All language subtitles for Sikh Musical Heritage The Untold Story (2017)

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(soft music)

- Sikh Musical Heritage
is a very colourful

and rich tradition composed of creativity,

but with a very practical purpose.

Sikh music, also commonly known
as Gurmat Sangeet or Kirtan,

is one of the foundations
for the Sikh way of life.

(percussive music)

(singing Gurbani)

(acoustic music)

I've always wondered about
the history and heritage

of the instrumentation within Sikh music

and as we look around today,

I cannot seem to find enough examples

of our traditional instruments.

And it makes me wonder
what changed and why.

(singing Gurbani)

Hi, I'm Azadvir Singh.

I've always had a fascination
for the history of Sikh music

and possibly what may have
been lost along the way.

So I couldn't have been more excited

when I was approached to
help tell this amazing story.

We're going to be looking
at the early origins,

the history, important
events, political influences,

and how advancing modernity

have all affected Sikh Musical Heritage.

And in the process, I'll be
learning some amazing facts

and speaking to some of the
most knowledgeable people

on this subject.

As a Sikh, I live my life
through the guidance of Gurbani,

which is the message
of divinity transcribed

into poetical metres by the Sikh Gurus.

That Gurbani was then
compiled into its final form,

Guru Granth Sahib.

What I hope to discover
is what role instruments

and musicology play in conveying
the message of Gurbani.

(distant chattering)
(birds chirping)

- To understand Kirtan,

one must understand the
concept of Shabad Guru

from the viewpoint of
Guru Granth Sahib ji.

Only by understanding that
concept will we understand the

development, procedure,
protocol and purpose of Kirtan.

To understand anything related
to Sikhi, one must understand

its connection to Shabad from the Guru.

- [Azadvir] I wanted to
ask an expert in this field

to help me understand the meaning

of some of this terminology.

- Shabad Guru is Gurbani
and Gurbani is Shabad Guru,

a wisdom given to us by the Gurus,

so that we can master our life.

What came from the creator,

Dhur ki bani, came from the creator.

So the creation, that means us, humans,

can have better access
to this opportunity,

which we call life.

(Kirtanis playing)

In today's term, Kirtan
is singing Gurbani,

with/without instruments,

in the Raag, prescribed
on the Shabad or not.

Just singing Gurbani is known as Kirtan.

But if we look into the Guru's way,

what is Guru asking us to do

when we are introducing
ourselves to Kirtan.

Then following the prescription,

following exactly what it is written

in Sri Guru Granth Sahib.

Title Raag, Ghar, Partaal,
are all the terminology given

on the top of the Shabad

and not just singing,
not just performance,

is a composition from
the life coming into it,

expressing our experience
and Guru's Shabad.

Indian classical music training

is important only in the context of Raag.

If we are talking about Gurmat Sangeet,

it's purpose is not the same
as Indian classical music.

In Indian classical music,
Raag is the main feature,

or traditional genres in
Indian classical music

may be in the forefront.

Whereas, in Kirtan the Shabad
is the core of the message

the Shabad within Guru Granth
Sahib is always in the center.

When there is a distinct
difference between the two,

it is important that for
training in Kirtan and the Raags

used in Kirtan,

the training should be done
in the context of the Shabad

because the purpose of each
tradition is different.

To do Kirtan, it is important
to educate ourselves

about the Raags.

In order to do that, it is
important to understand,

the Sikh stringed instruments.

(Saranda playing)

Raag is to be felt.

Raag is what creates the
sehaj, the balance of life.

Raag is to express what's
happening in our thinking

and emotionally, what's happening.

Raag is an emotional attribute

or emotional grammar to
punctuate Guru's Shabad.

- The concept of Sikh music is
fueled solely on expression.

It allows us to connect with our emotions.

And in order for us to relate as humans,

we need to be in tune with our emotions.

This is where the reality comes in

so that we can say what we feel

and sing what we feel as well.

It's a vehicle to carry

that expression out of the physical body.

Sikh music is devotional music,

it's used for worship, for
meditation, for healing.

And when you can relate yourself to

that music and you become a part

of that vehicle of expression,

you are in turn healing yourself.

Music here was used for

that very purpose in
the devotional aspect.

It was given to us with the concept

of an emotion, manifesting
to a feeling, which

then becomes a mood, which
is the Shruti, to the Surr

to the Raag.

