e1
HTl3 =Y l=6 u8l Je Y mu Hu= lJ u3 H6 u3uJ T Tu
T8el l=uY 3 J mlJmH HlJ8 l JPl l=6 =l3 = l=6 HJ
=1 T8el l l=mlm =lm UJ 3 =J ue 3 U63u uu3l Huv1
ul l8= uu l8 J l= uu l l8= m-m c ==Y T8el uY= 3
Tu3 HHu mlJ lue, H3l, =ul V== uue Y UH uPu mT c
=l H lJel, 8lJel mu= 3 lJ1 mlJ =lm UJ mue
TlH l JY-ue = H= 3 UJ l8= YP =l T8el 3 8J 8Y1
u = uu lm ul=3 3 U6lm u8l 8Yl m3 T8el 3 l83l u==
=l 2u1u 9
u=lm 3 uuJ3 =1 l8H u 3 J8l 3 l=6 8=l =Jl c u8l1 J8l H
H3 lH Hl 8 HlJ8 mlu3H lH 3 J8l TuY lH 3-Jle
u= 33 l l=H H= =l HT H1 Tlm T8el =l3 u=J 6Y
u3 mu = l=H u=l l l8 Jl = =l3 l =u3 lu e l=6
=l3l1 lYm1 Hl 3 =l3 =lm 3
Helm HT3, Hl 8 HlJ8 lm uu =l3l8 Juu TlHl
HT3 Y 6-6 Jlm u=u J8l u6 l=6 uVl J J1 J8l u, Hl
TuY lH m J J =l3 T = = l ulJY Hul
l8YJl uJ= HUlm1 1971 l=6 =l3lm Hl lH 88 Y T l
l8H Hl 8luHY HTl3= J8l Hu Hu l31 lHl HJ 3 uJ u6=,
lH, mH m=P =Y =l3lm H3 =l3l8 Jl J8 J1 =lJ=l Hl
3 T8el l== lH JlU 3 u6=, H3 =l3l8 J8l Jl lH
H lJH3 Hlem Hl, uu l== = =Y 46 HY l Uu l=6
lTm1 l8= l8= == l8J H Ju lHl u6 =, 1926 l=6 uu
=l3l8 T 6 l=6 l8 T81 J8l l== T8 3 Y Hl3m J8l
H3 lH 6u= l8H uY l8= u3l 3 HlJ8 =l lH Hu3UJ l =ul
l8H ul=3 Y=l =JuY Jl H1 l l ul=3 H l=6 Jv =1 193 l=6
m=Y u l l8H 3 - = J8l HlJ8 H lH 8 HlJ8
Y lY Y =lJm1 T = = l Jl =l3l8 uJl J8 3 UH
HJ uJ6l8m1 l== uu l8J8Y =l31 H3
=l3l8 3 meu= u6= J8l =Y mu u=3, u=3 = HH
lH c lc8 =Y 6u HY =l3 l = l3H =U H uH=1
H= uT 1962 l=6 uY= lH,
mlu3 =l3 =l 1993 l=6
l8J HY l=6 Jl, l= J8l 6Y
u m3 H ul= Hu3 =l3 u6
= =Y Hl l3mT T8 3 =l3
TlH lul3m Y8l H= =
TlH HT
-P 3
Tm m=Yl 88 =Y lH H J,
=l lYl 11u u6u = 25862955
=l 2u1u
l8= = uH uJ lH l l8= u3 lY m3 3JJl H= = =H3 Y= 3JJ mT lu
= l6l Jl, 3 UH u 3 u l8J Uu=3 l J, =l l8J =8l Yl=m 3 c TY J H
lum lY l3 = ,lP= 6Y3 J 8 =Hu3 Y= mu l Y= l8 UJ mT J
=, 3 Y= =l 83 J3l J) 3 uH uJ lH lYT1'
l u = = ulm l= `3 l u 86 mHl l8= = T = HlJ8 l m=3
u u J l= u l=J= Y= l8 J, l= u8 3 Tm lH HJ Tl8 T =u
3 l lY J J l= ,3 Y= =l 83 J3l J) T8 m3 Uu 3 mlY l= Hl, m3 H
H l8H U3 u l8H Y Jl lJ J l= uJY HT3 Y 66 Jlm Jl8m Hl m3
uH uJ lH l =l =l Y= l8 J1 =u lJe =Y H Tl lH, lJ l=6
l8H 3 ulJY u uH uJ lH l 3 uml uHc Hl3 lH l Tl, l= T=lYm
uT J, u UJ l= 8 l8= H TY e 8J3 m UH3 HTl3= J UJ =l
lY lJ J, UJ l8J l= uH HlJ8 l u HJue 8 J8 H1 HJ Y= HJ uTu He J
l=6 u3 Jl = 3 l== l8J Ju u l=6 8 H m3 mHl u8 u= J Hl, T uY=H l=6
lTm Hl l= 38Y =e =8l =lm =u Jl, 3Y V8lm u= l=6 ,3 HY3 =J JU ulm
38Y = = Pl =uel l8= clm =u J 3 3l == J8l) H mHl l8= m3 u= = T
8l m3 ul= l8H =u clm =u Huv = u= = mHu8l u =l3l 3 uH uJ lH l
J1 l8H Y8l uH HlJ8 l8J Hlm3 Hl ulJY V8l8 l Te u =l3l m3 l 6Te
Uu mue ul= 3 uUe l =luu =l3l l= =8l m3 ml 3l8 u=8, 3 ml
l=3 ul= l8J u3 YT l= u 38Y = 3l8 T 3 =8l 3 HJ Tl 3 Tel =J
= Pl =uU J1 Jle J= l8J u l=6 =J = U m3 HJ u J = uH uJ lH
8l J8l Hl1 l 3 c l = = l3l, l83 c H =
u l8J = l8J Jl Hl Hl6m l= Hc3 3 Jl J8 l uH HlJ8 38Y 3 m T8,
8 = 3Hl =l3 = J 3 3JJ HJue 8J =l 3 l8= l=uu m3 l8= Y= Jl Hl1
HT3 l=6 =J =J u= lY Y= 3 8ll=l, mHl 8== Tm HlJ8 u8lYJ
=lY uH 3 luHluY, Hl=lHcl Uu H 3 T8, Uu mHl l3 uJl =l3 =l3 3
=Yu3l, ==lY 3 8lHc m3 =6lJlm 8== l= l8= H 63 lH m l J lJ
3 J8l =c m3 =J =J 3 3 l l=J =ul J UJ HJ =l3 lm
u3l, u u3l 3 u u3l m3 uJ l3 =lHc l=J =l3lm H1 UJ =lHc
