We are finite; our understanding is finite. Our understanding was different yesterday and may evolve tomorrow as we deepen our relationship with the Sabad. In this trans-creation, we have chosen to keep the repeating words in the Sabad same. We aspire to learn and retain the Divine attribute used in the original Sabad and avoid terms like God or Lord.
This Sabad invites the listener into a space of joy and spiritual contemplation, where the heart's humbleness becomes the key to unlocking the treasures of divine remembrance and protection.
The Sabad begins by expressing the sheer beauty and allure of the Beloved's love. The seeker, filled with excitement and conscious longing, focuses intently on the Beloved, highlighting a deep, unwavering devotion.
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.
O! Eternal-Guru, I have come to Your sanctuary to receive the comfort and glory of All-Pervasive Nam, and to remove my anxieties. 1. Reflect. Cannot think of another abode, defeated, I fall at Your door. Ignore the record, liberate without the record, fre
O! My mind, utter the Charmer-Divine’s Nam for liberation. Millions upon millions of transgressions totally eliminated, All-Pervasive enables world-ocean crossing. 1. Reflect. All-Pervasive Divine abides in the body-town, All-Pervasive is fear-less, foe
Guru Nanak Sahib expresses his humility, recognizing his ignorance and inability to fully capture the Majesty of the One. The Guru then makes a heartfelt plea for the grace to understand and sing the virtues of the One, aspiring to remain connected...
The Sabad’s progress unveils the diversity of human affection. Worldly attachments and pride entrance some, while the devotees of the Divine embrace an affection for the Freedom-state inherent in the All-Pervasive.
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.
The Sabad extols the bride-lover (seeker), who recognizes the Divine presence and surrenders to the Divine will, shedding the ego and immersing in the Beloved's embrace. Continuing, the Sabad offers guidance from one friend to another, advising on...
In the serene and contemplative ambiance of the Kedara rag, Guru Arjan Sahib's Sabad resonates with profound devotion and spirituality. Typically performed during the tranquil hours from 9 p.m. to midnight, the Kedara rag evokes deep emotions...
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. In this trans-creation, we have chosen to keep the repeating words in the Sabad same. We aspire to learn and retain the Divine attribute as used in the original Sabad and avoid terms like God or Lord.
In the uplifting melody of Dhanasari, a rag that radiates happiness, Bhagat Pipa Ji's Sabad unfolds as a celebration of the divine essence residing within the very fabric of the human form.
In the tranquil embrace of Rag Kalian, Guru Arjan Sahib's Sabad unfolds with a soothing melody, invoking a sense of peace and blessing-seeking as the evening descends.
In the melodic strains of Rag Gond, Guru Ramdas Sahib's Sabad resonates with a triumphant yet humble spirit, reflecting a balanced perspective on spiritual attainment.
This Sabad is by Sheikh Farid (1173-1265) and is set in Rag Asa, a devotional musical framework. The essence of the composition lies in its contemplation of contrasting states.
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.
This composition by Bhagat Ravidas is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative.
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.
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.
Delve into the Sabad (Shabad) of Guru Nanak Sahib in Rag (raag) Gauri Bairagan, from the Guru Granth Sahib, the sacred scripture of the Sikhs. Read the translation done by Harinder Singh and Inni Kaur.
Explore the Sabad (Shabad) of Bhagat Ravidas in the Guru Granth Sahib, the sacred scripture of the Sikhs. Read the translation done by Harinder Singh and Inni Kaur. Listen to Inni Kaur’s reflection on this Sabad.
At this point in my life, this sabad has come to me for reasons other than telling me to keep moving even when everything feels big and hard to navigate.
Jasleen Kaur says "This sabad has gently nudged me forward, too many times to count — moved me in some tangible direction, reminded me that the hard days — the days when I cannot get myself to do much of anything — are transient."
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.
The Sabad opens with a poignant tale of selflessness, where one assumes the role of a disguiser to protect the honor of the king's daughter. Despite harboring lustful and selfish desires, the individual's act preserves honor, highlighting the...
The Sabad commences with a profound invocation – the cooling of body, mind, and bosom through the continuous remembrance of the Divine Owner. This remembrance transforms the very essence of the being, where beauty, color, comfort, wealth, and caste...
The Sabad begins with a profound declaration— the body itself is a manifestation of the divine, a temple, and a wandering pilgrim. This poetic imagery invites reflection on the sacred nature of the physical form, transforming it into a vessel for...
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.
This composition by Bhagat Ravidas is in Rag Siri, an ancient musical mode sung at dusk. Its mood is majestic, reflective, and meditative.
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.
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.
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.
This composition by Bhagat Ravidas is in Rag Gauri Bairagan, a musical mode sung in the morning. It is a rag (musical measure) of sadness, separation, and longing.