And this concept of expression,

which we can connect to as humans,

was given to us by the great Gurus.

This concept to have a way
to translate everything it is

that we feel and not allow it to manifest

but to express it and release it

so that we can in turn be free of disease

and be more full of joy.

(Rabab playing)

- The Sikh Gurus introduced
the music in our scriptures

for the first time.

In Guru Granth Sahib there are 60 Raags,

and in Dasam Granth there are 20 Raags.

The Sikh Gurus not only introduced
the music and the tunes,

but also the musical instruments,

which were very very much required

for the desired results on the listeners.

Most of the instruments related

with Guru Nanak.

Before going for his
Udasis, on his penegrations,

Guru Nanak requested Bhai
Mardana to accompany him

and Bhai Mardana asked Guru Nanak

that "I need a Rabab to
play the divine music."

In those days, Rabab
was not easily available

in any part of India.

Guru Nanak asked him to go
to a village named Bhairowana

and from there he will meet
Bhai Firanda or Bhai Feru,

who will be giving him the
Rabab, the required Rabab,

specially prepared for
the music of Guru Nanak.

(Rabab playing)

According to Sadiq Ali Khan,
the Rabab of Guru Nanak,

it is also called Firandia Rababa

and it had five strings

as against six strings of Dhrupad Rabab .

Sadiq Ali has clearly stated

that it was an invention of Guru Nanak

and it is used later
on by other Gurus also.

(Rabab playing)

- This has given me a valuable
insight into the origins

of Sikh instruments.

As we have heard, it was the Rabab

that was the first instrument
to accompany Kirtan.

So now I really want
to dig a little deeper

to try to understand how important

or fundamental the role
of Kirtan is in Sikhi

(singing Gurbani)

- In my opinion,

the role of Kirtan in Sikh
is incredibly important.

Kirtan was introduced
by Guru Nanak Dev Ji,

where he traveled far and wide

with a musician singing sacred poetry

to impact people's lives,

to help them to connect with themselves

and the underlying message
here was to bring the concept

of balance between the mind

and the soul to help
people achieve inner peace.

Bringing it inside and then
sharing it within the community.

- I still remember to this day.

They used to sing four
Taal (at the Gurdwara)

at the time I didn't know the
difference between the Taals.

(reciting the Kirtan he
heard at the Gurdwara)

Kirtan could only be
listened to back then.

You couldn't go to school
to learn the Shabads.

When performing on the Tabla,

the Kirtani would leave a
small gap between strikes

I loved the way this was
done. The style spoke to me.

I appreciated the rhythm
and timing of it all.

I would go every evening
to listen to the Kirtan.

Hearing the Kirtan spoke to my soul

and evoked my desire to learn.

So after school I would go to

that Gurdwara and learn Kirtan.

- We now know Guru Nanak had

an instrument customised just for them.

So it got me wondering whether any

of the other gurus also
got directly involved

with commissioning custom made instruments

for the purpose of Kirtan.

If they did, then how closely
involved were the Gurus,

in the design, making or
modifying of these instruments.

(singing Gurbani)

- There are many people who
are working on this project

of reviving the Sikh musicology

for the benefit of humanity.

It is not confined to
the Sikhs (in Punjab).

(singing Shabad)

Scripture of the Sikhs is
a ecumenical scripture.

It is for the world, it
is a world scripture.

The vision of the Gurus was
also not limited to Punjab

or any province of India.

(singing Shabad)

- I feel that when you play Kirtan

without the musicology,
the technique of the Raags,

the prescribed Raags and
the original instruments,

you are missing one important part

of the teachings that are inside

of the Shabad or inside
Sri Guru Granth Sahib

because the complete goal,

the complete teaching

is when you put together the instruction

of the musicology and
the voice of the Shabad.

(singing Gurbani)

- Guru Amar Das blessed
his grandson Arjan Dev,

"Dohita Bani Ka Bohita."

A person who is a repository
of the divine word

and he is supposed to have compiled the

Aad Granth in 60 Raags.

We can well imagine the
mind of the man, the mind

of the prophet to introduce

the required instruments
also like Guru Nanak.

(acoustic music)

Guru Arjan Dev Ji invented this
Saranda with three strings,

the other popular Saranda
is with four strings.

In historical perspective,

you can see that it is still used

by the musicians while performing Kirtan.

