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Monthly Archives: March 2012

A Day in Chandigarh with Sculptor Latika Katt

30 Friday Mar 2012

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Organized by the Arts College, Chandigarh.
It was a pleasure to receive the invite from Signor Diwan Manna and then to meet Latika Katt, Dr. B. N. Goswamy, Vandana Shukla, Professor KPS Shante and others…
Luigi Hari Tehel and nephew Amiteshwar Pratap Singh had a good time.

A few images:











My Pind Diary 4

30 Friday Mar 2012

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Dear Sarpanch ji,
Sat Sri Akal!
I have a complaint. My cow is tied near the village dump “dher” and when I go to milk her in the evening, she is already been milked. After a few days of observation slyly, it has been that a pair of snakes living there milk her.
It is my humble request that strict, fast and effective action be taken. As I cannot, say or do anything to Naag Devta (serpent god), you please help me out.
I am scared and you are my last resort for justice. Bindu, the Nai (hair-dresser) and Sheela Jheer are also witness to this.
Yours,
Ramu

This is not a figment of imagination,
nor have I gone cuckoo.
It is not even a daydream of any sorts,
nor do I have a fetish for cows and buffalos.
My association with them is till the clean non-smelly milk I want for my beverages and my cereal. Villagers are a naïve simple lot. In fact superstition plays a major role in influencing their daily lives. With visits to the Pir Sahib‘s dargah every Thursday (customary), to light a chirag in the honor of the spirits, and with young unmarried girls leaving plastic dolls to find good matches. They also believe in the Khwaja who resides in the village chapar (pond) who if given daliya (broken porridge) fulfills wishes.

For the lot in my pind, it is these simple beliefs, the faith is so strong that it overrides all rationale thought. Try explaining, to them that all is superstition, a mind belief which is deep rooted, old and ancient, and they will shrug it off and say, ‘Biji, eh sab hunda hain,’ Bas, simple as that! You cannot go beyond that.

Maybe the snakes were escapees from a B-grade Bollywood movie and needed to spend time alone to live happily after. I mean all that trauma they go through in the movies, the thunder, the lightening, change in to human form and then never to consummate their love and to be separated as ill crossed lovers, this quiet and beautiful village is their refuge from life.

Postcard 21: Food Fit for a King

29 Thursday Mar 2012

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On January 1st, I resolved to cook my way through the 400+ recipes in Gurbāni Sangeet, which actually isn’t a cookbook, but a collection of songs remembered by the oral tradition for more than 400 years. If these were actually recipes, how did they turn out? At the end of the first quarter of the year, how are the results so far?

Like my attempts in the actual kitchen, some dishes have been delicious, some may have been close approximations of the original recipe and others might be appreciated by family but maybe better not served to guests. Like cooking, the process can be enjoyable, satisfying, or at times frustrating. And just as food carries with it the heart of the one who prepared it, the best songs appear when the singer’s heart is in the right place.

As I try to recreate a recipe from the printed page, I remember with admiration the ones who wrote the cookbook. Even more remarkable is the remembrance of the ones who developed the original, who had the vision to concoct this food the first time, the ones whose recipes the authors have shared in these volumes. Just like the first chef who discovered what happens when ice is added to the alchemy of milk, sugar and cream, the original kirtan-chefs discovered timeless formulas of sound.

The chefs - Bhai-s Gurcharan Singh & Avtar Singh...

Trying a new recipe from a cookbook, alone at home, is just one way to learn to cook. Watching a cooking show on TV reveals so much more, just as listening to recordings of a song can show details that cannot be written down. Learning from a teacher, direct instruction, cooking or singing alongside the master, will open the doors for the learner.

What is learned for one recipe or song can be transferred, the skills and techniques become familiar, although recognizing where to use them takes time. When you look at a recipe can you imagine how it will turn out, even if there is no photograph and even if you haven’t tasted this dish before? You can probably imagine it if you have experienced similar foods. You may be able to recognize a certain style, appreciate a new ingredient or variation.

Recognizing a masterpiece takes imagination. Cooking recipes in my kitchen, on my small stove, serving them up the best I can for a family meal is different from preparing in a professional kitchen on a large scale, delectables arranged on the best dishes, tables set with the finest linens, the trays garnished with cut fruits and flowers, served up by perfectly trained waiters in their best banquet attire.

