One of the most valuable Sikh customs is the distinct spiritual music, which is a melody to the ears and is calming for the soul. It started a long time ago when the great Sikh Gurus lived (from 1485 A.D. to 1710 A.D.). It faced a tough time from 1710 A.D. to 1800 A.D., but came back to life during Maharaja Ranjit Singh's rule and continued until the late 1950s. After that, the Sikh music has transformed significantly. Let’s look at the journey of music from the 15th Century to the present day.
Music in the times of Guru Nanak Dev Ji
Guru Nanak Devji gave the world many precious gifts, and one of them was the beautiful, calming, and educational Sikh religious music. This music style started with Guru Nanak Dev Ji over 500 years ago. Back then, North Indian classical music (known as Hindustani classical music) was already quite advanced, and people enjoyed Dhrupad and Dhamar music in various musical Gharanas (traditional music groups).
Guru Nanak's music was undeniably influenced by this profound tradition. In his time, many string instruments were popular in Northern India as accompaniments to the vocalists. One of these instruments was the Rabab. It was unique because it wasn't played with a bow; instead, it was plucked to make music and rhythm. Bhai Mardana, a skilled Rabab player, became Guru Nanak's lifelong musician companion.
Guru Nanak Dev Ji was unquestionably the lead singer, performing his own spiritual and musical compositions while accompanied by the melodious Rabab played by Bhai Mardana. This is how the Sikh religious music originated. During the four udasis ( tours) and shorter visits of Guru Ji, even those who could not understand his language gained the message in his baani (spiritual poetry). It used to mesmerise people. After the music and talks, they went home with his message in their hearts.
Transforming music by the other four Gurus
Guru Nanak had four successors, namely Guru Angad, Guru Amar, Guru Ram Das, and Guru Arjan. They were talented poets and musicians. When the fifth Sikh Guru, Arjan Dev ji, put together the holy Sri Guru Granth Sahib, he organized his own spiritual poems, the works of his predecessors, and some similar spiritual poems from Hindu and Muslim saints into groups of hymns to be sung in specific Raagas.
Over a span of 225 years, approximately from 1485 to 1710, Sikh religious music underwent a significant transformation and evolution.This musical evolution primarily happened during the lifetime of the Gurus, which marked the first golden era of Sikh religious music, known as "Gurmat Sangeet" in Punjabi. During this period, various string instruments were added to the "Rabab" for accompaniment. Additionally, percussion instruments, like the Pakhawaj (also known as Mardang), were introduced to provide a rhythmic beat known as "Taal." Eventually, the "Tabla," a two-drum instrument with one for bass notes and the other for treble notes, became popular due to its convenience for playing.
In the village gurdwaras, they started using a musical instrument called "Dholki," which is similar to ‘Pakhawaj’ or ‘Mardang’ but smaller. They also introduced another instrument called "Saranda," which is like the modern Sarangi, during the times of the fifth and sixth Gurus. Some people from Iran, who followed the great Gurus, brought a string instrument known as "Taus" to the Guru Darbars. Over time, more instruments like these were added.
Later on, the "Tanpura" became an essential part of every accomplished classical musician's performance, whether they were Hindu, Sikh, or Muslim. Its gentle and melodic sound was pleasing to both the singers and the listeners. Even today, the "Tanpura" is a crucial component of all classical performances.
During the time of the great Gurus, many musicians sang the Gurus' Baani in their gatherings. Most of these musicians were Rababis, who belonged to Bhai Mardana's community. The famous musicians in this group were Bhai Satta and Bhai Balwand, who were well-known.
Sikh religious music stood the test of time
Between 1710 and 1800 A.D., there was a time of trouble for the Sikh community. They were in a bitter fight to survive and gain control. Often, Sikh places of worship were closed or taken over by foreign invaders for months. Even at the holiest Sikh shrine, Sri Darbar Sahib in Amritsar, the special musical gatherings called "Shabad Chowkis" became irregular during both the day and night. During this tough period, there were serious attempts to destroy Sri Darbar Sahib, which is now known as the Golden Temple. However, Sikh religious music miraculously survived, finding refuge within the confines of the homes of devoted musicians and the households of Sikh soldiers engaged in perpetual conflict.
Even though they endured tough times and lived in constant fear of violence, the Sikh religious music experts, often from the Rababi community, preserved their ancient traditions through the generations. They passed down this precious cultural heritage to their sons and grandsons. We deeply respect their courage and dedication. Sadly, many Sikh musicians never got to witness a public performance of "Gurmat Sangeet" in their lifetimes.
During special times like Diwali (the festival of lights) and Baisakhi (the spring harvest festival), some fortunate people get to sing "Shabad Kirtan" at the holy Sri Darbar Sahib. But, there were tough times when India faced invasions by people from North Western Asia, like Ahmed Shah Abdali and Nadir Shah. These times were really hard for Sikhs and their musical traditions. Many musicians and their families struggled to have enough to eat each day.