m3 HTl3= HJ He =lYm l=6 J J m3 l=6 uH HlJ8 l 38Y =l8m J, UJ
HJ muel =Y Jl 3Hl UJ u3 uT l83 H l8= 3 lu J l= lJ= =l UJ
= J, 3 HJ Y= 3JJ Te 3 uJ=3J J =lHc He J, UH u = J l= UJ He
10
38Y == - uH uJ lH
,lP= 6Y3 J 8 =Hu3 =, 3 Y= =l 83 J3l J)
=u lH 3
=l 2u1u 11
Jl J m3 l8J u l= lm HJ 3 =lm lJY lH, H m lH Ycel, J8l 8Y8l
=l3 lm l3 =lHc J1 lH Tl 3 3l m3 l8J J H ulJ
Tl8=l 6 6 Y e 8J 38Y =Y lH, J8l H3 lH ==Y, uHc ml3 lH,
Ju l=6 J J1 38Y =Y 6J 3 Tl8= l J8l uu lH l1
Tl8=l 8= T= = =, m3 6J 3 uH uJ lH l H=Y l u=8l ulc=
Tl8= clHl 3 u6 =1 8J clHl 3 u6 = Y= 3= = =, l lTml l =YH =l3l m3 38Y
le =Y uH uJ lH l J1 l lHlm mu l HJ 3 ulJY mue lu3 H
uH uJ lH l u H 194u l=6 uJ lH 3 Y8l m3 l ulH 38Y ==
J ulJ l=, mu l = Jl8m1 mu UH3 H l=uY lH l ulcmY =lYm 3
l l u3 u 8l8l u = Hl, m3 l8J Y8l m3 l8H 3 8 UlmcY =Y ulcmY 3
lu3 l lH uu uuJ 38Y == J8l uJ 38Y 8l 8 =H =l31
lH l H, l= =e HlJ8 l= Tm lH 3 u uJ lH l =J ulm ,
u mHu luY uH 8l 8H3l ,ul=H3) HTl3 m3 =l3 l Y8l l=6, lH uu l=6
lJe =Y H m3 mu l ul=, J8l 6T u =ul8m, J8l uY lH, H=3 lH
u l l mH 8H l=6 J) m3 H uJ lH l l Tl u , l8H 3 u uJ lH l =l
l3 J H, HJ 3 =J H3 e lH l, 38Y =e l l8= luHY =l8u =l3l1 l8J
lJ Hu3 H, uuJ ulH =l3l8 J8l lH uu 3 uuJ 3 ulH 3 ul Tlm Y
uY lH, H=3 lH 3 TYP lH, 8 38Y l HT3 = = mue l8= Hu =l8u
3 J8l uJ lH l l8J =l l3 Hu3 J, =l31 l8J =l l8J Y= H1 mu l
uH uJ lH l, 8 3 H l= lH 38l8 m Tl lum Y 38Y l HT3
=uJ, l= =uJ ucl ulcmY Y =l3l1 m3 l8H 3 l8Y= mu l u8l
H=3 H m3 UJ 8J3 6=l =Y =Y uu Hl=lHcl ulcmY l=, 38Y uH l
H, lJ l H= 8 8J3 TY 6Yl Hl, JlUcl 3=l8 m HY Hl=H =l3l1
l8J H=T=H J 6= H m3 3l J Hl HJ 3 mu l ulJY lH uu lHu =l3l8
c H T=l3 lH l= uYlH l=6 H m3 Jl m3 H UH3 J8l H3 lH H Y lH
Hl HlJ8 J8l= H1 8J =l H=T=H J 6= HJ JJ l=6 JlUcl =l3l m3 l8H 3 8m
J m3 H uJ lH l 3 c J H, H 3 lH l = l Tm l= HlJ8
l1 ulcmY l=, J8l H3 lH H Y lJUcl
H uJ lH lH uu u uu 38Y == =l3l1 l8H 3 l8Y= J8l H3 lH ==Y Y,
H m3 muel J3llm J8l uY lH H=3 Tm l= HlJ8 ulcmY l= 38Y
lH Tl u Y 38Y l HT3 = H m3 l HT3 JlUcl =l3l1 m3 c=HYl =l3l8
l3 =l u3 uuJ 38Y == H, lJ J8l l=uY lH Jl Tl l= Y =l
u Y= 8= Hl3= Y Y J1 UJ l=6 lJUcl =l3l1 m3 J8l l=uY lH l Y mu
l8= J8l uJ lH l H1 UJ l uel l mTlH3 m3 8l l l=u H3
38Y8l8 H1 H U3u lH, Y lH, H =l =l3l1 l8H 3 l8Y= J8l U3u lH u3T,
=l 2u1u 12
Jl Tl Tm Hl 3lJT= HlJ8 HlJ 1981 l=6 =l3l Hl m3 m =Y l8J u8l
l= m3 UH 3 8m Tm u3l 8T Hl=lHcl ulcmY l= Jl l8Hu=c l
ulcmY l= H= =l3l m3 Hl 8 HlJ8 JlUcl = J J1
u=3H l=, J8l H lH Tl m3 J8l Jul m3 uH HlJ8 l =Jl 86l H8l =,
lH Tl Y 38Y =e l H= lJ8l m3 luJ Jel Hu =Y lPY HT l= H
J=c Hl3 lH Tl Y mu l 8Yl lH Y l=mJl J8l J l= ulYH l=6
ul=H3 l H3 =l3l m3 l8H 3 l8Y= J m3 Hl 8cl Y8l = m8J l= J=c
mu l J8l =u lH 3 Y Tm H= lH Y l=mJl J8l J m3 3lHl 8cl
lH HJ H=c 19 Jl 6JlT= l= =l 38Y l H8l3 = muT= l= 1 =8 2uu8 H
H= lJ8l m3 J8l =u lH 3 Y Jl l= lH 88 Y l=mJl J, lJ
l=u l=6 l3 uJl 8==, u8lYJ m3 3l8=l 8J3=J u J1
uJl =mYYu, uYulm m3 uJl mu l ul= l ul=H3 =Yl Pul
Tm T = H3HT =3T lHu l= Yl Jlme l= mYc J8l Hl, u mu l
=l3 Y HT3 =l3l1 =v Hu mu J Tl ul= ulcmY u8 l= Jl lJe uH
lH 6JlT= Y =l 38Y 3 HT3= J1 =l31
m3 HJ 3 =J Y= J mu l l= mu H uH uJ lH l mH mH um= u
l u8l Hl=lHcl ulcmY l=, ulJY H 3 mH mH Y= l8 l= 38Y = = lm
1974 3 H 1983 3=, m3 l l = H u3 uT = l3l, l8J =8l c Y= Jl J1
