StudioTalk: “Music awareness by Love… from Love to Music” @ radio multicult.fm (Berlin)

The special format “StudioTalk” offers to our listeners some very exclusive themes and talks about the world of Indian Classical Music ! – StudioTalk gives Indian music maestros, music scientists, event organisations and other specialists  the chance to present themselfs in a dialogue directly to an international and European audience.

A StudioTalk isn’t an interview form of 5 to 10 minutes small talk about concert tours, new editorials , CD or DVD projects etc. … Much more by a detailled planning and research work IMC OnAir delivers by StudioTalk a frame for specific themes and aspects to contribute an approach and deep going insight for Indian Classical Music – especially for the Europeans.

date of broadcasting
29th March 2012 – 03:00-04:00 p.m. EST (09:00-10:00 p.m. MEST) @ radio multicult.fm (Berlin)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

StudioTalk “Music awareness by Love… from Love to Music” with
Sarod maestro Ranajit Sengupta “onair”… (100% in English) 

BRICS: The 2012 New Delhi Summit (27th March 2012)

BRICS: The 2012 New Delhi Summit
Edited by John Kirton and Marina Larionova with Yoginder K. Alagh, 2012
Contents and excerpts • Order a printed copy at no charge here

View this document on Scribd

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IMC – India meets Classic celebrates 6th birthday… since 27th March 2006 “onair” via radio…

Hamburg, 27th March 2012

Dear musical and Indian friends ! 

… the 27th March is a very special day…. As you can read, it’s the date where all began with the radio shows for Indian Classics in 2006 ( http://www.imcradio.net/archives ). Otherwise we would not know us…

Thanks to MyIncredibleIndia, thanks to Indian art and music, thanks to all the people I got to know hereby around the globe… wonderful listeners, great artists, lecturers, event organizers, music label owners, producers, scientists etc. …

In the 6th year of existence IMC – India meets Classic made some important steps forward. In 2011 were contracted four more radio channels in Austria, Switzerland and Germany (Berlin) which gives the confidence to present Indian music culture in an adequate form to the Western/European listeners.

The installation of the own radio recording studio during the annual pause in summer 2011 brought up new conditions for independency in production facilities and progressing in professionalising the radio moderation.

In October we contracted to overhand the whole media archive to the German Radio Archive which is guided under the roof of the ARD Foundation (Germany’s biggest TV/Radio broadcasting network with 5.5 billion EUR annual budget). This external archivying guarantees on long term run (for eternity) that all IMC’s media productions and different formats are preserved for following generations of listeners and for scientific research.

The broadcasting start in Berlin on 1st December as Germany’s biggest city and cultural centre of Europe was another important step to move forward with 5 more broadcasting dates monthly and with “Thought Experiment(s)” as a new format which is still in progress regularly as planned.

Last we got contracted in February 2012 to support a private museum in New Delhi, India by media researches till end of 2013. Another important step to link more deeply with India.

But more important is to experience all the smiles on Indian faces…in such difficult times of world financial crisis, bank and Euro crisis we all hope (and pray for) that the European Union is not striking down and battered.

To remember the “social idea” ( http://www.imcradio.net/about ) of promotion initiative IMC – India meets Classic” for a knowledge transfer from South Asia/India to Europe to educate about the healing effects of Indian Ragas… the latest studies of September 2011 about Europe and psyche illnesses were a real shock – http://bit.ly/noFQdl . An increase from 27% in 2005 to 38% in 2010 is measured and clearly show that psyche illnesses are affecting huge parts of the European

ElJay R. on mic

population (at all >160 million are affected !!!) without adequate capacities for medical treatment/therapies.
Psyche illnesses are a ticking bomb in or modern societies, worldwide. More than ever the media productions by promotion initiative IMC – India meets Classic are required to ensure the knowledge transfer… therefore in the 7th year

we will expand our activities and have some new ones herefore we need supporters, donators, volunteers, competences… if you can identify with our targets and you like to give support, feel free to contact me directly ( http://www.imcradio.net/editorial ) .

I may express my deep thanks to many people around the globe, e.g. Ben and Chris from Switzerland, Gerd and Claudia in Berlin, Ben in Hamburg, Sabina, Andreas, Mario and Evelyn in Austria and many, many other people I cannot name all here for supporting and encouraging me on this uniquely journey through the vast ocean of Indian music. – Let’s challenge the future together successfully with benefits to our societies in the global village !

