GURBANI KIRTAN RENAISSANCE: REVIVING MUSICAL MEMORY,REFORMING SIKH IDENTITY

This article examines the modes of revival within the contemporary renaissance of traditional Gurbani Kirtan (Sikh devotional music) in an effort to differentiate historically operative practices from modern products being sold as tradition. Modern reformist tendencies have attempted to institutionalize a normative Sikh musical identity into one homogeneous ‘Gurmat Sangeet’ genre through codifying Sikh raga forms and promoting a particular Sikh musical orthopraxy and history. The process of institutionalization privileges written sources as authoritative, erasing the memory of operative practices passed down orally since the time of the Sikh Gurus through the Gurbani Kirtan parampara (tradition). In questioning how Sikh musical knowledge has been propagated and authenticated since modernity, I propose a reassessment of what values and musical modes are indelible to the fabric of Gurbani Kirtan, what aspects are modern derivatives, and what aspects are negotiable. I believe such an approach will not limit Sikh musical expression to a past identity subsumed by orthodox rigidity. Instead it will move toward a phenomenological epistemology that recognizes how orality and embodied experience are intrinsic to the Gurbani Kirtan parampara that remembers, practices, and teaches a particular methodology to embody the Bani as Guru for newly creative Sikh subjectivities.     

‘KEEPING THE FAITH ALIVE': TEACHING SIKH KIRTAN IN AMERICA

Since the large influx of Sikhs to the USA beginning with immigration reform in the 1960s, Sikhism has continued to come into view as an American religion. Throughout the USA today, Sikhs are devoting vast amounts of time and effort toward keeping continued generations of Sikh Americans connected with Sikh communities, traditions, history, and ways of being and knowing. One of the primary ways that many communities are teaching younger generations how to be Sikh in America is through teaching the performance of the Sikh sacred musical tradition, Gurbani kirtan (musical performance of the Word of the Gurus and Bhagats of Sikhism found within the Guru Granth Sahib). This article will explore observations from my field research and interviews among people who are teaching the Gurbani kirtan tradition in the USA, and their students. I will discuss how those teaching the tradition fall into several groups: organized kirtan academies, well-known kirtaniyas (Sikh sacred musicians) who hold periodic workshops, professional music teachers, and volunteer instructors within gurdwara communities. I will present insights from my interviews conducted with interviewees from each group about their pedagogical methods, reasons for teaching, and hopes and concerns for the future. Finally, I will conclude with some observations on the role of Gurbani kirtan in the emergence of Sikhism as an American religion.     

Lost in translation? The emergence of the digital Guru Granth Sahib

ABSTRACT

This article explores the impact of the digital online environment on the religious lives of Sikhs with a particular focus on the emergence of the ‘Digital Guru’, i.e. digital versions of the Guru Granth Sahib. Using data gathered through interviews and an online survey, I examine how the ‘Digital Guru’ is impacting on the transmission of the Sikh tradition and on Sikh religious authority. I then explore some of the issues faced in engaging with the ‘Digital Guru’ and the consequences of the emergence of online translations. Given that ‘going online’ has become an everyday practice for many, this article contributes to understandings of the impact of the online environment on the religious adherents in general, and on Sikhs in particular.     

Guru Nanak’s sensuous metaphysics

ABSTRACT

Religion and aesthetics are demarcated as two different avenues with ‘God’ and ‘Beauty’ as their respective goals. Opposite of anesthetic, aesthetics is clearly the heightening of the senses. But religion with its focus on God dwelling in a world beyond ours mandates a negation of those very senses. Guru Nanak, the first Sikh Guru, overturns such an antithesis. My paper focuses on Guru Nanak’s Japji, the foremost devotional hymn in the Guru Granth Sahib, to explore the way in which aesthetics and religion merge together in the unitary experience of a sensuous metaphysics.     

EARLY SIKH HISTORIOGRAPHY

In this paper I explore how ‘doxa’ has influenced the historical study of medieval and early modern Sikhism. In particular the paper focuses on the reign of Guru Hargobind and his intellectual contest with his cousin and spiritual rival, Miharvan. The contest between Hargobind and Miharvan demonstrates how medieval Sikh society was not conveniently divided into ‘orthodox’ and ‘unorthodox’ sections. Rather, the Sikh community was influenced by a variety of socio-economic, political and intellectual factors that affected the way in which the community thought about Sikhism. Moreover, the paper examines how dialogical readings of primary sources can enable scholars to develop a more dynamic historical understanding of early Sikhism.     

Songs to the Jinas and of the Gurus: historical comparisons between Jain and Sikh devotional music

ABSTRACT

Jain worship has always been accompanied by music and likewise for Sikhs the performance of and listening to the singing of hymns, as composed by several of their Gurus, continuously has been central to the community’s spiritual experience. For different reasons, however, Sikh and Jain devotional music, known as kirtan and bhakti respectively, until recently were neglected subjects in historiography. This article investigates the parallels and differences among the two genres from a historical comparative perspective against the successive backgrounds of the bhakti movement and Indic culture, the imperial encounter and globalization. In doing so, it particularly emphasizes the importance of identity politics to the making of modern Sikh and Jain devotional music, as well as the fact that, in comparison to Jain bhakti, Sikh kirtan generally remains North Indian ‘Hindustani’ art music, rather than regional folk music.     

