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(soft music)

- Sikh Musical Heritage is a very colourful

and rich tradition composed of creativity,

but with a very practical purpose.

Sikh music, also commonly known as Gurmat Sangeet or Kirtan,

is one of the foundations for the Sikh way of life.

(percussive music)

(singing Gurbani)

(acoustic music)

I've always wondered about the history and heritage

of the instrumentation within Sikh music

and as we look around today,

I cannot seem to find enough examples

of our traditional instruments.

And it makes me wonder what changed and why.

(singing Gurbani)

Hi, I'm Azadvir Singh.

I've always had a fascination for the history of Sikh music

and possibly what may have been lost along the way.

So I couldn't have been more excited

when I was approached to help tell this amazing story.

We're going to be looking at the early origins,

the history, important events, political influences,

and how advancing modernity

have all affected Sikh Musical Heritage.

And in the process, I'll be learning some amazing facts

and speaking to some of the most knowledgeable people

on this subject.

As a Sikh, I live my life through the guidance of Gurbani,

which is the message of divinity transcribed

into poetical metres by the Sikh Gurus.

That Gurbani was then compiled into its final form,

Guru Granth Sahib.

What I hope to discover is what role instruments

and musicology play in conveying the message of Gurbani.

(distant chattering) (birds chirping)

- To understand Kirtan,

one must understand the concept of Shabad Guru

from the viewpoint of Guru Granth Sahib ji.

Only by understanding that concept will we understand the

development, procedure, protocol and purpose of Kirtan.

To understand anything related to Sikhi, one must understand

its connection to Shabad from the Guru.

- [Azadvir] I wanted to ask an expert in this field

to help me understand the meaning

of some of this terminology.

- Shabad Guru is Gurbani and Gurbani is Shabad Guru,

a wisdom given to us by the Gurus,

so that we can master our life.

What came from the creator,

Dhur ki bani, came from the creator.

So the creation, that means us, humans,

can have better access to this opportunity,

which we call life.

(Kirtanis playing)

In today's term, Kirtan is singing Gurbani,

with/without instruments,

in the Raag, prescribed on the Shabad or not.

Just singing Gurbani is known as Kirtan.

But if we look into the Guru's way,

what is Guru asking us to do

when we are introducing ourselves to Kirtan.

Then following the prescription,

following exactly what it is written

in Sri Guru Granth Sahib.

Title Raag, Ghar, Partaal, are all the terminology given

on the top of the Shabad

and not just singing, not just performance,

is a composition from the life coming into it,

expressing our experience and Guru's Shabad.

Indian classical music training

is important only in the context of Raag.

If we are talking about Gurmat Sangeet,

it's purpose is not the same as Indian classical music.

In Indian classical music, Raag is the main feature,

or traditional genres in Indian classical music

may be in the forefront.

Whereas, in Kirtan the Shabad is the core of the message

the Shabad within Guru Granth Sahib is always in the center.

When there is a distinct difference between the two,

it is important that for training in Kirtan and the Raags

used in Kirtan,

the training should be done in the context of the Shabad

because the purpose of each tradition is different.

To do Kirtan, it is important to educate ourselves

about the Raags.

In order to do that, it is important to understand,

the Sikh stringed instruments.

(Saranda playing)

Raag is to be felt.

Raag is what creates the sehaj, the balance of life.

Raag is to express what's happening in our thinking

and emotionally, what's happening.

Raag is an emotional attribute

or emotional grammar to punctuate Guru's Shabad.

- The concept of Sikh music is fueled solely on expression.

It allows us to connect with our emotions.

And in order for us to relate as humans,

we need to be in tune with our emotions.

This is where the reality comes in

so that we can say what we feel

and sing what we feel as well.

It's a vehicle to carry

that expression out of the physical body.

Sikh music is devotional music,

it's used for worship, for meditation, for healing.

And when you can relate yourself to

that music and you become a part

of that vehicle of expression,

you are in turn healing yourself.

Music here was used for

that very purpose in the devotional aspect.

It was given to us with the concept

of an emotion, manifesting to a feeling, which

then becomes a mood, which is the Shruti, to the Surr

to the Raag.

And this concept of expression,

which we can connect to as humans,

was given to us by the great Gurus.