Warm Regards by heart
ElJay R.
(founder/owner/editor)

CH – Raga CDs des Monats (03-04/12): NATYA… die Bedeutung der Ragas im indischen Tanz & Theater (Teil 1,2)

In den darstellenden Künsten Indiens ist Natya eine Kombination aus Bewegungen, Mimik, Kostümen, menschlicher Psychologie und grossartigen Geschichten. Der indische Tanz ist in seiner traditionellen Form bis heute “Geschichtenerzählen”.

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Das indische Theater war wie die Ragas unter der muslimischen Herrschaft und dem persischen Einfluss einem Paradigmenwechsel unterworfen. Aus Tempelriten wurde höfische Unterhaltung für Kunstliebhaber.

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Ursprünglich zogen die Geschichtenerzähler, die Kathaks – entsprechend die Bezeichnung für ihre Tanzform, dem Kathak – als nomadisierende Barden von Dorf zu Dorf durch das nördliche Indien. Die Kathaks spielten in den Tempelanlagen Mythen und lehrreiche Geschichten aus den alten Schriften. Die Kostüme und thematischen Gegenstände dieser Tanzform findet sich oft in denen der Miniaturmalereien, den Ragamala-s der Mughalperiode (Bilder s. “Instrumente” & “Darstellung von Kunstszenen“) wieder.

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Indische Tanzdramen – Bharata Naatya Sampradaya

v.l.n.r.: RAM | Tanzdrama Gottheit Durga | Mythologische Themen “Krishna” (Quelle: The Hindu, 2004)

Die Rolle des klassisch Tanzes in Indien hatte sich bereits sehr früh entwickelt. Tänze waren Bestandteil religiöser Riten. Die Tänzer verehrten die Götter, in denen sie Geschichten aus ihrem Leben und ihren Taten erzählten.Im Westen ist heute meist Bharata Natyam bekannt, als einer der vier Hauptformen aller indischen Tänze, energetisch und mit äusserst präzisen, ausbalancierten Bewegungsabläufen.

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Sendetermine…
Montag, den 26.03.2012 (Teil 1) | 09.04.2012 (Teil 2) – 22:00-22:58 Uhr(MESTZ)
(Premiere: 01.04.2008 / 06.05.2008 – 21:00-21:58 Uhr (METZ) @ Tide 96.0 FM))
InternetStream | PodCasting | Sendetermine

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Bharata Natyam selbst bedeutet aber nicht “indischer Tanz”, ein weitverbreiteter Irrglaube. Dieser Terminus (nach Purandara Dasa (14884-1564)) verkörpert die drei Lebensformen des indischen Tanzes:

• Bha oder Bhava, der Ausdruck,
• Ra für Raga oder Melodie und
• Ta für Tala, der Rhythmik (rhythmische Zirkel).

Indien’s herausragende BharataNatyam-Tänzerinnen:

v.l.n.r.: Priyadarhini Govind | MaitreyiSarma m. Dr. Ananda Shankar Jayant | Geeta Chandran | Dr. Srekala Bharath
Quelle: Hinduonnet, 2004 (Avinash Pasricha), 2005 (K. Gajendran, R. Shivaji Rao), 2008 (V. Ganesan)

Der Terminus Raag (“tonale Färbung”) findet sich erstmalig im Natya Shastra (4. Jhdt. v. Chr. – 2. Jhdt. n. Chr.) wieder, dem Handbuch für Dramaturgie von dem mythische Brahmanen Bharata Muni, einem Priester und Weisen. Die sieben (7) Hauptnoten (sapta svaras), die man auch heute verwendet, werden mit verschiedenen Gemütszuständen (9 Emotionen = Nava Rasa-s) verbunden. Im Natya Sastra werden auch Musikinstrumente und Ihre Art der spieltechnischen Handhabung beschrieben. Es weist vier Kategorien aus: Laute (tata), Flöte (Sushira), Cymbal (Ghana) und Trommel (Avanadha).

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CH – Raga CDs of the Months (03-04/12): “NATYA – the relevance of Ragas for Indian Dance & Theatre” (part 1,2)

In performing arts of India the term “Natya” means a combination of movements, mimics (mostly facial expressions), costumes, human psychology and “great stories“. The Indian dance is in it’s traditional form till today “stories telling”.

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The Indian theatre was subordinated to a paradigm shift same as the raga-s under Muslim rulership and Persian influences: it progressed from temple rites to courtly entertainment for art lovers.

