W H A T I S K ¯I R T A N
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I have written the word ‘art’ in inverted commas for the very simple reason that gurbani kı¯rtan is not just an ‘art’, but is actually more than mere art. In his Foreword to the two volumes by Bhai Avtar Singh and Bhai Gurcharan Singh, Gurbani Sangeet: Pracheen Reet Ratnavali, first published by Punjabi University, Patiala in 1979, Dr Taran Singh gives a detailed account of all that led to these publications. In Section 3 (xii), he writes that the University bought its own tape-recorder in 1968 and began intensive documentation of gurbani kı¯rtan. Some of the most important exponents, such as Bhai Samund Singh, Bhai Dharam Singh Zakhmi, Bhai Avtar Singh, Bhai Gurcharan Singh, Bhai Bakhshish Singh, Baba Bir Singh of the Namdhari Darbar, Bhai Pratap Singh of Guru¯ dwara Sis Ganj, New Delhi, Bhai Sudh Singh, Bhai Pradhan Singh, Shriman Maharaj Jagjit Singh and Bhai Harnam Singh Jogi were invited to perform in specially organized events. In Section 4 (xii –xiii), Taran Singh states that to consider all the recorded material and to sift out any compositions that were sung during the times of the guru¯ s, a special committee comprising some of the finest Sikh scholars and musicians was set up. The members of this august committee were: Bhai Saheb Ardaman Singh of Bagrian, Professor Sohan Singh, Head, Music Department, Punjabi University, Patiala, Dr Ajit Singh Paintal, Lecturer, Department of Music, Delhi University, Bhai Jodh Singh, and finally Dr Taran Singh. This committee, after extensive deliberations, decided that the treasure that Bhai Avtar Singh and Bhai Gurcharan Singh possess should be recorded and published in book form. Dr Taran Singh concludes Section 6 (xiv) of his foreword with the following words (my translation): ‘The aforementioned committee duly recognizes these as vintage compositions and bears witness that these compositions were indeed sung in the court of the Sikh guru¯ s.’ Dr Taran Singh, in Section 7 of his foreword writes: ‘The University initiated this whole project with the following objectives: Firstly, this endeavour attempts to conserve one of the most important cultural assets of Punjab. This age-old system of music is the gift of the guru¯ s themselves. The history of the musical traditions of the guru¯ s’ court is immortalized in these reetan (vintage compositions). Secondly, the University attempts to revive the tradition of ‘Gurmat Kı¯rtan’ for the elements present during guru¯ times are no longer in vogue today. In kı¯rtan today, film music is being copied rampantly or in other cases gurbani is being sung set to ‘light music’. Surely, the music that touches one’s soul must either be based on classical ra¯gas or simply be these vintage reetan. Our prayers are that gurmat kı¯rtan should connect with this ancient heritage, which evolved under the patronage of the Sikh guru¯ s and had their acceptance. This way we can connect with the bani of the guru¯ s. . .’ See ibid., (vol. 2, 953 – 83), for vintage pauri tunes of vaars in ra¯gas sri, majh, gauri, two different tunes in asa, gujri, bihagra, vadhans, sorath, jaitsri, suhi, bilaval, ramkali and maru, two tunes in old and new forms of basant, sarang, malhar and kanra. Ibid., 577 –8. SGGS (Sri Guru¯ Granth Saheb), 1007 – 8. This composition of Guru¯ Arjan Dev, the fifth guru¯ , is notated by Bhai Avtar Singh and Bhai Gurcharan Singh (1979, vol. 2) in ra¯ga maru-bihag, a ‘tchayalag version (blend of two ra¯gas) of ra¯ga maru in vilambit (slow) 14-beat cycle, ta¯ la chanchal. The legendary jori-pakhawaj maestro Bhai Arjan Singh Tarangar used to challenge anyone to measure the unique sway of this ta¯ la in 14 beats. As demonstrated by him, it was fractions short of 14! The highpoint in the rendition of this composition sung at the time of death is the
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