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Videos
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Guru Arjan Sahib in Rag Dhanasari | Guru Granth Sahib 683 | Artist: Gurmit Singh
The imagery of seeking the Divine's gracious glance, saving embrace, and a pull from the well of worldly entanglements invites reflection.
Bhagat Namdev in Rag Asa | Guru Granth Sahib 485
This composition by Bhagat Namdev is in Rag Asa, a musical mode used to evoke a mood of hope, expectation, inspiration, and courage. In Bhagat Namdev’s earlier worship mode, he was a follower of the “Bithal” deity.
Guru Arjan Sahib in Rag Dhanasari | GGS 681 | Artist: Bhai Baljit Singh & Gurmeet Singh
The Sabad begins by vividly illustrating the Divine's omnipotent strength, which extends in all directions and places a protective Hand on the devotee's head.
Guru Arjan Sahib in Rag Asa | Guru Granth Sahib 406
This composition by Guru Arjan Sahib is in Rag Asa, a musical mode used to evoke a mood of hope, expectation, inspiration, and courage. Guru Arjan Sahib asks, “Where does one go to experience the ultimate comfort?”
Guru Ramdas Sahib in Rag Jaitsari | Guru Granth Sahib 696 | Artist: Bhai Dharam Singh Zakhmi
The Sabad then contrasts the fate of those without the Guru, describing them as self-centered and foolish, trapped in illusion and leading lives devoid of purpose.
Guru Nanak Sahib in Dhanasari Rag | Guru Granth Sahib 660 | Artist: Bhai Onkar Singh Ji
The Sabad opens with an intimate tremor within, a yearning for someone to call upon. The call to serve the Remover of sufferings reverberates in this vulnerability, underscoring the concept of an eternal giver.
Rang Ratta Mera Sahib in Rag Siri | Guru Granth Sahib 23
This composition by Guru Nanak Sahib is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative. The reflection: The Creator is in the creation. Everything is brimming with love, operating in love.
Bhai Avtar Singh in Tohi Mohi Mohi Tohi Antar Kaisa | Guru Granth Sahib 93
This composition by Bhagat Ravidas is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative.
Guru Arjan Sahib in Rag Majh | Guru Granth Sahib 102
This composition by Guru Arjan Sahib is in Rag Majh. This rag (musical mode) evolved from the folk music of the Majha area of the Panjab. There is no reference to this rag in Indian music. It is only sung in Panjab and is in the Guru Granth Sahib.
Guru Nanak Sahib in Rag Gauri Bairagan | Guru Granth Sahib 157
This composition by Guru Nanak Sahib is in Rag Gauri Bairagan, a musical mode sung in the morning. It is a rag (musical measure) of sadness, separation, and longing as opposed to depression.
Guru Arjan Sahib in Rag Asa | Guru Granth Sahib 404
This composition by Guru Arjan Sahib is in Rag Asa, a musical mode used to evoke a mood of hope, expectation, inspiration, and courage.
Bhagat Ravidas ji in Gujri Rag | Guru Granth Sahib 525 | Artist: Bhai Harjinder Singh
Metaphors come alive, painting a vivid picture of life's complexities. The imagery of a suckling calf affecting milk, bees disrupting a flower, and fish muddying water draws attention to the innate interplay of purity and impurity.
Articles
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My Sovereign is New Every Day, Ever and Ever the Giver
Sabad is Infinite; we are very finite. This is our understanding at the moment, which was different yesterday and may evolve tomorrow, as we deepen our relationship with the Sabad.
For, if I Break With You, With Whom Would I Join?
In the melodic embrace of Rag Sorath, Bhagat Ravidas ji's Sabad paints a canvas of profound devotion and love, using the simplicity and sweetness of the rag to convey the depth of spiritual connection.
Charmer-Divine Permeates all Beings, in Water and on Land
Sabad is Infinite; we are very finite. This is our understanding at the moment, which was different yesterday and may evolve tomorrow, as we deepen our relationship with the Sabad.
Day and Night I Ask for Nam Within
This Sabad by Guru Ramdas Sahib within Rag Sorath encompasses a tapestry of emotions: seriousness, love, separation, longing, and detachment. Traditionally performed, it encapsulates a spectrum of human experiences.
