The ungrateful stare is the most polluted

ਵਾਰਾਂ ਭਾਈ ਗੁਰਦਾਸ : ਵਾਰ ੩੫ ਪਉੜੀ ੯

ਮਦ ਵਿਚਿ ਰਿਧਾ ਪਾਇਕੈ ਕੁਤੇ ਦਾ ਮਾਸੁ।
Mad Vichi Ridhaa Paai Kai Koutay Daa Maasu.
The meat of dog cooked in the wine was, along with its foul smell, kept in a human skull.

ਧਰਿਆ ਮਾਣਸ ਖੋਪਰੀ ਤਿਸੁ ਮੰਦੀ ਵਾਸੁ।
Dhariaa Maanas Khoparee Tisu Mandee Vaasu.
It was covered with a blood stained cloth.

ਰਤੂ ਭਰਿਆ ਕਪੜਾ ਕਰਿ ਕਜਣੁ ਤਾਸੁ।
Ratoo Bhariaa Kaparhaa Kari Kajanu Taasu.
Covering thus, the scavenger woman after appeasing her lust was carrying that bowl.

ਢਕਿ ਲੈ ਚਲੀ ਚੂਹੜੀ ਕਰਿ ਭੋਗ ਬਿਲਾਸੁ।
Ddhaki Lai Chalee Chooharhee Kari Bhog Bilaasu.
On being asked about why she had covered it in a blood stained rag.(An abominable covered material)

ਆਖਿ ਸੁਣਾਏ ਪੁਛਿਆ ਲਾਹੇ ਵਿਸਵਾਸੁ।
Aakhi Sounaaay Pouchhiaa Laahay Visavaasu.
She cleared the matter by saying that she had covered the meat to hide

ਨਦਰੀ ਪਵੈ ਅਕਿਰਤਘਣੁ ਮਤੁ ਹੋਇ ਵਿਣਾਸੁ ॥੯॥
Nadaree Pavai Akirataghanu Matu Hoi Vinaasu ॥9॥
It from the sight of an ungrateful person to avoid its pollution.

Beautiful photo of a Nihang Singh

Gurmeet Singh Shant and Almast sahib

In Search of ‘Almast’

London, Feb 22 , 2007
(Completed on May 15, 2007)

Of late, the Gurmat Sangeet Blog has been somewhat dormant. Much more so because of inertia rather than a dearth of ideas or topics! Somewhat paradoxically, as I travel less, I have been writing less often, whereas one would think that I should actually have more time to write!

In any event, I find myself on the road again, with many hours until my next flight at Heathrow. The familiar urge resurfaces and I open up my laptop…..

Over the years, I have caught fleeting glimpses of an apparently brilliant, but relatively unknown figure in the world of Gurmat Sangeet. His name is Gian Singh ‘Almast’. The name itself is intriguing! It hints at an irreverent, radical intoxication. Rebellion. Immersion. Gian Singh ‘Almast’’s personality however, remains tantalizingly obscure. He surfaces briefly when old school Kirtaniyas get together and reminisce about a bygone era, but by and large he remains very elusive!

During an intimate, sparsely attended Friday evening Diwan at the Milford Gurdwara Sahib in 2003, Bhai Gurmeet Singh Shant is singing. The Shabad is ‘Pati Tore Malini’. The Bandish, or melody, is not the well known composition in Raga Kafi, popularized by the late Bhai Bakshish Singh Ji, which Gurmeet Siingh Shant is known to sing. It is a dazzling, fluid, enrapturing melody in Raga Kalavati that I have never heard before.

http://www.gurmatsangeetproject.com/...e%20malini.MP3
During langar, I find myself asking Gurmeet Singh Shant about the beautiful composition. He tells me that it was a composition by Almast Ji. An outline begins to emerge! I ask Gurmeet Singh Shant to sing more compositions by Almast. In subsequent Diwans, Gurmeet Singh Shant obliges. Every composition is more beautiful than the previous one. The outline now has more definition and the essence of Gian Singh Almast’s art and the sheer magnitude of his talent slowly starts to become apparent.

