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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
Hard Talk
Silenced Even After Twenty Years
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<blockquote data-quote="Boota" data-source="post: 81626" data-attributes="member: 4092"><p><a href="http://www.amuthefilm.com/censored.htm" target="_blank">http://www.amuthefilm.com/censored.htm</a></p><p><a href="http://www.amuthefilm.com/censored.htm" target="_blank">http://www.amuthefilm.com/censored.htm</a> </p><p> </p><p>September 2004. We race against time to finish Amu and submit it to the Indian censor board without whose clearance the film cannot release.</p><p> </p><p>We had planned the release to be on November 1, 2004 – the 20th anniversary of the 1984 carnage. And really worked hard to meet this deadline.</p><p> </p><p>The censor board delayed it for 3 months. Finally in December the verdict was given:</p><p> </p><p>6 lines of dialog to be removed from the film – or redubbed with acceptable dialogue.</p><p> </p><p>An “A” Certificate (equivalent to the American NC 17 rating).</p><p> </p><p> </p><p> </p><p>The cuts:</p><p> </p><p>Almost all the lines were from the scene where fictional widows explain to the protagonists who exactly organized the “riots”.</p><p> </p><p> </p><p> </p><p> </p><p> </p><p><img src="http://www.amuthefilm.com/image/widow.jpg" alt="" class="fr-fic fr-dii fr-draggable " style="" />“Minister hee to thhe. Unhee ke shaye pe sab hua” (It was a Minister. It was all done at his direction). </p><p> </p><p>“Saare shamil thhe… police, afsar, sarkar, neta, saare” (They were all involved … the police, the bureaucracy, the government, the politicians – all). </p><p> </p><p> </p><p> </p><p>Instead of changing the lines so that the audience would not be pulled out of the film we took the decision to let the characters go silent. We thought it was a powerful indictment for audiences to see fictional widows in a fictional film silently moving their lips. Silenced even after twenty tears.</p><p> </p><p>When the film released in India a ripple would go through the audience – censor censor…and in every q and a we were asked what the lines of dialogue were.</p><p> </p><p> </p><p> </p><p>If ever there were doubts that a cover-up of history had taken place, they were set to rest when the Censor Board explained why they gave the film an “A” certificate, They said:</p><p> </p><p>“Why should young people know a history which is best buried and forgotten?” </p><p> </p><p> </p><p> </p><p>We made the film because they need to know.</p></blockquote><p></p>
[QUOTE="Boota, post: 81626, member: 4092"] [URL]http://www.amuthefilm.com/censored.htm[/URL] [URL="http://www.amuthefilm.com/censored.htm"][/URL] September 2004. We race against time to finish Amu and submit it to the Indian censor board without whose clearance the film cannot release. We had planned the release to be on November 1, 2004 – the 20th anniversary of the 1984 carnage. And really worked hard to meet this deadline. The censor board delayed it for 3 months. Finally in December the verdict was given: 6 lines of dialog to be removed from the film – or redubbed with acceptable dialogue. An “A” Certificate (equivalent to the American NC 17 rating). The cuts: Almost all the lines were from the scene where fictional widows explain to the protagonists who exactly organized the “riots”. [IMG]http://www.amuthefilm.com/image/widow.jpg[/IMG]“Minister hee to thhe. Unhee ke shaye pe sab hua” (It was a Minister. It was all done at his direction). “Saare shamil thhe… police, afsar, sarkar, neta, saare” (They were all involved … the police, the bureaucracy, the government, the politicians – all). Instead of changing the lines so that the audience would not be pulled out of the film we took the decision to let the characters go silent. We thought it was a powerful indictment for audiences to see fictional widows in a fictional film silently moving their lips. Silenced even after twenty tears. When the film released in India a ripple would go through the audience – censor censor…and in every q and a we were asked what the lines of dialogue were. If ever there were doubts that a cover-up of history had taken place, they were set to rest when the Censor Board explained why they gave the film an “A” certificate, They said: “Why should young people know a history which is best buried and forgotten?” We made the film because they need to know. [/QUOTE]
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Hard Talk
Silenced Even After Twenty Years
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