☀️ JOIN SPN MOBILE
Forums
New posts
Guru Granth Sahib
Composition, Arrangement & Layout
ਜਪੁ | Jup
ਸੋ ਦਰੁ | So Dar
ਸੋਹਿਲਾ | Sohilaa
ਰਾਗੁ ਸਿਰੀਰਾਗੁ | Raag Siree-Raag
Gurbani (14-53)
Ashtpadiyan (53-71)
Gurbani (71-74)
Pahre (74-78)
Chhant (78-81)
Vanjara (81-82)
Vaar Siri Raag (83-91)
Bhagat Bani (91-93)
ਰਾਗੁ ਮਾਝ | Raag Maajh
Gurbani (94-109)
Ashtpadi (109)
Ashtpadiyan (110-129)
Ashtpadi (129-130)
Ashtpadiyan (130-133)
Bara Maha (133-136)
Din Raen (136-137)
Vaar Maajh Ki (137-150)
ਰਾਗੁ ਗਉੜੀ | Raag Gauree
Gurbani (151-185)
Quartets/Couplets (185-220)
Ashtpadiyan (220-234)
Karhalei (234-235)
Ashtpadiyan (235-242)
Chhant (242-249)
Baavan Akhari (250-262)
Sukhmani (262-296)
Thittee (296-300)
Gauree kii Vaar (300-323)
Gurbani (323-330)
Ashtpadiyan (330-340)
Baavan Akhari (340-343)
Thintteen (343-344)
Vaar Kabir (344-345)
Bhagat Bani (345-346)
ਰਾਗੁ ਆਸਾ | Raag Aasaa
Gurbani (347-348)
Chaupaday (348-364)
Panchpadde (364-365)
Kaafee (365-409)
Aasaavaree (409-411)
Ashtpadiyan (411-432)
Patee (432-435)
Chhant (435-462)
Vaar Aasaa (462-475)
Bhagat Bani (475-488)
ਰਾਗੁ ਗੂਜਰੀ | Raag Goojaree
Gurbani (489-503)
Ashtpadiyan (503-508)
Vaar Gujari (508-517)
Vaar Gujari (517-526)
ਰਾਗੁ ਦੇਵਗੰਧਾਰੀ | Raag Dayv-Gandhaaree
Gurbani (527-536)
ਰਾਗੁ ਬਿਹਾਗੜਾ | Raag Bihaagraa
Gurbani (537-556)
Chhant (538-548)
Vaar Bihaagraa (548-556)
ਰਾਗੁ ਵਡਹੰਸ | Raag Wadhans
Gurbani (557-564)
Ashtpadiyan (564-565)
Chhant (565-575)
Ghoriaan (575-578)
Alaahaniiaa (578-582)
Vaar Wadhans (582-594)
ਰਾਗੁ ਸੋਰਠਿ | Raag Sorath
Gurbani (595-634)
Asatpadhiya (634-642)
Vaar Sorath (642-659)
ਰਾਗੁ ਧਨਾਸਰੀ | Raag Dhanasaree
Gurbani (660-685)
Astpadhiya (685-687)
Chhant (687-691)
Bhagat Bani (691-695)
ਰਾਗੁ ਜੈਤਸਰੀ | Raag Jaitsree
Gurbani (696-703)
Chhant (703-705)
Vaar Jaitsaree (705-710)
Bhagat Bani (710)
ਰਾਗੁ ਟੋਡੀ | Raag Todee
ਰਾਗੁ ਬੈਰਾੜੀ | Raag Bairaaree
ਰਾਗੁ ਤਿਲੰਗ | Raag Tilang
Gurbani (721-727)
Bhagat Bani (727)
ਰਾਗੁ ਸੂਹੀ | Raag Suhi
Gurbani (728-750)
Ashtpadiyan (750-761)
Kaafee (761-762)
Suchajee (762)
Gunvantee (763)
Chhant (763-785)
Vaar Soohee (785-792)
Bhagat Bani (792-794)
ਰਾਗੁ ਬਿਲਾਵਲੁ | Raag Bilaaval
Gurbani (795-831)
Ashtpadiyan (831-838)
Thitteen (838-840)
Vaar Sat (841-843)
Chhant (843-848)
Vaar Bilaaval (849-855)
Bhagat Bani (855-858)
ਰਾਗੁ ਗੋਂਡ | Raag Gond
Gurbani (859-869)
Ashtpadiyan (869)
Bhagat Bani (870-875)
ਰਾਗੁ ਰਾਮਕਲੀ | Raag Ramkalee
Ashtpadiyan (902-916)
Gurbani (876-902)
Anand (917-922)
Sadd (923-924)
Chhant (924-929)
Dakhnee (929-938)
Sidh Gosat (938-946)
Vaar Ramkalee (947-968)
ਰਾਗੁ ਨਟ ਨਾਰਾਇਨ | Raag Nat Narayan
Gurbani (975-980)
Ashtpadiyan (980-983)
ਰਾਗੁ ਮਾਲੀ ਗਉੜਾ | Raag Maalee Gauraa
Gurbani (984-988)
Bhagat Bani (988)
ਰਾਗੁ ਮਾਰੂ | Raag Maaroo
Gurbani (889-1008)
Ashtpadiyan (1008-1014)
Kaafee (1014-1016)
Ashtpadiyan (1016-1019)
Anjulian (1019-1020)
Solhe (1020-1033)
Dakhni (1033-1043)
ਰਾਗੁ ਤੁਖਾਰੀ | Raag Tukhaari
Bara Maha (1107-1110)
Chhant (1110-1117)
ਰਾਗੁ ਕੇਦਾਰਾ | Raag Kedara
Gurbani (1118-1123)
Bhagat Bani (1123-1124)
ਰਾਗੁ ਭੈਰਉ | Raag Bhairo
Gurbani (1125-1152)
Partaal (1153)
Ashtpadiyan (1153-1167)
ਰਾਗੁ ਬਸੰਤੁ | Raag Basant
Gurbani (1168-1187)
Ashtpadiyan (1187-1193)
Vaar Basant (1193-1196)
ਰਾਗੁ ਸਾਰਗ | Raag Saarag
Gurbani (1197-1200)
Partaal (1200-1231)
Ashtpadiyan (1232-1236)
Chhant (1236-1237)
Vaar Saarang (1237-1253)
ਰਾਗੁ ਮਲਾਰ | Raag Malaar
Gurbani (1254-1293)
Partaal (1265-1273)
Ashtpadiyan (1273-1278)
Chhant (1278)
Vaar Malaar (1278-91)
Bhagat Bani (1292-93)
ਰਾਗੁ ਕਾਨੜਾ | Raag Kaanraa
Gurbani (1294-96)
Partaal (1296-1318)
Ashtpadiyan (1308-1312)
Chhant (1312)
Vaar Kaanraa
Bhagat Bani (1318)
ਰਾਗੁ ਕਲਿਆਨ | Raag Kalyaan
Gurbani (1319-23)
Ashtpadiyan (1323-26)
ਰਾਗੁ ਪ੍ਰਭਾਤੀ | Raag Prabhaatee
Gurbani (1327-1341)
Ashtpadiyan (1342-51)
ਰਾਗੁ ਜੈਜਾਵੰਤੀ | Raag Jaijaiwanti
Gurbani (1352-53)
Salok | Gatha | Phunahe | Chaubole | Swayiye
Sehskritee Mahala 1
Sehskritee Mahala 5
Gaathaa Mahala 5
Phunhay Mahala 5
Chaubolae Mahala 5
Shaloks Bhagat Kabir
Shaloks Sheikh Farid
Swaiyyae Mahala 5