I go back home and frantically search through my archive of recordings by Gurmeet Singh Shant, recorded during many meetings over the years. I discover many other gems that for sure, reflect the musical genius of Almast Ji.

Saturday morning in Milford. The Sangat is slowly trickling in to attend a lecture-demonstration by the very talented Sikh musician, Baldeep Singh. As we wait, Baldeep Singh plays a recording of a Shabad, sung in Darbari Kanada. The depth and emotion in the singing is astounding. To my ears, it is as beautiful as listening to Khansahib Abdul Wahid Khan, or the more contemporary Ulhas Kashalkar, sing Darbari. I am enraptured. I ask Baldeep Singh about the singer and learn that it is none other than S. Thakar Singh, the reclusive, mysterious son of Gian Singh Almast !

Raja Mrigendra Singh, scion of the house of Patiala is visiting Boston. He has just delivered a lecture during Baisakhi celebrations at the Millis Gurdwara; we are in my home, chatting about various aspects of Gurmat Sangeet, particularly Sikh musicians and Kirtaniyas. Raja Mrigendra Singh fondly speaks of the legendary Gajjja Singh Ji and his research into Gurmat Sangeet. When I ask about Almast, I am in for a bit of a shock. He is dismissed as inconsequential, an eccentric and quirky musician. I am puzzled, because this doesn’t at all square with the portrait of Almast that is starting to emerge. A few years later, when I sit down with Gyani Dyal Singh Ji to talk about Almast, I finally understand.

August 2004. The Sikh Youth Symposium has come to Boston. Among the many visitors is a family from Atlanta, very involved with Kirtan. Even with all the distractions that come with organizing the event, I vividly remember their teenage daughter singing some beautiful shabads and their son being very adept on the tabla.

In August 2005, we visit Atlanta for the finals of the Symposium. It is banquet night. The family is on stage. S. Paramjit Singh Sarin plays the Sitar, his daughter Soni Kaur, plays the Dilruuba, Gurpreet Singh excels on the tabla and all of them including Archana Kaur sing. I wonder if my ears are deceiving me. The composition, a Guldasta or Ragmala sounds very familiar. It is indeed by Gian Singh Almast !

(Here is the same Guldasta sung by Bhai Gurmit Singh Shant :

http://www.gurmatsangeetproject.com/...rav%20gave.mp3
We congratulate S. Paramjit Singh and his family after the fine performance. We are told about the speed with which Soni Kaur has picked up the Dilruba, literally in a matter of months, which I treat at first as parental pride asserting itself ! The next day, the Sarins graciously host us. We sit together and share our passion about Gurmat Sangeet. We sing and share precious old compositions. We learn more about each other’s families and their interest in Gurmat Sangeet. During the conversation, I discover the secret of Soni Kaur’s almost magical progress on the Dilruba. Gian Singh Almast’s blood runs through her veins! The speed which she picked up the Dilruba is no surprise at all ! Her mother, Archana Kaur is the granddaughter of Gian Singh Almast!

It is 2006. Gyani Dyal Singh Ji is visiting with us in Boston. The Gurmat Sangeet Heritage Recordings project is in full swing. Bhai Kanwarpal Singh and his Jatha are also present to support and assist Gyani Ji. We spend many many hours, documenting Gurmat Sangeet compositions and gratefully drinking at the fountain of wealth of Gurmat Sangeet lore, that Gyani Ji is!

I finally strike gold in my quest for Gian Singh Almast. Gyani Ji is a contemporary of Gian Singh Almast’s son, S. Thakur Singh and has known Gian Singh well, as a young man. In his inimitable style, Gyani Ji holds forth talking freely and colorfully about the musical phenomenon that was Gian Singh Almast. Sometimes so colorfully that his words cannot be reproduced here!