1986 3 Y = H 2uu3 3= JlUcl = = JP mu l m =Y 12, 88 Hl 6 uT, ul3
8l6m 38Y =e l lHlm l3l m3 T, HlJ J, ulcmY l= lJ J J1 mu
2uu3 l=6 mu l l lcl8uc J T8l1 l 8 96931117u J1
42, lHu l=H, TYl 1,
uH uJ lH l l ul 8l8l 3 =
lU 8H3 l8J ===Y J,
,JYl) Y 6J= Y =Y H 197 l=6 J8l
Ylme 141uu8
lH l=6 mu l 6 86 J1 mu l
u8l8Y u9463244912
Hu3 H ulu lH lH mu 8, H l Hl
Communication Centre
Formal Restaurants
Exhibition Rooms
Accommodation
Informal Eating
Tours & Travels
Conferencing
Floral Shop
Premium Event Centre
Millennium Centre
Deliberations
Abhinandan
Exporama
Mind Set
Art Craft
Sector: 22 - C, Chandigarh,
Ph.: 2700045-48 Fax : 0172-2700051
E-mail : hotelaroma@glide.net.in
Website : www.hotelaroma.com
=l 2u1u 13
Strange are the ways of nature. The style of Kirtan of Bhai Surjan
When it snatches away some Singh was different from that of the
faculty from an individual. It other ragies. He switched over the
compensate the individual by prforing kirtan in simpler style
rewarding him with some additional instead of traditional and classical
faculties to such an extent that style. Hymns being sung in this style
absence of the lost faculty does not had a great influence on such
matter. This is equally true in the audience that did not have sufficient
case of Bhai Surjan Singh. Nature knowledge of the classical style.
snatched away the light of his eyes Thi s i nf l ue nc e wa s mor e
but bestowed upon him two great pronounced on the urban middle
qualities, first a sweet and class audience. This class of
melodious voice and the second an audience did not have enough time
astonishing memory. He also got and resources so as to develop
sur r oundi ng and r esour ces interest in the classical style of
conductive to the development of singing. As a result Bhai Surjan
these faculties. As a result Bhai Singh became very popular with his
Surj an Si ngh's achi evements class. Many more ragies followed
surpassed those of many with Bhai Surjan's style after watching
healthy eyes. his success. Hard work is not
needed much, for rhythem may
Bhai Sahib learnt music at the
perform kirtan. An individual with
orphanage at Armtisar. Master Sai
even basic knowledge of rhythem
Ditta a teacher of the orphanage
may perform kirtan in this style, but
was one of the famous music
every one may not have the qualities
teachers of his time. He taught
of Bhai Surjan Singh.
music to Bhai Santa Singh also. In
the begining, Bhai Santa Singh His voice was full of melody and
formed his ragi jatha alongwith Bhai would never grow dull. He appeared
Surjan Singh. Later on, when Bhai to be singing from the depth; of his
Santa Singh inducted his brothers personality. He seemed to be
into the Jatha, Bhai Surjan Singh singing to please not the audience
formed a separate jatha. alone but the fascinate some one
RAGI JATHA OF BHAI SURJAN SINGH
DR. JAGIR SINGH
Now you can read Amrit Kirtan
& Download Kirtan of Dr. Jagir Singh from
www.amritkirtan.com
Send this information
to your friends
=l 2u1u 14
very close to him. way, he would recollect the Banies
well as practice his rhythem.
He had an astonishing memory.