Can you imagine the possibilities for soup? It may be a homely, thin broth served in a clay bowl, evoking memories of warmth, perhaps a grandmother’s love, or healing relief when you were sick. Soup can also be served up in style, a simple dish turned into an art form. Of course the most exquisite accessories won’t make a poorly made meal any better. But recognizing the potential of a masterpiece, you realize that the way it looks in a simple container in humble surroundings is only one possibility. Imagine the strength of the masterpiece to hold its own in the most regal setting, the elegant presentation, the delight it would give even the most discriminating palate, the way it would be remembered long after the other dishes at the feast have been forgotten.

Today’s recipe was a song of Kabir. There are two different melodies in rāga āsāvari given for the poetry. One is a slow teentāl, sixteen beats, and one is a chārtāl, twelve beats. They are both proclamations of the joy of marriage, announcing the union of the soul with the divine king himself. Both are regal and stately songs of celebration. The teental composition, like a slowly moving royal procession observing great decorum, conveys a personal meeting shared with intimate friends. The chārtāl composition has much more fanfare, sharing the power of the moment with all the invited guests as well as anyone near enough to be an onlooker. Both songs in honor of Rājā Rām, food fit for a royal banquet.

My Pind Diary 3

28 Wednesday Mar 2012

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What’s in a name? That which we call a Rose.
By any other name would smell so sweet.
{Romeo and Juliet (11, ii, 1-2)}

What’s in a name you would say?
The bard has so much to say on this and I would not try to mix Punjabi and English but my Pind has these interesting names which would get your goat too. The morning starts with people walking in from all walks of life and asking for some kind of help and they are perpetually scared to visit the government officials to expedite their work. Well, yesterday was no less. I was enjoying my cup of tea (endless cups by the way) that the bell rang. I went outside expecting a bunch of old women who would have their list of ailments ranging from PP (BP – blood pressure, that is), dil da daura being fast and, even gas.

A tall man with a flowing beard with kajjal in his eyes asked to meet Daarji, my father-in-law. Guess, his name —Phannii.
Phannii urf Funny, seriously wanted to meet Daarji so that he could discuss potatoes. A serious discussion on potatoes with a man named Phannii/Funny. Funny Singh is a responsible citizen of Pind Q who works on the farm, knows his business and is called by old and young as Funny. The catch or the sweetness of the situation is that nobody, I mean nobody, knows what Funny literally means.
In this world where we all are seeking an identity, a name what would you say about someone who is tall and strapping, wears kajjal and is called Funny?
Smile, please.

March 21 in Images – Kapurthala to GND University, Amritsar

28 Wednesday Mar 2012

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The day began with a visit to Sri Guru Ram Das Simran Kendra at Hamlet Khiraanwali, Kapurthala, Punjab. From Sultanpur Lodhi it is about 28 kilometers away – one has to take the road via Talwandi Choudrian and skip the left turn towards Goindwal Saheb. The Simran Kendra was started by Sardar Hardial Singh IAS (Retd.), my uncle (a chacha–ji), years ago and is a beautiful place to be – sprawling wheat-pregnant fields. I sang raga bilawal as both Singhs, Parminder Bhamra and Luigi Hari Tehel, played well – actually, Parminder was really good.

Then we drove to Amritsar via Dhilwan, a road I took for the first time. I was already tired and sleepy upon reaching the parking-lot near the Gurudwara inside the Guru Nanak Dev Univ. I did try to take a nap but this darned phone and its calls – all mundane!
The programme was running late as the fake instruments displayed by the Jawaddi Kalan people were already freaking me up. A displayed sarod-like instrument created only recently had the plaque claiming (in Punjabi) – Rabab Patshahi 1 – a bloody lie! An instrument which has no history – being associated with Guru Nanak? Shame..! Nevertheless, my singing wasn’t too bad. Sardar Piara Singh Padam played the dilruba, the wonderful Professor Dalbir Singh played the sitar (it has been wonderful reconnecting with him after many years 🙂 and Luigi Hari Tehel played along on his dhrupadi rabab. Parminder was very impressive on the pakhawaj. The presence of Baba Nihal Singh of Harianbellan was very dignified – what a soul!
It wasn’t an easy escape for me from there – there was a wonderful interactive session – almost a lec-dem in the Gurudwara. Then towards the end, the meeting with Professor Nirmal Singh Randhawa, a direct descendent of Baba Budha was nostalgia filled –  wonder that our ancestors had served and studied from the great gurus at the same time – Gur-Vaho!












