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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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KAMBDI KALAAI - A Review By Dr. I J Singh
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<blockquote data-quote="Dr. I J Singh" data-source="post: 27304"><p><strong>KAMBDI KALAAI Reviewed by I.J. Singh</strong></p><p><strong>E-mail: <a href="mailto:ijs1@nyu.edu">ijs1@nyu.edu</a></strong></p><p></p><p></p><p>Sikhs have come a long way from the caricatures of them popularized by</p><p>Bollywood over the past 50 years. Keep in mind that Bollywood is at</p><p>this time perhaps the largest movie making enterprise in the world; more</p><p>commercial movies are made there than in Hollywood, or anywhere else for</p><p>that matter.</p><p></p><p>Punjabi characters, who are Sikh in appearance, have in Bollywood movies</p><p>served only one purpose over the years: to get a cheap laugh. The more</p><p>outrageous the character, the louder the guffaws. Punjabi movies toed a</p><p>similar line, for that’s where lay commercial success. Add to this</p><p>formula, turbaned Sikhs in clumsy roles, mega-decibel bhangra, and the</p><p>equivalent of slapstick comedy, and that was a sure-fire formula for</p><p>commercial success.</p><p></p><p>It is only in the past five years that some Punjabi movies, particularly</p><p>by Gurdas and Harbhajan Mann, have even attempted to explore issues</p><p>stemming from the large scale diaspora – matters like arranged</p><p>marriages, changing attitudes and cultural norms, dynamic shifts in</p><p>political and cultural loyalties. I should add here the very successful</p><p>movies of Gurinder Chadha in English. She has taken a very thoughtful,</p><p>yet eminently entertaining look at Punjabi culture. But the image of</p><p>Sikhism has remained largely mixed in most of these movies. I suppose</p><p>the few but small positive changes are owed substantially to the</p><p>increasing Sikh diaspora - its political muscle, its financial</p><p>prosperity, and growing awareness of its Sikh roots. </p><p></p><p>But the lot of the turbaned Sikh in movie imagery has generally remained</p><p>where it always has been; the portrayal of Sikh themes hasn’t changed a</p><p>bit. Given this reality, Kambdi Kalaai, the latest entrant into this</p><p>genre of films, is an absolute pleasure. It is a small step in the</p><p>burgeoning movie business, but for Sikhs it is truly a giant leap</p><p>forward.</p><p></p><p>In the short space of one hour, this art film by a young moviemaker, Ish</p><p>Amitoj Kaur, probes several levels of our Sikh reality. Love and</p><p>marriage are recurring themes in life, as they are in this short movie</p><p>as well. Ish highlights the minefields of interreligious and</p><p>intercultural dating; Punjabi cultural norms, our realities in the</p><p>diaspora, how little many Sikhs, who swear by their religious label,</p><p>know of what they profess. Even the bloody events of 1984 have found</p><p>space; they deserve to, because their effects on Sikhs are going to be</p><p>lasting. How should we look at ourselves in a different cultural</p><p>reality? In other words, how to become good Americans while remaining</p><p>good Sikhs is the question; after all, these two terms are not mutually</p><p>exclusive. </p><p></p><p>Set and made in New York, the unexcelled Mecca for immigrants, Kambdi</p><p>Kalaai is a product of the Sikh diaspora. The actors in it are mostly</p><p>young amateurs. There are very few seasoned players, but</p><p>writer-director Ish Amitoj handles them with rare aplomb and a sure</p><p>touch. She has a good eye for the romantic scene without the bathos, and</p><p>for rendering conflict without becoming a tearjerker, as Indian movies</p><p>unfailingly do. In Kambdi Kalaai, recognizable (keshadhari) Sikhs occupy</p><p>center stage as main characters, for they are the story. The music and</p><p>lyrics are simply superb. The influence of Bhai Veer Singh, a legendary</p><p>iconic scholar – I would call him the preeminent public intellectual of</p><p>Sikhism – stands out.</p><p></p><p>If I have any criticism of Kambdi Kalaai, it is that there are so many</p><p>intertwined vignettes of Sikh life in it and so little time. Even the</p><p>most ordinary lives are extraordinarily complex; unraveling them demands</p><p>time and single-minded pursuit. Each theme deserves fuller treatment.</p><p>The translations of Punjabi appear as subtitles in English and it seems</p><p>to me they need some polishing at times.</p><p></p><p>This screening of Kambdi Kalaai was at the ninth annual Long Island</p><p>International Film Expo in Bellmore, New York, where independent</p><p>filmmakers submitted 155 films that were screened from July 11 to July</p><p>20; there were entries from California to New York, and from Ireland to</p><p>Israel. This was the only film on a Sikh theme. But, despite a</p><p>burgeoning Sikh community in Long Island, there were less than ten Sikhs</p><p>in the audience. I am sure for a Bollywood song and dance on celluloid,</p><p>thousands would happily stand in line. This baffles me, for</p><p>qualitatively, Kambdi Kalaai, stands heads and shoulders above many</p><p>moneymakers. And it is thought provoking; that is not an epithet that</p><p>fits the large majority of Indian movies. The entrée of a movie on a</p><p>strictly Sikh theme into an International festival of films with a host</p><p>of differing subjects by a variety of young filmmakers is a notable</p><p>milestone.</p><p></p><p>Kudos to Ish Amitoj Kaur, who wrote and directed it, are deservedly</p><p>extensive. She is young, at the beginning of her career, and shows</p><p>great promise. I am sure we will hear from her and her voice will only</p><p>become stronger and more focused. </p><p></p><p>July 21, 2006</p></blockquote><p></p>
