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Introducing Paigham-i-Goya: Expression of Love, new translations of a selection of ghazals from Bhai Nand Lal “Goya.” Today’s podcast begins with a recitation of Bhai Nand Lal’s ghazal in Persian, followed by a new English transcreation, the result of a unique collaboration between Dr. Fatima Fayyaz and Dr. Nadhra Khan of Lahore University of Management Sciences, Damanpreet Singh, writer, and graduate student, and Inni Kaur of SikhRI, followed by a discussion between Daman and Inni about the beauty of the ghazal and the transcreation process.
Follow Damanpreet and Inni as they discuss their learnings and challenges while engaging with the words of Bhai Nand Lal. The unique and symbolic meanings that these ghazals reveal are a treat for those who yearn to get a glimpse into the court of Guru Gobind Singh Sahib.
Author: Bhai Nand Lal “Goya”
Collection: Divan-i-Goya
Transcreators: Fatima Fayyaz, Inni Kaur, Nadhra Khan, and Damanpreet Singh
Persian Narrator: Gholamhossein Sajadi
English Narrator: Ryan Gillis
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Damanpreet Singh is a writer and graduate student who studies race, religion, empire, and the history of capitalism in the nineteenth century.
View profile ⟶Inni Kaur is Creative Director at the Sikh Research Institute (SikhRI). She has served SikhRI in several capacities since 2010, including Chair of the Board, and most recently as CEO.
View profile ⟶
A new translation and brief essay on the forty-fourth ghazal from Bhai Nand Lal’s Divan-i-Goya.
The Sikh Research Institute recognizes its ethical responsibility to promptly correct any factual small or large errors. Please get in touch with us via email to request a correction if you have identified a mistake.
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To mark the 40th year of the violence of 1984, we reflect on the events that unfolded in India and make connections with the ongoing and durable violence against Sikhs, Muslims, and other minority groups in India and the diaspora.
In Maru Kaphi, Guru Nanak Sahib reflects on the grief caused by separation from IkOankar, showing that even with worldly comforts, one remains unhappy without this connection.
In this Sabad, Bhagat Sain Ji sings the ‘Arti’ of the transcendent Supreme Being, IkOankar (the Divine). He emphasizes that the true 'Arti' of IkOankar is not a ritualistic act of adorning a platter with incense, lamps, and ghee.
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