This concept to have a way to translate everything it is

that we feel and not allow it to manifest

but to express it and release it

so that we can in turn be free of disease

and be more full of joy.

(Rabab playing)

- The Sikh Gurus introduced the music in our scriptures

for the first time.

In Guru Granth Sahib there are 60 Raags,

and in Dasam Granth there are 20 Raags.

The Sikh Gurus not only introduced the music and the tunes,

but also the musical instruments,

which were very very much required

for the desired results on the listeners.

Most of the instruments related

with Guru Nanak.

Before going for his Udasis, on his penegrations,

Guru Nanak requested Bhai Mardana to accompany him

and Bhai Mardana asked Guru Nanak

that "I need a Rabab to play the divine music."

In those days, Rabab was not easily available

in any part of India.

Guru Nanak asked him to go to a village named Bhairowana

and from there he will meet Bhai Firanda or Bhai Feru,

who will be giving him the Rabab, the required Rabab,

specially prepared for the music of Guru Nanak.

(Rabab playing)

According to Sadiq Ali Khan, the Rabab of Guru Nanak,

it is also called Firandia Rababa

and it had five strings

as against six strings of Dhrupad Rabab .

Sadiq Ali has clearly stated

that it was an invention of Guru Nanak

and it is used later on by other Gurus also.

(Rabab playing)

- This has given me a valuable insight into the origins

of Sikh instruments.

As we have heard, it was the Rabab

that was the first instrument to accompany Kirtan.

So now I really want to dig a little deeper

to try to understand how important

or fundamental the role of Kirtan is in Sikhi

(singing Gurbani)

- In my opinion,

the role of Kirtan in Sikh is incredibly important.

Kirtan was introduced by Guru Nanak Dev Ji,

where he traveled far and wide

with a musician singing sacred poetry

to impact people's lives,

to help them to connect with themselves

and the underlying message here was to bring the concept

of balance between the mind

and the soul to help people achieve inner peace.

Bringing it inside and then sharing it within the community.

- I still remember to this day.

They used to sing four Taal (at the Gurdwara)

at the time I didn't know the difference between the Taals.

(reciting the Kirtan he heard at the Gurdwara)

Kirtan could only be listened to back then.

You couldn't go to school to learn the Shabads.

When performing on the Tabla,

the Kirtani would leave a small gap between strikes

I loved the way this was done. The style spoke to me.

I appreciated the rhythm and timing of it all.

I would go every evening to listen to the Kirtan.

Hearing the Kirtan spoke to my soul

and evoked my desire to learn.

So after school I would go to

that Gurdwara and learn Kirtan.

- We now know Guru Nanak had

an instrument customised just for them.

So it got me wondering whether any

of the other gurus also got directly involved

with commissioning custom made instruments

for the purpose of Kirtan.

If they did, then how closely involved were the Gurus,

in the design, making or modifying of these instruments.

(singing Gurbani)

- There are many people who are working on this project

of reviving the Sikh musicology

for the benefit of humanity.

It is not confined to the Sikhs (in Punjab).

(singing Shabad)

Scripture of the Sikhs is a ecumenical scripture.

It is for the world, it is a world scripture.

The vision of the Gurus was also not limited to Punjab

or any province of India.

(singing Shabad)

- I feel that when you play Kirtan

without the musicology, the technique of the Raags,

the prescribed Raags and the original instruments,

you are missing one important part

of the teachings that are inside

of the Shabad or inside Sri Guru Granth Sahib

because the complete goal,

the complete teaching

is when you put together the instruction

of the musicology and the voice of the Shabad.

(singing Gurbani)

- Guru Amar Das blessed his grandson Arjan Dev,

"Dohita Bani Ka Bohita."

A person who is a repository of the divine word

and he is supposed to have compiled the

Aad Granth in 60 Raags.

We can well imagine the mind of the man, the mind

of the prophet to introduce

the required instruments also like Guru Nanak.

(acoustic music)

Guru Arjan Dev Ji invented this Saranda with three strings,

the other popular Saranda is with four strings.

In historical perspective,

you can see that it is still used

by the musicians while performing Kirtan.

(singing Gurbani)

(distant chattering)

- When Aad Granth was compiled in 1604 AD,

and was installed at Harmander Sahib,

he (Guru Arjun Dev ji) performed kirtan on Saranda along

with Sata and Balwand at Harmander Sahib.

