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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
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Discussions
Interfaith Dialogues
Film Revisits Sikh Massacre, Gujarat Riots
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<blockquote data-quote="Neutral Singh" data-source="post: 1054" data-attributes="member: 2"><p><a href="http://www.hindustantimes.com/news/181_890690,0008.htm" target="_blank"><span style="color: #0000ff">http://www.hindustantimes.com/news/181_890690,0008.htm</span></a></p><p></p><p><strong>Film revisits Sikh massacre, Gujarat riots </strong></p><p><strong>Indo-Asian News Service</strong></p><p><strong>New Delhi, July 16 </strong></p><p><strong></strong></p><p>With empathy and sweeping camera flow, a new film has used the national ghosts of the 1984 massacre of Sikhs to reflect on the Gujarat riots of two years ago.</p><p></p><p>Called Kaya Taran (Chrysalis), the film is an adaptation of a Malayalam short story by NS Madhavan When Big Trees Fall and was screened at the capital's Siri Fort Auditorium on Thursday night.</p><p></p><p>Shifting through past and present, the tale follows the lives of Preet (Angad Bedi), a Delhi reporter working on a story on religious conversions, and the head nun of a Meerut convent (Seema Biswas).</p><p></p><p>As Preet unravels the layers of his story, he enters the murky world of memory -- of the widespread murder of Sikhs after the assassination of then Prime Minister Indira Gandhi in 1984.</p><p></p><p>Director Sashi Kumar, a veteran journalist and documentary filmmaker, uses memory as a tool to weave together a tale of subtle dialogue between communities even as the angry flames of hate burn the street tar, lives and homes.</p><p></p><p>In places, Preet's own Sikh identity comes into play as he digs out remembrances of tears as images of bloodthirsty mobs with swords and burning tyres racing down the streets keep cropping up in his interviews.</p><p></p><p>Using the tale of nuns and breaking cinematic traditions of continuity, Kumar makes vital comments on secular belief in India and relations between communities.</p><p></p><p>It's a tale that resonates as the young boy in the film (played by Neelambari Bhattacharya, the great-grandchild of EMS Namboodiripad) talks of the murder of his father and brother before flashing cameras.</p><p></p><p>With each flash, and bloody revelation, the boy's face lights up, as if with terrifying enlightenment.</p><p></p><p>The story, Kumar believes, is particularly pertinent even as tales of the Gujarat riots continue to create headlines and debate. Through his film, Kumar tries to build correlations between the separate acts of hatred, separated by almost two decades and yet so similar in vitriol.</p><p></p><p>The audience, with many Sikhs, watched silently through the 110 minutes of the Hindi film, then many walked out solemnly.</p><p></p><p>"It can never stop bothering me," said Charanjit Singh, a Sikh who had come with his wife and eight-year-old son. "My own brother was killed, set ablaze with a burning tyre around his neck. You can never forget these things."</p><p></p><p>Singh said he had come to show his son a glimpse of the "sad history". "He should also know," Singh told IANS after the show. "It's good to know the pains of your parents."</p><p></p><p>His son Sohan looked a little bewildered. "It's frightening," he said. "My parents were crying during the show."</p><p></p><p>This is the sort of reaction Kumar wants to evoke, as does the rights group Sahmat that sponsored the show. "Under our layer of secularism lies racial and religious intolerance that often causes havoc," said Kumar.</p><p></p><p>"My film is about that vulnerability. We must join hands to fight intolerance and promote brotherhood."</p></blockquote><p></p>
[QUOTE="Neutral Singh, post: 1054, member: 2"] [url="http://www.hindustantimes.com/news/181_890690,0008.htm"][color=#0000ff]http://www.hindustantimes.com/news/181_890690,0008.htm[/color][/url] [b]Film revisits Sikh massacre, Gujarat riots Indo-Asian News Service New Delhi, July 16 [/b] With empathy and sweeping camera flow, a new film has used the national ghosts of the 1984 massacre of Sikhs to reflect on the Gujarat riots of two years ago. Called Kaya Taran (Chrysalis), the film is an adaptation of a Malayalam short story by NS Madhavan When Big Trees Fall and was screened at the capital's Siri Fort Auditorium on Thursday night. Shifting through past and present, the tale follows the lives of Preet (Angad Bedi), a Delhi reporter working on a story on religious conversions, and the head nun of a Meerut convent (Seema Biswas). As Preet unravels the layers of his story, he enters the murky world of memory -- of the widespread murder of Sikhs after the assassination of then Prime Minister Indira Gandhi in 1984. Director Sashi Kumar, a veteran journalist and documentary filmmaker, uses memory as a tool to weave together a tale of subtle dialogue between communities even as the angry flames of hate burn the street tar, lives and homes. In places, Preet's own Sikh identity comes into play as he digs out remembrances of tears as images of bloodthirsty mobs with swords and burning tyres racing down the streets keep cropping up in his interviews. Using the tale of nuns and breaking cinematic traditions of continuity, Kumar makes vital comments on secular belief in India and relations between communities. It's a tale that resonates as the young boy in the film (played by Neelambari Bhattacharya, the great-grandchild of EMS Namboodiripad) talks of the murder of his father and brother before flashing cameras. With each flash, and bloody revelation, the boy's face lights up, as if with terrifying enlightenment. The story, Kumar believes, is particularly pertinent even as tales of the Gujarat riots continue to create headlines and debate. Through his film, Kumar tries to build correlations between the separate acts of hatred, separated by almost two decades and yet so similar in vitriol. The audience, with many Sikhs, watched silently through the 110 minutes of the Hindi film, then many walked out solemnly. "It can never stop bothering me," said Charanjit Singh, a Sikh who had come with his wife and eight-year-old son. "My own brother was killed, set ablaze with a burning tyre around his neck. You can never forget these things." Singh said he had come to show his son a glimpse of the "sad history". "He should also know," Singh told IANS after the show. "It's good to know the pains of your parents." His son Sohan looked a little bewildered. "It's frightening," he said. "My parents were crying during the show." This is the sort of reaction Kumar wants to evoke, as does the rights group Sahmat that sponsored the show. "Under our layer of secularism lies racial and religious intolerance that often causes havoc," said Kumar. "My film is about that vulnerability. We must join hands to fight intolerance and promote brotherhood." [/QUOTE]
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Film Revisits Sikh Massacre, Gujarat Riots
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