He could memorise a hymn by merely The hymns sung by Bhai Surjan
listening it once or twice. He had Singh touch the very heart of the
towards the end of his life memorised listeners. Every one may be able to
the Gurbani appearing on 300 pages sing some of these, because they
of the holy Guru Granth Sahib. He have been rendered in a very simple
could therefore quote extensively for tune e.g.
a long time during the course of his
Jo Mangeh Thakur aapne te, soi soi
kirtan as a result his kirtan became
deveh
more effective.
or
Another reason of Bhai Sahib's
Kis hi koi koi manjh niwani hik ton
success was cutting of gramophone
or
di scs by t he gr amophone
Men prem na chakhya mere piare
companies. These gramophone
man bhao kare.
discs popularised his kirtan to a
These hymns have been sung so
great extent. These were purchased
forcefully and quotations have been
mostly by the urban audience
offered in such a manner that every
because they had been enjoying the
listeners mind turns ascetic.
kirtan and had the capacity to
purchase the gramophone records.
Many ragies cast aspertions on
The records of Asa Di War sung by
the system of Bhai Sahib's singing
Bhai Surjan Singh are most salable
by saying that he has harmed the
even today.
classical sytle of kirtan and that the
sathais of his rendering were not
It is commonly told that Bhai
traditional or according to the lines
Sahib used to practice kirtan every
of rahaos. It may be so, but equally
day, but his method of practicing
true is the fact that Bhai Surjan
was uncommon. He would get up at
Singh has influenced lakhs of
two in the morning, finish up his
listeners by kirtan and many
daily routine, have a bath and start
continue enjoying his kirtan through
reciting the Bani that he had
gramophone record even now.
memorised, in a loud voice. This
=l 2u1u 15
We the members of the known musical Gharanas. Guru
Sikh community are passing through a Nanak's music of course was not
very difficult phase of our existence. untouched by this great tradition.
Our moral and spiritual values are Those were the days when a host of
going down the drain. string instruments were prevalent as
accompaniments to the vocalists in
Our leaders, who are
Northern India. Rabab was one such
supposed to give us a lead, are falling
very versatile instrument, which was
prey to the policies of appeasement
not played with a bow but was plucked
and populism. They are incapable of
to produce melody and a semblance of
giving us a lead. One of the most
beat. Bhai Mardana, an accomplished
precious of our traditions is our distinct
string instrumentalist (Rabab player)
spiritual music, which flourished during
became a lifelong musician companion
the time of our great Gurus (1485 A.D.
of the great Guru. Guru Nanak Dev ji
to 1710 A.D.) and after lying low during
undoubtedly was the lead singer, who
the dark period from 1710 A.D. to 1800
sang his own spiritual and musical
A.D. had experienced a second phase
compositions to the accompaniment of
of renaissance during the period of
Bhai Mardana's melodious Rabab.
Maharaja Ranjit Singh's Empire and
This in a nut shell is how the Sikh
subsequently up to the end of 1950s.
Religious Music is conceived to have
But since the nineteen sixties, our
originated. During the four famous
sacred religious music also has
Udasis (tours) and during his shorter
suffered a steady decline due to the
visits, even those who did not
lack of vision on the part of our so called
understand Sri Guru Nanak Dev ji's
elected leaders and their utter neglect
language and the message contained
of Sikh traditions.
in his Baani (spiritual poetry) used to
Sri Guru Nanak Dev ji gave
get mesmerized by his music and after
a lot of invaluable gifts to the World and
the music and discourses were over,
one of them was very pleasant, very
they used to go home after imbibing his
soothing and very educative Sikh
message.
religious music. This form of music
Guru Nanak's successor
came with Guru Nanak more than five
four Gurus, were also great poets and
hundred years ago. During the time of
musicians in their own rights. While
Sri Guru Nanak Dev ji, the North Indian
compiling the holy Sri Guru Granth
classical music (Hindustani form of
Sahib, the fifth Sikh Guru Arjan Dev ji
classical music) was quite well
divided his own Baani (spiritual poetry)
developed and Dhrupad and Dhamar
and t he composi t i ons of hi s
form of music was in vogue in all the
predecessors as well as some
THE GOLDEN PERIODS OF THE SIKH RELIGIOUS MUSIC
Harjap Singh Aujla
=l 2u1u 16
compatible spiritual poetry of a few performances.
Hindu and Muslim saints into bunches
Most of the musicians, who
of hymns to be rendered in certain
used to sing the Baani of the Gurus in
specific Raagas. Roughly from 1485 to
their Darbars, during the lifetimes of the
1710, the transformation or evolution of
great Gurus, other than the Gurus
the Sikh religious music took place
themselves, were Rababis (members
during a cumulative period of 225
of Bhai Mardana's community {caste}of
years. The life time of the Gurus was
musicians). The most prominent
the first golden period of the Sikh
names amongst them were those of the
religious music or in Punjabi the
duo of Bhai Satta and Bhai Balwand.
Gurmat Sangeet. During this period a
Then came a period of
number of additional string instruments
turmoil from 1710 to 1800 A.D..The
wer e added t o Rabab as
Sikh community was embroiled in a
accompaniment. During the period of
bitter struggle for survival and eventual
the gurus, percussion instruments
sovereignty. Many times for months the
were also added, which gave Taal
Sikh places of worship remained
beat. Pakhawaj (with animal leather on
closed or under occupation of the
both sides), as known as Mardang, was
foreign invaders. During this period
added to give Taal (beat). Later on
Shabad Chowkis in specific day and
Tabla with two drums (one for bass
night Raagas became irregular even
notes and the other for treble notes)
in the holiest Sikh shrine the Sri Darbar
was adopted, because it was more
Sahib Amritsar. During this difficult
convenient to play. In the village
period some serious attempts were
gurdwaras Dhol ki (si mi l ar t o
made to destroy and demolish the Sri
Pakhawaj or Mardang, but smaller)
Darbar Sahib (now the Golden
came to be used. Saranda (another
Temple). The Sikh religious music even
string instrument similar to modern day
during these trying times miraculously
Sarangi) was introduced during the
remained alive, but in the privacy of the
times of the fifth and the sixth Gurus.
