☀️ 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
Seeking Balance: Poet Jawant Deed (a Review)
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: 121682" data-attributes="member: 35"><p><strong>Seeking balance, Poet Jawant Deed</strong> by Nonika Singh</p><p></p><p>It was legendary Amrita Pritam who set him on the poetic path some three decades ago by publishing his poem in her prestigious Punjabi magazine Nagmani. Since then, eminent poet Jaswant Deed has come a long way.</p><p></p><p>Back then, his teacher, noted writer Dr Dalip Kaur Tiwana, told him: "Now you consider yourself a poet". Today, the literary galaxy seems to have acknowledged his poetic mettle. While in 2007 he won the coveted SahityaAkademi award, this year he has been honoured with the Shiromani Punjabi Kavi Samman that carries a cash award of Rs 2. 5 lakh. Yet, instead of walking on cloud nine, Deed exclaims, "Awards do not offer the same fulfilment as, say, writing a poem or a piece of prose".</p><p></p><p>Essentially a poet, more recently he has gone back to prose. Fresh from writing a book Dharti Hore Pare, he says that his writing odyssey had begun with short stories. Incidentally, that compilation, Ek Lap Yadan, has till date sold more copies than any other book of his. "Prose," he feels, "can reach out to a wider audience than poetry, which is for intellectuals and needs to be analysed. Just like mohabbat ke liye kuch khaas dil makhsoos hote hain, poetry is not everybody's cup of tea." Especially Deed's poetry, which is not meant to be recited or heard, but read. Readers in Punjabi might be a dwindling tribe, but he has a loyal select readership. To those who think khuli kavita is not quite poetry, he reasons, "Rhyming alone is not poetry. Free verse, too, has certain parameters and does reverberate with an inner poetic resonance".</p><p></p><p>Taking pride in the fact that he is "not a poet of mushairas," he deems that free verse is still a "standalone" genre in the Punjabi poetic world and he can also sense strong winds of change. He asserts, "Surjit Patar is probably the last mogul in the great tradition of Punjabi lyrical poetry. Today, more and more young poets are gravitating towards new styles and also new subjects." In fact, Deed, too, never toed the beaten line and defied the conventional practice of dittoing the Leftist ideology or writing about the concerns of the marginalised others. Giving a voice to his own </p><p>experiences, his very first book of poetry Bachhe Ton Dardi Kavita, with many poems delving into the conflict of three generations, was swathe with autobiographical touches. Often, he explores the dilemma that gnaws at the modern man who has no time to look back, to pay heed to a mother's call. The troubled predicament of this man who knows no rest freezes beautifully as the translated version of his poem Tek reads: "I, And I alone, poised at a point. Sans equipoise."</p><p></p><p>Then, he has written extensively about the man-woman relationship and even wrote love poems in Punjab's dark days of terror. But once again he did not endorse the "till death do us apart" kind of love, rather he goes on to challenge the "one-man-one-woman" concept of love. He quips, "Love can happen more than once". Of course, in his latest and fifth book of poetry, Kamandal, he has moved from the physical to the spiritual. Is this transition a natural reflection of growing years? Says he, "Yes, one could say that but poetic response is not linear. One can go back to the same subject time and again". For instance, women, villages and mountainshave been the recurring leitmotif in his works. Anyway, his poetry is replete with imagery, a fallout perhaps of being a documentary filmmaker. Working as an assistant station director, Doordarshan, Jalandhar, visuals come to him as quickly as words do. So does the art of merciless editing, which he </p><p>applies ruthlessly to his written word as well.</p><p></p><p></p><p></p><p>Trying to seek a balance between his job and his creative being might be a tall order. However, he manages to enthuse creativity in hisdocumentaries, which include the much-acclaimed seven-part series on Guru Granth Sahib and telefilms like Lamiyan Udeekan, He has won seven Doordarshan national awards for his television productions. No wonder, right from the first shot, a discerning viewer knows its Deed's work. Associated with the mass media, Deed, by the way, is not interested in masses but the perceptive viewer and reader. Rather, he simply professes, "Popularity is not my aim". As he writes in his poem, "Taadiyan nahi please, mein aithe tuhade manoranjan lai bilkul nahi aayea". Writing poetry isn't a hobby but a process of self-realisation, of laying a beautiful path of words. En route this journey, he might encounter, obstacles, even barbs. He responds to </p><p>criticism by writing with greater passion. For, he knows in the end only the written word survives. And there is a fair chance that his will...<span style="color: #ffffff">._,_.___</span></p></blockquote><p></p>