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Originally the storytellers, the Kathaks – according to the name for their dance form, the Kathak – tramped in Northern India as nomadic bards from village to village. In the temple plants the Kathaks played myths and instructive stories from old writings. The costumes and topic tables of these subjects in India’s traditional dancing forms often appear as motives in the miniature paintings, the so called Ragamala-s of the Mughal period (pictures see “instruments” & “scenes of art“).

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Indian dance dramas – Bharata Naatya Sampradaya

from left to right: RAM | dance drama Goddess Durga | mythologic themes “Krishna”
source: The Hindu, 2004

The classical role of dance in India had developed very early. Dances were the component of religious rites. The dancers admired the Gods by “telling” stories from their life and their heroic deeds.

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In Western world today “Bharata Natyam” is well-known, as one of the four main forms of Indian dances, energetically and with extremely precise, balanced motion-sequences.

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dates of broadcasting…
26th March 2012 (part 1) | 9th April 2012 (part 2) – 10:00-10:58 pm MEST (4:00-4:58 pm EST) @ Radio RaSA (CH)
(premiere: 1st April & 6th May 2008 – 09:00 pm CET @ Tide 96.0 FM)
InternetStream | PodCasting | broadcasting plan

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However Bharata Natyam does not mean “Indian dance”, a widespread misbelieve. This term (after Purandara Dasa (14884-1564)) embodies the three living forms of Indian dance:

• Bha or Bhava, the expression,
• Ra for Raga or melody and
• Ta for Tala, the rhythm (rhythmic circles).

India’s outstanding BharataNatyam dancers…

from left to right: Priyadarhini Govind | MaitreyiSarma & Dr. Ananda Shankar Jayant | Geeta Chandran | Dr. Srekala Bharath
source: Hinduonnet, 2004 (Avinash Pasricha), 2005 (K. Gajendran, R. Shivaji Rao), 2008 (V. Ganesan)

The term Raag (= “tonal colouring”) for the first time appears in the Natya Shastra (4th century BC – 2nd century AC), a handbook for dramaturgy written by the mythic Brahman Bharata Muni, a priest and sage. The seven (7) main notes (sapta svaras), those one also today are used for the Raga interpretation are connected with different mind affections (emotions = Rasa-s). In the Natya Sastra also music instruments and their handling are described. It proves four categories: lutes (tata), flutes (Sushira), cymbals (Ghana) and drums (avanadha)..

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A – Raga CDs des Monats (03/2012): JALTARANG – Wellen des Klangs

 

Raga CDs des Monats

JALTARANG – Wellen des Klangs

JalTarang ist der Name eines antiken, indischen Instruments (Schreibweisen: Jal Tarang, JalTarang, Jal-tarang o. Jal-Yantra). JALTARANG ist Hindi und heisst „Wellen im Wasser“.

Sendetermine…

25. März 2012 – 23:00-23:58 MEST (05:00 pm EST) @ Radio FRO (A)
(Premiere: 1. Januar 2008 (21:00) @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Das JalTarang hat sich aus den Schlaginstrumenten, den Gongs und Gamelans entwickelt, die in Java, in Myanmar, dem frueheren Burma und auf Bali gespielt wurden. Erstmalig taucht JalTarang als Begriff im Mittelalter (17. Jhdt.) auf, im Sangeet Parij(a)at (Anm.: Wissenschaftliche Abhandlung zur indischen Musik von Ahobal).

Mit dem JALTARANG handelt es sich um ein Perkussionsinstrument, das zu der Gruppe der „Selbstklinger“ gehoert, s.g. Idiophone. Das Spektrum dieses Instrumententypus reicht vom Schellenring, der Maultrommel bis zum Chinesischen Glockenspiel.

Das indische JalTarang verwendet fuer die Eigenresonanz Klangschalen. Je nach Spielniveau des Instrumentalisten kommt ein Ensemble von 15 bis 22 Schalen aus chinesischem Porzellan zum Einsatz.

Die Klangerzeugung erfolgt mittels schlanker Staebe aus Bambus durch Schlaege auf den Schalenrand, mit dem der Klangkoerper aus Porzellan in Schwingungen versetzen wird. Neben unterschiedlichen Groessen werden alle Schalen zur exakten Stimmung der Einzeltoene mit Wasser gefuellt.

Milind Tulankar auf dem JalTarang | Dr. Ragnin Trivedi (JalTarang Workshop)

Das JalTarang wird in Indien heutzutage sehr selten gespielt. Es ist nahezu ausgestorben, obgleich sich sein eleganter, leichter Klang beim Publikum grosser Beliebtheit erfreut. Herausragende Jaltarangspieler sind Seethalakshmi, in Indien einfach nur Seetha (Doraiswamy) genannt, Dr. Ragini Trivedi und der indische Maestro Milind Tulankar.

