In continuation to my previous year’s write-ups that featured twelve major festivals of India, this time we will look at those that are less popular yet are of paramount importance in the present-day context. Therefore, I will attempt to present famous personalities whose work inspired and enriched my journey in music and will continue to do so forever. But before I embark on my new series, I would like to humbly thank all my Gurus, seniors, friends, family, and acquaintances who appreciated, critiqued, and encouraged me to continue the course.
Guru Gobind Singh was the last among the ten Sikh gurus venerated for his accomplishments, contributions, and deeds on his birthday. Gobind Rai (Original name) was born in Patna to the ninth Guru, Guru Tegh Bahadur and Mata Gujri in 1666. He honed many skills such as horse riding, swimming, archery, and martial art forms. Jealous of his skills attempts to obliterate his increasing influence by his rivals always went in vain. However, as misfortune would have it, neither he nor his family survived the oppression of Mughals and as a result were executed for not complying to convert to Islam. Here, Guru Gobind Singhji’s resilience aptly guides us to value our beliefs and that faith in anything could not be imposed but nurtured by principles.
Guru Gobindji instituted the warrior community Khalsa- the pure- in Sikhism. He transformed the attire of Sikhs and gave the community identity by instituting Khalsa, quotes author Haroon Khalid in his article (click here). Besides instituting Khalsa and guiding the community to be benevolent, Guru Gobind Singh ji was a poet and philosopher too.
Two granths (literally a book) in Sikhism- namely, Guru Adi Granth now Guru Granth Sahib and Dasham Granth, literally the tenth book, are highly regarded. The former is a compilation of Banis (sayings) of Nine gurus installed at the throne of Damdama Sahib in 1708, while the latter is a compilation of his own writings. Scholars admire Guru Gobind Singhji’s exclusivity by adding his verses in the Granth Sahib and conferring it as the living Guru. We now look at some of Guru Gobind Singhji’s noteworthy poetic references through which he conveyed invaluable messages to mankind.
Dehura maseet is one of his many scholarly and relevant writings under the Kabit (literally- poetry) heading, which describes oneness in human beings by the same creator. The difference is nothing but a deluded impression.
Most listeners would reminisce upon old tunes of film music or even a Sufi music style after listening to this one. The comprehensible message of the poetry sung by a Ragi- a Sikh musician who performs the shabads- is aptly deduced by a delightful tune based on raga Yaman. The language of this poetry is called sadhukari– a mix of Hindi and regional diction. Set to taal Keherwa- a rhythmic time cycle of 4 beats- played on a sharp tuned Dholak (twin-faced barrel drum) Chand Afzal qawwal sing along with harmonium and chorus.
Purshottam das Jalota, an eminent devotional music singer, sings another Kabit of Guru Gobind Singh Ji set to taal Khemta, based on a similar context as the previous one.
Stringed instruments like the Rabab (a lute of Kashmir) and Mandolin, folk instruments like the Ravanhatta (a bowed string instrument of Rajasthan), and flute are heard as the melodic accompanying instruments while the dholak, dhol, and kanjiri form the percussive group. This tune also shares similarities with many popular numbers of old film music.
The following Shabad, set to taal Khemta, from Sri Akal Ustat, another name for Dasam Granth, indicates light as the supreme. It describes the omnipresence of the divine energy as self-effulgent, pure, and unbound.
Once again, the playful tune of this poetry could be relished like the preceding ones. Khemta, a rhythmic cycle of six beats, gives the melody that perfect swing due to which the verses get more conviction.
Guru Gobind Singhjis vast variety of hymns comprises of Vars, Kabit, Savaiyya, and Sabad or Shabad. Besides being appropriated by folk tunes, these forms are also presented in the Hindustani music scheme.
The concluding presentation of Guru Gobind Singh Ji’s poetry has Balwant Singh Namdhari and his musicians performing a Shabad in raag Malkauns set to Teen taal, a rhythmic cycle of sixteen beats.
Tabla, Harmonium, Flute, Sitar form the essential accompanying instruments along with Esraj and TarShehnai– a bowed string instrument, similar in appearance to Sitar. The Swar Mandal and Tanpura provide the melodic and tonal reference respectively. As per the title and translation provided by a listener, it could be understood that the poetry describes the battle between warriors from the epic Ramayana. The two most important musical elements that attract the listener’s attention are triple time rendition, called as Tishra jaati in Raag sangit, of the poetry arranged in teen taal and the flawless vocal calisthenics performed by the Raagi (from time stamp 4:11). The sparkling clarity of the Raagi in uttering every single word of the poetry at varying speeds is highly admirable. One can only imagine the ordeal put on self to attain such prowess. Tabla players are also seen joining the musical conversations by accompanying impromptu passages complementing the musicians. While we talk about the Tabla, it must be noted that the tabla player is using a Punjabi Dhama– an upright kept cylindrical bass drum having the conventional syahi replaced by a thin layer of wheat dough or a paste referred to as masala underneath the skin. The music begins with a restful aalap gradually getting intense like the war described by Guru Gobindji in his poetry.
References
- https://www.hindustantimes.com/lifestyle/festivals/guru-gobind-singh-jayanti-2021-history-significance-and-celebration-101611096625446.html
- https://www.britannica.com/topic/Sikhism/Sikh-literature#ref253173
- https://www.edudwar.com/guru-gobind-singh-jayanti/
- https://www.britannica.com/biography/Gobind-Singh
- https://www.sikhiwiki.org/index.php/Guru_Gobind_Singh
- https://scroll.in/article/909895/guru-nanak-to-guru-gobind-singh-how-did-the-attire-of-the-sikh-gurus-change-so-dramatically
- https://learn.culturalindia.net/guru-gobind-singh.html
- https://timesofindia.indiatimes.com/india/was-it-guru-granth-sahib-or-adi-granth/articleshow/831759.cms
- https://www.sikhiwiki.org/index.php/Shabad_Kirtan
Immensely grateful to:
Mr. Kuljeet Sokhi, Shivangini Yuvraj
Musical-rites 
As always…well detailed and musically blended. Thx for sharing. Best wishes for more glory
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