homes of the religious musicians and
Later on some folks from Iran also
the homes of perpetually at war Sikh
became the followers the great Gurus
soldiers. In spite of facing very difficult
and they presented Taus (another
times and under constant fear of
string instrument) to the Guru Darbars.
massacres, the hereditary exponents
Similarly more such instruments were
of the Sikh religious music (mostly from
added from time to time. Later on
the Rababi communuty) kept the age
Tanpura became an accompaniment
old traditions alive from generation to
of every accomplished classical
generation by imparting this valuable
musician, may he be a Hindu, Sikh or
educational treasure to their sons and
Muslim. Its sweet vibratory sound was
grandsons. Our heads bowbefore their
very soothing to the ears of the singers
grit and determination. Several Sikh
and the listeners alike. Even now
religious musicians did not see even
Tanpura is a must for all classical
one open performance of Gurmat
=l 2u1u 17
Sangeet during their life times. Some during the reign of the Sikh Emperor
were lucky to perform Shabad Kirtan Maharaja Ranjit Singh roughly from
at Sri Darbar Sahib during auspicious year 1800 onwards. This renaissance
occasions of the festivals of Diwali of Sikh religious music kept going
(the festival of lights) and Baisakhi strong up to the beginning of 1960s.
(the spring harvest festival). The Maharaja Ranjit Singh inherited the
periods of the repeated invasions of fiefdom of Shukarchakya Misl from
India by the invaders from North his brave soldier father Maha Singh.
Western Asia i.e. Ahmed Shah Abdali This Misl was based in Gujjranwala
and Nadir Shah were the worst for the and Guru Nanak' s bi rth pl ace
followers of the Sikh faith and the Nankana Sahib was a part of it. In fact
exponents of its hereditary musical the traditional Chowkis of Shabad
traditions. Many musicians and their Kirtan were held regularly in Guru
families could not afford even two Nanak's birth place Nankana Sahib
square meals in twenty four hours. since the reign of Maharaja Ranjit
Singh's grand-father roughly around
Bhai Chanan Rababi of
1760 A.D. During Maharaja Ranjit
Kapurthala was a remnant of the
Singh's reign, the daily attendance at
ancient Dhrupad and Dhamar style of
the Golden Temple took a quantum
classical music. He was an acclaimed
jump and the offerings multiplied
drummer (Tabla player) too. He was
manifolds. Those musicians who lived
conversant with several Taals, which
in abject poverty, for up to four
had become extinct during the
generations became well off within
preceding two centuries. He used to
years, because the Sikh community
perform Shabad Gayan as a free-
had attained affluence and had
lancer in the Golden Temple and in
become very generous.
State Gurdwara Kapurthala. My
father (late Sardar Sochet Singh of By the turn of the century
Kapurthala) had several exploratory (round about 1800 A.D.), Maharaja
interactions with Bhai Chanan. It was Ranjit Singh annexed Amritsar to his
Bhai Chanan, who told my father about territory of control, which event proved
the stories of the abject poverty of the very important from the point of view of
Rababi Kirtanias during dark years propagation of Gurmat Sangeet. In
which followed the demise of Guru fact this ominous annexation proved to
Gobind Singh and which ended with be the golden news for all kinds of Sikh
the coronation of Maharaja Ranjit fine arts. During this period, all the
Singh. According to Bhai Chanan, the known and unknown Rababi Kirtinias
Golden Temple has always been the came out of their four generation long
fountain-head of Gurmat Sangeet hibernation and started converging at
since 1600 A.D. t he Gol den Templ e Amr i t sar,
Gurdwara Janam Asthan Sri Nankana
As explained above by late
Sahib, Gurdwara Dehra Sahib
Bhai Chanan, the second golden
Lahore and Gurdwara Sri Darbar
period of Sikh religious music started
=l 2u1u 18
Sahib Tarntaran. and Amritsar used to be the harbingers
of any change in North Western India's
I n t he nei ghbour i ng
culture. The presently popular Khayal
Ahluwalia Misl administered State of
format of North Indian classical music
Kapurthala also, the Rababi Kirtanias
was still in its evolutionary stage in the
resumed uninterrupted performance of
Sikh shrines of Punjab. The leading
Shabad Kirtan among other places at
centres where this new format of
Gurdwara Sri Ber Sahib at Sultanpur
classical music (Khayal) was primarily
Lodhi. It can be concluded that from
evolving were Patiala, Malerkotla,
1800 A.D. the second golden period of
Sham Chaurasi (in Hoshiarpur district),
Sikh religious music started with a
Amritsar, Kapurthala, Jalandhar and
bang. The Rababi Kirtanias started
Kasur (in Lahore district). According to
working harder and harder on the
some accounts Khayal and Tarana
Raagas and on training and culturing of
styles of classical music had taken birth
their voices. They meticulously started
during or before the life time of the
Riyaz of Raagas and Reets for
Tenth Sikh Guru Gobind Singh ji and
several hours everyday and performed
Gurmat Sangeet in these new
every time from their heart and to the
formats was performed i n hi s
limits of their tonal and volumetric
Durbars. But during his time also
capabilities.
most Sikh musicians based in
Modern sound enhancing
Sultanpur Lodhi, Kapurthala, Amritsar
gadgets like microphones were not
and Tarntaran were still religiously
available during those days but the
sticking to the Dhrupad, Dhamar
congregations started getting larger
and Partal formats and the audiences
and larger, therefore loud and high
were still appreciative of these ancient
pitched singing became a part and
traditions. Khayal format became
parcel of the Punjabi school of music.
more popular in the Sikh shrines
T h e l i s t e n e r s we r e h e a r d
towards the end of the nineteenth
appreciatively exclaiming that such
century and the beginning of the
and such musician is singing from the
twentieth century.