- When we look into tradition of Gurbani singing,

the very first encounter with Aad Granth, Sri Guru

Granth Sahib, we look into the indexes it's 31 Raags,

but as we go further into the Shabad Guru,

there are 60 titles, 60 Raags all together.

Out of the 60, 32 are the creation of the Sikh Gurus.

31 because Guru Arjan Sahib compiled everything together all

of the Shabads from Guru Nanak Sahib,

to bhagats were put together

and he introduced 31 Raags on top which are not existing

in the Indian classical system.

Out of these 60, 28 are by taken by Gurus

from the Indian classical system 28.

But 32 Raags, the last Raag

in Sri Guru Granth Sahib,

one Raag Jaijaivanti is created by Guru Tegh Bahadur Sahib.

And that's incredible contribution to the building

of a psyche for people to feel the wisdom given

to us by the Gurus.

(Saranda playing)

- The primordial sound,

Naad,

innate strength of the soul

which is required to be heard by the people.

In Sanskrit we call it Anthaswar, the inner voice.

This inner voice you can achieve

or hear only when you achieve inner silence.

You are detached from the outer world

and attached to the inner sound.

It is called Anthaswar, Naad,

Anhad Naad.

That is why it is called unstruck music.

- When we cry or when we laugh,

these two expressions are not dependent on the language

but emotions has been felt and expressed

and that is what Naad is.

Expression of emotions which has been felt

or can be made felt to other person,

audible sound or audible expression.

Anhad is before that what is before emotions.

And that is what unstruck sound or known as a beyond sound,

what creates emotion is Anhad.

And we must reach there too, according to Guru Amar Das.

Listening to that space,

being in that space is crucial

for a person who's indulged in kirtan.

(Saranda playing)

- Sikh music for me is the most effective system

that I ever met to deal with everyday life,

to deal with any kind of problems and my own emotions.

I met Sikh music first in 2006

and I went into a Gurdwara

and I heard this beautiful music

and these nice instruments.

(singing Gurbani)

And I was very much moved in my heart.

I was in tears actually.

So then I started to study it

and got to know it

and since I'm playing myself I find

It gives me inner peace and happiness.

(singing Gurbani)

- It's fascinating for me to hear just how deep

an involvement the Gurus played

in developing the right instruments

to accompany Gurbani.

We are seeing a focus

on specifically modifying the instruments

of the time in order to truly get across the emotion

of the Raag for the Shabad.

So far, we have heard about the development

of stringed instruments for Sikh music.

However, something that still intrigues me,

is when did we see the introduction of percussion in Kirtan.

(Mridangam playing)

- Bhai Gurdas has given clear cut references in his Vaars

that the Kirtan was performed on Mridangam.

Mridangam is used to give beat,

to give rhythm to the singer.

It was used up to the time of Guru Ram Das

and later on it was modified into Jori by Sata and Balwand

and it was later on turned into the Tabla.

- I was introduced to the Jori by my first teacher,

Ustaad Ajit Singh Mutlashi.

When I saw him play this, I was deeply moved.

The resonance this instrument created

actually goes beyond words.

It's difficult to explain the kind of feeling that you get.

All I could say was it the most beautiful moment I've ever

felt as a child to listen to such an instrument.

(Jori playing)

- Regarding the Jori,

Bapu Ji (Bhai Jawala Singh) first began to learn

approximately 65 or 66 years ago.

The Jori was the standard in Kirtan at the time.

Bapu Ji (Bhai Jawala Singh) maintained tradition

and played the Jori

including the tradition of dough on the dhamma (base side).

Bapu Ji (Bhai Jawala Singh) then began

performing with Avtar Singh ji and Gurcharan Singh ji.

They were also of the same school of thought,

in that they wanted to maintain the traditions of the Guru,

This is why the Jori continued to be a part of our lineage.

The Jori, it has a deeper sound

than a Tabla very much like the Pakhawaj.

So the whole point of having a deeper sound is

that the lower the resonance,

the more chance there is

for the atoms within us to also resonate at

that same frequency.

For this a science known to man

known as Ayurvedic Physics

has to be studied carefully.

