‘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.     

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.     

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.     

‘PRINCESSES’ AMONG THE ‘LIONS’: THE MILITANT CAREERS OF SIKH FEMALE FIGHTERS

For the first time in Sikh historiography, this article deals with the definition, institutionalization, canonization and commodification of modern Sikh music (kirtan) since the so-called Singh Sabha reformation. On the whole, it takes Sikh music as a suitable lens through which to examine societal and intellectual change, assuming that it is closely embedded in society and formative to its construction, negotiation and transformation in terms of (moral) consensus and conflict. Specifically, it discusses the influence of Western Orientalism (Max Arthur Macauliffe) and musicology, staff notation, Princely patronage (Maharaja Bhupinder Singh of Patiala), Christian missionaries and the introduction of new instruments (the harmonium, brass bands) to the making of modern Sikh music. Moreover, it investigates its relationship with what I have elsewhere labelled the Singh Sabha ‘moral language’ in terms of identity politics, for example in connection to popular culture (Punjabi bhangra), the notion of ‘authenticity’ and the British civilizing mission.     

MUSIC OF THE SIKH DIASPORA: DEVOTIONAL SOUNDS,MUSICAL MEMORY AND CULTURAL IDENTITY

This paper explores the role of devotional music in the construction of Sikh identity in diasporic contexts. In particular, it examines a heterodox Sikh community in the UK and an orthodox Sikh community in Hong Kong from a comparative perspective, showing how music helps to clarify continuities and discontinuities in Sikhism worldwide. I provide ethnographic accounts of musical performances in different locales within gurdwara-s. Following a summary of current conventions in Sikh music performance and pedagogy, two ethnographic accounts are provided. The first is a musical ethnography of the Namdhari Gurdwara in Leicester where Hindustani classical music is performed alongside traditional ritual genres. The second site is a similar ethnographic study of the Khalsa Diwan Gurdwara in Hong Kong where the issues of diasporic identity and musical memory are foregrounded.     

Engendering the female voice in Sikh devotional music: Locating equality in pedagogy and praxis

ABSTRACT

The Sikh Gurus promoted gender equality, but still women’s voices are being silenced from playing Gurbānī Kīrtan inside the Golden Temple. The reasons for their exclusion center around the sexualization of the female body, purity and pollution, appeals to tradition, and questions of musical proficiency. Today, Sikhs in India and the diaspora ask that the Sikh philosophy of equality be fully enacted in pedagogy and praxis. Through ethnographic investigation, historical analysis and critical inquiry, this paper addresses the importance of liberating the Sikh self and psyche from institutional systems of oppression to reclaim Sikh sovereignty, equality and the female voice.     

Development of perception of the unity of musical events

Infants' and young children's perception of the unity of musical events was investigated in three studies. In the first two, children watched video displays of two musicians playing different musical instruments side by side in synchrony, and heard a soundtrack in synchrony with both instruments but specific to one. The children judged which instrument was producing the music they heard. Three- to 4-year-olds differentiated instruments from different families but not instruments from the same family. Five- to 7-year-olds additionally differentiated instrument pairs differing in size and pitch range (e.g., violin, cello). In the third study, infants were presented some of the same musical events in order to assess whether specific experience with the instruments is necessary for perceiving the unity of musical events. Looking times revealed that 7- to 9-month-olds detected the correspondence of the sight and sound of some musical instruments. Specific experience with a variety of instruments is evidently not necessary for detecting correspondences of audible and visible properties and for differentiating instruments from different families.     

