Through exploring various sources of knowledge, visits to historical places, and personal experiences, I have delved into the profound depths of Sabad Hajare (popularly Shabad Hazare) attributed to Guru Gobind Singh Sahib. These encounters have allowed me to extract deeper meanings relevant to our present times while recognizing the timeless wisdom embedded within the original text.

The project started on the Gurpurab (a day associated with the Guru) in January 2022. A year later, its online releases started on the Gurpurab in January 2023. Feedbacks were received, and conversations began on developing it into a book. A book on The Sovereign? That will require so much more diligence and devotion. The idea and demand grew, so the commitment was made. This is how we celebrate the Guru!

Why this Project?

Every Poh (mid-December to mid-January) is an excellent reminder to the Guru Khalsa Panth (Sikh collective) about all our connections with Guru Gobind Singh Sahib, our Tenth Sovereign. In Asa ki Var, Ballad of Hope, Guru Nanak Sahib proclaims: “The eternal Wisdom (Satigur) must be praised greatly, in whom are immense greatnesses.” This project shares elements of the Guru’s greatness via sabads attributed to the Tenth Guru Nanak Sahib. Sabad (popularly Shabad) means an utterance, speech, word, or teaching; it also refers to a verse or composition.

In my twenties, I realized that Guru Nanak Sahib’s advent was in the Indus Valley civilization, whereas Guru Gobind Singh Sahib’s advent was in the Ganges Valley civilization. Their surrounding culture at the time of their advent was very different, yet their connection and experience of the one creative and pervasive Force (1Force, the 1) was the same; their message and method were the same. The journey of institutionalization took place in the Panjab, from Kartarpur to Anandpur. In that journey of the lovers of the Guru, whether one is from Panjab, Inspora (outside of Panjab but in India), or Diaspora, we all long for Anandpur Sahib. I want to be a resident of Anandpur Sahib beyond the initiation ceremony declaration. This project is a tiny dimension to experience that journey.

In Sabad Hajare, I see the young progeny next in line, Guru Gobind Rai, witnessing the separation of the masses from the 1 in His journey from Patna to Anandpur Sahib. In Sabad Hajare, I understand the ascendance of the son-Sikh becoming the Guru Sahib to connect the separated ones with the 1 in Panjab and beyond. In Sabad Hajare, I witness the perfect genius of the Tenth Nanak training the Sikhs for two decades on the 1, in thought and action, addressing Rajas and Mughals. In Sabad Hajare, I visualize the mentor-protege Guru transferring the sovereignty received from the 1 to the Khalsa disciples for perpetuity. In Sabad Hajare, I feel the Tenth Sovereign disrupting the personalities and authorities to assure the Panth remains dedicated only to the 1, as declared to follow only the Guru Granth Sahib.

I have been closely witnessing the widening and the worsening gap between “pro” and “anti” Dasam Granth (anthology attributed to Guru Gobind Singh Sahib) groups in the Panth since 1997. The large sections of both groups are Panth’s well-wishers and are well-intentioned Sikhs; they are Panthak (of the Panth) Sikhs. I plead to the 1-5% segment of the Panth.

To the “pro” group: By the very command of the Tenth Sovereign, Guru Granth Sahib is the Guru of the Sikhs.

To the “anti” group: Even if you deem they are not Guru’s sabads, they are inseparable from the Sikh tradition.

To both: We read and quote many things that are not the Guru’s sabads but form the Sikh narrative as long as the content and context do not disturb the lyrical beauty and harmony in the Guru Granth Sahib. Please pause and rethink how a 1-percenter issue, though significant, is causing insurmountable harm.   

Regarding the vision of the 1, Sabad Hajare is the same as the complete and perfect sensibility of the Guru Granth Sahib. The sectarian use of 1’s attributes for the deities is categorically rejected in Sabad Hajare. They uniquely explore the Tenth Sovereign’s connection with the 1.

I will attempt to convey the extent to which the Tenth Sovereign was intimately connected with the 1 and the various colors this connection embodied. Sabad Hajare takes us on a journey of separation and union. At times, the Guru directly addresses the 1 as Creator or Friend; at others, the Guru addresses the minds and beings of us mortals.

Of course, like any project, this will remain incomplete; my choices are inevitably shaped by the limited nature of who I am and what I know.

May we see and visualize the Guru through Sabad Hajare instead of the portraits! And may this end our separation with the 1 and 1’s Sovereign, who we lovingly call Nilevala (rider of the blue steed), Bajanvala (owner of the white hawk), Kalgianvala (adorner of the royal plume), and so much more.

What is Sabad Hajare Patisahi 10?

