• About The Anād Foundation
    • Aims & Objectives
    • Governance
    • Trustees & Associates
    • Historical Records
      • Founder Trustees
        • Bhāī Baldeep Singh
          • First visit to the Qila
        • Chiranjiv Singh
        • K. T. S. Tulsi
        • Kiranjit Singh Bawa
        • Manjit Kirpal Singh
        • Pervinder Singh Chandhok
        • Raj M S Liberhan
        • Ranjodh Singh
        • Ravinder Singh Ahuja
      • Board of Advisors
        • Rear Admiral Kirpal Singh (Retd.)
      • Associate Trustees 2008-2011
      • Associate Trustees 2011-2014
      • Associate Trustees 2014-2017
        • Mayank Singh Bawa
      • Associate Trustees 2017-2020
      • Associate Trustees 2020-2023
    • Team & Project Associates
    • Financial Highlights — Archival Record
  • Anād Khaṅḍ / Conservatory
    • Anād Khaṅḍ — The Proposal
    • The Institute
      • Faculty
        • Resident Faculty
        • Visiting Faculty
      • Learning Streams
        • Class With Bhāī Baldeep Singh
        • After-School Studies
          • AAS Study Programme Coordination Committee Meeting I & II
      • Workshops
        • Gurbāṇī Saṅgīt Workshops
          • With Bhai Gurcharan Singh
          • With Bhai Baldeep Singh
            • BBS I
          • With Ustad Harbhajan Singh Namdhari
        • Dance Workshops
          • Kathak with Maria Maurizia Costanzo
            • Maurizia’s Workshop Note
            • Gallery
          • Chhau Dance with Luisa Spagna
            • A Note by Luisa Spagna
        • Theatre Workshops
          • With Kuljeet Singh
            • Theatre in the spaces
            • Gallery
        • Photography
      • Outreach
        • 2018: Poznań, Poland
        • 2019: Poznań, Poland
        • 2025: Rovigo, Italy
      • Gallery
    • ANĀD Scientific Advisory Committee 2009-2017
      • First Thoughts
        • By Professor Paolo Ceccarelli
        • By Professor Rabindra Vasavada
        • By Ashok B Lall
    • Costs and Funding Framework
    • Luthiery School
      • Rabāb
        • Harbhajan Kaur’s Rabab
      • Saranda
      • Taus
    • Audio-Visual Restoration Studio
  • Gurū Gaurav 350
    • Guru Gobind Singh — A Prophet With Difference
    • Gurū Gaurav — A Concept Note
    • Gurū Gaurav — Press Release
    • A glimpse of Jashn-e-Mehfil
    • Performers
      • Rânsubāi
        • Inauguration
        • Raghuvir Mallik
        • Sangeet Kumar Pathak
        • Bibi Ashupreet Kaur
        • Ashutosh Upadhyay
        • Dr. Alankar Singh
        • Vidushi Jyoti Hegde
        • Bhai Baldeep Singh
        • Pandit Ram Kumar Mallick
        • Bhai Balbir Singh Ragi
        • Bhai Baldeep Singh —Poetry Reading
        • Pandit Rajendra Gangani
        • Pandit Yashpaul
        • Mohan Shyam Sharma
        • Jagat Narayan Pathak
        • Nihal Singh
        • Indra Kishore Mishra
        • Dr. Anil Chaudhary
      • January 1, 2017
        • Guru Gaurav Event Hosts
        • Introductions
        • Pandit Ravi Shankar Upadhyay
        • Dr. Ajit Pradhan
        • Dr. Nirinjan Kaur Khalsa
        • Ustad Asheesh Khan
        • Poet Kulwant Singh Grewal
        • Bhai Baljit Singh Namdhari
      • January 2, 2017
        • Dhaddi Desraj Lachkani
        • Poet Jaswant Singh Zafar
        • Parminder Singh Bhamra
        • Manu Seen
        • Shekhar Sen
        • Pandit Prem Kumar Mallick
      • January 3, 2017
        • Nashir Naqvi
        • Pandit Uday Kumar Mallick
        • Baha’ud’din Dagar
        • Vidushi Gopika Varma
        • Pandit Vinod Pathak
        • Jasbir Jassi
      • January 4, 2017
        • Pandit Ram Prakash Misra
        • Manganiārs
        • Samiran Sanyal
        • Dr. Gurinder Harnam Singh
        • Sukhwinder Amrit
        • Suvir Misra
        • Dr. Madan Gopal Singh
      • January 5, 2017
        • Jago Tareenjan Group
        • Dr. Francesca Cassio
        • Ustad Daud Khan Sadozai
        • Songs of the Khalsa
        • Dr. Ritwik Sanyal
        • Dr. Umayalpuram Sivaraman
        • Dr. Surjit Patar
        • Bhai Baldeep Singh —Gurbāni Pade
    • Production Team
  • Heritage Conservation
    • Intangible Heritage — Sūkham Virsā