Materializing Sikh pasts1

Objects and sites related to the Sikh Gurus, heroes and martyrs are ubiquitous in Punjab and beyond. As objects of memory, they function to represent the past and participate in a larger narration of that past as history. This paper examines exemplary cases of Sikh historical objects and sites and considers their role as lieux de memoire, as theorized by Pierre Nora, to commemorate the Guru and the relationships that constitute the community around him. Narration constitutes the animating principle for these objects, making them both like and unlike other kinds of material religious traditions generally known as ‘relics’. The early Buddhist tradition is provided for productive contrast, to suggest a parallel case of a narrative frame that determines the historical meanings of the material aspect of religious practices and ideologies.     

Reforming Siki and re-devising the panth: The influence of the Singh Sabha movement on the Millenial Sikhs in the United Kingdom

ABSTRACT

The Sikh community in the UK consists of various ‘Jathebandia’, loosely translated as ‘units’ or ‘sects’. All of these groups have varied histories, practices, and theological beliefs. This paper examines the influence of the Singh Sabha movement on the millennial generation in some of the largest Sikh groups in the UK. Some of the groups claim orthopraxy and orthodoxy, but this essay argues the majority of these groups are an amalgamation of different influences that have adapted their practices according to the Singh Sabha movement and concludes with an analysis of how these influences play out via Sikh media and the internet.     

Sikhs of Nagaon in Assam (India): Dilemmas of language and religion*

Sikhs are a widely scattered community found both in India and far beyond. They have historically been a hardworking people who have sought out economic opportunity in a wide variety of places. In the state of Assam, there are Sikhs who had settled there for the past two centuries, exclusively in the villages of one district of Nagaon. They claim to be the progeny of Sikh soldiers sent there by Maharaja Ranjit Singh in support of the Ahom king. After they lost the battle and dispersed to the forested areas clearing the jungle and cultivating the land. While they have kept Sikh tradition in its entirety and believe fully in Guru Granth, they do not understand Punjabi. The Punjabi Sikhs, as later day migrants, have subjected them on these grounds and refer to them as ‘duplicates.’ This article will seek to present a full account, however, of their immersion into the culture of Assam and how they came to call themselves Axomiya, a distinct type of Sikhs from this state.     

VIOLATIONS OF PAROLE: LANGUAGE,RELIGION, AND POWER AMONG THE MODERN UDASI MOVEMENT AND THE SGPC

This article explores a subaltern framework to examine language, religion, and power among contemporary Sikh movements, such as the Udasis, that oppose the Shiromani Gurudwara Prabhandak Committee (SGPC). From the late nineteenth century, the Punjab environment progressively communalized as religious groups competed internally and externally to win supporters and define outsiders. Emblematic of these processes in Sikhism are those affirming ties to Hinduism, such as the Udasis, and those seeking a separate religious identity, such as the Tat Khalsa Singh Sabha. This paper begins with an overview of constructions of Hinduism and Sikhism in the colonial period. Next, the theory of parole is developed to trace the relationships among language, religion, and power transacted through speech. Finally, the SGPC's portrayals of the Udasis and modern Udasi responses are presented. The Udasis exemplify how certain sects fell outside of epi-colonial religious demarcations in the Punjab that progressed toward a single Sikh identity. As a theory linking language and power, parole surpasses the classification of religious groups as ‘orthodox’ and ‘heterodox’ to uncover histories where communities define Self and Other.     

THE TEAR IN THE FABRIC OF MULTICULTURALISM

Since 1984, there have been recurring images of Sikhs in Canada, as ‘extremists’, ‘militants’ and ‘terrorists'. As a result, when Sikhs are viewed as participating in ‘un-Canadian’ beliefs or practices, the general public often responds with discourses that state Sikhs need to return ‘home’, despite their citizenship status. These images produce conversations among Canadians about the extent Sikhs are compatible with Canadian society. I will use the aftermath of the Kamal Nath Protest (23 March 2010), organized by Sikh-Canadians (mostly born in Canada), to unpack the discourse of the Sikh ‘extremist’ in the media. I will explore how the idyllic discourse of Canadian multiculturalism has denied the political identities and histories of communities that have migrated to Canada. Despite discourses of universal tolerance and individual rights, it becomes apparent that any protest is not an appropriate form of dissent for the racialized immigrant within Canada.     

Deconstructing the Punjab crisis of 1984: Deer,hawks, and siqdārs (‘officials’) as agents of state-sponsored violence

Acts of violence or non-violence are social phenomena that take place at particular historical junctures. They cannot be described as essential features of any community. The Punjab crisis of yesteryear reflected the multidimensionality of violence. On the one hand, involvement of the agents of ‘Third Agency’ in the garb of Sikh militants in random acts of violence and guerrilla warfare was totally unwarranted and counterproductive; on the other, one cannot overlook the sheer egregious and unjust acts of state, killing in the name of order, security, and sheer power. This paper looks at this dark period in recent Sikh history through the lens of Gurū Nānak’s Malār hymn. This is an insightful composition in which the Guru employs the metaphors of deer (hara?), hawks (bāj) and state officials (siqdār) who act as trained agents provocateurs to push a community in a particular direction – especially on the path of self-destruction – to justify state violence.