Dr. Amrik Singh writes from Sacramento

HARMANDIR Sahib (Golden Temple) occupies a special place in the Sikh psyche. It is an exclusive territory of the Sikhs open to people of all persuasions. Disturbing its reigning peace and harmony with artillery fire led to utter shock and disbelief. 1984 invasion came after 219 years. Though the English had their agents in Sikh Gurdwaras, they avoided launching an attack on Sikhs’ most revered shrine. Earlier attacks on Golden Temple had identical response of the Sikhs, but June 1984 traumatized the community in a different way. Sardar Ajmer Singh, author of his third book on Sikh polity: 1984 Unchitviya Kehar (1984 Unimaginable Tyranny) expressed his views during a talk on Saturday, June 27 2009 arranged by Sikh Youth of America (Bay Area Unit). Introducing the author, Jasjeet Singh of Amritsar Group of Newspapers, urged a gathering of scholars to participate in the discussion and dwell on points raised by Ajmer Singh in his third book.

The author stated that some Sikh intellectuals blamed Sant Jarnail Singh Bhindrawale for the desecration of the holy place. Alternative sites like Mehta Chowk would have been appropriate for fighting with the army. Challenging the audience about their perception of Sant Jarnail Singh’s decision to fight from the precincts of the Akal Takht, the author characterized it as necessary for safeguarding Sikh legacy. Earlier taking part in debate some said Sant Jarnail Singh’s action was to defend the Harminder Sahib, and others believed it was the only option left to appropriate the spirit of Miri Piri. Sant Bhindrawale, however, had premonition of a tactically planned military operation. He was aware that Pundits had predicted a rollercoaster ride for Indira Gandhi in general elections due that year after the Blue Star operation. A coordinated attack on 37 other gurdwaras was to give the severest blow to the Sikh psyche. November 1984 tyranny against Sikhs outside Punjab speaks a lot about the structuring of the Hindu nationalism regardless of its rhetoric of secularism and universal brotherhood.

The author explained how the course of history changes when unique acts of valor occur for the expression of self respect. Baba Deep Singh’s decision to liberate Golden temple was one such action. He inspired many on the way to enact legendary heroism in the history of mankind. His battle played a dynamic role in Sikh history. The symbolic sacrifice set a paradigm for generations to come. Among unique dynamic exploits before Baba Deep Singh, Baba Banda Bahudar is remembered as the first to cut a hole in the mighty Mughal Empire. It not only led to the establishment of the Khalsa Raj in 1799, but also excited the East India Company to fantasize their rule in the rest of India.

Sardar Ajmer Singh reminded that 1984 attack on Golden Temple remains a contrast to earlier attacks. A significant section of Sikh community perceived it with the eyes that were colored by the Hindu nationalist media. Ajmer Singh pointed out that pens had stopped to make sense of the acute pain of 1984. In the post 1984 era, even writers like Khushwant Singh had to revise his earlier discredited opinions; he joined with other writers to stress on Sikhs’ subjugation. The author admits it was not easy to write about one of the severest crises in the written history of the Sikhs. It has to be put in the perspective that encompasses the entire tragedy of Sikhs’ dreams, hopes and aspirations in free India.

Guru Arjan Dev ji after having completed Aad Granth and Harmandar Sahib had sensed that conspiracy was afoot to destroy his work. He had already ordered buying horses, so that Sikhs’ spirit could be elevated and made fearless to defend the legacy of Saints, Bhagats and Gurus. Turning points in history are hard to understand at the time of occurrence. Contradictory claims and counterclaims mark the beginning of such phases. But it is the concluding stage that establishes the truth of an epoch.  Sixth Nanak, Guru Hargobind’s war–like spirit had created a crisis for even devout Sikhs of his time. It is no wonder Sant Jarnail Singh Bhindrawale had mixed response from Sikhs in the twentieth century.

Baba Deep Singh’s decision might have been naive from the tactical point of view, but that was precisely vibrant push for the history. Sant Jarnail Singh’s counterattack was a defining moment for Sikhs who had been suffering onslaughts of media, police, paramilitary and military operations. November 1984 exemplified the modus operandi of the fifth column, the faceless mob. That is why in 25 years, Indian criminal justice could not identify any faces so far who were responsible for thousands of Sikhs’ lynching.

The whole discussion took place in an atmosphere of peace. The author respected others’ difference of opinions. He answered questions focused around the viewpoint that Sant Jarnail Singh was a ploy of the politics of Darbara Singh and Giani Zail Singh. The destruction of reference library also figured in the discussion. Dr. Harbans Singh Saroan moderated the discussion deftly.

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The musical heritage of Nankana Sahib
Bhai Prithipal Singh and Mohan Pal Singh

Harjap Singh Aujla writes from New Jersey

WE all know that since the days of Maharaja Ranjit Singh’s empire “Gurdwara Janam Asthan Sri Nankana Sahib” and “Sri Darbar Sahib Amritsar” have been acknowledged to be the two shrines where the Sikh musical heritage was preserved at its pristine and sophisticated best. Other historic shrines used to look to these great places of worship for inspiration and guidance.