Sabad Hajare is a collection of ten sabads. A sabad is a word-sound song in musical mode or style filled with infinite wisdom. It is more than a song; it is a reflection of what the world calls Being, Transcendent, Divine, Supreme, and Creator. Hajare is from the Arabic hijr, which means separation. Hazare seems popular, likely due to incorrectly attributing it to reciting them one thousand times to fulfill a wish. Note that Sabad Hajare (popularly Shabad Hazare) is referred to as a collection of sabads from the Guru Granth Sahib as well. Patisahi (popularly patshahi) 10 is the Tenth Sovereign and refers to Guru Gobind Singh Sahib. So, Sabad Hajare Patisahi 10 to us means the yearning of the Tenth Sovereign for the union with the 1. 

The Tenth Sovereign is already in union with the 1; this is how the Wisdom-Guru guides us by identifying with us the separated ones. It is the same when the Wisdom-Guru identifies with us mortals in the Guru Granth Sahib, so even in utter darkness, the light of hope shows us the way. How do we end our separation, as individuals and as the Panth? Recite them one time or a thousand times! Feel the Hazur’s hazuri, the Presence’s presence in the powerful accents of pangs and longing.

Nine of these sabads are presented in ragas or musical modes; one is presented in Khyal, a musical style. Nine are in the six ragas: Ramkali (3), Devagandhari (2), Sorath (1), Kalyan (1), Tilang Kafi (1), and Bilaval (1). All these ragas are also in the Guru Granth Sahib. 

Braj is the language of the nine raga sabads; several words are of Sanskrit origin. The structure of the nine raga sabads is also the same: a central theme in rahau-pause implies this main idea’s reflection on the entire sabad; three padas (complete sentences of 2-line rhyme). They are considered to be part of the Bishanpade poetic tradition. A variant, Bisanpad, is also referenced in the Guru Granth Sahib. Originally and literally “feet of Vishnu,” they were short compositions in praise. They became a form of the popular medieval Indic poetic genre in Awadhi, Maithili, and Braj languages. Bishanpade compositions are also found in the twentieth century by Panjabi poets. The language of one Khyal sabad is Panjabi.

How was the Text Finalized?

There is considerable text variation between the handwritten manuscripts and the published works. After extensive research and discussions, we (Harjinder Singh and I) selected the source text in the Panth Khalsa Gutka. It is based on the Shabadarth Dasam Granth Sahib, edited by Bhai Randhir Singh (Oriental Scholar), which was discussed and corrected by a team of scholars that included Dr. Taran Singh, Dr. Prem Prakash Singh, Prof. Gulwant Singh, and Dr. Jit Singh Sital, with consultations from S. Kirpal Singh Narang and Bhai Jodh Singh.

Even then, we had to make several decisions because of inconsistencies within the text described above, word or spelling irregularities due to typos, contextual meanings, and handwritten manuscript corroborations. 

         The following amendments were made in our text:

1. Adhak (ੱ) was added in a few places if it was available in handwritten manuscripts, and where it aided pronunciation and suited the meaning, since it was already present in the text in the manuscripts. It is known that adhak was not used during that era. It was removed if it was not available in handwritten manuscripts.
2. Sihari (ਿ) and aunkar (ੁ) were added on ending consonants if available in handwritten manuscripts and where they suited the meaning.
3. Removed ragu (ਰਾਗੁ), rag (ਰਾਗ), or ragi (ਰਾਗਿ) where inscribed because they were not available in the handwritten manuscripts. It also creates inconsistency; raga’s presence is inscribed by their name where applicable.
4. Spacing has been added to aid the pause during recitation where it suits the meaning. Three spaces between the words in the sabads mean pause.
5. Puran Vishram (complete pause) “॥” is not inscribed on titles because it is not found in handwritten manuscripts.
6. Half or full Yayya (ੵ or ਯ) are kept as they are found in handwritten manuscripts. 
7. Bajai (ਬਾਜੈ) is inscribed with dulav instead of lav. Braj language spelling is in the present tense; it is also available in handwritten manuscripts. 
8. Sangrhai (ਸੰਗ੍ਰਹਿ) was kept with sihari. Braj language spelling without sihari makes it a verb; it is also available in handwritten manuscripts. 
9. Haun (ਹਉਂ) is a pronoun. Braj language spelling, ਹੌਂ, is an auxiliary verb; it is also available in handwritten manuscripts.
10.  Kah (ਕਹ) is inscribed without adhak. No such word with adhak; it is also available in handwritten manuscripts.
11.  Garhan (ਗੜ੍ਹਨ) is a noun without sihari. Removed sihari in one instance; made it consistent with another occurrence in the text. Braj language spelling with sihari (ਗੜ੍ਹਨਿ) becomes a verb; it is also available in handwritten manuscripts.
12.  Jati (ਜਾਤਿ) is a noun with sihari. Braj language spelling without sihari becomes a verb; it is also available in handwritten manuscripts.
13.  Pahan (ਪਾਹਨ) is a noun without sihari. Braj language spelling with sihari (ਪਾਹਨਿ) is not a word; it is also available in handwritten manuscripts.
14.  Hai (ਹੈ) ending lines were separated from previous words as they were inconsistent in the source text; this is a poetic device for a rhyme in medieval languages.
15. Jakah (ਜਾਕਹ), in one instance, was replaced with jakar (ਜਾਕਰ), which was already in the source text for consistency; it is also available in handwritten manuscripts.