Rethinking Sikh Nationalism in the Twenty-First Century

This article seeks to draw attention to some of the core issues which beset the study of Sikh nationalism as a coherent phenomenon in an increasingly globalized and socially fragmented world. First, it highlights the importance of revisiting the debate about the community's religious boundaries, arguing that in contrast to the new conventional wisdom informed by poststructuralism, Sikh identity has exhibited a remarkable degree of continuity from the establishment of the Khalsa in comparison with other South Asian religio-political communities. The second key issue highlighted is the role of the Sikh diaspora in the development of Sikh nationalism and statehood. It critically examines the extent to which diaspora may be regarded as an instrument of ‘long-distance’ nationalism. Third, it argues that the existing literature on Sikh nationalism is remarkably community-centric and needs to engage with theories of nationalism. Finally, while acknowledging the cleavages which fragment the Sikh nation, it concludes that Sikh nationalism has been remarkably cohesive.     

REPRESENTATION OF SIKHS IN BOLLYWOOD CINEMA

Like other ethnic minorities, Sikhs have been conventionally represented in popular Hindi cinema either as brave warriors or as uncouth rustics. In the nationalist text in which the imagined subject was an urban North Indian, Hindu male, Sikh characters were displaced and made to provide comic relief. Since the mid-1990s, Hindi filmmakers have genuflected to the rising economic and political power of the Sikh diaspora through token inclusions of Sikhs. Although 1990s films like Kuch Kuch Hota Hai (1998) included attractive images of Sikhs, Hindi cinema could introduce a Sikh protagonist only in the new millennium in Ghadar: Ek Prem Katha (2001) and featured a turbaned Sikh as a protagonist only two decades later in the film Singh is Kinng (2009). Ever since the film became a superhit, top Bollywood stars such as Akshay Kumar, Saif Ali Khan, Ranbir Kapoor and even Rani Mukherjee have played Sikh characters in films like Love Aaj Kal (2009), Rocket Singh: Salesman of the Year (2009) and Dil Bole Hadippa (2009). Even though Bollywood stars have donned the turban to turn Sikh cool, Sikhs view the representation of the community in Hindi cinema as demeaning and have attempted to revive the Punjabi film industry as an attempt at authentic self-representation. This paper examines images of Sikhs in new Bollywood films to inquire if the romanticization of Sikhs as representing rustic authenticity is a clever marketing tactic used by the film industry to capitalize on the increasing power of the Sikh diaspora or if it is an indulgence in diasporic techno-nostalgia that converges on the Sikh body as the site for non-technologized rusticity. It argues that despite the exoticization of Sikhs in the new Bollywood film, the Sikh subject continues to be displaced in the Indian nation.     

Four generations of Sikh studies: A personal view1

This perspective on the development of Sikh Studies over the twentieth century intersperses personal reminiscences from the past four decades with a chronological overview of the modern development of the subject. Beginning with an outline of some of the pioneering achievements of the great Singh Sabha scholars and of subsequent developments in the Punjab in the succeeding generations, it then discusses some of the tensions between traditional scholarship and the different emphases which have typically marked the work of western academics. While critical of some of the infighting which has characterized Sikh Studies in the West, it concludes with an overview of the exciting contemporary developments of the subject by young Sikh scholars working in North America and Britain (of which the appearance of Sikh Formations is itself such an encouraging sign), and with a plea for the urgent necessity of informed interfaith understandings.     

It's not what you play,it's how you play it: Timbre affects perception of emotion in music

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18–30 years, 24 older adults aged 58–75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p < .0001 for each age group). The effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p < .05) in another group of young adults for novel synthetic timbres designed to incorporate timbral cues to particular emotions. Our findings show that timbre (instrument identity) independently affects the perception of emotions in music after controlling for other acoustic, cognitive, and performance factors.     

How is a trumpet known? The "basic object level" concept and perception of musical instruments

What are the object properties that serve as a basis for the musical instrument classification system, and how do general and specific experience affect knowledge of these properties? In the first study, the multimodal quality of properties underlying children's and adults' perception was investigated. Subjects listened to solos and identified instruments producing the sounds. Even children who did not have experience with all the instruments correctly identified the family of instruments they were listening to. The hypothesis of the second study, that musical instrument families function as a "basic level" in the instrument taxonomy, was confirmed. Variation in the basic level with varying expertise was documented in the third study with musicians. In the fourth study, children and adults identified the source of sounds from unfamiliar objects, Chinese musical instruments. It is suggested that the concept of affordances may be relevant for understanding the importance for behavior of different levels of abstraction of category systems.     