Dhrupad and Dhamar style of music
Bhai Chanan Rababi from Kapurthala was a skilled musician in the ancient Dhrupad and Dhamar styles of classical music. He was also a talented Tabla player. Bhai Chanan knew various "Taals" that had disappeared over the past two centuries. He used to sing "Shabad Gayan" as a freelancer at the Golden Temple and the State Gurdwara in Kapurthala. According to an account by Sardar Sochet Singh of Kapurthala who had many conversations with Bhai Chanan, the difficult times the Rababi Kirtanias faced in the years after Guru Gobind Singh's passing improved with Maharaja Ranjit Singh's rule. According to Bhai Chanan, the Golden Temple has been a centre of "Gurmat Sangeet" since 1600 A.D.
As mentioned by the late Bhai Chanan, the second great time for Sikh religious music began around 1800, during the rule of Sikh Emperor Maharaja Ranjit Singh. This revival of Sikh religious music continued until the early 1900s. Maharaja Ranjit Singh received the territory of the "Shukarchakya Misl" from his brave father, Maha Singh. This "Misl" was located in Gujranwala, and Guru Nanak's birthplace, "Nankana Sahib," was a part of it.
Indeed, the usual "Chowkis" for "Shabad Kirtan" have been happening regularly in Guru Nanak's birthplace, "Nankana Sahib," since about 1760 A.D., during the time of Maharaja Ranjit Singh's grandfather. When Maharaja Ranjit Singh was in power, more people started coming to the Golden Temple every day, and the donations increased significantly. The musicians, who had been very poor for generations, became prosperous in just a few years, thanks to the Sikh community's wealth and generosity.
Gurmat Sangeet coming to fore
Around the year 1800, Maharaja Ranjit Singh added Amritsar to his territory, which was a significant event for the spread of "Gurmat Sangeet" in the Sikh community. This annexation had a positive impact on various Sikh art forms. It was considered a golden period for Sikh fine arts. During this time, many "Rababi Kirtinias," both known and unknown, emerged from their four-generation-long hibernation. They began to gather at places like the Golden Temple in Amritsar, "Gurdwara Janam Asthan Sri Nankana Sahib," "Gurdwara Dehra Sahib Lahore," and "Gurdwara Sri Darbar Sahib Tarntaran."
In the nearby state of Kapurthala, in the "Ahluwalia Misl" region, the "Rababi Kirtanias" began performing "Shabad Kirtan" without interruption. One of the places where this took place was "Gurdwara Sri Ber Sahib" in Sultanpur Lodhi. It is said that starting from the year 1800, the second golden era of Sikh religious music began with great enthusiasm. The Rababi Kirtanias worked diligently to improve their singing. They focused on mastering different musical scales (Raagas), trained their voices, and practised singing for several hours every day. They sang from their hearts and pushed their vocal abilities to the maximum each time.
In the past, they didn't have fancy devices like microphones, but as the congregations started getting larger and larger, Punjabi music started to include loud and high-pitched singing. The listeners were heard appreciatively exclaiming that such and such musician was singing from the depths of his lungs. The brilliant and emotionally charged musicians used to be very well compensated monetarily and through other religious recognitions and rewards. It was indeed a rewarding period for musicians.
By the year 1850 A.D., the old Dhrupad and Dhamar styles of classical music were still very much alive in "Gurmat Sangeet." The "Partal" variation, where different beats were used for different parts of the same song, was also popular. Lahore and Amritsar were at the forefront of cultural changes in North Western India. The now popular "Khayal" format of North Indian classical music was still in the process of evolving in the Sikh shrines of Punjab. The main places where this new format of classical music, Khayal, was developing were Patiala, Malerkotla, Sham Chaurasi (in Hoshiarpur district), Amritsar, Kapurthala, Jalandhar, and Kasur (in Lahore district).
As per some accounts, the musical styles of "Khayal" and "Tarana" in classical music began during the time of the Tenth Sikh Guru Gobind Singh Ji or even earlier. They performed "Gurmat Sangeet" in these new styles during his gatherings. However, at that time, many Sikh musicians in places like Sultanpur Lodhi, Kapurthala, Amritsar, and Tarntaran continued to prefer the traditional "Dhrupad," "Dhamar," and "Partal" formats. The audiences still enjoyed these ancient traditions. It was only in the late 19th and early 20th centuries that the "Khayal" format became more popular in Sikh shrines.
Semi-classical music forms its roots
Around 1920, talented Kirtan singers, including Bhai Samund Singh, began using elements from the semi-classical "Thumri" style in their "Shabad Gayan" performances. This new approach was embraced by Sikh communities. Bhai Samund Singh believed that the Multani Qafi style was used in Guru Nanak's era, and he himself enjoyed singing "Shabad Kirtan" in this semi-classical melody.
Later, Bade Ghulam Ali Khan became a master in singing "Multani Qafi." In village Aujla, near the city of Kapurthala, there was a musician named Bhai Jawala Singh who used to perform "Shabad" in "Dhrupad" or "Dhamar." Many people from nearby villages and Kapurthala town came to hear his beautiful voice sing the "Ilahi Baani." He often performed with a group of musicians, most of whom were his students and played various string instruments. His favourite instruments were "Taus" and "Saranda." In the 1930s, when most musicians started using the ‘Harmonium’, Bhai Jawala Singh also switched to this more convenient but less versatile instrument.