(singing Gurbani)

(distant chattering)

- When Aad Granth was compiled in 1604 AD,

and was installed at Harmander Sahib,

he (Guru Arjun Dev ji) performed
kirtan on Saranda along

with Sata and Balwand at Harmander Sahib.

- When we look into
tradition of Gurbani singing,

the very first encounter
with Aad Granth, Sri Guru

Granth Sahib, we look into
the indexes it's 31 Raags,

but as we go further into the Shabad Guru,

there are 60 titles,
60 Raags all together.

Out of the 60, 32 are the
creation of the Sikh Gurus.

31 because Guru Arjan Sahib
compiled everything together all

of the Shabads from Guru Nanak Sahib,

to bhagats were put together

and he introduced 31 Raags
on top which are not existing

in the Indian classical system.

Out of these 60, 28 are by taken by Gurus

from the Indian classical system 28.

But 32 Raags, the last Raag

in Sri Guru Granth Sahib,

one Raag Jaijaivanti is created
by Guru Tegh Bahadur Sahib.

And that's incredible
contribution to the building

of a psyche for people
to feel the wisdom given

to us by the Gurus.

(Saranda playing)

- The primordial sound,

Naad,

innate strength of the soul

which is required to
be heard by the people.

In Sanskrit we call it
Anthaswar, the inner voice.

This inner voice you can achieve

or hear only when you
achieve inner silence.

You are detached from the outer world

and attached to the inner sound.

It is called Anthaswar, Naad,

Anhad Naad.

That is why it is called unstruck music.

- When we cry or when we laugh,

these two expressions are
not dependent on the language

but emotions has been felt and expressed

and that is what Naad is.

Expression of emotions which has been felt

or can be made felt to other person,

audible sound or audible expression.

Anhad is before that
what is before emotions.

And that is what unstruck sound
or known as a beyond sound,

what creates emotion is Anhad.

And we must reach there too,
according to Guru Amar Das.

Listening to that space,

being in that space is crucial

for a person who's indulged in kirtan.

(Saranda playing)

- Sikh music for me is
the most effective system

that I ever met to deal
with everyday life,

to deal with any kind of
problems and my own emotions.

I met Sikh music first in 2006

and I went into a Gurdwara

and I heard this beautiful music

and these nice instruments.

(singing Gurbani)

And I was very much moved in my heart.

I was in tears actually.

So then I started to study it

and got to know it

and since I'm playing myself I find

It gives me inner peace and happiness.

(singing Gurbani)

- It's fascinating for
me to hear just how deep

an involvement the Gurus played

in developing the right instruments

to accompany Gurbani.

We are seeing a focus

on specifically modifying the instruments

of the time in order to
truly get across the emotion

of the Raag for the Shabad.

So far, we have heard
about the development

of stringed instruments for Sikh music.

However, something that
still intrigues me,

is when did we see the introduction
of percussion in Kirtan.

(Mridangam playing)

- Bhai Gurdas has given clear
cut references in his Vaars

that the Kirtan was
performed on Mridangam.

Mridangam is used to give beat,

to give rhythm to the singer.

It was used up to the time of Guru Ram Das

and later on it was modified
into Jori by Sata and Balwand

and it was later on turned into the Tabla.

- I was introduced to the
Jori by my first teacher,

Ustaad Ajit Singh Mutlashi.

When I saw him play
this, I was deeply moved.

The resonance this instrument created

actually goes beyond words.

It's difficult to explain the
kind of feeling that you get.

All I could say was it the
most beautiful moment I've ever

felt as a child to listen
to such an instrument.

(Jori playing)

- Regarding the Jori,

Bapu Ji (Bhai Jawala
Singh) first began to learn

approximately 65 or 66 years ago.

The Jori was the standard
in Kirtan at the time.

Bapu Ji (Bhai Jawala
Singh) maintained tradition

and played the Jori

including the tradition of
dough on the dhamma (base side).

Bapu Ji (Bhai Jawala Singh) then began

performing with Avtar Singh
ji and Gurcharan Singh ji.

They were also of the
same school of thought,

in that they wanted to maintain
the traditions of the Guru,

This is why the Jori continued
to be a part of our lineage.

The Jori, it has a deeper sound

than a Tabla very much like the Pakhawaj.

So the whole point of
having a deeper sound is

that the lower the resonance,

the more chance there is

for the atoms within
us to also resonate at

that same frequency.

For this a science known to man

known as Ayurvedic Physics

has to be studied carefully.