The picture that emerges is of an unconventional, iconoclastic musical genius, with a penchant for showmanship and confidence in his musical prowess, almost bordering on arrogance. A larger than life personality with many appetites and the boldness to fully indulge in them. A composer, singer, instrumentalist and musician of incredible talent, the likes of whom has probably never been seen again in the Sikh Panth. A genius who lived life to the fullest and left the world, largely unsung.

His legacy, however, continues to live on. In his compositions, that are sung so beautifully by Gurmeet Singh Shant and Devinder Singh Shant. In the highly talented musicians among his descendants.

I cannot resist recounting a quick anecdote shared by Gyani Ji. The time: around 50 years ago. The young Dyal Singh is a Dilruba player at Sri Harmandir Sahib. He accompanies Bhai Samund Singh Ji and other legendary exponents of Gurmat Sangeet. It is evening. He sits in his room, lost in Riyaz, playing his Dilruba. His concentration is broken by a shadow that falls across his doorstep. He looks up. Sees the tall, imposing figure of an impossibly handsome man. Dressed rather dramatically in a long black, heavily embroidered Choga or cloak. Big Pagri on his head with a very elaborate fan or Turla. He stands in the doorway and listens to the young musician playing. The sound of a ‘Wah’ escapes his lips. It is none other than Gian Singh Almast! Later as he sits with Gyani Ji and they talk, he says: “Main kadey kisse @#&^%^&* nu vee Wah nahin kehnda !”

It is the last day of Gyani Dyal Singh Ji’s visit to Boston. We are in the middle of an impromptu, informal Kirtan Diwan at my home in Hopkinton. Gyani Ji has started by singing a mesmerizing Shabad in Shivranjani. Shivranjani is one of my least favorite Ragas, largely as a result of the abuse meted out to it in Hindi Film music, and popular music sung under the guise of Kirtan! But Gyaniji’s rendition in Shivranjani is truly beautiful.

For years, Gyani Ji has been threatening to sing a Thumri composed by S. Joginder Singh, the teacher of Gian Singh Almast. Today he is in his element. His eyes are twinkling as he finally gets ready to deliver.

The Thumri is breathtaking! It is a composition by S. Joginder Singh Ji in Veer Ras in praise of Guru Gobind Singh Sahib. “Danka Ki Dhamak Sunn” It is in Raga Hindol, set to Soolfak, if memory serves me correctly. The cadence of the composition is amazing. It can only be appreciated by listening to it. Every musician I have played it for, since, has been completely enraptured.

http://www.gurmatsangeetproject.com/...amak%20sun.mp3
There is more to come. Gyani Ji goes on to sing “Dhoom Pari Jagat Me Tumri”. Another Thumri in Raga Nayki Kanada, also in praise of Guru Gobind Singh Sahib. The words and the composition are by Gian Singh Almast.

Here at last..... is the ephemeral essence of the genius of Almast........

http://www.gurmatsangeetproject.com/...me%20tumri.mp3

Aman Singh

Giani Gian Singh and the Guru Granth and Guru Panth

ਦੋਹਰਾ॥ ਆਦਿ ਗੁਰੂ ਤੈ ਦਸਮ ਲੌ ਗ੍ਰੰਥ ਪੰਥ ਕੀ ਟੇਕ॥ ਗਹਿ ਪੂਰਨ ਥਿਯ ਗ੍ਰੰਥ ਯਹਿ ਦਯਾ ਸਰਬ ਹਰਿ ਏਕ ॥੨੭੭॥

doharÁ . Ádi gurç tÄ dasama lÖ graMTa paMTa kÅ qek gahi pçrana Tiya graMTa yahi dayÁ saraba hari eka .277 .

Take the support of Adi Guru Granth sahib, Dasam Granth sahib and the Panth. Hold on completely to these Granths that are the complete compassion of the One Hari.227.