depths of his lungs. The brilliant and
Ar ound 1920, some
emotionally charged up musicians
brilliant Kirtanias like Bhai Samund
used to be very well compensated
Singh went further ahead in adopting
monetarily and through other religious
the semi-classical format of Thumri
recognitions and rewards.
into their Shabad Gayan. This
By year 1850 A.D., the
experimentation was readily accepted
ancient Dhrupad and Dhamar format of
by the Sikh congregations. Bhai
classical music was still very much
Samund Singh claimed that Multani
alive in Gurmat Sangeet. Partal
Qafi was in vogue during Guru Nanak's
variation (several specific beats for
times and he himself took great
different stanzas within the same
pleasure in rendition of Shabad Kirtan
Shabad) was also still in vogue. Lahore
in this semi-classical tune. Later on
=l 2u1u 19
Bade Ghulam Ali Khan excelled in Bhai Mehar, Bhai Chanan, Bhai Taaba
singing Multani Qafi. and Bhai Chand (Senior). Those
Rababis, who became practicing Sikhs
When Bhai Jawala Singh
included Bhai Pal Singh Bhai Jaswant
used to perform a Shabad in
Singh, Bhai Gurmukh Singh Fakkar
Dhrupad or Dhamar in my ancestral
Bhai Sarmukh Singh Fakkar, Bhai
village Aujla (near the princely city of
Partap Singh (Senior), Bhai Partap
Kapurthala), a lot of people used to
Singh (Junior), Bhai Dharam Singh
converge from neighbouring villages
Zakhmi, Bhai Dilbagh Singh Gulbagh
as well as the town of Kapurthala to
Singh, Bhai Prithipal Singh Bhai Mohan
listen to the Ilahi Baani in his versatile,
Pal Singh, Bhai Shamsher Singh
vibrating and highly modulating voice.
Zakhmi and Bhai Jagtar Singh Fakkar.
Many times he was accompanied by
Please forgive me if I have left some
half a dozen or more musicians. Most
names out.
of them were his pupils and they played
various string instruments. Taus and During the later part of the
Saranda were his favourite string nineteenth century and whole of
instruments. During the thirties, when twentieth century, musicians from the
most of the musicians switched to non- Rababi and fully practicing Sikh
Harmonium, even Bhai Jawala Singh famililies also earned a lot of respect
switched over to this more convenient from the congregations. Prominent
though less versatile instrument. among them included Bhai Hira Singh,
Bhai Sham Singh, Bhai Santokh Singh,
From 1800 A.D. to 1947
Bhai Jawala Singh, Bhai Sudh Singh
A.D. a lot of the Rababi musicians,
Pardhan Singh, Bhai Samund Singh,
who's ancesters had never performed
Bhai Santa Singh, Master Madan, Sant
Gurmat Sangeet, also started
Sujan Singh, Bhai Budh Singh Taan,
performing Shabad Kirtan regularly,
Bhai Surjan Singh, Bhai Avtar Singh
by learning the Reets from other
Gurcharan Singh, Bhai Didar Singh,
Kirtanias and they also started
Bhai Balbir Singh, Bhai Beant Singh
receiving a lot of respect in the historic
Bijli, Bhai Bahadar Singh, Professor
Sikh shrines and newly established
Chanan Si ngh Maj boor, Bhai
large city gurdwaras. Many of them
Bakhshish Singh, Bhai Harjit Singh
revived old regional Reets and some
Gurdip Singh, Bhai Piara Singh, Bhai
developed new innovations. Though
Sarabjit Singh Rangeela, Professor
several names were floating since
Sohan Singh, Bhai Tej Pal Singh
1800, but the most popular names
Surinder Singh, Bhai Nirmal Singh
were of those who performed Shabad
Khalsa, Bhai Gurmeet Singh Shant,
Kirtan during the last two decades of
and Bhai Narinder Singh Benareswale.
the nineteenth century and the first half
Please excuse me if I have omitted any
of the twentieth century. They included
name of a really accomplished Kirtania.
Bhai Lal (Senior), Bhai Sain Ditta (the
tutor of Bhai Santa Singh ji), Bhai The second golden period
Naseera, Bhai Hazoora, Bhai Tana, of Gurmat Sangeet started fading
=l 2u1u
Sawhney Cloth House
46, Shanker Market, Connaught Circus, New Delhi - 110 001
Phone : (O) 011-23312440
20
since 1947. One of the two foremost The historic gurdwaras in
Sikh shrines, which used to set the Delhi, after 1947, started recruiting
trend of Gurmat Sangeet Gurdwara better Kirtanias. Bhai Santa Singh,
Janam Asthan Sri Nankana Sahib Bhai Avtar Singh Gurcharan Singh,
became a part of Pakistan and all the Bhai Surjan Singh and Bhai Takhat
Sikhs living in and this shrine were Singh joined the service of the
forced to migrate to India. A lot of Sikh gurdwaras in Delhi after 1947.
musicians based in there were violently
Between 1966 and 1972
uprooted. Some of them were killed in
four legendry Kirtanias died. They
cold blood and several others had to
included Bhai Santa Singh, Bhai Surjan
fight with swords and guns to reach the
Singh, Sant Sujan Singh and Bhai
Indian Punjab. Thus the Golden
Samund Singh. This dealt a severe
Te mp l e r e ma i n e d t h e o n l y
blow to the lovers of Gurmat Sangeet.
fountainhead of Sikh religious music.
Others who filled their slots were not as
I r o n i c a l l y t h e s u c c e s s i v e
competent. According to a story doing
democratically elected managements
the rounds, during the late sixties, a
of t he Shi r omani Gur dwar a
wealthy Iranian Sikh recommended to
Prabandhak Committee after 1947
the SGPC to recruit a Sikh musician
could not maintain the lofty traditions of
from Delhi to perform, among other
Gurmat Sangeet alive even in the
duties, Asa Di Vaar Chowki at the
Golden Temple.