      • Luthiery Tradition
    • Tangible Heritage — Sthūl Virsā
      • Qila Sultanpur Lodhi
        • Lahore Gate
          • Heritage Hammered by IP Singh
        • Darbar Hall
        • Old Kacchehri (Colonial structure)
        • Delhi Gate
        • Mosque
        • Qila Walls
    • Technology Partners
  • Punj-Care Initiatives
  • Events
    • Full Moon Events
      • May 2011
        • 6th Kāv Tarang Review
      • September 2011
        • Gallery
      • February 2012
      • October 2012
        • October 2012 Punya Baithak Gallery
        • 2012 10 29 Punyā Baithak Press Reviews
    • Poetry Festivals
      • 7th Anād Kāv Tarañg
    • Theatre
      • Story-telling by VK
    • Archives
    • Laya Darshan: Revealing the Riches of Indian Rhythm
    • Jashan 2006
    • 2008 Dharati Suhāvī
    • 2013 Harī Rāgu Gāthā: 31-Rāgu in Gurbāṇī
    • 2014 Hari Rāgu Gāthā: Singing of 31 Rāg in Gurbāṇī
    • Jashan 1915-2015
    • Gurū Nānak Dēv 550th
    • Virtual Vaisākhī 2020
    • 2020 Rai Radio3 — Dharati Suhāvī
    • 2020 Expressions on Nature: Dharati Suhāvī
  • Anād Awards
    • Award Jury
    • Anād Sanmān
      • Jashan 2006
        • Review
    • Kāv Sanmān
      • 2008
        • 2008 Review
      • 2009
        • 2009 Review
      • 2010
        • 2010 Review
  • Study at Anād
    • Gurbāṇī Saṅgīt Retreats
      • Retreat 25: Merced, California January 2010
        • Gallery
      • Retreat 26: London, Ontario
      • Retreat 27: Tucson Arizona January 2011
        • Love Poem
        • Gallery
      • Retreat 28: Espanola, New Mexico, July 2011
        • Amrita Kaur Khalsa
        • Gurkaran Singh
        • Guru Mander Kaur
        • Gurumukh Singh CPA
        • Harbhajan Kaur Khalsa
        • Keerat Kaur Chahal
        • Nihal Singh
        • Nirvair Kaur
        • Raviraj Singh
        • Siri Sevak Kaur Khalsa
        • Gallery
      • Retreat 29: London, Ontario 2011-12
        • Student Reviews
          • Keerat Kaur I
          • Keerat Kaur II
          • Baljinder Singh Bassi I
          • Baljinder Singh Bassi II
          • Baljinder Singh Bassi III
          • Tanvir Singh Suri I
          • Tanvir Singh Suri II
          • Harkamal Singh I
          • Raviraj Singh I
      • Retreat 30: Qila, Sultanpur Lodhi 2012
        • Concert inside Kapurthala’s Modern Reform Centre, February 18, 2012
        • Mid-term Review by Nirvair Kaur
        • Review by Nadar Nihal Singh
      • Retreat 31: Albuquerque, NM
        • Nirvair Kaur’s Review: 31st Albuquerque Summer Kirtan Course
        • Keerat Kaur’s 31st Summer Retreat Review
      • Retreat 32: Mississuaga, Ontario
        • Keerat Kaur’s Course Review
      • Retreat 40: Albuquerque, New Mexico
        • Gurbani Sangeet Retreat Review: Nihal Singh
      • Retreat 42: Rajgir, Bihar
      • Retreat 48th: New Delhi
      • Retreat 51: Online from Anād HQ
      • Retreat 52: Online from Anād Foundation HQ
      • Retreat 53: Rochester, MN
        • Rochester Preview & Screenshots
      • Retreat 54: Seattle, WA
      • Retreat 55: Seattle, WA
      • Retreat 56: San Francisco, California
      • Retreat 57: Surrey, BC
      • Retreat 58: San Francisco, California
      • Retreat 59: Khalsa Centre, Canada
    • Anād Online Classes Log
    • Internship Programmes
      • Vasant Valley School Class XI 3-week Internship 2012
        • Chairman’s letter to Vasant Valley School Internship Students
        • Delhi Head Office – Tentative Schedule
        • Student Reviews
          • Anmol Handa
          • Himmat Singh Guram
          • Kavya Rai
          • Luigi Hari Tehel Singh
          • Uday Talwar
          • Wanhee Ji
        • Vasant Valley School 2012 Internship – Images 1 – Delhi
  • YaarAnād
  • Contact Us
  • Donate / Support Anād
  • YaarAnād Virtual Baiṭhaks
    • YaarAnād Virtual Baiṭhak – Season I
      • 2020 April
      • 2020 May
      • 2020 June
      • 2020 July
      • 2020 August
      • 2020 September
      • 2020 October
      • 2020 November
    • YaarAnād Virtual Baiṭhak – Season II
      • 2020 December
      • 2021 January
      • 2021 February
      • 2021 March
      • 2021 April