“Sri Darbar Sahib” is with us and we have extensively heard “Gurmat Sangeet” by the musicians in its service. We know this music since the days of Bhai Santa Singh and his contemporaries. We have also heard the music of Bhai Samund Singh ji of “Sri Nankana Sahib”, but other than Bhai Samund Singh, we have not been really conversant with what his other contemporaries were singing.

At least I had the curiosity to know as to how the other, particularly the famous Rababi Kirtanias, used to sing “Gurbani” at “Gurdwara Janam Asthan Sri Nankana Sahib. To my good luck, by chance, I stumbled upon a musician, who represented the second generation of the refugee Raagis from Nankana Sahib.

It was the year 1976, I was posted as a sub-divisional engineer construction at Patiala. Police buildings in Fort Bahadurgarh were under my charge. I observed a huge sized Sikh wearing white clothes coming out of Gurdwara Bahadurgarh Sahib. This gurdwara is situated on the opposite side of Fort Bahadurgarh. A man, who knew this individual, told me that he is the finest classical musician in Patiala. He introduced the individual as Bhai Mohan Pal Singh.

True to my extrovert nature, I tried to open up with this so far mysterious musician. He quickly judged my curiosity and asked me if I have heard about Bhai Pal Singh Jaswant Singh and Bhai Gurmukh Singh Bhai Sarmukh Singh Fakkar of “Sri Nankana Sahib”? I answered in affirmative. He told me that he is one of the descendents of this great family of musicians. But he wanted me to hear him first and then decide if he is a worthy descendent of the famous Kirtanias of the yore. I asked him if he knew the Reets, in which Bhai Pal Singh Jaswant Singh used to sing at Nankana Sahib. He replied yes he can sing most of their “Reets”. He gave me his home address, but he had no phone.

One fine holiday morning I decided to see him at his residence. He lived in a poor neighbourhood called “Tripuri” in Patiala city. The street leading to his home was only partly paved; the rest was potholed, muddy and dusty with milch cattle tied on both sides. On reaching his home I knocked at his door. The unpainted door was opened by Bhai Mohan Pal Singh himself. He was happy to receive me. He asked his lady to warm the milk for the guest, but I refused. He asked a young boy of twelve to bring the Tabla. He sang “Bilaskhani Todi”. From his “Alaap” he appeared to be a pupil of Ustad Bade Ghulam Ali Khan, which he proudly admitted he was. He said during early sixties he and his cousin Prithipal Singh were sent to Khan Sahib Bade Ghulam Ali Khan in Bombay to learn the finer points of the singing traditions of “Patiala Gharana” and this training helped them a lot professionally. Ever since that training, they have been doing “Riaz” of what they learnt. While in Bombay they met legendry playback singer Mohammad Rafi too, who offered them lucrative assignments as chorus singers in film industry, but they politely rejected the offer saying that they don’t want to quit their ancestral profession of singing for their Guru. He said even these days we both keep visiting Malerkotla to learn more about music from Ustad Bakar Ali Khan, the most accomplished music teacher of Patiala Gharana.

I was impressed. My father (Late Sardar Sochet Singh) lived in Chandigarh. During his college education days in Lahore Government College, he used to occasionally visit Nankana Sahib and was impressed with the singing skills of the Rababi Kirtanias of “Gurdwara Janam Asthan”. He was quite curious to hear the voices of their descendents. I promised him that I shall bring them to Chandigarh for a special “Kirtan Diwan” at my father’s residence. But that moment eluded us. My father died on August 31, 1976. He could not hear them singing, but they were performed Kirtan on his “Antim Ardas” a few days later.

Bhai Mohan Pal Singh was always telling me that his cousin Bhai Prithipal Singh is even a better Kirtania. While in Patiala, I did not have the privilege of listening to Bhai Prithipal Singh and a desire to listen to him remained in my heart. But I often used to go to “Gurdwara Sri Dukh Niwaran Sahib at Patiala” and often heard Bhai Joginder Singh Mohinder Singh, the cousins of Bhai Mohan Pal Singh and Prithipal Singh perform “Gurmat Sangeet” and they were mesmerizing.

After coming to America, I had the privilege in 1985 of inviting Bhai Mohan Pal Singh, who was accompanying Bhai Shamsher Singh Zakhmi, to perform Shabad Kirtan at Gurdwara Bridgewater New Jersey. I made some recordings too. Bhai Mohan Pal Singh’s voice was power packed and highly cultured.

A few days ago a friend of mine guided me to listen to Sikh devotional music on longislandkirtan.com. I did and to my surprise in the folder on old vintage Kirtan, I stumbled upon some recordings in the voice of Bhai Prithipal Singh. There is Asa Di Vaar in two parts and there are 2 more MP-3s in the voice of this musician. After listening to these four folders, I rediscovered some remnants of the great traditions of “Shabad Kirtan” once alive at “Gurdwara Janam Asathan Sri Nankana Sahib”. I request all the genuine lovers of “Gurmat Sangeet” to listen to Bhai Prithipal Singh’s “Shabad Kirtan”. In some very small pieces he has given glimpses of his mastery over this dying art. Both Bhai Prithipal Singh and Bhai Mohan Pal Singh died a few years ago before attaining the age of sixty. Both lived and died in poverty. Sadly our community never recognized their talents. They have been tormented financially but they never abandoned their traditions and never compromised with their music.

harjapaujla@gmail.com

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