[QUOTE="Dr. I J Singh, post: 27304"] [B]KAMBDI KALAAI Reviewed by I.J. Singh E-mail: [EMAIL="ijs1@nyu.edu"]ijs1@nyu.edu[/EMAIL][/B] Sikhs have come a long way from the caricatures of them popularized by Bollywood over the past 50 years. Keep in mind that Bollywood is at this time perhaps the largest movie making enterprise in the world; more commercial movies are made there than in Hollywood, or anywhere else for that matter. Punjabi characters, who are Sikh in appearance, have in Bollywood movies served only one purpose over the years: to get a cheap laugh. The more outrageous the character, the louder the guffaws. Punjabi movies toed a similar line, for that’s where lay commercial success. Add to this formula, turbaned Sikhs in clumsy roles, mega-decibel bhangra, and the equivalent of slapstick comedy, and that was a sure-fire formula for commercial success. It is only in the past five years that some Punjabi movies, particularly by Gurdas and Harbhajan Mann, have even attempted to explore issues stemming from the large scale diaspora – matters like arranged marriages, changing attitudes and cultural norms, dynamic shifts in political and cultural loyalties. I should add here the very successful movies of Gurinder Chadha in English. She has taken a very thoughtful, yet eminently entertaining look at Punjabi culture. But the image of Sikhism has remained largely mixed in most of these movies. I suppose the few but small positive changes are owed substantially to the increasing Sikh diaspora - its political muscle, its financial prosperity, and growing awareness of its Sikh roots. But the lot of the turbaned Sikh in movie imagery has generally remained where it always has been; the portrayal of Sikh themes hasn’t changed a bit. Given this reality, Kambdi Kalaai, the latest entrant into this genre of films, is an absolute pleasure. It is a small step in the burgeoning movie business, but for Sikhs it is truly a giant leap forward. In the short space of one hour, this art film by a young moviemaker, Ish Amitoj Kaur, probes several levels of our Sikh reality. Love and marriage are recurring themes in life, as they are in this short movie as well. Ish highlights the minefields of interreligious and intercultural dating; Punjabi cultural norms, our realities in the diaspora, how little many Sikhs, who swear by their religious label, know of what they profess. Even the bloody events of 1984 have found space; they deserve to, because their effects on Sikhs are going to be lasting. How should we look at ourselves in a different cultural reality? In other words, how to become good Americans while remaining good Sikhs is the question; after all, these two terms are not mutually exclusive. Set and made in New York, the unexcelled Mecca for immigrants, Kambdi Kalaai is a product of the Sikh diaspora. The actors in it are mostly young amateurs. There are very few seasoned players, but writer-director Ish Amitoj handles them with rare aplomb and a sure touch. She has a good eye for the romantic scene without the bathos, and for rendering conflict without becoming a tearjerker, as Indian movies unfailingly do. In Kambdi Kalaai, recognizable (keshadhari) Sikhs occupy center stage as main characters, for they are the story. The music and lyrics are simply superb. The influence of Bhai Veer Singh, a legendary iconic scholar – I would call him the preeminent public intellectual of Sikhism – stands out. If I have any criticism of Kambdi Kalaai, it is that there are so many intertwined vignettes of Sikh life in it and so little time. Even the most ordinary lives are extraordinarily complex; unraveling them demands time and single-minded pursuit. Each theme deserves fuller treatment. The translations of Punjabi appear as subtitles in English and it seems to me they need some polishing at times. This screening of Kambdi Kalaai was at the ninth annual Long Island International Film Expo in Bellmore, New York, where independent filmmakers submitted 155 films that were screened from July 11 to July 20; there were entries from California to New York, and from Ireland to Israel. This was the only film on a Sikh theme. But, despite a burgeoning Sikh community in Long Island, there were less than ten Sikhs in the audience. I am sure for a Bollywood song and dance on celluloid, thousands would happily stand in line. This baffles me, for qualitatively, Kambdi Kalaai, stands heads and shoulders above many moneymakers. And it is thought provoking; that is not an epithet that fits the large majority of Indian movies. The entrée of a movie on a strictly Sikh theme into an International festival of films with a host of differing subjects by a variety of young filmmakers is a notable milestone. Kudos to Ish Amitoj Kaur, who wrote and directed it, are deservedly extensive. She is young, at the beginning of her career, and shows great promise. I am sure we will hear from her and her voice will only become stronger and more focused. July 21, 2006 [/QUOTE]
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