A – Raga CDs of the Months (03/12): JALTARANG – Waves of Sound

Raga CDs of the Months

JALTARANG – Waves of Sound

JalTarang is the name of an antique, Indian instrument. JALTARANG is Hindi and means “waves in the water” (literate forms: Jal Tarang, JalTarang, Jal tarang or Jal Yantra).

date of broaddasting…

25th March 2012 – 11:00-11:58 p.m. MEST (05:00 pm EST) @ Radio FRO (A)
(premiere: 1st January 2008 (09:00 pm) @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The JalTarang had been developed from percussion instruments like Gongs and Gamelans, those played in Java, in Myanmar (earlier Burma) and on Bali. JalTarang dips for the first time in the Middle Ages (17th century) as a term in the Sangeet Parij(a)at, a scientific research work about Indian music written by Ahobal.

The JALTARANG is a percussion instrument, which belongs to the group of the “self sounder“, so called idiophones. The spectrum of this instrument type reaches from the muzzle drum, clip ring to the Chinese bell play.

The Indian JalTarang uses sound bowls for it’s periodic resonance. Depending upon the level of the instrumentalist an ensemble of 15 to maximum 22 bowls is used being made of China porcelain.

The sound is produced by slim sticks made of bamboo hitten on the bowl’s edge shifting the porcelain body in oscillations. Different sizes of bowls are used and filled with water for the accurate tuning of the single tones.

Milind Tulankar on the JalTarang | Dr. Ragnin Trivedi (JalTarang workshop)

Nowadays the JalTarang is played very rarely in India. It almost became extinct. Although it’s elegantly, easily sound is of large popularity amongst the audience. Outstanding Jaltarang players are Seethalakshmi, in India simply known as Seetha (Doraiswamy), Dr. Ragini Trivedi and the Indian maestro Milind Tulankar.

DE – Raga CDs of the Months (03/12): Sikh Sangeet – Gurbani Kirtan (The Major Raags in Sikh Music)

Sikh Sangeet – Gurbani Kirtan (sub title: The Main Ragas in Sikh Music)

Guru Nanak Dev ji (1469 - 1539) - Quelle: http://www.sikh-history.com

 The Hindustani music from North India and South Indian (Carnatic) music is essentially the story of the Hinduism and Moghul emperors. The ancient scripts of Hinduism are the Vedas and can be dated back until around 1200 B.C. (e.g. Rigveda). The Moghuls were represented in Northern India from 1526 to 1858, among them Akbar as the most meaingful. Akbar reigned from 1556-1605.

The Indian classical music has contributed significantly to justify the Sikhism. As the founder of the Sikh doctrine is Guru Nanak Dev (15 April 1469 – September 22, 1539 in Talwandi (now in Pakistan)) as the first of ten (10) gurus. They all lived in the period from 1469 to 1708 and have dominated the Sikhism in various ways. Nanak Dev, the first Guru started as early in the 15th century to teach as an itinerant preacher the basic principles of Sikhism on his travels. With the findings from the various religions, who met him, from Hinduism, Jainism, Islam to Sufism Guru Nanak Dev put an independent doctrine of the unity of God, or rather of the divine..

date of broadcasting
alternate date: 23rd March 2012 – 03:00-05:00 p.m. EST (09:00-11:00 p.m. CET) @ radio multicult.fm (Berlin)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The teaching of Sikhism is a monotheistic. Guru Dev Nanank did not speak of a God, not as a personification of the divine rather than the unknown, indeterminable, formless … omnipresent, in the spiritual sense.