In Ayurvedic physics it states that,

each atom within us if it
resonates at one frequency,

for those few seconds, we have
become one with ourselves.

The difference for me is
more a matter of taste

For example, performing on the Jori

with the dough on the dhamma,

the gumbak (way of playing) of the dhamma

The sound of it feels so
much purer to my heart.

Especially in comparison
to the duggi which at times

can produce sounds which are out of pitch.

But the openness, the
flow and grace as well

as the sweetness of the sound,
that the dhamma produces

is why it resonated with me more.

That is why my heart leans
towards performing on the Jori.

So this instrument

is an intermediate instrument
to the Pakhawaj and Tabla.

So it has the grandness of a Pakhawaj,

but the speed of a Tabla.

(Jori playing)

The resonance of the bass
pierced me to my core.

We're all familiar with how
bass heavy music can move us.

I'm humbled by the genius of the Gurus

and their understanding of
how to strike us at the heart.

They realised the power of
adding percussion to Kirtan

with its resonance and
its potential ability

to connect us to the
frequency of the Shabad.

Although I could hear it and feel it,

I wanted to see if there was
a more technical explanation

of this and how it affects our emotions.

- When we look into the Shabad,

there is everything clear.

On the top it says.

(Raag Sri Mahalla Pehla)

Means, this particular Shabad
is to be sung in Sri Raag.

Or if title says,

(Raag Dhanasari Mahalla
Panjva Ghar Panjva Partaal)

That means there is emotional
attribute on the whole mood.

And that is the fifth Shruti.

Now this is a very technical part of it

but we need to understand

that how we can express exactly

the same way Guru Sahib is expressing.

As a seeker we are the
shadow of Guru's thinking.

It is Guru's way,

Kirtan has to be performed
the way Guru Sahib

have prescribed it to us.

Now, looking into the title
then that Satguru Ji says,

'Partaal'

Means there's more than one rhythm

in this composition or says,

'Vaar'

That this is different type of genre

or this is a Salok, a
different type of poetic genre.

Then into the Shabad,

we will see the numbers
and see number one,

number two, number three, and
we'll see number one again.

And it says 'Rahao'.

That means this is the
central idea of the Shabad.

Shabad cannot be performed
from any other line,

this is the core, this is the
chorus of this composition,

the wisdom from the Guru.

If this is a Shabad Guru,

then we must follow it the
way it is written there.

Then numerology is there
number one, number two,

number three, so that we
don't mix the reference,

this is reference one to the chorus,

reference two to the chorus.

And in very much detail,

all of this terminology is there explained

to us how to have the
light from Shabad Guru.

But what is the purpose of Raag?

Why this Raag is on the
title of the Shabad?

That is a very important
part to the Shabad

and that leads us to musicology.

That emotional grammar of the poetry

is what musicology is.

Like "Raag Majh" for example,

the longing it evokes

because emotionally how you have been told

to punctuate, to create
this particular mood,

to create this particular Raag,

leaves influence on the translation

of the Shabad, how we feel it.

So the feeling part, the aesthetics

emotional and psychological attribute

of the Raag is what musicology is.

And it's not only about the performance,

otherwise, we can't
differentiate between the western

or entertainment world

and the world given to us

by the Gurus called inner attainment.

- For me the western music I
have studied western music,

I am a professional singer.

For me this was more
the entertaining part.

It was expression, emotions also there

but it was for the outside,

it was for entertaining.

And the Sikh music is
just inner attainment.

(Waheguru Ji Ka Khalsa,
Waheguru Ji Ki Fateh.)

On May 30th, 1606,

after the martydom of the
fifth Guru (Guru Arjan Devi ji)

"As water comes to blend with water,

his light blends into the light."
Guru Granth Sahib, Ang 278

The sixth Guru (Guru Hargobind ji)

sat at the throne as the next Guru

and laid the foundation of
the Akaal Bunga in 1609.

It was at this event, for the
first time, that Dhadhi Jathas

were summoned to perform Vaars,

alongside where Kirtan and
Katha was taking place.

To evoke and bless the
congregation with warrior spirit,

the Guru commanded Nath Mal and Abdal Kher

to perform the Vaar 'Rasaloo Marvar'.

We, the Gargajj Dhadhi Jatha,
will now perform that Vaar.

(acoustic music)

"Two Talwars (type of sword) were adorned,

Two Talwars (type of sword) were adorned,

One representing temporal authority,

the other representing
spiritual authority,

One representing glory,

the other representing political rule.