EMOTION IN SIKH MUSICOLOGY

Recent studies in Sikh musicology have focused on its history and theory. However, there is an absence of theoretical research which focuses on the role of emotions in Sikh music. In this paper, we contribute to this research by investigating key issues relating to emotions in Sikh musicology. We explore theories which propose that a rāga will evoke a particular emotion/mood in the listener and that there are a number of factors which influence this process. In particular, we focus on two parallel theories which we term the ‘one rāga one emotion’ and the ‘one rāga multiple emotions’ theories. We consider these theories within the context of the shabads (We are adding an ‘s’ for Punjabi plural words such as shabads and rāgas although the plural in Punjabi in this case would be Shabad or rāga. By Anglicising the words in this way we hope that it makes the paper easier to read), in particular rāgas of the Guru Granth Sahib which convey a number of emotions/moods. In this paper, we explore the problem of how to approach the interpretation of rāgas within the context of the emotions/moods presented in the shabads of those rāgas whilst adhering to the musical structure of the rāga. We use rāga Sirī to exemplify and focus the discussion. We challenge the ‘one rāga one emotion’ theory and propose that a rāga can be performed to evoke a number of emotions/moods but that certain considerations have to be taken into account by the performer during the rendition of the rāga.     

Preferences and Children's Use of Gender-Stereotyped Knowledge About Musical Instruments: Making Judgments About Other Children's Preferences

A developmental model of gender-stereotype acquisition (Martin, 1989) proposes that by the age of 8 years children draw upon information about gender-stereotyped interests as well as other children's sex when deciding how much other children would like different activities; younger children rely on sex only when making such decisions. We examined whether the judgments that children made about other children's preferences were different from those that they made about their own preferences for masculine and feminine musical instruments. Three hundred twelve children aged 8–9 years ranked 6 instruments in order of preference, and rated on a 4-point scale how much they would like to play each one. Children were then asked to decide how much other children would like to play each instrument. Only girls' own preferences for feminine instruments differed according to the gender-stereotyping of their most-preferred instrument. Judgments about how much other children would like masculine and feminine instruments did not differ according to those children's gender-stereotyped interest. Children made stereotypical predictions about the preferences of children of unknown sex who played either a masculine or feminine instrument. Implications for a theoretical account of the development of children's gender-stereotypes are discussed.     

‘So people know I'm a Sikh’: Narratives of Sikh masculinities in contemporary Britain

This article examines British-born Sikh men's identification to Sikhism. In particular, it focuses on the appropriation and use of Sikh symbols amongst men who define themselves as Sikh. This article suggests that whilst there are multiple ways of ‘being’ a Sikh man in contemporary post-colonial Britain, and marking belonging to the Sikh faith, there is also a collectively understood idea of what an ‘ideal’ Sikh man should be. Drawing upon Connell and Messerschmidt's discussion of locally specific hegemonic masculinities (2005. “Hegemonic Masculinity: Rethinking the Concept.” Gender and Society 19 (6): 829–859), it is suggested that an ideal Sikh masculine identity is partly informed by a Khalsa discourse, which informs a particular performance of Sikh male identity, whilst also encouraging the surveillance of young men's activities both by themselves and by others. These Sikh masculinities are complex and multiple, rotating to reaffirm, challenge and redefine contextualised notions of hegemonic masculinity within the Sikh diaspora in post-colonial Britain. Such localised Sikh masculinities may both assert male privilege and reap patriarchal dividends (Connell, W. 1995. Masculinities. Cambridge: Polity Press), resulting in particular British Sikh hegemonic masculinities which seek to shape the performance of masculinity, yet in another context these very same performances of masculinity may also signify a more marginalised masculinity vis-à-vis other dominant hegemonic forms.     