The Anād Foundation

~ Culture | Conservation | Continuity

The Anād Foundation

Monthly Archives: April 2012

Sindhi Kafi

29 Sunday Apr 2012

Posted by bhaibaldeep in ANAD Discussion Forum

≈ Leave a comment

Saw an email from Sri Subodh Chandra Agrawal (IAS) inquiring about a rendition of Bade Ghulam Ali –it is a fascinating composition (wish it were longer than 3:26 mins 🙁  –thank him for sharing.

(undercaps – g m d – denote flat notes).
At the very onset, I would like to share that the best person to say anything about the raga is the singer him/herself and we do not have the legendary Ustad with us. I wonder if his grandsons, Khans Jawad, Mazhar or Raza Ali, sing this – will check and revert back (see here for updates later). The reason is that at times the singers take plenty of liberty while singing a composition especially set in light music or folk forms. Nevertheless, after having carefully heard the composition, I am sharing a few thoughts:

It is indeed a Kafi (Sufi text) in Sindhi language and not the raga (kafi) self.
One very rare ragini, bilavali (not bilaval) has very similar dagar-s (paths) – S R G R S – G P D N S’ – Gm Pm R S.
It is to be noted that bilavali, taught to me by Maharaj Thakur Singh, is said to be a blend of raga-s asa and bilaval.
Then comes a spaat pattern S R G m P D followed by the usage of tivra madhyam (Gm R M RS) at 00:33 seconds marker, which is fascinating and skillful. As it (tivra madhyam) does not come again, wonder if it is a momentary pause.
The stanza seems undoubtedly like that of bilavali –  G P D NS’ while the descendent pattern N S’ D P, Gm Pm R S also reminds me of the Sindhi Sorath (towards the higher register). Instead, bilavali would descend with a S’ D m, P G S R G, S pattern.

Now, to have a look at a few other examples in order to breifly reflect on raga maand.
Jagjit Singh’s phirat is to be noted in the link below, R M P in ascendance and komal n and m in descent are to be noted, which are absent from Bade Ghulam Ali Khan’s rendition:

While Manganiar exponent, Lakha Khan, is at his pure best:

http://www.youtube.com/watch?v=dcy8Gq1uxSI

Lastly, view Qader Baksh Baloochi, whom I recorded in 1997 during my first visit to Lahore, sing a love song 🙂 posted here for some similarities.
http://www.youtube.com/watch?v=-1c9TRRXMeA

The rendition by Bade Ghulam Ali Khan could simply be a version of raga maand or even asa…

05/05/2012 at 14:18pm
Sri S C Agrawal (IAS) chanced upon the following link which is an example of bikaner maand sung by the fabulous Padma Sri Allah Jilai Bai who passed away several years ago. Out of the three grand ladies of the area only one, AklaaN Devi, is left and I have plans to go sometime this year in Rajasthan carrying my cameras and recorders. Her sister Rukma Devi who sang while playing the Dhol passed away last year. They are natives of hamlet Duda Beri, District Barmer, Rajasthan.
This rendition (Moomal), although very close to raga asa, is raga bikaner maand. There is a composition of Bhagat Kabir in raga asa in which a similar (not exact) usage of dhaivat is present. Asa, a favorite of Guru Nanak, was a major raga once upon a time for it is present in so many ragas – devgandhari, maand, maaru, des, sorath and others.

Postcard 24: Pain Medication

23 Monday Apr 2012

Posted by in Postcards from the Journey, Reflections

≈ Leave a comment

Tags

Nirvair's blog

This week I found myself in a state of sadness and anxiety, nothing seemed to be going right. I tried all the usual self-talk, positive thinking exercises, even meditation and breathwork to quiet the mind. Sometimes the mind can be very stubborn. Even singing practice seemed to become a mental engagement as I worked at making my way through the shabds in rāga dev gandhāri. Then I came upon a shabd from Guru Arjan Dev Ji.

Sometimes a shabd is a gentle prayer. In this shabd, the asthai begins with gandhār ascending to madham, tu-u, reaching out, lifting hands in supplication. “You, my mind immersed in you, without you, no other”. In the antarā the prayer becomes a call, komal dhaivat to the komal gandhār in the tār saptak, rikab, kharaj, “you are my friend and companion, why be afraid?” Pleading, convincing, perhaps my own mind needs the most convincing.