The word 'Vaar'

literally means a strike

as you would on a battlefield

with a sword or with a weapon.

And musically, we would
translate it as a ballad.

Still has the same
significance as a strike,

but now the strike is emotionally fueled.

So we have two types
of Vaars in Sikh music,

one which we most commonly
know as Tadhi Vaars.

And these are known as the heroic ballads

where we're telling a tale from history

and we're igniting that spirit
within the future generation

so that they're connected with their past.

They understand where they've come from.

We have another Vaar, which exists

within the Guru Granth Sahib,

and this is a spiritual ballad.

And the principle is the same.

It's igniting that very same spirit

but for you spiritually internally,

to encounter and deal
with your daily obstacles

and all of the problems that we encounter

and in turn, what this
enables us to do is to arouse

that martial spirit so that we can go on

and face our challenges.

(Sarangi playing)

- In Guru Granth Sahib,
there are 22 ballads

with nine tunes and the Sarangi is one

of the most important musical instruments

to sing the ballads of Guru Granth Sahib.

- See from ancient India Sarangis'

emotional capacity to capture

and in detail every single emotion.

It was also known as Sau
Rangi meaning 100 colours,

hundreds of moods Sarangi can demonstrate.

This is why Guru Hargobind
Singh maharaj introduced that

into the spiritual ballads
in Sri Guru Granth Sahib

to capture that mood, like for example,

'Dhunde Ase Raaje Ki Thuni' (Asa Di War)

this is a tune.

But from this materialistic experience,

worldly experience to convert

that into spiritual experience,

the Sarangi built an incredible base for,

and had that capacity

because the resonance of
sympathetic strings 39 of them.

(Sarangi playing)

So far, we have seen the vision

of the Guru's in adapting
these instruments

to impact every aspect of life.

From day to day experiences
all the way to the battlefield,

we have seen the skill of the musicians

as well as heard some fascinating theory

and history from our experts.

But what does it take to make

one of these amazing instruments?

(vehicle engine roaring)
(car hooting)

(scraping)

(banging)

This is our third generation

my father, Sri Hansraj ji,

crafted instruments for a long time

and he passed down his
incredible talents to us.

We continue to craft based on
the methods he taught us and

although we customise instruments
based on customer need,

the foundation methods of
how to craft an instrument

and the traditional
techniques and patterns

are still utilised to this day.

An instrument like the
Taus takes approximately

four to five weeks to
build a single instrument.

The seasoning process of
the wood is a long process.

To make a instrument to our high standards

we use wood that has been
seasoned for seven to ten years.

Once the wood is in our craftsman's hands

it takes four to five
weeks to turn around.

We predominantly use Tunwood

as it is a fine wood that
fetches a good price.

We use goat skin on the
body of the instruments.

(Taus playing)

- The reason I picked up the Taus is

because my Guru, Guru Gobind Singh,

created this instrument
and he used to play it

and that really inspired me to pick it up

and learn it and to
master this instrument.

(acoustic music)

- Another instrument, that is Taus,

which was introduced by Guru
Gobind Singh, the 10th master.

The master of languages,
the master of music

and the master of poetical
metres and the master of poetry.

(singing Gurbabni)

- Guru Gobind Singh was a
master of the Persian language.

He named this instrument Taus,

which in Persian is pronounced 'Tauoos',

the literal meaning is peacock.

And it's often said

that this instrument is
so wonderfully melodious.

It can take you to a
complete heavenly state,

allowing you to feel the
warmth of the universe.

- I grew up in the West,

I did all my schooling there.

And what I've noticed is all we do is,

you focus on materialistic growth,

going to school, going to high school,

getting into college,
university, getting a good job,

getting a nice car and a big house.

And that focus I saw was
just towards the outer world.

And I felt something was missing.

For me it's a tool, it helps
me bring out the emotions,

just like there's a
pencil to write an essay,

what are the thoughts come in your head,

you bring it out through pencil.

For me, my Taus is the
paintbrush of my soul.

It helps me relieve the tension

that's built inside, the pain

and the happiness everything
and it brings it out

and it helps me express myself.

(Taus playing)

- Taus is a fusion of
two musical instruments

of ancient Indian historical
tradition, Veena and Sarangi.

