Harinder Singh and Jasleen Kaur explore the context of Indic paradigms, rituals, systems, and popular understandings that the Guru addresses in his reframing of renunciation and non-attachment.
This video serves as an introduction to the series, offering a conversation between Harinder Singh, the Innovation Director, and Jasleen Kaur, a Research Associate.
In this video Surenderpal shares about the newly launched annotation of two Sabads (Infinite-Wisdom) of Pahare by Guru Nanak Sahib in Sirirag. Sirirag is a rag (musical mode) that is serious in nature and thought-provoking.
The Guru Granth Sahib Project is pleased to launch the annotation of twelve Sabads (Infinite-Wisdom) by Guru Teghbahadar Sahib in Rag Sorath. Sorath is a rag (musical mode) of serious nature based on the mood of detachment.
Sabad is vast. It is infinite wisdom.
Sabad is vast. It is infinite wisdom.
The Guru Granth Sahib Project is pleased to launch the annotation of twelve Sabads (Infinite-Wisdom) by Guru Teghbahadar Sahib in Rag Sorath. Sorath is a rag (musical mode) of serious nature based on the mood of detachment.
In this video Surenderpal shares about the newly launched annotation of two Sabads (Infinite-Wisdom) of Pahare by Guru Nanak Sahib in Sirirag. Sirirag is a rag (musical mode) that is serious in nature and thought-provoking.
This video serves as an introduction to the series, offering a conversation between Harinder Singh, the Innovation Director, and Jasleen Kaur, a Research Associate.
Harinder Singh and Jasleen Kaur explore the context of Indic paradigms, rituals, systems, and popular understandings that the Guru addresses in his reframing of renunciation and non-attachment.
While reading the Guru Granth Sahib, we encounter various stanza structures within a Sabad, often indicated through corresponding titles on the Sabad. This diversity in stanza structures arises due to variations in the number of lines in the stanzas.
Guru Nanak Sahib and the Jogi narrative is from Bhai Sahib Bhai Vir Singh’s book, "Guru Nanak Chamatkar". The dialogue occurs at the hermitage of an ascetic sect residing in South India's Kanji Forest.
While reading the Guru Granth Sahib, we come across various Sabad structures and forms. Some small and others long. Some have two stanzas, others three, four, or more. What do these different stanzas tell us about a Sabad or its structure?
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.
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.
In the vibrant rhythm of rag Suhi, Guru Arjan Sahib's Sabad emanates profound love and devotion, evoking a sense of reverential adoration.
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.
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.
Explore the Sabad (Shabad) of Guru Arjan Sahib in Rag (raag) Asa from 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.
Delve into the Sabad (Shabad) of Bhagat Namdev in Rag (raag) Asa from the Guru Granth Sahib, the sacred scripture of the Sikhs. Read the translation done by Harinder Singh and Inni Kaur.
This Sabad, bestowed upon us by Guru Ramdas Sahib, resonates within the melodic framework of Rag Asavar. Its evocative tones find their expression during the late afternoon transitioning into the early evening.
In the vibrant rhythm of rag Suhi, Guru Arjan Sahib's Sabad emanates profound love and devotion, evoking a sense of reverential adoration.
In this transcreation, the original Gurmukhi is followed by an English transcription to guide the Sabad’s (Divine Word) pronunciation in its original form.
In this transcreation, the original Gurmukhi is followed by an English transcription to guide the Sabad’s (Divine Word) pronunciation in its original form.
This is a continuation of the Persian Voice of the Guru's featuring the Sikh Research Institute's Researcher, Asha Marie Kaur.
The Sikh Research Institute's Asha Marie Kaur speaks on how Guru Nanak Sahib integrates Persian and Arabic vocabulary in Sabad to invoke Islamic practices, laying the foundation for a uniquely Sikh engagement with other faiths.
For this episode, The Sikh Cast host Manpreet Jassal and SikhRI's Inni Kaur go through this Sabad of the Month (Infinite-Wisdom) by Guru Nanak Sahib. In it, the Guru redefines the terms Jog and Jogi, outside the six systems of Hindu philosophy. Jog for the Guru is not yoga, neither mental or physical, but a “connection.”
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 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.
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.
Explore the Sabad (Shabad) of Guru Arjan Sahib in Rag (raag) Asa from 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.
Listen to Harinder Singh’s reflection on Bhagat Namdev’s evolution from deity worship to seeing Divinity pervading everywhere.