This shabd was originally in rāga āsā but someone had a vision to place these words in rāga dev gandhāri and it is a sweet prayer. The feeling of the verses evoked by the notes themselves,  words and music seem to belong together.

BBS Note: One may note Devgandhari as a derivative blend (chaya-lag) of both Asa and Asawari – both have so much to do with Devgandhari’s DNA.

In Gurbāni Sangeet there are many songs like this that have shifted the bāni into a different rāga. I have noticed that these are sometimes the more difficult ones to sing from the notation, working out the thought process of the composer along with the music. Although once the form of the composition has been worked out, it may reveal itself as spectacular! Other songs, like this one in rāga dev gandhāri, seem more immediately recognizable, a certain expectation that it would naturally move this way. The composers have gifted us with their innermost thoughts, their intimate experience with the meaning and the music, the connections they have known.

A few pages later, another shabd presented itself. Originally in rāga gond, Bhagat Nam Dev Ji describes a state I know too well, restless, lonely and unhappy like the cow without her calf, in pain like the fish without water. In dev gandhāri the composition is a lively teentāl that can cheer up even my stubborn mind. “Like the calf let loose to drink the mother’s milk, Nam Dev has found the Lord, meeting the guru he has seen the unseen.”
mohe-laagati-taala-beli

After being reminded that the answer to my discomfort was close at hand, I decided to sing something I knew well enough to let the mind loose. It was kind of a challenge, “Ok Guru Ji, you have said that by singing the praises all anxiety goes and all our affairs will be set right, please let this be true!”  The taus came out and I began to play in rāga bilāwal, a rāga of celebration. “Now break from the senses and be released, the mind gulps the essence of Har, changed by meeting the Sādhu, now no other, no other, Nānak, love is at your feet, your feet.”

After singing, the knots in my stomach disappeared. The rest of the day had a flow. People in conflict seemed to settle down a bit. I actually felt happy! So is it true? Do you need to ask?

Punjabi Daily reports on World Book Day feature

23 Monday Apr 2012

Posted by Anād Foundation in Press

≈ 1 Comment

World Book Day Special

For the new in the Daily, please click on the link below:
http://newspaper.ajitjalandhar.com/index.php?edid=2&pgid=2&dtid=20120423

And in another Punjabi Daily, Akj Di Awaaz:

Aj Di Awaaz

Article

 

 

Rāga

21 Saturday Apr 2012

Posted by bhaibaldeep in Mere Music

≈ Leave a comment

Raga by Caterina Lia

A rāga is but
a single note,
that imbues within its intangible self
a particular emotional state,
with the rest of the notes implying
merely the impact of that state
on the overall play of life and
experience of the protagonist.

bhai baldeep singh
11.42am 18/9/07 Home

What is Alāpa?

21 Saturday Apr 2012

Posted by bhaibaldeep in Mere Music

≈ Leave a comment

Alāpa

March 27, 2009
Today Signora Brazialiana Sadhu Kaur (Maria Fiuzza) asked me – “What is alāpa?”.

Alāpa is an expression,
easily the most ancient –
a moment of expressing.
It, is a thought, which can be silent at times – but in a sequence,
with its roots in the ineffable,
which is at the same time logical, obvious, natural
and hence like life
– be surprise-some at times,
a being where emotions come and go
but with a reason,
where rasas dwell such
that all states of life can be experienced
– from godly ethereal, mysterious and virtuous
to human mystic, passionate and vicious
to animal-like innocent, playful, naughty and distrustful,
but

at all times, musical,
in spite that most times
it happens outside of a musical paraphernalia!
bhai baldeep singh

.

My Pind Diary 5: Impolite words polite society

20 Friday Apr 2012

Posted by in Ravneet Sangha Anecdotes

≈ Leave a comment

🙂 This entry comes with a warning beforehand, I apologize beforehand If I offend anyone’s delicate sensibilities.

We all live in a village. A village consists of people who are gentle, cultured and have the same sensibilities which the city counterparts have but with one difference. They are cruder and sometimes the words they use are not in the lingo of the society we live in. They are extinct or are part of a dying folklore.
Imagine, when a person walks up to the doorstep and says in chaste Punjabi, in all seriousness, no humor no joke, ”I have to go for a Bhadhan ceremony; I need money.’

My mother-in-law who is also the Sarpanch of the village came inside and repeated this. Well, what to say, I cracked up and could not stop laughing. It brings to my ears however small they might be and to my brain an image whereby there might be a cultural activity in my parts where there might be a farting ceremony.
Nothing as crude as this. Bhadhan is not farting; it is a mundan ceremony. It is not the passing of bodily gas, or flatulence and it is not used in the commonly vulgar way as set by the standards of the modern English world.
Bhadhan ceremony is where they shave off the male child’s hair at the age of 3.