We should be grateful to this master

who has given us one
instrument to give the effect

of two instruments to
play the word of God,

prepared by the Sikh Gurus and Bhagat

for the benefit of whole
humanity throughout the world.

(Taus playing)

- I'm now getting a greater understanding

of how the Guru's created
immediate emotional context

to the Shabad through the beauty of music.

We can also see the Guru's
understanding of the power

and strength that can be drawn from music

for the purpose of battle and
rousing the martial spirit.

I am truly inspired by
the foresight to use music

to its full spectrum.

But what still puzzles me

is that in most Gurdwarey today,

we only see Kirtan being performed using

the harmonium and Tabla.

What changed?

And how did this happen?

(dramatic music)

(horse neighing)

(chattering)

(shooting)

- The first Anglo-Sikh War

was fought between the Sikh Kingdom

and the East India Company
between 1845 and 1846.

When the British Empire settled

amongst the indigenous
people and took control,

it had a major impact,
especially on education,

the arts and music.

- What Empire did was to
actually reconstruct the mind.

It rejigged something in the
way that our minds worked

or the way that the Indic
mind effectively worked

so that you wouldn't recognise

that any change had actually happen,

you basically think
you're the same person,

it's the same culture that's going on.

When we discuss the influence
of the British (on the Sikhs)

you can start to see
some of those influences

before they enter Panjab.

But once the British have
settled in Panjab, we can see how

immediate they are in
implementing their action plan.

You can see quite clearly
they want us (Sikhs) to be

broken away from our heritage.

Outside Darbar Sahib
(Harmander Sahib complex)

you would have seen Maharaja
Ranjit Singhs Bunga (fort)

also known as Ranjit Singhs Mehal.

The British Empire tore it down and

built a clock tower in its place.

There was no immediate
threat from that Bunga,

but the British wanted
to ensure those who came

to pay homage at Darbar Sahib,

they would not have a connection

to the legacy of Ranjit Singh

but instead build a new
visual attachment to

the British clock tower.

- The images from our
collection are all part

of a large collection of books

and prints and ephemera and photography

which form the Mary Evans Picture Library,

which is the UK's leading
historical picture agency.

Two plates showing the temple in situ

from two separate angles
including a view of the palace,

which was demolished
later on by the British

and replaced by a clock tower.

- What a dominant system
like an a new empire does,

is kind of over code,

it sets in a new structure

and a new way of making
meaning of the world.

And once people have entered into

that mode of meaning making,

they can't see that
they were once attached

to another mode of meaning making.

It was a very well thought out process to

to break us from our heritage.

New structures were put
in place of previous ones.

In Lahore, a museum was constructed,

as well as having a new library built.

So we have been given
these new structures,

and the new structures
were a way of attaching

us to a new culture.

One may argue that these
new structures are a way

to preserve Panjabi
culture for the future.

Instead they have impacted our mindset

and how we perceive our environment.

These new structures aid the British

to enforce their mindset upon us.

They're still the same people.

They're essentially believe
they have the same identity,

but they're operating
within a new universe.

They're operating with a new framework

of meaning effectively.

The whole idea is that
shift remains invisible,

it's never seen.

It's something that takes
place inside your mind,

is something that you accept

because you want to be
part of this new world.

The flourishing of the arts during

Maharaja Ranjit Singhs' time,
the British terminated it.

From that point onwards, the
Sikh arts never developed.

If we look at our education system,

one could look back and
mistakenly assume we didn't have

an education system during
Maharaja Ranjit Singhs' time.

However, when we reference
the accounts from that time,

the records show that 400,000 children

were receiving government
aided schooling before 1849,

from which the Lahore
Darbar was providing grants.

The British closed all those schools

and grants were shut down.

For the next thirty years,

that same education system
couldn't get back on its feet.

In those thirty years,

two of our generations
lost access to education,

the generation that was
studying at the time

and the generation that would
have started their education.

So those steps, which some may consider

baby steps taken by the British,

but those steps have forever,

broken our ties to our heritage.

These two images come from the archive

of the Illustrated London News collection.

These plates come from the 1858 edition.

And this first one shows interior

of the temple at Amritsar
showing musicians performing

and showing some readings taking place.

When we think about the impact
the British had on Kirtan,

I feel like searching for
images or lithographs.

We find an example of this from
the Illustrated London News,

published November 6th, 1858.

The lithograph depicts the
inside of Darbar Sahib.

It was an image of decorum.