In 1678 the individual writings were summed up by the 10th teacher Guru Gobind Singh, – on the basis of the Adi Granth – as the final version of Guru Granth Sahib. In the holy book of Sikhism there are a total of 1430 pages (Ang) and a plurality of Shabads (hymns). There are texts that are assigned to a specific Raga form (see table).
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31 Ragas in Guru Granth Sahib
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No. | Name of Raga | Order No. | Page Range | Page Count
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1 Asa 4 347 to 489 142
2 Bairari 13 719 to 721 2
3 Basant 25 1168 to 1197 29
4 Bhairon 24 1125 to 1168 43
5 Bihagara 7 537 to 557 20
6 Bilaval 16 795 to 859 64
7 Devagandhari 6 527 to 537 10
8 Dhanasari 10 660 to 696 36
9 Gauri 3 151 to 347 196
10 Gond 17 859 to 876 17
11 Gujari 5 489 to 527 38
12 Jaijaivanti 31 1352 to 1353 1
13 Jaitshree 11 696 to 711 15
14 Kalyan 29 1319 to 1327 8
15 Kahnra 28 1294 to 1319 25
16 Kedara 23 1118 to 1125 7
17 Maajh 2 94 to 151 57
18 Malhar 27 1254 to 1294 40
19 Mali Gaura 20 984 to 989 5
20 Maru 21 989 to 1107 118
21 Nat Narayan 19 975 to 984 9
22 Prabhati 30 1327 to 1352 25
23 Ramkali 18 876 to 975 99
24 Sarang 26 1197 to 1254 57
25 Shree 1 14 to 94 80
26 Sorath 9 595 to 660 65
27 Suhi 15 728 to 795 67
28 Tilang 14 721 to 728 7
29 Todi 12 711 to 719 8
30 Tukhari 22 1107 to 1118 11
31 Vadahans 8 557 to 595 38
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The poetry of the first 10 teachers were also complemented by the Indian wisdoms of Kabir (1440-1518) or of the poet and saint Namdev (1270-1350) and others.

Sikh pilgrim at the Golden Temple (Harmandir Sahib) in Amritsar, India

The verses of the Guru Granth Sahib are written in their own language, in Gurmukhi. It is derived from Punjabi and Hindi and had been widespread in the Middle Ages in North India. The Gurmuki script has its origin in a variety of languages. Today it is the official written language of the Indian federal state Punjab. Gurmuki was standardized by the second Guru Angad Dev. The vocal Gurmukhi language consists of the Gurbani words. The text of the Guru Granth Sahib is therefore referred to as Gurbanigurbani. Gurbani is literally “the spoken word of the Master, the Guru,” which gives the student and pupil’s full attention. The Sanskrit word “guru” is more than just a teacher. For a Sikh it means teacher + spiritual leader at the same time.
Unlike in Hinduism in which one must be born, everyone can commit to Sikhism. Here we come across the idea of reincarnation. The caste system is rejected as in the Indian Constitution. Worldwide, the numbers of Sikhs are estimated to something less than 30 million. The majority live in northern India, in Punjab, the border area between India and Pakistan. After the Great Migration has begun in the 19th century, the larger Sikh diasporas developed in Canada, East Africa, the Middle East, England, Australia and New Zealand.

When you enter a Sikh temple, the Guru Granth Sahib Tront in the center. Since 1708 it is the official book of Sikhism, in unchanged form. After entering the temple, a Sikh bows symbolically n front of the holy book to honor the teachers (gurus). The Sikh religious services and celebrations are open to everyone, regardless of its origin or religion.

About Guru Nanak Dev…

DE – Raga CDs des Monats (03/12): Sikh Sangeet – Gurbani Kirtan (Die Hauptragas in der Sikhmusik)

Sikh Sangeet – Gurbani Kirtan (Hauptragas in der Sikhmusik)

Guru Nanak Dev ji (1469 - 1539) - Quelle: http://www.sikh-history.com

Die Hindustani-Musik aus Nordindien und karnatische Musik Südindiens sind im Wesentlichen von der Geschichte des

Hinduismus und dem Moghulreich geprägt. Die antiken Skripte des Hinduismus sind die Veden und können bis ca. 1200 v. Christi Geburt (Rigveda) zurückdatiert werden. Die Moghulherrscher waren in Nordindien von 1526 bis 1858 präsent, unter ihnen Akbar als der Bedeutendeste. Akbar regierte von 1556-1605. Die indische Klassik hat maßgeblich dazu beigetragen, den Sikhismus zu begründen.

Als der Begründer der Sikh-Lehre wird Guru Nanak Dev (15. April 1469 – 22. September 1539 in Talwandi (im heutigen Pakistan)) gesehen, der erste von zehn (10) Gurus. Sie alle lebten in dem Zeitraum von 1469 bis 1708 und haben den Sikhismus auf unterschiedlichste Weise geprägt. Nanak Dev begann als der erste Guru bereits im 15. Jahrhundert die Grundzüge des Sikhismus auf seinen Reisen als Wanderprediger zu lehren. Mit den Erkenntnissen aus den verschiedenen Religionen, die ihm begegneten, vom Hindusimus, Jainismus, Islamismus bis zum Sufismus formulierte Guru Nanak Dev eine eigenständige Lehre über die Einheit Gottes, oder viel mehr des Göttlichen.