Swaiyyae in Praise of Gurus
Shaloks in Addition To Vaars
Shalok Ninth Mehl
Mundavanee Mehl 5
ਰਾਗ ਮਾਲਾ, Raag Maalaa
What's new
New posts
New media
New media comments
New resources
Latest activity
Videos
New media
New comments
Library
Latest reviews
Donate
Log in
Register
What's new
New posts
Menu
Log in
Register
Install the app
Install
Welcome to all New Sikh Philosophy Network Forums!
Explore Sikh Sikhi Sikhism...
Sign up
Log in
Discussions
Punjab, Punjabi, Punjabiyat
Behind The Curtain. In The Year 1984
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="spnadmin" data-source="post: 149345" data-attributes="member: 35"><p>by Neelam Man Singh </p><p></p><p></p><p>Image: Neelam Man Singh is first on the left. </p><p></p><p>Punjabi culture lends itself very easily to a myth making industry that dresses its reality in such a way that the ‘copy’ became more real than the ‘original’. As a copy is always a distorted image of the real, a few exaggerated, larger than life qualities started getting associated with the Punjabi theatre. As a theatre director certain questions have concerned me. First and foremost is the issue of language. Punjabi as spoken in Hindi films is a gruff patios of pidgin Punjabi interspersed with juicy aphorisms. This became the gauge in the way the language was perceived. When I decided to set up a Punjabi theatre repertory in 1984, my work was dismissed, even before I started. It was almost as if the image of Punjabi culture, as something loud, frivolous, comic and crass, had become ossified. The cliché that reiterates, ‘Punjab has agriculture, but no culture’. It has always struck me that those who rely on this silly line must be far more illiterate than those they deride, knowing as they do so little about Punjab and Punjabis. I have never been able to separate culture from the earth. To till the land and see the tree you plant grow is akin to the joy that an artist feels when he/she has painted a painting or created a play. Culture is inextricably linked with agriculture. The Punjabi language, dance, music is replete with images from the earth and the joys of procreation, growth and renewal. I used to wonder why Punjabi was considered an unsophisticated language and why the Sikh were always being seen in Hindi films as the bumbling taxi driver or as Singh is King - valorised for qualities that were loud and suspiciously misogynist. My mind resonated with verses from the Guru Granth Sahib and songs from Heer Ranja, Sohini Mahiwal and Sassi Punnu ( sufi love stories from Punjabi folklore).</p><p></p><p>When I first arrived in Chandigarh in 1984, I attended a lecture by a distinguished theatre critic who while delivering a paper on Indian culture referred to Punjabi culture as the ‘Balle Balle’ culture, with a dismissive gesture of his hand. At that time I made light of that jibe, but in retrospect it really bothered me. To me this seemed like a full-blown dilemma of description.</p><p></p><p>It was difficult working in an environment that mocks its own culture. As a theatre director working in the Punjabi language, I am concerned with doing theatre, not trapped by question of whether the theatre I do is regional or national. I work in the language of the state with actors from the state in which I live. It is ironical that in Punjab I am perceived as a director who is ‘not-one-of-us’. The reason being, I take stories and plays from different parts of the world, rather than direct plays written by Punjabi playwrights. It is strange that while we are quick to defend the freedom of the artist, we sometimes hail fusillades at those who do not fit into the boundaries of our expectation. I believe that any play, text or literature carried from one language to another enriches and adds to the living tradition of theatre. By doing western plays in Punjabi translation, does not in any way damage my relationship with my language. For me it’s like expanding what I truly loved- theatre. </p><p></p><p><a href="http://blogs.timesofindia.indiatimes.com/Behind-The-Curtain/entry/in-the-year-1984" target="_blank">http://blogs.timesofindia.indiatimes.com/Behind-The-Curtain/entry/in-the-year-1984</a></p></blockquote><p></p>