---

Giani Gian Singh, Sri Guru Panth Prakash, Volume 5, ed. Singh Sahib Giani Kirpal Singh Ji.

Old sarbloh.com site back up

For those of you who enjoyed the sarbloh.com site back in the day here it is:

www.nihang.net

Film on Sikh sacrifices for upholding Dharama

http://www.facebook.com/l.php?u=http%3A%2F%2Fwww.facebook.com%2Fmartyrsdocufeature&h=0cb15

A new site on Anglo-Sikh wars

www.Fauj-I-Khas.com

A reflection on 'Remembrance: The Sikh Story'

http://www.bbc.co.uk/programmes/b00vys5t

'Remembrance: The Sikh Story' narrated the sacrifices of the Sikh Khalsa Panth for the Sovereignty of Great Britain, and Europe by around 83, 000 lives of Singhs, and another 120, 000 Singhs who were wounded. It was a great program, and I really enjoyed it. It touched on some areas that I feel we need to reflect upon as a Qaum. On the whole the program was brilliantly made.'John' Deol and 'Tommy' Nagra have done a wonderful job.

Our nation is and was made of Saint-Soldiers and has always given lives for the truth and justice. I reluctantly ask the question, is that what the modern wars are about? Is Sadam Hussein's regime now on the shores of Britain? World war 1 and 2 were against a facist regime, that was attacking and colonialising other nations. This is clearly not the case now. As Sikhs is it Dharamic for us to get involved in wars that are clearly about oil? We believe in Dharam Yudh, not invasion. Sikhs have rarely attacked first, but defended themselves. Is taking out political regimes a part of our identity?

My second reflection is that the British colonial regime banned the Sri Sahib in Punjab, the colour blue, all symbols of the Khalsa, and disarmed the population. While at the same time, reinforcing the warrior ideal in the British regiments. Let us not lie to ourselves, the Sikh Panth suffered tremendously under colonialism. Jalliawala Bagh is just one example of this, which was only touched upon in the documentry. The Sikh identity was attacked via the meddling in Panthic affairs by the British administration of Punjab. Many Sikhs died in the Anglo-Sikhs wars, and many great Sikhs died in British prisons in Rangoon and other places. Our Royal King was brought to the UK and converted to Christianity and our Queen Mother Maharani Jindan Kaur died in exile from her homeland.

Many people are also unware that after the first Anglo-Sikh war 1845-46, the Nihang Singh priests at the Akal Takht sahib were killed in cold blood, by the British armies. This is supported by news articles. See the paragraph 'The Akalis Tower, Umritzir'.

http://www.archive.ukpha.org/archives/akalis-tower-at-umritzir-from-a-drawing-by-w-carpenter

The events of 1984 has scared the Panth with a deep rooted pain of the terrible attrocities the Government of India commited against the Sikh nation. Each year we remember the attack with tears in our eyes. How do we feel living in country that did exactly the same when it invaded the Punjab? Personally, it makes me feel a little uncomfortable.

If the British respected our Qaum, why was our country split into two? Even after we gave our lives. Look at the millions who died in the partition, while the colonialists sat back and watched - 1 million people died. Sikhs lost their most sacred shrines.

Still I am proud of being a British citizen and appreciate the positive aspects of this society, like multi-culturalism, etc. However we cannot lie, this country has the blood of literally millions of people on its hands. We as Sikhs need to exert our influence and should encourage the government of Great Britain to develop a real sense of fairness, justice and Dharam, rather than carry out illegal wars, based on 'WMD.' Did the Sikhs give a press release when the war started in Iraq? While Guru Nanak's protest to Babbar are still in Adi Guru Granth Sahib ji.

My other reflections are actually about the program, firstly it wasn't long enough, or should have been over two parts. With more time they could have narrated a battle sequence just to show how brave the Singhs were, who gave their lives for this country, in order to defeat the fascists. The other point was there was only one expert on the Anglo-Sikh wars, Amarpal Singh Sidhu.