In Ayurvedic physics it states that,

each atom within us if it resonates at one frequency,

for those few seconds, we have become one with ourselves.

The difference for me is more a matter of taste

For example, performing on the Jori

with the dough on the dhamma,

the gumbak (way of playing) of the dhamma

The sound of it feels so much purer to my heart.

Especially in comparison to the duggi which at times

can produce sounds which are out of pitch.

But the openness, the flow and grace as well

as the sweetness of the sound, that the dhamma produces

is why it resonated with me more.

That is why my heart leans towards performing on the Jori.

So this instrument

is an intermediate instrument to the Pakhawaj and Tabla.

So it has the grandness of a Pakhawaj,

but the speed of a Tabla.

(Jori playing)

The resonance of the bass pierced me to my core.

We're all familiar with how bass heavy music can move us.

I'm humbled by the genius of the Gurus

and their understanding of how to strike us at the heart.

They realised the power of adding percussion to Kirtan

with its resonance and its potential ability

to connect us to the frequency of the Shabad.

Although I could hear it and feel it,

I wanted to see if there was a more technical explanation

of this and how it affects our emotions.

- When we look into the Shabad,

there is everything clear.

On the top it says.

(Raag Sri Mahalla Pehla)

Means, this particular Shabad is to be sung in Sri Raag.

Or if title says,

(Raag Dhanasari Mahalla Panjva Ghar Panjva Partaal)

That means there is emotional attribute on the whole mood.

And that is the fifth Shruti.

Now this is a very technical part of it

but we need to understand

that how we can express exactly

the same way Guru Sahib is expressing.

As a seeker we are the shadow of Guru's thinking.

It is Guru's way,

Kirtan has to be performed the way Guru Sahib

have prescribed it to us.

Now, looking into the title then that Satguru Ji says,

'Partaal'

Means there's more than one rhythm

in this composition or says,

'Vaar'

That this is different type of genre

or this is a Salok, a different type of poetic genre.

Then into the Shabad,

we will see the numbers and see number one,

number two, number three, and we'll see number one again.

And it says 'Rahao'.

That means this is the central idea of the Shabad.

Shabad cannot be performed from any other line,

this is the core, this is the chorus of this composition,

the wisdom from the Guru.

If this is a Shabad Guru,

then we must follow it the way it is written there.

Then numerology is there number one, number two,

number three, so that we don't mix the reference,

this is reference one to the chorus,

reference two to the chorus.

And in very much detail,

all of this terminology is there explained

to us how to have the light from Shabad Guru.

But what is the purpose of Raag?

Why this Raag is on the title of the Shabad?

That is a very important part to the Shabad

and that leads us to musicology.

That emotional grammar of the poetry

is what musicology is.

Like "Raag Majh" for example,

the longing it evokes

because emotionally how you have been told

to punctuate, to create this particular mood,

to create this particular Raag,

leaves influence on the translation

of the Shabad, how we feel it.

So the feeling part, the aesthetics

emotional and psychological attribute

of the Raag is what musicology is.

And it's not only about the performance,

otherwise, we can't differentiate between the western

or entertainment world

and the world given to us

by the Gurus called inner attainment.

- For me the western music I have studied western music,

I am a professional singer.

For me this was more the entertaining part.

It was expression, emotions also there

but it was for the outside,

it was for entertaining.

And the Sikh music is just inner attainment.

(Waheguru Ji Ka Khalsa, Waheguru Ji Ki Fateh.)

On May 30th, 1606,

after the martydom of the fifth Guru (Guru Arjan Devi ji)

"As water comes to blend with water,

his light blends into the light." Guru Granth Sahib, Ang 278

The sixth Guru (Guru Hargobind ji)

sat at the throne as the next Guru

and laid the foundation of the Akaal Bunga in 1609.

It was at this event, for the first time, that Dhadhi Jathas

were summoned to perform Vaars,

alongside where Kirtan and Katha was taking place.

To evoke and bless the congregation with warrior spirit,

the Guru commanded Nath Mal and Abdal Kher

to perform the Vaar 'Rasaloo Marvar'.

We, the Gargajj Dhadhi Jatha, will now perform that Vaar.

(acoustic music)

"Two Talwars (type of sword) were adorned,

Two Talwars (type of sword) were adorned,

One representing temporal authority,

the other representing spiritual authority,

One representing glory,

the other representing political rule.