Just read this with a pinch of salt and don’t squirm your pretty nose up; you ain’t Cleopatra you see. She had all the dibs in the world to turn her nose 😉

Listening to pakhawaj player Allah Lok

18 Wednesday Apr 2012

Posted by bhaibaldeep in ANAD Discussion Forum

≈ 3 Comments

At the very onset, I would like to state that it is heartening to know that the Lahore Music Festival invited a pakhawaj player for a solo performance and that I am grateful to the organizers for their initiatives.
Allah Lok studied with Ustad Inayat Khan, whom I tried to meet in 1997. Ustad Mohammad Hafiz Khan, the Talwandi gharana exponent, went to fetch the elderly Ustad in a cab at my behest. Sadly Inayat Khan had passed away merely a month before. Allah Lok has also taken lessons from the son of legendary Pakhawaj maestro, Baba Malang of Hoshiarpur, East Punjab who lived in Hyderabad, Sindh after the unfortunate partition of Punjab in 1947.
For more information on Allah Lok, please visit a very informative site www.sadarang.com
or read Saqib Razaq’s very informative interview of the Ustad at:
http://www.sadarang.com/Ustad%20Allah%20Lok.htm

Response to the solo played at LMF
The thaap is not there but the chaanti; the instrument is in a bad shape – the gatta’s seem to have been taken from a tabla; the hair cut  – styling of the gentleman playing the Harm-o-nium { 😉 } is appalling while the presence of Allah Lok is quite dignified; and now the rendition:
The first thing that he plays in the recording is a Tihai – tiT-katta gaddi-ghin dha-aa aa- x3 following with – (dha)-tiT tiT-take tiTkiT-tikta kai-tiT-kiT-tik take-e-ta gaddi-ghen dhat-tiT-kiT-dheTat dhat-tiT-kiT-dheTat (chartal) Duggan sequence which is a 6 plus a beat and half x 2 pattern (sum as a 9-beat cycle). He picks ups a Pakki-duggan sequence of the same and flounders – to cover up, he presses on the Pudda as if its not-being-in-tune has somehow caused the interruption. He starts again with the same chartal pattern in Pakki-duggan ending with a tiT-kata-gaddi-ghin dha tihai. He then plays duggan (that he seems to be using as a theka) sequence before starting an 18-beat chedd, which is also played in chartal:
dha-tiT-kiT-dhe   Tat-dha-tiT   kiT-dhe-Tat   dha-dha-tiT   dha-diN-dha-aa,
then the tihai
giddi-ghena   take-tiT-kiT-dhe-e   e-ta-giddi   ghena-dha-diN   dha.

https://anadfoundation.org/wp-content/uploads/2012/04/allah-lok-pakhawaj.mp3

His starting the chedd pattern after he has played the Duggan and Pakki–duggan patterns in the very beginning is revealing. In the old times, a master percussionist would play some very complex and scintillating uthaans to begin their solo before rendering some tantalizing sequence of chedd patterns. Allah Lok’s playing, I am afraid, does not do any justice to the legacy of pakhawaj-jori-tabla playing of Punjab, which is the oldest surviving system in South Asia.

At 7:00 min marker, he flounders yet again and this time he chooses to adjust the mic and then tune-the-drum as a mean to cover up. His restart is spirited but the material non-existent.

I am now curious to find out from whom and how much has he studied (this tala)? Perhaps Saqib can enlighten me in this regard. Is he merely inspired by a Matt-taal recording of Ustad Talib Hussain? I am also surprised to find that he does not have, apart from the 18-beat chedd, any other (more appropriate) 18-beat lagg, gatt or paran-s. He is basically playing Chartal here under the refuge of some basic math adjusting some mukaa-s – ‘d like to hear him play a full-length concert in Chartal though. I would ask of Allah Lok to kindly do further research and seek out traditional compositions – play them – Punjab and its people will be eternally grateful.

He seems to have played a little longer than the clip – is it available anywhere?
That he is one of the last Pakhawaj players in Pakistan is very sad – I had interviewed elders percussionists such as Ustad Tafu Khan in the 90’s – I am sure in collaboration with such maestros Pakhawaj (in West Punjab) can be revived again. I would be glad to help train a protégé or two – any takers..?