Articulate the Way, and I Shall Follow
Composed by Guru Ramdas Sahib, this piece is set in Rag Devgandhari, an ancient melodic mode traditionally sung during the second quarter of the day. This Sabad encapsulates the yearning to connect with the radiant Beloved.
I Have No Worthy Flower for the Incomparable
In this Sabad attributed to Bhagat Ravidas, a profound contemplation unfolds. This composition finds its musical foundation in Rag Gujri, an ancient melodic mode reserved for the early hours of the day, evoking a sense of serene awakening.
Woman: Gateway to Freedom
“The whole Guru Grantha is the voice of a wedded women or a maiden pining in love of the Beautiful. Her nobleness in Guru Grantha is infinite, her freedom is of the highest. Both man and woman as sexes are forgotten in her voice.
Buttons, Jump Ropes, and Chocolate Cake
Every year, when December rolls around, there is much buzz about the holiday season. From Hanukah to Kwanzaa and, of course, Christmas, it is a time of gatherings, decorations and gift exchange.
Tresses & I
Embark on a poignant journey with the author as she reflects on her evolving relationship with her hair, exploring the nuanced layers of Sikh identity, love for Sabad, and the profound impact of choices made during the tumultuous times of 1984.
My Sovereign is Dyed in Color-Love
This composition by Guru Nanak Sahib is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative. The reflection: The Creator is in the creation. Everything is brimming with love, operating in love.
You & I, I & You; What’s the Difference?
This composition by Bhagat Ravidas is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative.
How May I Visualize Guru Gobind Singh Sahib?
In current times, the world is full of abundant images, pictures, portraits, artworks, and illustrations availing stocks and libraries as well as producing films and animations. What are the most appropriate images of the Guru Sahibs?
Podcasts
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Explore Var Sat (Kabir Ji)
‘Var Sat,’ commonly called 'Satvar' or 'Satvara,' is a poetic form based on the seven days of the week. It is a unique literary style that connects each day of the week with a specific idea, emotion, teaching, or reflection.
Explore Mahala 5 Gatha
Gatha refers to a song or verse, rooted in the word gai, to speak, sing, or recite. It can also refer to a profound discourse with the self beyond simple praise or devotion.
Explore Patti (Mahala 3)
The essence of this composition is revealed in the stanza of rahau (Pause). In it, worldly accounting (entanglements) is described as useless.
Explore Thiti (Mahala 5) [Part 1]
Patti is a poetic form rooted in the Gurmukhi alphabet. Traditionally, students in Punjabi culture used a wooden tablet, called a patti, to practice writing letters.
Explore Patti (Mahala 1)
Patti is a poetic form rooted in the Gurmukhi alphabet. Traditionally, students in Punjabi culture used a wooden tablet, called a patti, to practice writing letters.
Explore Maru Kaphi
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.
My Sovereign is Dyed in Color-Love
This composition by Guru Nanak Sahib is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative. The reflection: The Creator is in the creation. Everything is brimming with love, operating in love.
You & I, I & You; What’s the Difference?
This composition by Bhagat Ravidas is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative.
My Mind Pines for Guru’s Vision
This composition by Guru Arjan Sahib is in Rag Majh. This rag (musical mode) evolved from the folk music of the Majha area of the Panjab. There is no reference to this rag in Indian music. It is only sung in Panjab and is in the Guru Granth Sahib.
Slowly and Gently Rains the Immortal Stream
This composition by Guru Arjan Sahib is in Rag Majh. This rag (musical mode) evolved from the folk music of the Majha area of the Panjab. There is no reference to this rag in Indian music. It is only sung in Panjab and is in the Guru Granth Sahib.
Guru Hasn’t Held It Back From the Mind
Listen as we explore the Sabad (Shabad) of Guru Arjan Sahib in Rag (raag) Asa from the Guru Granth Sahib, the sacred scripture of the Sikhs. Sabad is the bond between the Guru and the Sikh. Read the translation done by Harinder Singh and Inni Kaur.