Rababi music taking the limelight
From 1800 to 1947, many musicians known as "Rababi" musicians, whose ancestors had never played "Gurmat Sangeet," began regularly performing "Shabad Kirtan." They learned the traditional ways from other Kirtan performers and gained respect in historic Sikh places and newly built city gurdwaras. Some of them revived old regional practices, and others came up with new ideas. Although many names were known since 1800, the most famous ones performed "Shabad Kirtan" during the late 1800s and the first half of the 1900s.
They had a group of people, such as Bhai Lal (the senior), Bhai Sain Ditta (who taught Bhai Santa Singh ji), Bhai Naseera, Bhai Hazoora, Bhai Tana, Bhai Mehar, Bhai Chanan, Bhai Taaba, and Bhai Chand (the senior). Some of the Rababis who became practising Sikhs were Bhai Pal Singh, Bhai Jaswant Singh, Bhai Gurmukh Singh Fakkar, Bhai Sarmukh Singh Fakkar, Bhai Partap Singh (the senior), Bhai Partap Singh (the junior), Bhai Dharam Singh Zakhmi, Bhai Dilbagh Singh Gulbagh Singh, Bhai Prithipal Singh, Bhai Mohan Pal Singh, Bhai Shamsher Singh Zakhmi, and Bhai Jagtar Singh Fakkar.
In the late 19th and throughout the 20th century, musicians from Sikh families, who were not Rababi, gained a great deal of respect from the congregations. Some of the notable figures among them were Bhai Hira Singh, Bhai Sham Singh, Bhai Santokh Singh, Bhai Jawala Singh, Bhai Sudh Singh Pardhan Singh, Bhai Samund Singh, Bhai Santa Singh, Master Madan, Sant Sujan Singh, Bhai Budh Singh Taan, Bhai Surjan Singh, Bhai Avtar Singh Gurcharan Singh, Bhai Didar Singh, Bhai Balbir Singh, Bhai Beant Singh Bijli, Bhai Bahadar Singh, Professor Chanan Singh Majboor, Bhai Bakhshish Singh, Bhai Harjit Singh Gurdip Singh, Bhai Piara Singh, Bhai Sarabjit Singh Rangeela, Professor Sohan Singh, Bhai Tej Pal Singh Surinder Singh, Bhai Nirmal Singh Khalsa, Bhai Gurmeet Singh Shant, and Bhai Narinder Singh Benareswale.
Fading away of Gurmat Sangeet
The second great era of "Gurmat Sangeet" began to decline in 1947. One of the top Sikh holy places that used to lead in "Gurmat Sangeet," Gurdwara Janam Asthan Sri Nankana Sahib, became part of Pakistan, and all the Sikhs living there had to move to India. Many Sikh musicians from that area were forcefully removed, and some even lost their lives. Some had to use swords and guns to make it to Indian Punjab. This left the Golden Temple as the only place for Sikh religious music. Sadly, the leaders of the Shiromani Gurdwara Prabandhak Committee, who were elected after 1947, couldn't keep the rich traditions of "Gurmat Sangeet" alive, even at the Golden Temple.
After 1947, Bhai Chand had to leave the Golden Temple because he was disgraced. Unfortunately, he later committed suicide in Lahore. In 1949, both Bhai Samund Singh and Bhai Santa Singh also left their roles at the Golden Temple in Amritsar. Some other talented musicians continued to work there. But things got even worse during and after the 1960s when they didn't choose musicians based on their skills. After 1947, the old gurdwaras in Delhi began hiring more skilled Kirtanias. Bhai Santa Singh, Bhai Avtar Singh Gurcharan Singh, Bhai Surjan Singh, and Bhai Takhat Singh all joined the gurdwaras in Delhi to serve.
Between 1966 and 1972, four famous Kirtan performers passed away. These were Bhai Santa Singh, Bhai Surjan Singh, Sant Sujan Singh, and Bhai Samund Singh. This was a big loss for those who loved Gurmat Sangeet. The replacements who took their places were not as skilled. In the late sixties, there is a story that a rich Sikh from Iran suggested to the SGPC to hire a Sikh musician from Delhi. This musician would perform various duties, including leading the "Asa Di Vaar Chowki" at the Golden Temple.
The Sikh religious music, has traversed centuries and faced challenges, but it continues to inspire and bring solace and spirituality. Despite turbulent times, dedicated musicians and the Sikh community have preserved this rich heritage.It ignites the soul and keeps the spirits. Step into any gurudwara, and you’ll hear soul-nourishing music touching the hearts, with the harmonium, tabla, rabab, Kartal, or manjeera. adding to its divine melody.
*Based on an article written by Harjap Singh Aujla, published in The Amrit Kirtan on 23rd February 2010