I also call upon the music enthusiasts, especially percussion buffs, to listen to the recording and, please, share your thoughts…

Image

Postcard 23: Metaphors

13 Friday Apr 2012

Tags

Nirvair's blog

The first year (summer of 97) that we studied with Bhai Baldeep Singh, he used some colorful language. One day some people sitting in the class heard us singing a newly composed rag bhairo exercise, “we are bloody fools”,  and chose to take offense. For Americans the word “bloody” doesn’t carry the weight of profanity that it might for English people, so there was a group of women that chose not to take offense. Those of us that were familiar with the language of Siri Guru Granth Sahib recognized the underlying sentiment. If the Guru himself can say “I am a fool” why can’t we? Ever since then we have lovingly remembered ourselves as “The Bloody Fools”. This month on April 1st, the group met at Guru Ram Das Ashram in Los Angeles to sing at the wedding of one of our daughters. After the wedding the mother of the bride realized the Bloody Fools had met to sing on April Fools Day! The wedding was a beautiful celebration of life and love. The glowing couple, eager to begin their new lives together, was surrounded by family, friends and flowers. Because there were family members who are unfamiliar with Sikh knowledge and practices, we sang a few songs with guitar, western harmonies and bani translated into English. The wedding ceremony began with a hukam that evoked the image of the righteous bride meeting her Lord with ease and it felt like a blessing.

We, the bride’s mother and her friends, sang the wedding shabds and laavaan, accompanied by jhori and taus.

Nirinjan Kaur plays the Jori with her little Dhyana at her side.

After the wedding, the hukam  came from rag sorath, “I don’t know how to worship. I can only chant God, God, Guru, Guru. I take the name of Ram Das….. I am a fool….. but millions like me have been saved….”

The happy couple

The Sikh gurus and the other authors of Siri Guru Granth Sahib painted images of the spiritual life with words in living color. They described the practitioner, the practice, the mind, and God itself with metaphors from everyday life that would be familiar to the people. Here are some metaphors collected from Gurbani Sangeet, from songs in the first five ragas.

MYSELF, THE PRACTITIONER: expatriot, foreigner, not beautiful, intoxicated, thirsty, an insect, a worm, a girlfriend, a merchant, a fool, a child, a bride, an ox with 4 feet, 2 horns and mute mouth, torn nose, injured shoulders.

FORGETTING AND THE NATURE OF THE MIND: poison, safflower which fades, not finding water, consumed by fire, terrifying ocean, whirlpool of anxiety, 5 demons, 5 powerful fighters, 5 relatives, 5 wedding guests, 5 thieves, dream, deep dark ditch, burning, churning, idiot who strikes his own foot with an ax in his own hand, dog’s tail that never straightens, a dried wick, exhausted oil, a silent drum, a sleeping actor, a fire that has gone out, the broken string of a rabab, screen of separation, drowning in an ocean of doubt.

LIFE AND HOW WE EXPERIENCE IT: vast oceans, torrential rains, violent storms, jewel of human birth, wheel of life, like oil press, night of life, like a dog wandering door to door, playful games, we are cared for like the baby flamingoes whose mother has flown away, who feeds them?

GOD: best friend, beloved king, darling beloved, mother and father, friend of all who never breaks anyone’s heart, ambrosial nectar, treasure, garland, shelter, boat, blanket, ocean of peace.

PRACTICE AND THE RESULTS OF REMEMBERING: good deeds are the soil, shabd the seed, irrigate with truth, loading the ox with merchandise, repair what was broken, warp and woof, dyed in the vat, a songbird catching a drop of water, begging at the door, bathing, enjoying the Lord’s bed, enjoy like a wife delighted with her husband, mother with her son, camel with the vine, bee with the flower, a greedy man with wealth, washing feet with hair, rubbing the name on the mind like sandalwood on a stone, wash heart inwardly like washing an idol, playing, distilling to capture the steam of nam, playing unstruck melody on a harp, wedding, finding the hidden jewel on your forehead, the name shines, victorious warriors, like rivers and streams separated then united, blossoming after rain, rust removed, soul cleansed, carried across, bride adorned with ornaments, oil, jewels and silk clothing, the dry branch blooms.

Posted by | Filed under Postcards from the Journey, Reflections

≈ 2 Comments

Postcard 22: Oh my mind

08 Sunday Apr 2012

Posted by in Postcards from the Journey, Reflections

≈ 1 Comment

Tags

Nirvair's blog

When Guru Teg Bahadur points out our attachment to all kinds of mental entanglements and relationship dramas, do we recognize it, see our participation, or do we wonder if the Guru would even understand the realities of our lives in the modern world, what we have to “put up with”? It’s sadly ironic to consider how we think our lives are so important, complicated, busy, that we don’t have time for the simple practices the gurus taught. Weren’t their lives busy, too? Are our obstacles really more challenging than those faced by the people of their times? Their very lives were threatened, their political situation extremely unstable, money was hard to come by, work unrelenting. Yet somehow there were those who found a way to remember God, to sing and to love. What did Guru Teg Bahadur see then, what would he see now?