My Pind Diary 2

23 Friday Mar 2012

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Sema, the local plant doctor

Our village Q is primarily agrarian, nothing new you would say. Well, a background. Here, everyone works for the bigger landlords. Q is a mixed motley of Sikhs, Hindus with a sprinkling of Muslims and a few odd Christians who have names which started out as English but became Punjabicized. Bladder, named after the football bladder, the village cowherd, and Sema, adapted from Sam, the affimchi (one who is an addict to poppy husk) are the two English names. In fact, Sema is the local plant doctor on the farm. If you looked at him, you would look at the craggy wizened face and you would dismiss him at the first instance but he has so much practical knowledge and is the green fingers of the village. What keeps him going is his daily fix taken every morning. Yes, he is an addict, a harmless one at that, who just farms away his life.

Chhinda and the Buffalo

It is a daily practice for the cattle to be milked two times a day and milk is brought for distribution after keeping a specific amount at home. I asked the helper, how come the milk of a specific buffalo had dropped considerably?
This was my attempt at being smart, cocky and being a know-it-all thinking that I, a city-bred girl being initiated into this secret world that had been alien to my upbringing, could out-smart the guy as the quantity of milk being brought in was dropping considerably. Well, I was never prepared for this retort.
Chinda, the milkman looked up and said, “Biji, the cow has low BP!”
I was in splits! How did a cow get Blood Pressure? And if she did, how did he check her? How did he know that this was the reason? Man, I was stumped and have not stopped laughing ever since. His expression and the way he delivered his reply, that she has blood pressure – the reason why the level of the milk has dropped, was priceless.
I had no answer to this effective reply and found myself unable to challenge his acumen. Well, who says you need a college degree?

Tomorrow is another day and I’d like to tell you about the letter sent to the Sarpanch (village head) complaining about the cow who was being mysteriously milked by the pair of snakes living near by!

My Pind Diary 1

22 Thursday Mar 2012

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Punjab is dotted with numerous villages which together roll in to one to give it its identity, its strength and importantly, the unique among all identities – flavour, which is unparalleled. Call them hamlets, ‘Pind’, ‘Kasba’, settlements or ‘Vaseelas’, they are fiercely independent guarding their identity. Some are big others, small or medium sized, sprawling or crammed to the gills or miniscule, you name it, they are there.
Every village has a story to tell. Before their unique characters gets wiped out by the advancement of technology, the rapid pace of modernization which is leaving them neither here nor there, I’d like to share some anecdotes…

For obscurity sakes, let’s call my pind (village) Q. Google maps zeroes on it with a lot of difficulty only when given the co-ordinates. Its interesting the the village with a similar name can be found in 6 different places in Punjab. With due respect to certain parts of the state which are modern, are well into the 21st century and are ready for their tryst with history, mine, sadly, is a misfit. It is struggling with the usual ills of life – drugs, alcohol, lack of amenities, small size holdings – which are dwindling go the dream of flying to ‘baahar’. We have all watched movies, seen documentaries highlighting village life and its hardships. But, I wanted to bring out the positive part for we all do need some colour in the shades of grey which is inhabiting our lives.

The simplicity, innocence of the village folks, their naivety and complete faith in the system is unbelievable. They are removed from what you and I think about – the politics, the budget, the impending solar storm, the end of the world in December or, whether Einstein wrote love letters to his cousin or got married to her. In a country where girls are killed for even marrying in the same village, inter-caste marriages are frowned upon; who wants to know about old love or new, for that matter?

Life in the villages was basic, is basic and will remain basic as how far the Rupee can be stretched. Their main worry in life is in getting a permit – a neela card (blue card) and not the next platinum credit card.