We can see the Rabab and Jori
being used to perform Kirtan.

There is no harmonium in sight,

the harmonium was not around then.

(singing Gurbani)

- The Harmonium came to India
in the late 19th century.

It was brought in by
missionaries and chaplains.

It became popular in all traditions

of North Indian music
including Christian music.

And the reason for this
was because it was portable

and the differences

in the temperature didn't
make the instrument fluctuate.

By 1913, India had become
the world's richest market

in the manufacturing and
production of the harmonium.

From the beginning our focus

has been on the manufacture
of stringed instruments

However, in the 1990's their
sale slowed down and we added

the manufacture of the harmonium,

which to this day continues
to have strong demand.

It was in the late 1800s,

when the first harmonium
Kirtan guide was published.

And from there,

the harmonium is widely
used throughout the world

and even today, for Sikh music practise.

The question isn't about
the harmonium being a good

or a bad instrument,

the question is,

can it deliver what is
required of Sikh music?

(singing Gurbani)

- For example, in the world of sound,

(sings melody)

is a fixed point.

It doesn't let emotional
signatures seep in and control

and create that curve.

(harmonium playing)

Where...

(sings melody)

Instruments created by Sikh Gurus

can take your voice and aid it to

that depth emotional
attribute can be punctuated

in the Naad, in your sound.

(harmonium playing)

- Out of the discussions we had
with my father and my uncle,

they never found any instrument

to be mismatched to the Gurbani

because as long as the tonal quality

of the instrument is matching.

Kirtan is singing Gurbani
in specific Raags,

in rhythm is Kirtan.

Any instrument can come in.

But certainly if one of
the instrument goes much,

much more than what is required,

then that is not going to be a real Kirtan

because Bani Shabad should be always

at the centre stage.

So and we should certainly give respect

and try to preserve the instrument,

specifically those which our Gurus

have used during their time.

So Rabab is there, Saranda is there,

Taus is there, Jori is there.

So these are the instruments
which Guru maharaj has used

and we should certainly preserve them

and bring them more into practice,

that's what I feel.

- The harmonium became
an interesting topic

of discussion amongst scholars,

musicians and practitioners
of Indian music.

Rabindranath Tagore, who was a poet,

a writer and an acclaimed musician.

He heavily criticised
the use of the harmonium

for it being incapable of being able

to deliver the emotional
temperament required

in Indian music and in the
expression of the Raags.

The Raags are emotionally fueled.

The joint between the note,
the meend, for example.

(Dilruba playing)

The meend is crucial in the expression

of both Indian and in Sikh music.

And the harmonium does
not have this capability.

- When you call someone, your teacher,

your guru or your master,

it's the duty of the student
to follow exactly what he says.

And looking at the
current state of Kirtan,

it makes me question because
what the student is singing

or doing, it contradicts
what the teacher has said.

For example in Guru Granth Sahib

if it says Asa Mahalla Pehla,

and the student is not singing in Asa

that makes me question that,

why isn't the student following
with the teacher says?

And I see that no matter
where I go any Gurdwara

or I go into any CD I pick up or cassette,

majority 99.9% of the Shabads that I hear,

the Kirtan that I hear is not done the way

that the Guru prescribed.

And for me I feel that's very sad.

(Reciting a Shahab with a
mainstream/bollywood tune)

When you recite this Kirtan this way,

are you singing a mainstream song

or are you reciting Kirtan? Which is it?

The words you speak are the
Guru's Shabad, yet the tune

you sing it with is taken
from mainstream music.

Is that what you are
calling singing a Shabad?

Is that really Kirtan?

Sitting in the house of Guru
Ram Das (Harmander Sahib) are

you reciting Kirtan remembering
the praises of the singer,

who originally sang
the tune you are using,

of the Shabad of Guru Arjan Dev ji?

The Shabad should be sung in such a way

that there is absolutely no mistaking,

that what you are singing is
the divine message of the Gurus

- We know how much can change
in six months to a year.

When I think of the change
that could have occurred

for over a century, it's difficult

for me to imagine it
was ever any other way.

I can see that at the
time what was introduced

from the west to India,

may have been perceived as
advancement, as the future.

And I get that.

Whenever a new phone is released,

we all feel that desire to update.

But in actual fact, what
happened was the slow

and intentional mutation of the Sikh DNA

that changed the way we
approach Kirtan to this day.

