Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Arrangement of Ragas |
| Arrangement of Ragas A few points and characteristics of the major ragas of the Scripture are given as follows: (1) Sri Raga Sri raga is one of the parent ragas from which other ragashave been derived. The word Sri means supreme or exalted and as such this raga powerful. Bhai Gurdas calls it a supreme raga, supreme like the philosopher’s stone among other stones, because it has the power of converting baser metals into gold. The gurus gave it the first place. This raga is sung in the evening-a period of dusk and darkness. Man’s mind and his inner state as a mortal is one of darkness-caused by maya-and ignorance of his spiritual potentialities. So from darkness to light is the law of nature. In Sri raga, Guru Nanak has dealt with the existing ignorance and superstition and the neglect of spiritual values on account of man’s ego, greed and love of wordly pleasures: “The foolish and greedy soul is attached to and lured by greed, Being materialistic and evil-minded, the individual is not soaked in God’s Name and continues coming and going” [4]. Some writers state that this raga is associated either with extreme heat or extreme cold. In the hot season, we need water; in the cold season, we need warmth and fire. As such, the Guru has referred to man’s thirst for water and compared the soul to a fish’ and likened man’s passions to a dreadful fire” [5]. Basically the Gurus have pinpointed in this raga the longing of the individual soul for the Universal Soul. (2) Manjh This is a regional raga of Manjha- the central portion of the Punjab-and is sung in the afternoon. Here Guru Nanak has given an account of social, cultural and religion conflict between the Hindus and the Muslims in his age. Guru Arjan has composed the calendar- Barah Maha-in this raga. He has dwelt on the characteristics of different months, and the importance of water and milk in the agricultural economy of the punjab[6]. Metaphorically these two things respectively signify that man without devotion and kindness is no good at all. (3) Gauri Gauri has the largest number of composition which cover about 14 per cent of the total number of pages of the Scripture. It contains two important compositions of Guru Arjan, Sukhmani and Bavan-akhri (acrostic). As it is a serious raga, the Gurus have given herein the exposition of profound concepts like fear, consciousness, soul and salvation. There are a large number of variants of this raga which have been listed later in this chapter. (4) Asa Asa raga literally means the melody of hope. As the Gurus emphasised the singing of God’s praises before dawn, this raga is conducive to kirtan before day-break. It is a soothing and pleasing raga, appropriate for the singing of the Asa-di-var, the morning-prayer of the Sikhs. Guru Ramdas’s Chhants ser the tone of this blissful composition: “My eyes are damp with the nectar of the Lord; My soul is filled with His love” [7]. (5) Sorath It is a ragini of Megh raga and is sung at night. The Gurus have referred to the darkness of superstition and maya which envelopes the individual. Guru Nanak says: “This mammon is the enticer of the world, o brother, All the deeds done in its wake are sinful”[8]. (6) Dhansri This raga is very appropriate for worship and supplication. Guru Nanak many Bhagats have composed Aarti in this raga. The Guru has described the adoration of God by the objects of nature: “What other worship can be compared to Nature’s own Festival of Lights, While the Divine Music resounds within!”[9]. Ravidas, Sain, Pippa and Dhana have composed Aarti-hymns in this raga. (7) Todi Generally used for singing praises of noble men and kings, this raga was quite popular at Akbar’s Court. Tansen sang Mian-ki-todi praise of Emperor Akbar. The Gurus, however, used this raga to sing the praises of God. Guru Arjan sang as follows: “I have just one God, my Lord; I know no other. The Lord’s praise is my way of life, occupation and caste; Hearing the kirtan of the Lord, I feel great joy”[10]. (8) Suhi This is morning raga and a happy one. The Gurus have composed hymns concerning married life in this raga. These are Ghorian, Lavan, Suchaji, Kuchaji and Gunwanti. There are several references to the life of the householder and particularly to the condition of the housewife. Her longing for her spouse becomes very keen and irresistible, as the night deepens: “I have neither beauty now bewitching eyes nor decent manners, now sweet speech. The bride bedecks herself with divine knowledge. If her spouse loves her, she becomes a happy wife”[11]. (9) Bilaval Literally, Bilaval means ‘delight’ and therefore this raga is often sung in the spring season. Guru Arjan sings of the bliss which spiritual fulfilment brings: “I am blessed with great destiny for my God is my Bridegroom. In His court plays the spontaneous celestial strain. Night and day, I abide in bliss, listening happily to musical instruments; Disease, sorrow and pain harass not here, nor is there birth or death”[12]. (10) Ramkali Ramkali is popular with Yogis, and therefore Guru Nanak has composed Sidh-gosht in this raga. The third Guru has also referred to the paraphernalia of Yogis and particularly the harp (kingri) used by them: “Strike such strains on your harp, O Yogi, that it may produce the celestial strain and you may remain absorbed in God’s love.... Fix the fear and love of the Lord as the two gourds of your harp and make your body its frame. If you become virtuous, then shall the string play. In this way your desire shall de part”[13]. (11) Maru This raga is associated with warriors and is used to inspire people to acts of heroism. Guru Amardas calls that person a warrior who fights against his mind and its evil inclinations: “Valiant and the most distinguished are the persons who grapple with their minds. They who recognise their won self ever remain united with their God”[14] Kabir gives a similar connotations of the spiritual hero--Soora: “He alone is known to be a warrior who fights for the sake of his religion, He dies, cut piece by piece, but never deserts the battle field”[15]. (12) Basant As its very name indicates, Basant raga belongs to the spring season--the period of fruition and joy, Guru Nanak has sung of man’s spiritual development in terms of a tree’s growth: “The virtuous deeds are the tree, God’s Name its branches, faith its flowers and Divine knowledge its fruits; Attainment of god are its leaves and effacing the mind’s ego its dense shade”[16]. Guru Arjan sings herein of the eternal spring obtained by devotion to God. The inner spring (bliss) comes through singing God’s praise in Basant raga: In his home alone is the eternal spring”[17]. “Meeting with my Guru-God, I ever abide in bloom. The Elysian tree has sprung for me. It bears flowers and gem-like fruits of various sorts”[18]. (13) Malar Malar is related to the rainy season. The Indian peasant eagerly awaits the onset of the monsoon-showers with expectancy and calculates the production of his crops on the amount of rainfall. Malar is a peaceful and cooling raga. The Gurus have been used the symbolism of the rainy season for spiritual purposes. The Guru is the cloud, his hymns (shabads) are the rain and the man’s mind is the land. By cultivating the mind, the crop of the Holy Word (Nam) is produced. Guru Amardas says in this connection: The Lord orders the cloud-god and the rain falls in torrents; Corn and wealth are produced in great abundance and their value cannot be told. O Nanak, praise the Name of God who supplies and gives sustenance to all beings”[19]. (14) Prabhati This raga literally means the ‘dawn’. So it is sung early in the morning. The Gurus have regarded all along the early morning time as the most appropriate for singing the praise of God because the environment of stillness and peace is conducive to the stabilisation of the mind. Symbolically, the light of the dawn represents the manifestation of divine knowledge and the wisdom to be gained by following the Guru’s path. Guru Nanak says: “Meditate on the Lord’s Name in the early morning, abandoning all wordly attachments; Nanak prays that whosoever become the slave of the Lord’s slave wins, while the rest lose the game”[20]. (15) Jaijawani This is the last raga of the Scripture and contains only four hymns of Guru Tegh Bahadur. It is generally associated with the winter season and hence the evening of life. The Guru tells us about the need of remembering God’s Name, because life is fleeting and unstable: “The body is like the hail. It shall melt away in no time. Shed all your doubts and utter the Lord’s name”[21]. |