These are just a few of my reflections, no offence meant to anybody.

Kamalroop Singh

Account of the Akali Nihangs by Macauliffe 1881

The Akalis are the most enthusiastic members of the Sikh faith. Their origin dates from the time of the tenth and last Guru. Their name is derived from one of the epithets of God, Akal,* the eternal or immortal, a word which they are supposed to frequently ejaculate. They wear a blue dress and lofty turbans which they call dumbala or high-tailed. These turbans are ornamented with steel discs or quoits, daggers, and knives. The Akalis appear to employ their turbans as our ladies employed chatelaines a few years ago, namely, to carry handy domestic article of frequent use. In au Urdu paper prepared far me by one of the chief priests of the temple, the Akalis are styled the most ignorant, cruel, and rapacious of the followers of Gobind Singh. But they would, in case of necessity, prove brave and determined soldiers, and devote themselves to death as of yore in the cause of the holy Khalsa. Most of them professedly adopt celibacy in which, however, chastity is not always au appreciable factor. And the few who are married are not capable either by their influence or the purity of their lives of retrieving the reputation of their much defamed monkish brethren.

Authorities differ as to the origin of the blue dress. One writer states that the blue dress is an imitation of the blue dress of Krishna, the well-beloved shepherd-god of the forest of Brindraban. Another states that the blue dress was adopted in imitation of Guru Gobind, who by means of it escaped from his enemies. In the time of the Emperor Auraugzeb, Gobind was closely and dangerously pursued by the imperial troops iuto the fortress of Chamkaur. He succeeded by the aid of a dark night and the gratitude of two Mughal soldiers in escaping to Bahlolpur. Here, too, his safety was not assured, and, donning the blue dress of a Mecca pilgrim and personating the Musalman priest of Uch, he made his way to the wastes of Bhatinda. It may, however, be here mentioned, that long before Muhammad appeared in the world, blue was a sacred color among the Egyptians and Hebrews. The blue costume which travellers remark worn by natives of Egypt at the present day, is as old as the Pharaohs.*

In most of the exoteric observances of the Sikhs a deep purpose may be traced. When fighting was part of a Sikh's duty, it was deemed necessary that his head should be properly protected with steel rings; and long hair with knives concealed in it protected that part of the person from sword-cuts. The kachh, or drawers, fastened by a waisthand, was more convenient and suitable for warriors than the insecurely tied sofa of general Indian wear. A Sikh's physical strength was kept intact by the use of meat dreaded by the Hindus ; and, the better to assist in this object, he was enjoined to abstain from the pernicious drugs, tobacco and bhang, then so freely consumed by both Hindus and Musalmaus.

Among the religious orders of the Sikhs in the Panjab, the Akalis may be said to preserve whatever remain of the customs of the last Guru. When they marry, they do not, like the other Sikhs, call a Brahmin to perform the nuptial ceremony. A Sikh priest is summoned. He reads the Anand, or epithalaminm, composed by Guru Arjan Das. A sis then thrown over the bride and bridegroom, the well-known chadar dalana marriage ceremony of the Panjab. The holy Granth is used as awitness on the occasion, instead of fire, which is an invariable concomitant of Hindu marriage ceremonies. Karaparshad is then offered to the Granth, and distributed among the guests, after which the ceremony is complete.

The Sikh priest who has favoured me with this information, considers this marriage knot superior to the elaborate one of the Hindus. It is cheap, simple, and equally efficacious! Not only in the matter of marriage, but of other ceremonies also, is the Akali still more intelligent than his co-religionists. He does not, by piercing his ears and wearing ear-rings, render himself effeminate, or give a handle of attack to his enemies if ever engaged in close combat. When any of his friends dies, he does not call a Brahmin to read the mortuary service, or heap upon him a large recompense for his idle ministrations. The Akali, instead of this, bestows alms on poor Sikhs, and he collects his friends to read the Granth with him, and pray that the soul of his deceased relation may be speedily relieved from transmigrations.