Sendetermin …

Ersatztermin: 23. März 2012 – 21:00-23:00 Uhr CET (03:00-05:00 p.m. EST) @ radio multicult.fm (Berlin)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Die Lehre des Sikhismus ist eine Monotheistische. Guru Nanank Dev sprach aber nicht von einem Gott, nicht in Form einer Personifizierung, vielmehr von dem Göttlichen, als dem Unbekannten, Unbestimmbaren, Formlosen… allgegegnwärtig, im spirituellen Sinne.

Im Jahre 1678 fasste der 10. Lehrer Guru Gobind Singh die einzelnen Schriften – auf der Basis des Adi granth – zu der abschliessenden Fassung des Guru Granth Sahib zusammen.  In dem heiligen Buch des Sikhismus, finden sich auf insgesamt 1430 Seiten (Angs) eine Vielzahl von Shabads (Hymnen). Es sind Texte, die einer bestimmten Ragaform zugeordnet werden (s. Tabelle).
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Ragas imGuru Granth Sahib
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No.   |  Name of Raga  |  Order No. |  Page Range  |  Page Count
——————————————————————————-
1    Asa    4    347 to 489    142
2    Bairari    13    719 to 721    2
3    Basant    25    1168 to 1197    29
4    Bhairon    24    1125 to 1168    43
5    Bihagara    7    537 to 557    20
6    Bilaval    16    795 to 859    64
7    Devagandhari    6    527 to 537    10
8    Dhanasari    10    660 to 696    36
9    Gauri    3    151 to 347    196
10    Gond    17    859 to 876    17
11    Gujari    5    489 to 527    38
12    Jaijaivanti    31    1352 to 1353    1
13    Jaitshree    11    696 to 711    15
14    Kalyan    29    1319 to 1327    8
15    Kahnra    28    1294 to 1319    25
16    Kedara    23    1118 to 1125    7
17    Maajh    2    94 to 151    57
18    Malhar    27    1254 to 1294    40
19    Mali Gaura    20    984 to 989    5
20    Maru    21    989 to 1107    118
21    Nat Narayan    19    975 to 984    9
22    Prabhati    30    1327 to 1352    25
23    Ramkali    18    876 to 975    99
24    Sarang    26    1197 to 1254    57
25    Shree    1    14 to 94    80
26    Sorath    9    595 to 660    65
27    Suhi    15    728 to 795    67
28    Tilang    14    721 to 728    7
29    Todi    12    711 to 719    8
30    Tukhari    22    1107 to 1118    11
31    Vadahans    8    557 to 595    38
————————————————————————-

Die Texte der ersten 10 Lehrer wurden zudem ergänzt um Weisheiten des indischen Mysthikers Kabir (1440-1518) oder des Poeten und Heiligen Namdev (1270-1350) und anderer.

Sikh pilgrim at the Golden Temple (Harmandir Sahib) in Amritsar, India

Die Verse des Guru Granth Sahib sind in einer eigenen Sprache verfasst, in Gurmukhi. Sie leitet sich aus Punjabi und Hindi ab und war im Mittelalter Nordindiens weit verbreitet. Die Gurkmuki-Schrift hat ihren Urpsrung in einer Vielzahl von Sprachen. Heute ist sie die offizielle Schriftsprache des indischen Bun

desstaates Punjab. Standardisiert wurde Gurmuki von dem zweiten Guru Angad Dev. Die Vokalsprache Gurmukhi besteht aus den Gurbani-Wörtnern. Den Text des Guru Granth Sahib bezeichnet man daher als Gurbanigurbani.  Gurbani ist sinngemäß “das gesprochene Wort des Meisters, des Gurus”, dem der Studierende, der Schüler seine ganze Aufmerksamkeit schenkt. Der Sanskrit-Begriff “Guru” ist mehr als nur Lehrer. Für einen Sikh bedeutet es Lehrer + spiritueller Führer zugleich.

Anders als im Hinduismus, in den man hineingeboren werden muss, kann sich jeder zum Sikhismus bekennen. Hier treffen wir auch auf die Vorstellung von Reinkarnation. Das Kastensystem wird wie in der indischen Verfassung abgelehnt. Weltweit werden die Zahl der Sikhs auf etwas weniger als 30 Millionen geschätzt. Die Mehrzahl lebt im Norden Indiens, im Punjab, dem Grenzgebiet zwischen Indien und Pakistan. Nachdem die Völkerwanderung im 19. Jahrhundert eingesetzt hat, entstanden in Kanada, Ost-Afrika, im mittleren Osten, in England, Australien und Neuseeland die größeren Diasporas.

