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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
Sikh History & Heritage
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Navtej's Body And Soul In Bharatnatyam
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<blockquote data-quote="Tejwant Singh" data-source="post: 202291" data-attributes="member: 138"><p>The national Sangeet Natak Akademi Award-2014 to Navtej Johar is a fine recognition for someone who dared to dance his own way. A Chandigarh boy, who in his student days in the late seventies was noticed for his expressive performance in the street plays of Gurcharan Chani, trod his own path learning Bharatnatyam as a vocation and becoming a prominent exponent and choreographer, not just of the classical form, but also making a place for himself in the avant garde.</p><p></p><p>[ATTACH=full]19656[/ATTACH] </p><p></p><p>Interestingly, he is the first Sikh to go into this domain considered largely feminine and Khushwant Singh called him ‘the dancing Sikh’ just as Pakistani General Ayub Khan had given athlete Milkha Singh the title of ‘The flying Sikh’. “I set no score by stereotypes like men don’t dance or how can a Sikh man do Bharatnatyam,” says Navtej, “but I have given something of being a man and a Sikh to my dance.”</p><p></p><p>Fighting free of labels or stereotypes, Navtej diligently danced his own way yet he never negated the classical form that he was grounded in. How did dance beckon him? While doing theatre in the city, he got a chance way back in 1980 to attend a workshop by Badal Sircar, the legendary contemporary dramatist from Bengal. Sircar who used the body of the actor to optimum use watching young Navtej perform remarked, “You have the body of a dancer.” This utterance was an indication to Navtej on the creative path he should explore.</p><p></p><p>Navtej first trained in Bharatnatyam in Rukmini Devi Arundale’s Kalakshetra at Chennai and then with Leela Samson at the Shriram Bharatiya Kala Kendra in New Delhi. He also studied at the department of performing arts at New York University. And then it was onto the stage performing both Bharatnatyam and modern dance.</p><p></p><p>His most recent choreography well-applauded both home and abroad is ‘Frenmies’ (friends and enemies), a dance duet with Lokesh Bhardwaj based on Jean Genet’s ‘The Maids’ in which two domestic helps play master and slave when the mistress is away. “There are several shows of ‘Frenmies’ lined up and I am very involved in the production as of now,” says Navtej. Navtej has made it a point to base his choreographies on Punjabi music and lore.</p><p></p><p>He combined Kumarasambhav and Sassi-Punnu in one of his choreographies with Shubha Mudgal singing. Later his ‘Fanaa-e-Ranjha’ brought alive the legend of Punjab’s best-loved hero in dance and music. He has also given several shows in Pakistan. “I just loved performing at Lahore and Islamabad. The audience there is very receptive and since my family comes from West Punjab, I can tune into their sensibility very well,” he says. Navtej is also planning to promote modern dance in Chandigarh and Punjab.</p><p></p><p>Founder of the Abhyas Trust, Navtej is a dedicated yoga practitioner and teacher. What is the role of yoga in his dance?” Navtej’s reply to this query is, “The philosophy of yoga has played a role and the quietude and stillness in my dance comes from it.” How does he feel being picked for the prestigious award? “I am happy and it is recognition, but I would like a part of me not to know it and continue with my work as always,” says the artiste, who has put his body and soul into dance.</p><p></p><p><a href="http://www.hindustantimes.com/chandigarh/round-about-navtej-s-body-and-soul-in-bharatnatyam/article1-1370853.aspx" target="_blank">http://www.hindustantimes.com/chandigarh/round-about-navtej-s-body-and-soul-in-bharatnatyam/article1-1370853.aspx</a></p></blockquote><p></p>
[QUOTE="Tejwant Singh, post: 202291, member: 138"] The national Sangeet Natak Akademi Award-2014 to Navtej Johar is a fine recognition for someone who dared to dance his own way. A Chandigarh boy, who in his student days in the late seventies was noticed for his expressive performance in the street plays of Gurcharan Chani, trod his own path learning Bharatnatyam as a vocation and becoming a prominent exponent and choreographer, not just of the classical form, but also making a place for himself in the avant garde. [ATTACH=full]19656[/ATTACH] Interestingly, he is the first Sikh to go into this domain considered largely feminine and Khushwant Singh called him ‘the dancing Sikh’ just as Pakistani General Ayub Khan had given athlete Milkha Singh the title of ‘The flying Sikh’. “I set no score by stereotypes like men don’t dance or how can a Sikh man do Bharatnatyam,” says Navtej, “but I have given something of being a man and a Sikh to my dance.” Fighting free of labels or stereotypes, Navtej diligently danced his own way yet he never negated the classical form that he was grounded in. How did dance beckon him? While doing theatre in the city, he got a chance way back in 1980 to attend a workshop by Badal Sircar, the legendary contemporary dramatist from Bengal. Sircar who used the body of the actor to optimum use watching young Navtej perform remarked, “You have the body of a dancer.” This utterance was an indication to Navtej on the creative path he should explore. Navtej first trained in Bharatnatyam in Rukmini Devi Arundale’s Kalakshetra at Chennai and then with Leela Samson at the Shriram Bharatiya Kala Kendra in New Delhi. He also studied at the department of performing arts at New York University. And then it was onto the stage performing both Bharatnatyam and modern dance. His most recent choreography well-applauded both home and abroad is ‘Frenmies’ (friends and enemies), a dance duet with Lokesh Bhardwaj based on Jean Genet’s ‘The Maids’ in which two domestic helps play master and slave when the mistress is away. “There are several shows of ‘Frenmies’ lined up and I am very involved in the production as of now,” says Navtej. Navtej has made it a point to base his choreographies on Punjabi music and lore. He combined Kumarasambhav and Sassi-Punnu in one of his choreographies with Shubha Mudgal singing. Later his ‘Fanaa-e-Ranjha’ brought alive the legend of Punjab’s best-loved hero in dance and music. He has also given several shows in Pakistan. “I just loved performing at Lahore and Islamabad. The audience there is very receptive and since my family comes from West Punjab, I can tune into their sensibility very well,” he says. Navtej is also planning to promote modern dance in Chandigarh and Punjab. Founder of the Abhyas Trust, Navtej is a dedicated yoga practitioner and teacher. What is the role of yoga in his dance?” Navtej’s reply to this query is, “The philosophy of yoga has played a role and the quietude and stillness in my dance comes from it.” How does he feel being picked for the prestigious award? “I am happy and it is recognition, but I would like a part of me not to know it and continue with my work as always,” says the artiste, who has put his body and soul into dance. [URL]http://www.hindustantimes.com/chandigarh/round-about-navtej-s-body-and-soul-in-bharatnatyam/article1-1370853.aspx[/URL] [/QUOTE]
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