Postcard 20: Telling it like it is

22 Thursday Mar 2012

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The collection of rāga asa shabds in Gurbāni Sangeet ends with shabads from
Guru Teg Bahadur and four partāls by Guru Arjan Dev Ji. These songs all convey a similar message: everywhere I look, I see people with their scattered minds going in so many different directions, engaged with the things that don’t really matter, sometimes things that seem important, often with trivia, but all they really need to do is remember the Name. It’s not that you have to stop doing the work in the world, engaging with family and friends, enjoying life, but when you remember the doer and manage the mind there is more clarity, less waste, more effectiveness, less illusion, more reality, less fantasy, more stability, less emotional roller coaster.

The humanity is still there. The emotional, fearful, doubting self is still there, influenced by the five constant companions, kām (desire), krodh (anger), lobh (greed), moh (attachment), ahankār (pride). One minute meditating, doing yoga, worshiping, in bliss, the next minute wandering in doubt. One minute delighted, the next minute miserable. Then there is kirpā.

How do you escape the five companions? When you remember the doer, it all becomes more manageable, the drama is no longer the only thing. Nām puts everything else in perspective.The guru’s response to find peace in the midst of the stormy realities of life is to sing the praises, sadā sat nām.

Nānak sees it like it is, tells it like it is, and decides to sing.

Postcard 18 and 19: No Worries and Shabd Surat Dhun

18 Sunday Mar 2012

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Postcard 18
3/13/12
No Worries

Two sloks from Guru Arjan, originally composed in rāga gauri, offered here in rāga āsā.
Two lines each, that tell you basically all you need to know.

“Support of the souls is the One, (yet) you attach your hope to dependence on others.
Nanak, Meditate on the Name and all your affairs will be set right”

and

“Rise at dawn, chant the Name, continue the worship day and night.
Anxiety won’t stick to you, Nanak, delusion is erased.”

There are so many descriptions, so many practices, so many songs. We have been shown so many things. But fear and worry set in anyway, stress takes over. The solution is simple– clear the mind, remember the Name, trust the True Support, get real. No worries.

Postcard 19
3/14/12
Shabd Surat Dhun

Among the Sikhs there is a growing interest in the rāgas of Siri Guru Granth Sāhib and there are various teachers and institutions working to revive Gurmat Sangeet. Traditional kirtan, however is more than rāga (melody), which is just one leg to support the experience. The other legs include tāla (rhythm), bāni (words) and chit (focus, the inner state). Like an uncomfortable rocking stool, the music will be shaky if the legs are out of balance.

The rich variety and complexity of the tāla tradition parallels the musicality of the rāga tradition. For example, in just ten pages of rāga āsa compositions, there are seven melodies in ten different tālas for the poetry of six shabds. How is it possible to have one rāga with seven unique melodies in ten different tālas? Part of the answer is that two of the compositions are partāls which change tāla in various parts of the song. One of the partāls has four different tālas!

The more common eight-beat and sixteen-beat tālas are represented here with tālavāra and choti teentāl, but so are two different fourteen-beat cycles, tāla āda and tāla dhamār, as well as tala dāee, which is in seven beats. Sultāl, ten beats, is here along with chartāl and iktāl, both twelve-beat cycles, one slower and one faster. Rarer tālas are also present such as sikhar tāla, seventeen beats, and tala bhān matee, eleven beats.

These pages are an amazing cross-section of a fifty-one-page collection of shabds in rāga āsā. If ten pages of compositions in one raga can be this rich in memory, it is a small glimpse of what is possible and an invitation to keep exploring to discover what else will be found on the next page, and the next.


2 Amazing Days at the Qila…

16 Friday Mar 2012

Posted by bhaibaldeep in ANAD Foundation, Postcards from the Journey

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Two amazing days at Sultanpur Lodhi and around.

Instrument making – working on the taus for cousin Bhai Kultar Singh and Younis Khan making accessories for my saranda.

Namaz being offered by Younis at the Mosque (once again after what, a century? 🙂 where Guru Nanak taught how to…!