The word 'Vaar'

literally means a strike

as you would on a battlefield

with a sword or with a weapon.

And musically, we would translate it as a ballad.

Still has the same significance as a strike,

but now the strike is emotionally fueled.

So we have two types of Vaars in Sikh music,

one which we most commonly know as Tadhi Vaars.

And these are known as the heroic ballads

where we're telling a tale from history

and we're igniting that spirit within the future generation

so that they're connected with their past.

They understand where they've come from.

We have another Vaar, which exists

within the Guru Granth Sahib,

and this is a spiritual ballad.

And the principle is the same.

It's igniting that very same spirit

but for you spiritually internally,

to encounter and deal with your daily obstacles

and all of the problems that we encounter

and in turn, what this enables us to do is to arouse

that martial spirit so that we can go on

and face our challenges.

(Sarangi playing)

- In Guru Granth Sahib, there are 22 ballads

with nine tunes and the Sarangi is one

of the most important musical instruments

to sing the ballads of Guru Granth Sahib.

- See from ancient India Sarangis'

emotional capacity to capture

and in detail every single emotion.

It was also known as Sau Rangi meaning 100 colours,

hundreds of moods Sarangi can demonstrate.

This is why Guru Hargobind Singh maharaj introduced that

into the spiritual ballads in Sri Guru Granth Sahib

to capture that mood, like for example,

'Dhunde Ase Raaje Ki Thuni' (Asa Di War)

this is a tune.

But from this materialistic experience,

worldly experience to convert

that into spiritual experience,

the Sarangi built an incredible base for,

and had that capacity

because the resonance of sympathetic strings 39 of them.

(Sarangi playing)

So far, we have seen the vision

of the Guru's in adapting these instruments

to impact every aspect of life.

From day to day experiences all the way to the battlefield,

we have seen the skill of the musicians

as well as heard some fascinating theory

and history from our experts.

But what does it take to make

one of these amazing instruments?

(vehicle engine roaring) (car hooting)

(scraping)

(banging)

This is our third generation

my father, Sri Hansraj ji,

crafted instruments for a long time

and he passed down his incredible talents to us.

We continue to craft based on the methods he taught us and

although we customise instruments based on customer need,

the foundation methods of how to craft an instrument

and the traditional techniques and patterns

are still utilised to this day.

An instrument like the Taus takes approximately

four to five weeks to build a single instrument.

The seasoning process of the wood is a long process.

To make a instrument to our high standards

we use wood that has been seasoned for seven to ten years.

Once the wood is in our craftsman's hands

it takes four to five weeks to turn around.

We predominantly use Tunwood

as it is a fine wood that fetches a good price.

We use goat skin on the body of the instruments.

(Taus playing)

- The reason I picked up the Taus is

because my Guru, Guru Gobind Singh,

created this instrument and he used to play it

and that really inspired me to pick it up

and learn it and to master this instrument.

(acoustic music)

- Another instrument, that is Taus,

which was introduced by Guru Gobind Singh, the 10th master.

The master of languages, the master of music

and the master of poetical metres and the master of poetry.

(singing Gurbabni)

- Guru Gobind Singh was a master of the Persian language.

He named this instrument Taus,

which in Persian is pronounced 'Tauoos',

the literal meaning is peacock.

And it's often said

that this instrument is so wonderfully melodious.

It can take you to a complete heavenly state,

allowing you to feel the warmth of the universe.

- I grew up in the West,

I did all my schooling there.

And what I've noticed is all we do is,

you focus on materialistic growth,

going to school, going to high school,

getting into college, university, getting a good job,

getting a nice car and a big house.

And that focus I saw was just towards the outer world.

And I felt something was missing.

For me it's a tool, it helps me bring out the emotions,

just like there's a pencil to write an essay,

what are the thoughts come in your head,

you bring it out through pencil.

For me, my Taus is the paintbrush of my soul.

It helps me relieve the tension

that's built inside, the pain

and the happiness everything and it brings it out

and it helps me express myself.

(Taus playing)

- Taus is a fusion of two musical instruments

of ancient Indian historical tradition, Veena and Sarangi.