Golden Temple. The story says that he
After 1947, Bhai Chand deposited several years' salary with the
was disgraced into leaving the Golden SGPC for this musician. The musician
Temple. Later on he ended up had a very sweet voice, but he lacked
committing suicide in Lahore. All of a basic knowledge and training in the
sudden both Bhai Samund Singh and Raagas. This one unintentional
Bhai Santa Singh left the service of the gesture set a chain reaction and the
Golden Temple Amritsar in 1949. The Raagis with strong political links and
other good musicians stayed on. But possessing hardly any knowledge of
the worst time came during and after Gurmat Sangeet were recruited by
the sixties, when merit failed to be the t he SGPC agai n and agai n.
criterion for selection of the Raagis. Unfortunatel y thi s practi ce sti l l
=l 2u1u 21
continues. Even on special annual of Gurmat Sangeet to select and
days (Gurpurbs) the quality of music recruit the Raagis and there should be
relayed from the Golden Temple is no political recommendation or
getti ng worse and worse. The financial kick-backs in the process of
downward sl i de sti l l conti nues recruitment of the Raagi Jathas.
unabated. Roughly from 1960 to this While awarding duties on special
day the standard of Shabad Kirtan at occasions care should be taken that
the Golden Temple and the other the World is listening. Then and then
historic shrines administered by the only this rot can be stemmed. I am sorry
SGPC is in constant decline. The good to say that somehow our leadership is
meritorious Kirtanias command hardly completely ill at ease in such sensitive
any respect and the mediocres, by dint matters.
of political patronage, are calling the
shots. The SGPC needs to recruit an
expert or a group of experts in the field
harjapaujla@gmail.com
With best compliments from a wellwisher
l The quantom of ur problems is nothing compared with your ability to
solve them. But by overestimating the problems, you underestimate
urself
ooo
l No one will manufacture a lock without key, God wont give problems
without solutions. Overcome ur problems
ooo
l Life holds both sunshine & showers, the days are not all the same. Always
look through the showers for rainbows & there you will find hope.
ooo
l Be in today
Believe in Today
Be alive in today
Be your best today
Because
Yesterday died
for today
&
Tomarrowtakes birth
from today
ooo
=l 2u1u 22
15th National Youth Festival organized by Govt. of India at
Bhubaneswar, Orissa from 8 12 Jan. 2010. Participating in Veena category
Mr. A.P. Singh rhythm as a participant of Punjab contingent bagged third
position introducing Taus (a string instrument introduced by sixth Sikh Guru Sri
Guru Hargobind Singh ji in Sikh music tradition) known in Indian music tradition
as Mayur-Veena. Taus a word from Arabic and mayur from Hindi language are
synonymous of peacock.
It was the first time that Taus is introduced in a competition of National level by
an Amritdhari young Sikh musician (A.P. Singh rhythm) and got a place in
Indian music by winning third prize including a medal, cash prize of three
thousand rupee along with a certificate from the Government of India.
A.P. Singh rhythm is a student of Department of Gurmat Sangeet,
Punjabi University, Patiala initiating M.A. in Gurmat Sangeet under the
guidance of world renowned musician, scholar Dr. Gurnam Singh, founder
head of the department. Mr. A.P. Singh rhythm started his practice in music
under the supervision of his father Dr. Kanwaljit Singh, a noted scholar and
performer of Indian music tradition as well as Gurmat Sangeet tradition.
Congratulating Mr. A.P. Singh rhythm on his success Jathedar Harpal
Singh Tohra said that it is the victory of Punjab and we should encourage the
young talent to work hard to preserve and promote the Gurmat Sangeet
tradition. In his message S. Harinderpal Singh Tohra, President Jathedar
Gurcharan Singh Tohra memorial trust (Regd.) termed the victory as a bench
mark for the Sikh youth and praised Mr. A.P. Singh rhythm for his achievement
in 15th National Yuva Utsava 2010.
On this victory Baba Lakha Singh, Chairman, Baba Nand Singh
Institute of Gurmat Studies, Nanaksar Kleran congratulates Dr. Jaspal Singh,
Vice-Chancellor, Punjabi University, Patiala and Mr. A.P. Singh rhythm for
their contribution in promoting the Sikh heritage. He assured his blessings for
the upcoming young Sikh musicians.
E-mail : drkanwaljitsingh@gmail.com
A.P. Singh rhythm shines at National Youth Festival
as a young Sikh Performer
=l 2u1u 23
thinking noone regime, or caste or race
1. Amrit Sar
has the permanent power torepress
Here at the centre of the pool
a pathof love. Humanity bows again
the GoldenTemple checks its mirror
inits millions tothe Formlessness
and takes a long bathinthe cool.
thatcarvedthisgoldengatewaytoOneGod.
The gold sunalsobathes its face.
Somenights,themooncomesdownaswell.
3. The Bridge Across the Pool Celestial bodies know this place.
The paper kite - a soul has given From 2am until the evening's over,
its soggy face inpink surrender shoulders jostle intoHari Mandir;
and floats uponthe waves of heaven. thousands concentrate their prayer, their
The gold carp intheir nibbling school power.
are the blessed residents below, All come to bow their heads, and ask and
eating prasad throwninthe pool. thentooffer.
The waves are lit withelectric light, This final bridge steadies hungry souls
yet holy songs emit more current: above the water shadowy withfish;
kirtanis sung here day and night. ourhopesandwishesflickertheirgoldscales.
Eachpilgrim, family husband, wife Beneath the naked feet, the holy waters
bathe eachday for healthand wealth, wash.
bathe for everlasting life. This marble bridge can bless each man
Yet, whobathes inside the mind, and woman
whoscrubs downtothe spotless self? through cloth and bucket mopping their
The inner pool is hard tofind. owngrime,
as Sri Guru Granthona palanquin
offers hands to lift and reach for the
2. Remembering the Gullughara
sublime.
