Present Trends

Kirtan is becoming more popular day by day, particularly among the Sikh Youth. Kirtan classes have been started by some Gurdwaras and organisation. However, with the democratisation of kiran, the quality of training and performance will have to be watched and improved. Television and radio programmes in devotional music seem to discourage and radio programmes in devotional music seem to discourage the traditional modes of singing, with the result that ancient melodies are dying out. Besides, most of the present-day ragis know very little about the grammar and technique of Hindustani music. Moreover, the performance of kirtan by American Sikhs who have a knowledge of Western music has led to a new type of Kirtan-the performance of hymns and Khalsa songs with string band music possessing a new and resonant melody. These experiments are likely to enrich the repertoire of Sikh sacred music. The 'internationalisation' of kirtan and its performance in Indian and Western styles-though distinct and separate-may perhaps result, in due course of time in an amalgam of the two types. It is earnestly hoped that research in Granthian Kirtan would attract the attention of teachers of music and musicologists, so that its technique and methodology may be fully explored and appreciated. The future seems to be full of promise and surprise.


NOTES AND REFERENCES
1. Adi Granth, p.1171: 'I sing the word written by the Guru, I know no other composition.'
2. Ibid., p. 997.
3. Ibid., p. 885.
4. Ibid., p. 320.
5. Ibid., p. 738.
6. For details, see Gurmat Sangeet Part IV (C.K. Diwan), p. 5.
7. An outline of the story of Asaraja (meaning the king named As) is given below. As (pronounced 'Us') was a son of Raja Sarang in ancient times. His step-mother-the King's second wife-fell in love with him but he refused her advances. The lady out of spite blamed him of incest. Raja Sarang ordered his execution at the insistence of his wife. He told his minister to carry out the order of execution of As. The minister was a wise man. He took As to a jungle and ordered the executioner to cut one hand of As a proof of his death. After cutting his hand, they left him in the jungle. A party of traders soon passed through the jungle and heard the cries of As. They atteneded to his wound and took him to a neighbouring country. They sold him as a slave to a washerman. As had lost his hand and was called As the cripple (Tunda-As). He was given the duty of loading a bull with dirty clothes and bringing back the wshed clothes to his master-the washerman. Unfortunately the king of the town died suddenly, without leaving any heir. The ministers decided that the man who passed through the city gates first the next morning, would be crowned as King. As usual Tunda-As who went out early morning with his bullock to the rivulet (outside the city) with his load of dirty clothes, happened to be the first man to pass through the city gate. He was crowned and called Tunda Asraja (King Asa the cripple). Soon thereafter the crops failed on account of drought. Asaraja had bought a lot of grain in advance to feed his people.
Raja Sarang-the father of Asraja-had two other sons who were given to hunting and pleasure. Raja Sarang felt the effects of famine and sent his minister to buy grain from the neighbouring country. The minister came to Asaraja's town for purchase of grain and met him and recognised him. Asraja gave the minister a lot opf grain free. Raja Sarang come to know of the generosity of Asraja. He also became aware of the bad character of his second wife. He called Asraja to his palace and desired to pass on the crown to him instead of to his senior son. Sardul the senior prince decided to claim the kingdom. With the help of his maternal uncle Sultan Rai, he waged war against Raja Sarang and Asaraja. The court-poet composed a var to be sung in a particular dhuni (tune) in praise of King Asraja who was s symbol of the victory of virtue over vice. This var became very poplar and inspirational. Guru Arjan found a great resemblance between the five-lined pauris of Guru Nanak's Asa-di-var and the var of Tunda-Asaraja and prescribed the tune of the latter for the singing of the former.
8. G.S. Manuskhani, Introduction to Sikhism, p. 125 (1977 edition).
9. Adi Granth, p. 256.
10. Gopal Sharman, Filigree in Soun, p. 176.

Present Trends

Kirtan is becoming more popular day by day, particularly among the Sikh Youth. Kirtan classes have been started by some Gurdwaras and organisation. However, with the democratisation of kiran, the quality of training and performance will have to be watched and improved. Television and radio programmes in devotional music seem to discourage and radio programmes in devotional music seem to discourage the traditional modes of singing, with the result that ancient melodies are dying out. Besides, most of the present-day ragis know very little about the grammar and technique of Hindustani music. Moreover, the performance of kirtan by American Sikhs who have a knowledge of Western music has led to a new type of Kirtan-the performance of hymns and Khalsa songs with string band music possessing a new and resonant melody. These experiments are likely to enrich the repertoire of Sikh sacred music. The 'internationalisation' of kirtan and its performance in Indian and Western styles-though distinct and separate-may perhaps result, in due course of time in an amalgam of the two types. It is earnestly hoped that research in Granthian Kirtan would attract the attention of teachers of music and musicologists, so that its technique and methodology may be fully explored and appreciated. The future seems to be full of promise and surprise.


NOTES AND REFERENCES
1. Adi Granth, p.1171: 'I sing the word written by the Guru, I know no other composition.'
2. Ibid., p. 997.
3. Ibid., p. 885.
4. Ibid., p. 320.
5. Ibid., p. 738.
6. For details, see Gurmat Sangeet Part IV (C.K. Diwan), p. 5.
7. An outline of the story of Asaraja (meaning the king named As) is given below. As (pronounced 'Us') was a son of Raja Sarang in ancient times. His step-mother-the King's second wife-fell in love with him but he refused her advances. The lady out of spite blamed him of incest. Raja Sarang ordered his execution at the insistence of his wife. He told his minister to carry out the order of execution of As. The minister was a wise man. He took As to a jungle and ordered the executioner to cut one hand of As a proof of his death. After cutting his hand, they left him in the jungle. A party of traders soon passed through the jungle and heard the cries of As. They atteneded to his wound and took him to a neighbouring country. They sold him as a slave to a washerman. As had lost his hand and was called As the cripple (Tunda-As). He was given the duty of loading a bull with dirty clothes and bringing back the wshed clothes to his master-the washerman. Unfortunately the king of the town died suddenly, without leaving any heir. The ministers decided that the man who passed through the city gates first the next morning, would be crowned as King. As usual Tunda-As who went out early morning with his bullock to the rivulet (outside the city) with his load of dirty clothes, happened to be the first man to pass through the city gate. He was crowned and called Tunda Asraja (King Asa the cripple). Soon thereafter the crops failed on account of drought. Asaraja had bought a lot of grain in advance to feed his people.
Raja Sarang-the father of Asraja-had two other sons who were given to hunting and pleasure. Raja Sarang felt the effects of famine and sent his minister to buy grain from the neighbouring country. The minister came to Asaraja's town for purchase of grain and met him and recognised him. Asraja gave the minister a lot opf grain free. Raja Sarang come to know of the generosity of Asraja. He also became aware of the bad character of his second wife. He called Asraja to his palace and desired to pass on the crown to him instead of to his senior son. Sardul the senior prince decided to claim the kingdom. With the help of his maternal uncle Sultan Rai, he waged war against Raja Sarang and Asaraja. The court-poet composed a var to be sung in a particular dhuni (tune) in praise of King Asraja who was s symbol of the victory of virtue over vice. This var became very poplar and inspirational. Guru Arjan found a great resemblance between the five-lined pauris of Guru Nanak's Asa-di-var and the var of Tunda-Asaraja and prescribed the tune of the latter for the singing of the former.
8. G.S. Manuskhani, Introduction to Sikhism, p. 125 (1977 edition).
9. Adi Granth, p. 256.
10. Gopal Sharman, Filigree in Soun, p. 176.