We should be grateful to this master

who has given us one instrument to give the effect

of two instruments to play the word of God,

prepared by the Sikh Gurus and Bhagat

for the benefit of whole humanity throughout the world.

(Taus playing)

- I'm now getting a greater understanding

of how the Guru's created immediate emotional context

to the Shabad through the beauty of music.

We can also see the Guru's understanding of the power

and strength that can be drawn from music

for the purpose of battle and rousing the martial spirit.

I am truly inspired by the foresight to use music

to its full spectrum.

But what still puzzles me

is that in most Gurdwarey today,

we only see Kirtan being performed using

the harmonium and Tabla.

What changed?

And how did this happen?

(dramatic music)

(horse neighing)

(chattering)

(shooting)

- The first Anglo-Sikh War

was fought between the Sikh Kingdom

and the East India Company between 1845 and 1846.

When the British Empire settled

amongst the indigenous people and took control,

it had a major impact, especially on education,

the arts and music.

- What Empire did was to actually reconstruct the mind.

It rejigged something in the way that our minds worked

or the way that the Indic mind effectively worked

so that you wouldn't recognise

that any change had actually happen,

you basically think you're the same person,

it's the same culture that's going on.

When we discuss the influence of the British (on the Sikhs)

you can start to see some of those influences

before they enter Panjab.

But once the British have settled in Panjab, we can see how

immediate they are in implementing their action plan.

You can see quite clearly they want us (Sikhs) to be

broken away from our heritage.

Outside Darbar Sahib (Harmander Sahib complex)

you would have seen Maharaja Ranjit Singhs Bunga (fort)

also known as Ranjit Singhs Mehal.

The British Empire tore it down and

built a clock tower in its place.

There was no immediate threat from that Bunga,

but the British wanted to ensure those who came

to pay homage at Darbar Sahib,

they would not have a connection

to the legacy of Ranjit Singh

but instead build a new visual attachment to

the British clock tower.

- The images from our collection are all part

of a large collection of books

and prints and ephemera and photography

which form the Mary Evans Picture Library,

which is the UK's leading historical picture agency.

Two plates showing the temple in situ

from two separate angles including a view of the palace,

which was demolished later on by the British

and replaced by a clock tower.

- What a dominant system like an a new empire does,

is kind of over code,

it sets in a new structure

and a new way of making meaning of the world.

And once people have entered into

that mode of meaning making,

they can't see that they were once attached

to another mode of meaning making.

It was a very well thought out process to

to break us from our heritage.

New structures were put in place of previous ones.

In Lahore, a museum was constructed,

as well as having a new library built.

So we have been given these new structures,

and the new structures were a way of attaching

us to a new culture.

One may argue that these new structures are a way

to preserve Panjabi culture for the future.

Instead they have impacted our mindset

and how we perceive our environment.

These new structures aid the British

to enforce their mindset upon us.

They're still the same people.

They're essentially believe they have the same identity,

but they're operating within a new universe.

They're operating with a new framework

of meaning effectively.

The whole idea is that shift remains invisible,

it's never seen.

It's something that takes place inside your mind,

is something that you accept

because you want to be part of this new world.

The flourishing of the arts during

Maharaja Ranjit Singhs' time, the British terminated it.

From that point onwards, the Sikh arts never developed.

If we look at our education system,

one could look back and mistakenly assume we didn't have

an education system during Maharaja Ranjit Singhs' time.

However, when we reference the accounts from that time,

the records show that 400,000 children

were receiving government aided schooling before 1849,

from which the Lahore Darbar was providing grants.

The British closed all those schools

and grants were shut down.

For the next thirty years,

that same education system couldn't get back on its feet.

In those thirty years,

two of our generations lost access to education,

the generation that was studying at the time

and the generation that would have started their education.

So those steps, which some may consider

baby steps taken by the British,

but those steps have forever,

broken our ties to our heritage.

These two images come from the archive

of the Illustrated London News collection.

These plates come from the 1858 edition.

And this first one shows interior

of the temple at Amritsar showing musicians performing

and showing some readings taking place.

When we think about the impact the British had on Kirtan,

I feel like searching for images or lithographs.

We find an example of this from the Illustrated London News,

published November 6th, 1858.

The lithograph depicts the inside of Darbar Sahib.

It was an image of decorum.