Most of us live in relative comfort now, without the constant life-or-death struggle for survival. Our surroundings are actually more conducive to the peaceful, spiritual life. But then, as now, the gurus saw that the problem is not the external habitat that keeps us from the state of peaceful union, but the internal one.  It might be easy to notice all the other people’s failure at being peaceful and loving, how they upset their own equilibrium, and how they upset ours. We think our own lack of peacefulness is based on an external reality that someone else is responsible for. In reality, however, we are influenced most by our own internal reality and that in turn influences our external reality far more than we realize.

Guru Teg Bahadur refers to “sin from fear”.  Guru Nanak names fearlessness as a quality of God-ness in mul mantra. Does that mean if we are feeling fear then we are not feeling God? How many of the five errors are caused by fear? Do they all originate from a fear of some imagined danger, a fear of lack, fear of discomfort, fear of losing control, fear of insignificance, fear of loss, fear of exposure, fear of isolation, fear of love?

The information coming in from the outside through our senses, gets filtered by our emotions and beliefs, and then it becomes a perception. Our perceptions are always worth exploring and cannot be assumed to be the Truth. Just like visual information coming in through the filter of dark glasses, giving us the perception that the sky is brown, doesn’t mean that the sky actually is that color. Brown is an illusion. If we remember to take off the glasses we’ll see the sky is still blue. If we examine our perceptions of reality we may find evidence of other “glasses” that we are wearing. Getting to truth means becoming dis-illusioned. Facing the fantasies takes courage.

Our emotions fill our minds with thoughts and put us in a reactive state. The stories we tell ourselves and the worlds we create in our heads may include some accurate elements, but they rarely ring with complete truthfulness. We have to remember that our perceptions are colored by our beliefs and our emotions. Just as loving, hopeful emotions can paint too rosy of a picture that blinds us to potential problems, so angry and fearful emotions can exaggerate danger and hide the truth of a situation. We idealize some people and situations and we demonize others. When we realize our idols are not as perfect as we imagined, we’re disappointed and we blame them. When we realize the ones we demonized are not entirely lacking in virtue, we may look for someone else to blame. Instead of learning from our mistakes and dwelling on solutions, blame keeps us in a dark spiral of faults, problems, and accusations. Sometimes the blaming gets turned inward and then guilt gets added to the sludge. Are these the mind games, the incorrect thinking the guru is talking about?

We react to the stories we tell ourselves instead of taking the time to discover the truth. Once we have reacted, we have to reinforce our own story to justify our actions, and we make sure other people hear it. The story takes on a life of its own and becomes a sort of “truth” if enough people believe it. (It’s human nature and the media certainly uses this strategy!) We have our minds made up and we can’t be bothered with the facts.  Controlling the emotions, slowing down in the moment, applying patience, asking questions, sorting out the truth, looking for reality, wisely choosing a response, these are the habits of effective people who can accomplish what they want to accomplish in the world. Reactive people tend to keep shooting themselves in the foot, creating dramas that distract them from their own goals, plans and intentions. Guru Nanak wrote, “winning the mind is winning the world.” Taking control of our internal stories, and managing our own responses to the world are the first steps to winning in the world.

Because we have to protect our stories, we portray ourselves in certain ways and go to great lengths to protect the character we have created. We begin to believe this character is our real identity and become quite attached. We like to be with people who believe our story. If we are around people or situations that challenge our story we will probably blame them and the results can be explosive. All the energy that goes into the care and feeding of our story keeps us self-involved, unable to really see and serve others. Even giving can take on a self-centered quality when it is motivated by a need to support the image.

We can’t know someone else’s insides based on our outsides. Assumptions are a natural product of the uncontrolled mind. We see a person or a situation and immediately the mind starts to interpret, judge, put a story together. Then we believe it, because we thought it. (Don’t believe everything you think!) The story comes from our previous experience, beliefs, and emotions. Sometimes the story gets the facts straight, sometimes it doesn’t. We begin to fill in the blanks, imagine the missing facts, assign intentions to other people’s actions, and the mind begins to believe that all of this information, which is coming from itself rather than from an actual reality, is true. The mind creates its own reality and we believe it. We make assumptions. And we all know that when we assume we make an ass out of u-and-me.

Fear is often the originator of this dark tale. Fear is a powerful emotion, worry and anxiety are somewhat lesser manifestations of it. Instead of focussing on realities of the present moment, fear creates terrifying stories about potential future outcomes. In the state of fear we are living in an imagined future and we are not in full awareness of what is real right here, right now. When we are looking through fear glasses we cannot see the good, the God, we cannot see love. We cannot perceive the helpful options available to us and we choose a reaction that feeds problems. Faith is the opposite of fear. Remembrance opens a window that reveals a universe of possibility.