(Dilruba playing)

We have seen and heard what we
have lost over the centuries

and what it was replaced with.

All under the guise of modernity,

I can't help realising that
we are moving further away

from where our Gurus
intended for us to be.

So where do we go from here?

And what lies ahead?

And probably more
importantly, what can we do.

- As a teacher of Sikh music,

I find it encouraging and inspiring,

when students want to pick up

and preserve and play these
traditional instruments given

to us by the Gurus.

When somebody walks through
the door for the first time,

they don't have any musical background,

no musical experience,

and they want to learn how to do Kirtan

and with something like the Dilruba,

within a matter of weeks,

they're able to play their first Shabad,

their first composition on an instrument

that a few weeks ago was alien to them.

The Dilruba is a great example

of one of the instruments
that's very easy to pick up.

Very easy to learn, very
accessible, I would say.

The reason for that is you're
working with one string,

you have your scales situated
within this one string,

the frets identify to
you where the notes are,

so you know exactly where
to place your fingers.

Once you place your finger onto the fret,

you're pressing the
string against the fret,

with your bow you generate your note.

(Dilruba playing)

The simplicity and the ease of learning

that the Dilruba provides,

are two of the fundamental reasons

that myself as a teacher

of Sikh music would strongly recommend

the Dilruba as a great starting point

for your journey of Sikh music.

- When I go through
the chapter of history,

I come across this incredible
personality Bhai Babak.

Even in the battlefield when
they found his dead body,

his Rabab is on his shoulders.

This is how he's been recognised.

Incredible that is,

that why a Sikh will not leave Rabab back

in the tent or in the
house going to battlefield?

What is the importance of,

why they carry the instrument
even in a battlefield?

And I remember from my childhood
my grandmother coaching me

over this that,

there's three things,

the core three things in the Sikhs life.

One is Shaster, so that we
are responsible citizens.

The weapon the Sikh carries as a Kirpan,

makes us responsible citizens.

Then there is a Shaastar.

The second thing is the
wisdom of the Gurus.

Sri Guru Granth Sahib, the
Bani, Bhai Gurdas Ji Vaars.

The other concepts given
to Sikhs is very important.

Sikh must be very close to this dimension.

The third thing is Astar,
Dilruba is Astar to me.

Is a divine weapon to carve,

defend and discipline the
Sikh in a one particular way.

Can you imagine the
mother teaching her son

or daughter Gurus way with
the Guru's instrument.

When I see these incredible Kirtanis,

having Dilruba on the shoulder,

and using their stress to
convert it into success,

spiritual success,

I see them I feel it's a blessing

of Guru Gobind Singh Maharaj.

His hand on the shoulder of that Kirtani.

(Dilruba playing)

- Dilruba was specifically
used by Mata Sundri Ji

to train the children of the Guru

as well as children of his Sikhs

as well as the children

of other communities
in the Sikh musicology

and we should also
introduce this system now

to create other Babaks, Bhai
Mardana, Sant Baba Sham Singh.

We should also train such
people in our seminaries,

we should open new seminaries
in our universities also

to promote this Sikh musicology.

(Dilruba playing)

- What an incredible journey
this has been for me.

And if I look back to the beginning,

I can honestly say

that despite my strong connection

to both my culture and faith,

I have learned so much
from this experience,

especially because we have come

to realise just how important

and closely connected the Shabad

and the instruments of
the Gurus are to Kirtan.

This is in fact, an integral
part of my own identity.

The opportunity to
immerse myself in walking

in this path has revealed
a hidden treasure

and that is the power of Sikh music.

When I first heard the
primal sound of the Jori,

or the sweet sound of the Taus,

it stopped me in my tracks

and I was absorbed in
the emotion of the Raag.

One of many things that have
inspired me is the passionate

and emotional connection that each

and every musician has
to both the instrument

and the Shabad.

I hope that this experience has given all

of us a glimpse into the
revolutionary vision of the Gurus

and the chance to hear
the Shabad performed

with their original intent.

It has actually given me the
desire to pick up the Dilruba

and start my journey of connecting

to the Shabad in a whole new way.

And if I can start my journey now,

I know many of you will be able

to join me in picking up one
of these amazing instruments

to begin your journey too.

Let's keep Sikh Musical Heritage alive,

otherwise, will future
generations ever be able to hear

and appreciate these instruments
as we have experienced,

or will they remain silent
and motionless in museums.

(Saranda playing)