FEMALE VOICES IN GURBĀNĪ SANGĪT AND THE ROLE OF THE MEDIA IN PROMOTING FEMALE KĪRTANĪE

This paper discusses the performance of Gurbānī kīrtan rendered by female singers, an activity that is an integral part of the Sikh spiritual practice, yet at a professional level has always been considered a male domain.

The study is framed within the wider context of Indian traditional culture, analyzing the social norms that for centuries prevented women from public exposure in the fields of religious and classical music. In relation to the Sikh tradition, the author explores the variety of musical forms (classical and folk) adopted by female kīrtanīe for performing Gurbānī hymns, raising important issues about music education.

Based on ethnographic research among the community of contemporary kīrtanīe, the article explores the key role of media in promoting female performers during the last three decades, through dedicated TV and radio shows, social networks and web sites. In the author's analysis, each decade has brought about radical shifts in the strategies of production and perception of Gurbānī kīrtan, opening up new opportunities for performance by female kīrtanīe.     

Dionysian Spirit as “The Social Self”: Alfred Schutz’s Insightful (Mis)use of Nietzsche

ABSTRACT

Recent publications on Alfred Schutz suggest the importance of his musical thought for understanding his general viewpoint on intersubjectivity. Developing this proposition further, my article focuses on one aspect of Schutz’s writings on music: his attempts to amalgamate the aesthetic oppositions of the Dionysian/Apollonian by Friedrich Nietzsche and inner duration/spatialized time by Henri Bergson. Despite the seeming distortion of the initial meaning of the Dionysian impulse, I suggest that Schutz’s employment remains faithful to the aesthetic and cognitive theory of early Nietzsche. To substantiate this, I draw a link between Nietzsche’s early theory of aesthetic cognition and the neurophysiology of the mid-nineteenth century. Furthermore, the way Schutz applied the Dionysian/Apollonian opposition to the problem of musical communication made his musical thought prefigure some neuro-scientifically inspired discussions of the present-day, like the one on joint attention. Schutz tackled the key paradox: why the experience of music can be shared but not directly communicated.     

(EN)Gendered Sikhism: The iconolatry of manliness in the making of Sikh identity

Among the most insidious regimes of control inaugurated by the British in India was the identification of a fundamental affinity between themselves and manly ‘races’ such as the Sikhs. I will suggest that this apparent commensurability of colonial and native traditions depended upon the Sikhs readily accepting a masculine signature which restricted the ambiguous organization of the Khalsa Sikh body to the muscular piety prescribed by colonial discourse. Thus, far from inscribing ontological parity between the British and the Sikhs, this advocacy of ‘racial’ kinship actually communicated a censorious judgement about Sikh identity. The significance of interventions by Sikh reformers, such as Bhai Kahan Singh Nabha (1861–1938) and Bhai Vir Singh (1872–1958), will be highlighted as key influences in the disciplining of a native semiotics of the body. This reformist ideology encouraged the representation of Sikh corporeality as not-effeminate, signalling not only the insinuation of a colonial iconolatry of manliness at the heart of Sikh tradition, but also the disingenuousness of received opinion concerning the progressive nature of Sikh sexual politics.     

Promoting Sikhi among Malaysian youth: A case study of the Sikh Naujawan Sabha Malaysia (SNSM)

ABSTRACT

The Sikh Naujawan Sabha Malaysia (SNSM) has been an important vehicle in keeping the tenets of the Sikh faith alive for the Malaysian Sikh community. It is primarily a Sikh youth organization, initiated with the blessings of the Malaysian Sikh community elders in the 1960s, who decided that starting the activity of prayer and contemplation on Sikhi was crucial from a young age. Over the decades, the SNSM has been adept in evolving its activities and organization to cater to the altering needs and self-conceptions of the various generations of Sikh youth. This paper documents the trajectory of SNSM activities and reinvention to cater to the generations of Sikhs post-Independence.