[QUOTE="spnadmin, post: 121682, member: 35"] [B]Seeking balance, Poet Jawant Deed[/B] by Nonika Singh It was legendary Amrita Pritam who set him on the poetic path some three decades ago by publishing his poem in her prestigious Punjabi magazine Nagmani. Since then, eminent poet Jaswant Deed has come a long way. Back then, his teacher, noted writer Dr Dalip Kaur Tiwana, told him: "Now you consider yourself a poet". Today, the literary galaxy seems to have acknowledged his poetic mettle. While in 2007 he won the coveted SahityaAkademi award, this year he has been honoured with the Shiromani Punjabi Kavi Samman that carries a cash award of Rs 2. 5 lakh. Yet, instead of walking on cloud nine, Deed exclaims, "Awards do not offer the same fulfilment as, say, writing a poem or a piece of prose". Essentially a poet, more recently he has gone back to prose. Fresh from writing a book Dharti Hore Pare, he says that his writing odyssey had begun with short stories. Incidentally, that compilation, Ek Lap Yadan, has till date sold more copies than any other book of his. "Prose," he feels, "can reach out to a wider audience than poetry, which is for intellectuals and needs to be analysed. Just like mohabbat ke liye kuch khaas dil makhsoos hote hain, poetry is not everybody's cup of tea." Especially Deed's poetry, which is not meant to be recited or heard, but read. Readers in Punjabi might be a dwindling tribe, but he has a loyal select readership. To those who think khuli kavita is not quite poetry, he reasons, "Rhyming alone is not poetry. Free verse, too, has certain parameters and does reverberate with an inner poetic resonance". Taking pride in the fact that he is "not a poet of mushairas," he deems that free verse is still a "standalone" genre in the Punjabi poetic world and he can also sense strong winds of change. He asserts, "Surjit Patar is probably the last mogul in the great tradition of Punjabi lyrical poetry. Today, more and more young poets are gravitating towards new styles and also new subjects." In fact, Deed, too, never toed the beaten line and defied the conventional practice of dittoing the Leftist ideology or writing about the concerns of the marginalised others. Giving a voice to his own experiences, his very first book of poetry Bachhe Ton Dardi Kavita, with many poems delving into the conflict of three generations, was swathe with autobiographical touches. Often, he explores the dilemma that gnaws at the modern man who has no time to look back, to pay heed to a mother's call. The troubled predicament of this man who knows no rest freezes beautifully as the translated version of his poem Tek reads: "I, And I alone, poised at a point. Sans equipoise." Then, he has written extensively about the man-woman relationship and even wrote love poems in Punjab's dark days of terror. But once again he did not endorse the "till death do us apart" kind of love, rather he goes on to challenge the "one-man-one-woman" concept of love. He quips, "Love can happen more than once". Of course, in his latest and fifth book of poetry, Kamandal, he has moved from the physical to the spiritual. Is this transition a natural reflection of growing years? Says he, "Yes, one could say that but poetic response is not linear. One can go back to the same subject time and again". For instance, women, villages and mountainshave been the recurring leitmotif in his works. Anyway, his poetry is replete with imagery, a fallout perhaps of being a documentary filmmaker. Working as an assistant station director, Doordarshan, Jalandhar, visuals come to him as quickly as words do. So does the art of merciless editing, which he applies ruthlessly to his written word as well. Trying to seek a balance between his job and his creative being might be a tall order. However, he manages to enthuse creativity in hisdocumentaries, which include the much-acclaimed seven-part series on Guru Granth Sahib and telefilms like Lamiyan Udeekan, He has won seven Doordarshan national awards for his television productions. No wonder, right from the first shot, a discerning viewer knows its Deed's work. Associated with the mass media, Deed, by the way, is not interested in masses but the perceptive viewer and reader. Rather, he simply professes, "Popularity is not my aim". As he writes in his poem, "Taadiyan nahi please, mein aithe tuhade manoranjan lai bilkul nahi aayea". Writing poetry isn't a hobby but a process of self-realisation, of laying a beautiful path of words. En route this journey, he might encounter, obstacles, even barbs. He responds to criticism by writing with greater passion. For, he knows in the end only the written word survives. And there is a fair chance that his will...[COLOR=#ffffff]._,_.___[/COLOR] [/QUOTE]
Insert quotes…
Verification
Post reply
Discussions
Punjab, Punjabi, Punjabiyat
Seeking Balance: Poet Jawant Deed (a Review)
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