The Gurmukhi spellings were finalized for this project, as explained above. 

Who are the Team?

Albel Singh is a research scientist and a nature photographer as a hobbyist. He has an MS in Conservation Biology & Genetics. His inspiration is Bhai Gurdas; he strives to develop as a Gurbani scribe and spend time with the Guru. He is the calligrapher of The Guru Granth Sahib Project.

Harinder Singh is a Co-founder and an Innovation Director at the Sikh Research Institute. He has a BS in Aerospace Engineering, a MS in Engineering Management, and a MPhil in the linguistics of the Guru Granth Sahib. His current focus is developing critical thinking for Sikh institutions via the State of the Panth report series and decoding infinite message for a global audience via The Guru Granth Sahib Project.

Harjinder Singh ‘Gharsana’ is a Research Associate of Gurbani Linguistics at the Sikh Research Institute. He has a BA in Sanskrit, a MA in Panjabi, and a DLitt in Persian and Urdu. He worked as a Language Researcher and published several articles in Panjabi and Sanskrit.  He is the etymologist of The Guru Granth Sahib Project.

Jasleen Kaur is a Research Associate at the Sikh Research Institute. She has a BA and MA in Religious Studies focused on South Asian Religions through the lens of literature and poetry. She is one of the commentators and transcreators of The Guru Granth Sahib Project.

Kiran Kaur is pursuing her MA in Global Studies with research interests in diaspora politics and ethno-religious identity. She says she has always been a part-time artist, inheriting the passion from her Dadiji (paternal grandmother) and using art as a medium to understand her Sikhi, her community, and her research interests.

References and Further Reading

Dasam Patshahi ka Guru Granth Sahib. Lahore, Anglo Sanskrit Printers, 1895.

Jaggi, Ratan Singh. Sri Dasam Granth Sahib: Path-Sampadan ate Viakhia. Vol. 3, New Delhi, Gobind Sadan, 2007.

Khalis Foundation. www.sikhitothemax.org. Accessed 5 Jan. 2022.

Khalsa, Giani Harman Singh, compiler. Beant Banian da Sundar Gutka. Amritsar, Jatha Bhindran (Mahita), 2016.

Nabha, Bhai Kahn Singh. Mahankosh, 3^rd ed. Patiala, Language Department, 1974.

Panth Khalsa Nitnem Gutka Sahib. Edited by Gurvinder Singh Nangli. Sri Baba Bakala Sahib, Singh Sahib Jathedar Baba Gajjan Singh, Tarna Dal, c. 2020.

“Shabad (Sabad) Hajare.” The Encyclopedia of Sikhism. Edited by Harbans Singh, Punjabi University, 1995.

“Shabad Hajare Patshahi 10.” The Encyclopedia of Sikhism. Edited by Harbans Singh, Punjabi University, 1995.

Shabadarth Dasam Granth Sahib. Edited by Bhai Randhir Singh, vol. 3, 3^rd ed., Patiala, Punjabi University, 1995.

Sharma, Shri Dvarka Prasad. Sahitiyak Brajbhasha Kosh. Vols. 1-3, Luckhnow, Uttar Pradesh Hindi Sansthan, 1985.

Singh, Giani Ishar. Dasam Sri Guru Granth Sahib Ji: Shiromani Stik. Moga, Baba Teja Singh Ji Nihang Singh, 1999.

Singh, Giani Lal. Kosh Sri Dasam Granth Sahib. Vol. 2, Sangrur, Janak Pustak Bhandar, 1949.

“Sri Dasam Granth.” 1764, no. M3776. Amar Singh. Handwritten Manuscript.

“Sri Dasam Granth.” 1777, no 21. Gurduara Shahidi Bagh, Taruna Dal, Giani Gurdev Singh, Anandpur Sahib. Handwritten Manuscript. Sri Guru Granth Sahib Adhian Vibhag, Punjabi University, Patiala.

"Sri Dasam Granth." 1793, no. 23. Gurduara Shahidi Bagh, Taruna Dal, Giani Gurdev Singh, Anandpur Sahib. Handwritten Manuscript. Sri Guru Granth Sahib Adhian Vibhag, Punjabi University, Patiala.

Sri Dasam Granth Sahib Ji. Vol. 2, Amritsar, Bhai Jawahar Singh Kripal Singh, Bajar Mai Sevan, 1979.