[QUOTE="spnadmin, post: 149345, member: 35"] by Neelam Man Singh Image: Neelam Man Singh is first on the left. Punjabi culture lends itself very easily to a myth making industry that dresses its reality in such a way that the ‘copy’ became more real than the ‘original’. As a copy is always a distorted image of the real, a few exaggerated, larger than life qualities started getting associated with the Punjabi theatre. As a theatre director certain questions have concerned me. First and foremost is the issue of language. Punjabi as spoken in Hindi films is a gruff patios of pidgin Punjabi interspersed with juicy aphorisms. This became the gauge in the way the language was perceived. When I decided to set up a Punjabi theatre repertory in 1984, my work was dismissed, even before I started. It was almost as if the image of Punjabi culture, as something loud, frivolous, comic and crass, had become ossified. The cliché that reiterates, ‘Punjab has agriculture, but no culture’. It has always struck me that those who rely on this silly line must be far more illiterate than those they deride, knowing as they do so little about Punjab and Punjabis. I have never been able to separate culture from the earth. To till the land and see the tree you plant grow is akin to the joy that an artist feels when he/she has painted a painting or created a play. Culture is inextricably linked with agriculture. The Punjabi language, dance, music is replete with images from the earth and the joys of procreation, growth and renewal. I used to wonder why Punjabi was considered an unsophisticated language and why the Sikh were always being seen in Hindi films as the bumbling taxi driver or as Singh is King - valorised for qualities that were loud and suspiciously misogynist. My mind resonated with verses from the Guru Granth Sahib and songs from Heer Ranja, Sohini Mahiwal and Sassi Punnu ( sufi love stories from Punjabi folklore). When I first arrived in Chandigarh in 1984, I attended a lecture by a distinguished theatre critic who while delivering a paper on Indian culture referred to Punjabi culture as the ‘Balle Balle’ culture, with a dismissive gesture of his hand. At that time I made light of that jibe, but in retrospect it really bothered me. To me this seemed like a full-blown dilemma of description. It was difficult working in an environment that mocks its own culture. As a theatre director working in the Punjabi language, I am concerned with doing theatre, not trapped by question of whether the theatre I do is regional or national. I work in the language of the state with actors from the state in which I live. It is ironical that in Punjab I am perceived as a director who is ‘not-one-of-us’. The reason being, I take stories and plays from different parts of the world, rather than direct plays written by Punjabi playwrights. It is strange that while we are quick to defend the freedom of the artist, we sometimes hail fusillades at those who do not fit into the boundaries of our expectation. I believe that any play, text or literature carried from one language to another enriches and adds to the living tradition of theatre. By doing western plays in Punjabi translation, does not in any way damage my relationship with my language. For me it’s like expanding what I truly loved- theatre. [url]http://blogs.timesofindia.indiatimes.com/Behind-The-Curtain/entry/in-the-year-1984[/url] [/QUOTE]
Insert quotes…
Verification
Post reply
Discussions
Punjab, Punjabi, Punjabiyat
Behind The Curtain. In The Year 1984
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
Accept
Learn more…
Top