We can see the Rabab and Jori being used to perform Kirtan.

There is no harmonium in sight,

the harmonium was not around then.

(singing Gurbani)

- The Harmonium came to India in the late 19th century.

It was brought in by missionaries and chaplains.

It became popular in all traditions

of North Indian music including Christian music.

And the reason for this was because it was portable

and the differences

in the temperature didn't make the instrument fluctuate.

By 1913, India had become the world's richest market

in the manufacturing and production of the harmonium.

From the beginning our focus

has been on the manufacture of stringed instruments

However, in the 1990's their sale slowed down and we added

the manufacture of the harmonium,

which to this day continues to have strong demand.

It was in the late 1800s,

when the first harmonium Kirtan guide was published.

And from there,

the harmonium is widely used throughout the world

and even today, for Sikh music practise.

The question isn't about the harmonium being a good

or a bad instrument,

the question is,

can it deliver what is required of Sikh music?

(singing Gurbani)

- For example, in the world of sound,

(sings melody)

is a fixed point.

It doesn't let emotional signatures seep in and control

and create that curve.

(harmonium playing)

Where...

(sings melody)

Instruments created by Sikh Gurus

can take your voice and aid it to

that depth emotional attribute can be punctuated

in the Naad, in your sound.

(harmonium playing)

- Out of the discussions we had with my father and my uncle,

they never found any instrument

to be mismatched to the Gurbani

because as long as the tonal quality

of the instrument is matching.

Kirtan is singing Gurbani in specific Raags,

in rhythm is Kirtan.

Any instrument can come in.

But certainly if one of the instrument goes much,

much more than what is required,

then that is not going to be a real Kirtan

because Bani Shabad should be always

at the centre stage.

So and we should certainly give respect

and try to preserve the instrument,

specifically those which our Gurus

have used during their time.

So Rabab is there, Saranda is there,

Taus is there, Jori is there.

So these are the instruments which Guru maharaj has used

and we should certainly preserve them

and bring them more into practice,

that's what I feel.

- The harmonium became an interesting topic

of discussion amongst scholars,

musicians and practitioners of Indian music.

Rabindranath Tagore, who was a poet,

a writer and an acclaimed musician.

He heavily criticised the use of the harmonium

for it being incapable of being able

to deliver the emotional temperament required

in Indian music and in the expression of the Raags.

The Raags are emotionally fueled.

The joint between the note, the meend, for example.

(Dilruba playing)

The meend is crucial in the expression

of both Indian and in Sikh music.

And the harmonium does not have this capability.

- When you call someone, your teacher,

your guru or your master,

it's the duty of the student to follow exactly what he says.

And looking at the current state of Kirtan,

it makes me question because what the student is singing

or doing, it contradicts what the teacher has said.

For example in Guru Granth Sahib

if it says Asa Mahalla Pehla,

and the student is not singing in Asa

that makes me question that,

why isn't the student following with the teacher says?

And I see that no matter where I go any Gurdwara

or I go into any CD I pick up or cassette,

majority 99.9% of the Shabads that I hear,

the Kirtan that I hear is not done the way

that the Guru prescribed.

And for me I feel that's very sad.

(Reciting a Shahab with a mainstream/bollywood tune)

When you recite this Kirtan this way,

are you singing a mainstream song

or are you reciting Kirtan? Which is it?

The words you speak are the Guru's Shabad, yet the tune

you sing it with is taken from mainstream music.

Is that what you are calling singing a Shabad?

Is that really Kirtan?

Sitting in the house of Guru Ram Das (Harmander Sahib) are

you reciting Kirtan remembering the praises of the singer,

who originally sang the tune you are using,

of the Shabad of Guru Arjan Dev ji?

The Shabad should be sung in such a way

that there is absolutely no mistaking,

that what you are singing is the divine message of the Gurus

- We know how much can change in six months to a year.

When I think of the change that could have occurred

for over a century, it's difficult

for me to imagine it was ever any other way.

I can see that at the time what was introduced

from the west to India,

may have been perceived as advancement, as the future.

And I get that.

Whenever a new phone is released,

we all feel that desire to update.

But in actual fact, what happened was the slow

and intentional mutation of the Sikh DNA

that changed the way we approach Kirtan to this day.