Betritt man einen Sikh-Tempel, tront das Guru Granth Sahib im Zentrum. Seit 1708 ist es das offizielle Buch des Sikhismus, in unveränderter Form. Nach Betreten des Tempels verbeugt sich ein Sikh zur Ehrerbietung der Lehrer symbolisch vor dem Heiligen Buch. Die Gottesdienste und Sikh-Feste können von jedermann besucht werden, ungeachtet seiner Herkunft oder Religion.

Über Guru nanak Dev….

The founder of Sikhism: About Guru Nanak Dev…

Guru Nanak Dev ji de 539th Paawan Parkash Utsav de pavitar dihade(divas) te sabnu Lakh- lakh Wadhayian hone………

About Guru Nanak Dev ji

Guru Nanak Sahib (the First Nanak, the founder of Sikhism) was born on 15th April, 1469 at Rai-Bhoi-di Talwandi in the present distrect of Shekhupura (Pakistan), now Nanakana Sahib. The Birthday of Guru Nanak Sahib is celebrated on  15th Kartik Puranmashi i.e. full moon day of the month Kartik. On this day the Birthday of Guru Nanak Sahib is celebrated every year. (But some other chronicals state that Guru Nanak Sahib was born on 20th October,1469) Guru Nanak’s father, Mehta Kalyan Das, more popularly known as Mehta Kalu was the agent and Chief Accountant of Rai Bular. Guru Nanak ‘s mother was Mata Tripta, a simple, pious and extremely religious woman. Nanak had an elder sister, Nanki, who always cherished her younger brother.

Nanak was an extra-ordinary and different child in many ways. God provided him with contemplative mind and rational thinking. At the age of seven, he learnt Hindi and Sanskrit. He surprised his teachers with the sublimity of his extra-ordinary knowledge about divine things. At the age of thirteen, he learned Persian and Sanskrit and at the age of 16, he was the most learned young man in the region. He was married to Mata Sulakhni ji, who gave birth to two sons: Sri Chand and Lakhmi Das. In November 1504, Guru Nanak’s elder sister Nanaki ji took him to Sultanpurlodhi where her husband Jai Ram ji got him the Job of storekeeper in the Modikhana of the local Nawab, Daulat Khan Lodhi.

At the age of 38, in August 1507, Guru Nanak Sahib heard God ‘s call to dedicate himself to the service of humanity after bathing in “Vain Nadi” (a small river) Near Sultanpur Lodhi. The very first sentence which he ‘ uttered then was, ” There is no Hindu, no Musalman”. He now undertook long travels to preach his unique and divine doctrine (Sikhism). After visiting different places in Punjab, he decided to proceed on four long tours covering different religious places in India and abroad. These tours are called Char Udasis of Guru Nanak Sahib.

During the four journeys, Guru Nanak Sahib visited different religious places preaching Sikhism. He went to Kurukshetra, Haridwar, Joshi Math, Ratha Sahib, Gorakh Matta (Nanak Matta), Audhya, Prayag, Varanasi, Gaya, Patna, Dhubri and Gauhati in Assam, Dacca, Puri, Cuttock, Rameshwaram, Ceylon, Bidar, Baroach, Somnath, Dwarka, Janagarh, Ujjain, Ajmer, Mathura, Pakpattan, Talwandi, Lahore, Sultanpur, Bilaspur, Rawalsar, Jawalaji, Spiti Vally, Tibet, Ladakh, Kargil, Amarnath, Srinagar and Baramula. Guru Nanak Sahib also paid visit to Muslim holy places. In this regard he went to Mecca, Medina, Beghdad via Multan, Peshawar Sakhar, Son Miani, Hinglaj etc. Some accounts say that Guru Sahib reached Mecca by sea-route. Guru Sahib also visited Syra, Turkey and Tehran (the present capital of Iran). From Tehran Guru Sahib set out on the caravan route and covered Kabul, Kandhar and Jalalabad. The real aim of the tour was awakening the people to realise the truth about God and to introduce Sikhism. He established a network of preaching centres of Sikhism which were called “Manjis”. He appointed able and committed followers as its head (preacher of Sikhism). The basic tenents of Sikhism were wilfully conceived by the people from all walks of life. The seeds of Sikhism were sown all over India and abroad in well-planned manner.

In the year 1520, Babar attacked India. His troops slaughtered thousands of innocent civilians of all walks of life. Women and children were made captives and all their property looted at Amiabad. Guru Nanak Sahib challenged this act of barbarity in strong words. He was arrested and released, shortly after making Babar realising his blunder. All the prisoners were also released.