There may be many things we can’t control but we can choose our responses to them. Many of us spin our wheels, seeing problems and giving them our energy. We can choose to look for what’s wrong, try to change people, try to fix the world.  Or we can choose to see possibilities, to see people like ourselves and to love them. Then we will see that the world is full of people like ourselves, conduits with a capacity to channel much good, human beings who are also susceptible to error and capable of making a big mess. When we see people instead of problems, and focus on the good that is possible, instead of dwelling on the faults, we can put our energy and support into helping things go right.

How do you cultivate the virtues of a peaceful mind: patience and curiosity to listen, see and understand what’s true; creativity to see the possibilities; receptivity to see the good people standing next to you; acceptance to love what is; generosity to share your gifts; positive will to pursue a vision; fearlessness to get real; faith in the grace of God, trust in the merciful doer and gratitude for the gifts already given to live a life of peace, love and fulfillment?

How do you manage the mind’s fascination with fantasy, wishful thinking, worry, fear, reactivity, assumptions, accusations, blame and rush to judgement? Guru Teg Bahadur suggests, “Nanak, why not sing God’s praises and get rid of this misguided way of thinking?”

A chance listening that promted a response…

02 Monday Apr 2012

Posted by bhaibaldeep in Responses

≈ Leave a comment

http://www.youtube.com/watch?v=GA2dP3x3QTk&feature=channel

Bhai Nirmal Singh, a Hazuri Ragi at the Darbar Sahib Amritsar sings this composition live inside the inner sanctum but oof..!

Sunlight seen outside the door – R m P d N P, g m R S ..?!
R m P d perhaps make it seem like Raga Asavari or even Raga Jaunpuri but the combinations he is making seem like Raga Darbari (mostly). Only at 2:59 min marker he makes a R .n S R G m to make it seem like Raga Devgandhari. But clearly it show lack of actual learning of the raga – I am afraid 🙁

And then the composition he sings is so close to what I composed and sang in 1992 at Jawaddi Kalan Adutti Gurmat Sangeet Darbar..! Is it a case of sheer coincidence..?

At 7:28 he even touches the tivra (sharp) G in the higher octave where even in dreams Devgandhari does not entertain – perhaps a slip of tongue…
He does it again in the subsequent stanza x-(
And again at 12:43 (bahur bahur – the first time)
Strangely, sometimes it is tivra gandhar and other times it is komal (flat third).

(Why am I even responding)…

← Older posts

Subscribe

  • Entries (RSS)
  • Comments (RSS)

Archives

  • May 2026
  • December 2025
  • May 2025
  • December 2024
  • June 2024
  • January 2024
  • November 2023
  • May 2023
  • January 2023
  • May 2022
  • December 2020
  • July 2020
  • April 2020
  • December 2019
  • January 2019
  • November 2018
  • June 2018
  • March 2017
  • December 2016
  • August 2016
  • June 2016
  • February 2016
  • October 2015
  • September 2015
  • August 2015
  • July 2015
  • June 2015
  • May 2015
  • April 2015
  • March 2015
  • November 2014
  • October 2014
  • September 2014
  • August 2014
  • June 2014
  • May 2014
  • April 2014
  • March 2014
  • February 2014
  • January 2014
  • December 2013
  • November 2013
  • October 2013
  • September 2013
  • August 2013
  • July 2013
  • June 2013
  • May 2013
  • April 2013
  • March 2013
  • February 2013
  • January 2013
  • December 2012
  • November 2012
  • October 2012
  • September 2012
  • August 2012
  • July 2012
  • June 2012
  • May 2012
  • April 2012
  • March 2012
  • February 2012
  • January 2012
  • December 2011
  • November 2011
  • October 2011

Categories

  • ANAD Discussion Forum
  • ANAD Events
  • ANAD Foundation
  • Anad Initiatives
  • ANAD Khand
  • Anad Lecture Series
  • Anad Luthiery
  • ANAD Obituaries
  • ANAD Poetry Page
  • Anad Residencies
  • Anad Scientific Advisory Committee (ASAC)
  • Enroute to a realisation
  • Guru Nanak Dev University Events
  • Humour & …
  • Lines and Colours
  • Mere Music
  • Oral History Archives
  • People
  • Photos
  • Press
  • Quotes
  • Ravneet Sangha Anecdotes
  • Reflections
    • Postcards from the Journey
  • Responses
  • Rāngli Sath
  • Sarcasm
  • Television
  • Uncategorized

Meta

  • Log in

Culture | Conservation | Continuity

Create a website or blog at WordPress.com Theme: Chateau by Ignacio Ricci.

Loading Comments...