The strictest of the Akalis have acquired the epithet Bibekis the discriminating, or the conscientious. These have engrafted all the prejudices of Hinduism on the bigotry of the Akalis. With all the irrational asceticism of the Vaishnu sect of Hindus, the Bibekis will not eat flesh or even partake of any article of food or drink which they have not prepared with their own hands. To such au extent is this carried, that they will not even taste food cooked by their wives, eat fruit purchased in the market, or drink water which they have not themselves drawn from the well. They consider it a sin to eat bare-headed, and will pay a fine (tankhah) to the temple if they do so even inadvertently. They do not remove hair from any part of their persons. For the Hindu janeo, or Brahminical thread, they wear a sword. They are very strict in wearing the five articles of Sikh dress, whose names begin with a K. They will not drink water without immersing in it a knife or dagger. And, with an irrational mixture of spiritual pride and spiritual humility, they think themselves equal to the tenth spiritual king, Gobind, while at the same time they acknowledge themselves his disciples.

The asceticism of this class not only extends to these bigoted observances, but also to their ordinary conversation. They add the word " Singh," which is peculiar to the Sikh religion, as an affix to all substantives and sometimes to other parts of speech. For instance, instead of saying, '' Put the inkstand on the table," they say " Put the inkstand Singh on the table Singh." Another verbal peculiarity of theirs may be mentioned. It is well known that in Hindustani, as in French and Italian, all substantives are either masculine or feminine. The Bibekis, with pharisaical ostentation, never use a word of the feminine gender. If an object can only be expressed by one word which is feminine, they alter its distinctive termination. Thus the word kanghi, a comb, in such frequent use among the Sikhs who religiously wear long hair, is grammatically feminine ; but when a Bibeki has occasion to use the word, he says Kangha, changing the final feminine into a masculine vowel, thus altering the gender of the word, and religiously and prudently preserving himself "from the contact or presence of even feminine substantives.

Some of the Akalis call themselves Nihangs. It is said, that one day there appeared before the tenth Guru an Akali in a lofty turban to which were attached miniatures of all the weapons of warfare employed at that period. The Guru was pleased and said, that the man looked like a nihang or crocodile. The Guru saw that the turban gave a ferocious appearance to the religious warrior, and forthwith recommended it to his followers. The high-peaked turbans of the Nihanga are said by others to have had their origin in one of the marauding expeditions of Zama'n Shah against the Sikhs. The latter on one occasion were few in number and unable to cope in fair fight with their adversaries. They therefore put on the high-peaked turbans of the Turki soldiers, went armed among them at night, and completely destroyed them. The high turban was therefore permanently adopted as an auspicious article of costume. A third more probable account, however, is that on which the Sikh priests themselves appear to be generally agreed, namely, that the custom of wearing high-peaked turbans was first adopted in the time of Ranjit Singh. Phola Singh, a man of prodigious stature, used to sit daily in the balcony of the Akal Bunga. His gigantic size appeared enhanced by his high-peaked turban ; and his advice and example induced other Akalis to adopt a similar head-gear. It soon became one of the distinctive articles of dress of their order.

The more insolent of the Akalis and those addicted to the use of intoxicating drugs, appear to have appropriated to themselves the designation Nihang. The word is in such bad odour in other parts of the Panjab, that a man is styled a Nihang who has taken to vicious ways and bad livelihood. All European travellers in the Panjab during the Sikh regime have complained of the gross insolence, and in some cases of the foul language or maledictions employed by these Nihanga, or Akalis, to Christians. No such thing has, I believe, ever been witnessed in recent times. Several of the Akalis still have, no doubt, a defiant air, but all of them with whom I have conversed I found uniformly courteous and civil.

Punjab Kings and Chiefs.