At the Gateway
The body is one's bridge upporting this
Here above the gate of Hari Mandir,
so-troubled life eachsoul is borntocross.
fashioned by gold artisans withmallets
Bow down, practice, take it into your
still see Guru Nanak and Bhai Mardana.
house.
The Guru is a gateway wrought ingold,
The heart is the Hari Mandir of the
outlivingburstsfromgunandmortar-blast.
cosmos.
Sikhmilitants taught anarmy tobe bold.
The Guru is the bridge across the water
Commandobootsandbulletscouldnottake
like a sentence that completes the tale;
away the peace enduring at this place.
the Guru is the door that all may enter
Today, the pool's unruffled as a lake
when fingers walk with faith along the
andHari Mandir'smirroredlookof grace
wornbrass rail.
reflects the first serenity. I stand inawe,
Hari Mandir Poems
(Chris Mooney Singh)
=l 2u1u 24
withrababandjory, kartals, bellsandthey
4. Inside Hari Mandir, 1854
couldsingthemonsoonfromarainyraga,
(Awatercolour by William Carpenter)
unlocking shabads throughsur-sadhan
Now look inside the navel of the earth:
This art of bhakti only rare ones know;
here a scripture had its holy birth
when shaped with raag and taal, deep
Winter shawls keep warm and each
faithcanflow.
white turban
Sound rebounds off marble, leaves no
has sat since 2am. Four doors are open.
trace,
Rababi art depicts the Guru's Word;
yet permeates these walls' mosaic space.
the art of praise flies upward like a bird.
If music is our God, then let's live on
Four strings vibrate, music has no end
at Hari Mandir Sahib, shrine of song.
assingingsoarsandlongstomeettheFriend.
A mother and her child have had their
The rababi plucks his tun-wood
darshan
instrument -
and a sparrow comes for crumbs just
round in belly, carved and elegant.
like a man.
Resonating deep, the gut-twine strings
This is what the English painter saw -
support each shabad this rababi sings.
the art of worship in1854.
Music service starts with Bhai Mardana:
chris@wordforward.org his lineage became a new gharana.
Yes, they've all sat since the Guru's day
mHu8l
5
u
H H u u - uT u T
s u uU s lYm s s

u H - H - u
m s s 3 J s l8 s s
H - u - - u - u u -
J s s s U s 3J s s
u
T - u - - u
lJ s m s H u s l8 s s
m3
u H - - H H H - -
uU s Yl s s 3l s s
- H - H u
uU s lYm s m = ss H s s
H
T - u T H - H
c s c uU s lYm s m
H - u
3 u u s T s H s s
T 8H3
=l-3 ,H) c-u=l Hu-3 6u ulJ ,8H3-3 l=6 J Hu)
H=l-u 3l-==-Hue l=uu-= uu 3 YlY3 mT
mJ-H T, u , H1
m=J - , u, uT usT, T u T, u T H1
u== - u -H, , u - ,u) uT usT
-u8 lm 8=l 3= m3 3 YU
vu 3Y
lu lmY lH
Tul3 HTl3 HT JT 3l l=6 = HlJ3
25 =l 2u1u
=l 2u1u
AMg 1193
ang 1193
kbIr jI Gru 1
kubeer jee ghur 1
Kabeer Jee, First House:
<> siqgur pRswid ]
ik ounkaar sathigur prusaadh
One Universal Creator God. By The Grace Of The True Guru:
maulI DrqI mauilAw Akwsu ]
moulee dhuruthee mouliaa akaas
The earth is in bloom, and the sky is in bloom.
Git Git mauilAw Awqm pRgwsu ]1]
ghatt ghatt mouliaa aathum prugaas
Each and every heart has blossomed forth, and the soul is illumined. ||1||
rwjw rwmu mauilAw Anq Bwie ]
raajaa raam mouliaa anuth bhaae
My Sovereign Lord King blossoms forth in countless ways.
jh dyKau qh rihAw smwie ]1] rhwau ]
jeh dhaekho theh rehiaa sumaae
Wherever I look, I see Him there pervading. ||1||Pause||
duqIAw mauly cwir byd ]
dhutheeaa moulae chaar baedh
The four Vedas blossom forth in duality.
isMimRiq maulI isau kqyb ]2]
sinmrith moulee sio kuthaeb
The Simritees blossom forth, along with the Koran and the Bible. ||2||
sMkru mauilE jog iDAwn ]
sunkur mouliou jog dhiaan
Shiva blossoms forth in Yoga and meditation.
kbIr ko suAwmI sB smwn ]3]1]
kubeer ko suaamee subh sumaan
Kabeer's Lord and Master pervades in all alike. ||3||1||
26
This instrument is made in the shape of a peacock and the word 'taus' is in
fact a Persian word meaning peacock. It has 28-30 strings and the instrument is
played with a bow. The taus is very similar to the dilruba in construction and in
playing technique. However, the taus has a bigger sound box and therefore
produces a much more resonant and mellowsound. It has a sound hole at the tail
portion of the instrument and stands on bird-feet carved in wood.
Guru Hargobind Sahib created this instrument, which is probably why it
is so big, given his own physical size.
Guru Gobind Singh (the tenth Sikh master) played this instrument and
welcomed any rabab or taus player into his court. This saaj (instrument) was a
favourite with late ragi Bhai Avtar Singh ji.
PAGE SPONSORED BY : AHUJA FAMILY
C-533, Defence Colony New Delhi 110 024
Taus
Postal Regd. No. G/CDH/0045/2009-10 RNI Regd. No. 46788/89 ISSN 0972-2335