On the night of March 13, I visited Sri Guru Amardas Simran Kendra set up by uncle Sardar Hardial Singh IAS (Retd.) in his farm at Village Khiranwali, Kapurthala. Parmjit Singh who recently retired from the Cultural Affairs Department also sang a shabad after a short manglacharan in raga darbari kanada. Then I sang a shabad by Bhagat Namdev in raga malkauns. Nadar Nihal Singh is staying there now for a few days to learn meditation techniques.

The next morning a small truck brought a sandook (traditional chest) and a charkha (spinning wheel). Both were sent by Bibi Surji Kaur Bhamra, a sister of noted artist Avtarjit Dhanjal, from Village Chakkar, District Ludhiana. The spinning wheel was made by their father. There is another wheel made by her father-in-law which will arrive in a few days and we plan to have some textile and fashion design students from the area and from as far as Chandigarh over when Surjit Kaur Bhamra will visit and do some art-work on the mud walls and assemble the spinning wheels.
As the goods were being offloaded, a cop named Arvinderjit Singh Thind, offered one of his own sandook. He kept a slightly bigger one for himself. An old house adjacent to house of the kind constable belonged to the family of artisans (carpenters) but who had no heir. I am planning to meet the extended family and request them to give the house to ANAD or even rent it out.

On the way back to Delhi, I stopped over at Nawanshahr to meet a local instrument maker, Gyani Kishan Singh and also his elder son.

On the 15th, Swami Madhusudan visited with the talented Dhruv Sharma and we sang…

Raga Bhairavi
Dhruv is a fine talent
With Swami Madhusudan of Brindaban

A student
A luthier, Gyani Krishan Singh
A luthier

The cop and his grandmother’s sandook
Sandook II on to the truck
Once, when the cops grandmother had wed, this sandook had been brought into the house – this time, it is taken to its rightful place in Anad Conservatory’s museum at the Qila

Emptying the secret vault..!
Helping hands

Kunda
Parmjit Singh in a sweet gesture – brooms the chakki
Chakki (grinder)

Chulha (mud-oven)
The storage at the cops house
The generous cop and his wonderful wife…

Where the lamps were once lit…
When disregarded, even a flower wilts …
And the roof

What a window!
A beautiful door
A carpenter’s house whose has since died with no heirs.

Letter box
A beautiful tree…
Charkha and Anad Conservatory Site office

Then a cop came up and said I have two at home and willing contributed one of them for the collection – less than half hour later, we were in his village…
Sandook and Charkha
And the Charkha

Sandook offloading
Backing up

Arrival of the sandook and the first charkha – gifts by Surjit Kaur Bhamra and Avtarjit Dhanjal
Uncle Sardar Hardial Singh, founder of the Sarab Rog Ka Aukhad Naam Mission and Sri Guru Amar Das Simran Kendra
Malkauns – Mangalacharan and Bandish

Tuning the tanpura
Parmjit Singh sings with me playing Pakhawaj
Advocate Shaili is to ties his noose (knot) on the 18th

Planing III
Planing II
Younis working on the taar-daan (ebony wood)

Lines after preliminary planing
Planing – Making the fretboard of the taus being hand-crafted for Bhai Kultar Singh Ragi
Where Guru Nanak once came to teach how offer – Younis offers his Namaz – so beautiful to see the Mosque being brought back to life…

Nadar Nihal Singh, saxophonist from Tucson, Arizona now practicing pakhawaj at Anad Conservatory.
Setting the stencil
Done yet..?

Preparing the bed for the taar-daan VII – Filing, with Younis helping hold the saranda in position
Preparing the bed for the taar-daan VI – Filing III
Parmjit and uncle Raghbir Singh admiring the custom files

Preparing the bed for the taar-daan V – Filing II Parmjit Singh, Raghbir Singh, Younis Khan and Jatinder Bhamra.
Preparing the bed for the taar-daan IV – Filing
With Police Sergeant Resham Singh, an outstanding ‘chimta’ player and whose son is quote talented – now a student at Anad Conservatory.

Preparing the bed for the taar-daan III – With mallet and gouge
Preparing the bed for the taar-daan II – Gouging
Preparing the bed for the taar-daan I

Making the stencil of the taar-daan for Younis III – Instructions
Making the stencil of the taar-daan for Younis II
Making the stencil of the taar-daan for Younis I

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