Guru Nanak Sahib settled down at Kartarpur city (now in Pakistan) which was founded by him in 1522 and spent the rest of his life there (1522-1539). There was daily Kirtan and the institution of Langar (free kitchen) was introduced. Knowing that the end was drawing near, Guru Nanak Sahib, after testing his two sons and some followers, installed Bhai Lehna ji (Guru Angad Sahib) as the Second Nanak in 1539, and after a few days passed into Sachkhand on 22nd September, 1539.

Thus ended the wordly journey of this god-gifted Master (Guru) of mankind. He rejected the path of renunciation Tyaga or Yoga, the authority of the Vedas and the Hindu caste system. Guru Nanak Sahib emphasised the leading of householder’s life (Grista), unattached to gross materialism. The services of mankind Sewa, Kirtan, Satsang and faith in ‘One’ Omnipotent God are the basic concepts of Sikhism established by Guru Nanak Sahib. Thus he laid the foundations of Sikhism. He preached new idea of God as Supreme, Universal, All-powerful and truthful. God is Formless (Nirankar), the Sole, the Creator, the self-existent, the Incomprehensible and the Ever-lasting and the creator of all things (Karta Purakh). God is infinite, All knowing, True, All-giver, Nirvair, and Omnipotent. He is Satnam, the Eternal and Absolute Truth.

As a social reformer Guru Nanak Sahib upheld the cause of women, downtrodden and the poors. He attacked the citadel of caste system of Hindus and theocracy of Muslim rulers. He was a born poet. He wrote 947 hyms comprising Japji Sahib, Asa-Di-Var, Bara-Mah, Sidh-Gosht, Onkar (Dakhani) and these were included in Guru Granth Sahib by Guru Arjan Sahib. He was also a perfect musician. He with the company of Bhai Mardana compsed such tunes in various Indian classical Ragas that charmed and tawed wild creatures like Babar, subdued saging kings, raved bigots and tyrants, made thugs and robbers saints. He was a reformer as well as a revolutionary. God had endowed him with a contemplative mind and pious disposition. Guru Arjan Sahib called him “the image of God, nay, God Himself”.

The three basic guidlines

Guru Nanak founded & formalised the three pillars of Sikhism:

1. Naam: Guru ji led the Sikhs directly to practise Simran and Naam Japna – meditation on God through reciting, chanting, singing and constant remembrance followed by deep study & comprehension of God’s Name and virtues. In real life to practice and tread on the path of Dharam (righteousness) – The inner thought of the Sikh thus stays constantly immersed in praises and appreciation of the Creator and the ONE ETERNAL GOD Waheguru.

2. Kirat Karni: He expected the Sikhs to live as honourable householders and practise Kirat Karni – To honestly earn by ones physical and mental effort while accepting both pains & pleasures as GOD’s gifts and blessings. One is to stay truthful at all times and, fear none but the Eternal Super Soul. Live a life founded on decency immersed in Dharam – life controlled by spiritual, moral & social values.

3. Vand Chakna: The Sikhs were asked to share their wealth within the community by practising Vand Chakna – “Share and Consume together”. The community or Sadh Sangat is an important part of Sikhism. One must be part of a community that is living the flawless objective values set out by the Sikh Gurus and every Sikh has to contribute in whatever way possible to the common community pool. This spirit of Sharing and Giving is an important message from Guru Nanak.

The four journeys

After the last of his great journeys, Guru Nanak tried a new experiment – he asked a wealthy follower to donate a large tract of land . Here he built a town calling it Kartapur (in Punjab) on the banks of the Ravi where he taught for another fifteen years. Followers from all over came to settle in Kartapur to listen, and sing, and be with him. During this time, although his followers still remained Hindu, Muslim, or of the religion to which they were born, they became known as the Guru’s disciples, or sikhs.

To this day in Gurdwaras from the Punjab around the world to California’s Yuba City people of all religions and creeds can enjoy a wonderful evening of beautiful song, music and of course a hot friendly meal.

A well known legend, when Nanak met Akbar[Mogul-e-Azam], the Emperor offered him a shared pipe of [Bhang], Nanak replied that he had a bhang whose wonderful effects never wore off. Inquiring of Nanak where he could find such wonderful bhang – Nanak declined the emperor’s offer, saying GOD the [SAT GURU] was his bhang.

(Source: 11/13/2008 – Sikhs in Kuweit Blog)