(Dilruba playing)

We have seen and heard what we have lost over the centuries

and what it was replaced with.

All under the guise of modernity,

I can't help realising that we are moving further away

from where our Gurus intended for us to be.

So where do we go from here?

And what lies ahead?

And probably more importantly, what can we do.

- As a teacher of Sikh music,

I find it encouraging and inspiring,

when students want to pick up

and preserve and play these traditional instruments given

to us by the Gurus.

When somebody walks through the door for the first time,

they don't have any musical background,

no musical experience,

and they want to learn how to do Kirtan

and with something like the Dilruba,

within a matter of weeks,

they're able to play their first Shabad,

their first composition on an instrument

that a few weeks ago was alien to them.

The Dilruba is a great example

of one of the instruments that's very easy to pick up.

Very easy to learn, very accessible, I would say.

The reason for that is you're working with one string,

you have your scales situated within this one string,

the frets identify to you where the notes are,

so you know exactly where to place your fingers.

Once you place your finger onto the fret,

you're pressing the string against the fret,

with your bow you generate your note.

(Dilruba playing)

The simplicity and the ease of learning

that the Dilruba provides,

are two of the fundamental reasons

that myself as a teacher

of Sikh music would strongly recommend

the Dilruba as a great starting point

for your journey of Sikh music.

- When I go through the chapter of history,

I come across this incredible personality Bhai Babak.

Even in the battlefield when they found his dead body,

his Rabab is on his shoulders.

This is how he's been recognised.

Incredible that is,

that why a Sikh will not leave Rabab back

in the tent or in the house going to battlefield?

What is the importance of,

why they carry the instrument even in a battlefield?

And I remember from my childhood my grandmother coaching me

over this that,

there's three things,

the core three things in the Sikhs life.

One is Shaster, so that we are responsible citizens.

The weapon the Sikh carries as a Kirpan,

makes us responsible citizens.

Then there is a Shaastar.

The second thing is the wisdom of the Gurus.

Sri Guru Granth Sahib, the Bani, Bhai Gurdas Ji Vaars.

The other concepts given to Sikhs is very important.

Sikh must be very close to this dimension.

The third thing is Astar, Dilruba is Astar to me.

Is a divine weapon to carve,

defend and discipline the Sikh in a one particular way.

Can you imagine the mother teaching her son

or daughter Gurus way with the Guru's instrument.

When I see these incredible Kirtanis,

having Dilruba on the shoulder,

and using their stress to convert it into success,

spiritual success,

I see them I feel it's a blessing

of Guru Gobind Singh Maharaj.

His hand on the shoulder of that Kirtani.

(Dilruba playing)

- Dilruba was specifically used by Mata Sundri Ji

to train the children of the Guru

as well as children of his Sikhs

as well as the children

of other communities in the Sikh musicology

and we should also introduce this system now

to create other Babaks, Bhai Mardana, Sant Baba Sham Singh.

We should also train such people in our seminaries,

we should open new seminaries in our universities also

to promote this Sikh musicology.

(Dilruba playing)

- What an incredible journey this has been for me.

And if I look back to the beginning,

I can honestly say

that despite my strong connection

to both my culture and faith,

I have learned so much from this experience,

especially because we have come

to realise just how important

and closely connected the Shabad

and the instruments of the Gurus are to Kirtan.

This is in fact, an integral part of my own identity.

The opportunity to immerse myself in walking

in this path has revealed a hidden treasure

and that is the power of Sikh music.

When I first heard the primal sound of the Jori,

or the sweet sound of the Taus,

it stopped me in my tracks

and I was absorbed in the emotion of the Raag.

One of many things that have inspired me is the passionate

and emotional connection that each

and every musician has to both the instrument

and the Shabad.

I hope that this experience has given all

of us a glimpse into the revolutionary vision of the Gurus

and the chance to hear the Shabad performed

with their original intent.

It has actually given me the desire to pick up the Dilruba

and start my journey of connecting

to the Shabad in a whole new way.

And if I can start my journey now,

I know many of you will be able

to join me in picking up one of these amazing instruments

to begin your journey too.

Let's keep Sikh Musical Heritage alive,

otherwise, will future generations ever be able to hear

and appreciate these instruments as we have experienced,

or will they remain silent and motionless in museums.

(Saranda playing)