Dedicated to the Sikhs in India and Abroad Who Preserve and Uphold the Originality and Authenticity of the Aad Sri Guru Granth Sahib

Total Page:16

File Type:pdf, Size:1020Kb

Dedicated to the Sikhs in India and Abroad Who Preserve and Uphold the Originality and Authenticity of the Aad Sri Guru Granth Sahib Dedicated to The Sikhs in India and abroad Who preserve and uphold the originality and authenticity of The Aad Sri Guru Granth Sahib mUl-mMqr MUL-MANTAR < Ek Omkar siqnwm Satnam krqwpurKu Kartapurkh inrBau Nirbhau inrvYr Nirvair Akwl mUriq Akal Murat AjUnI sYBM Ajuni Saibhan gurpRswid Gur parshad MUL-MANTAR IN AUTHENTIC GURU GRANTH COPIES Mul-Mantar and Gur-Mantar in Sikh scriptures have been one and the same ever since they were revealed to Guru Nanak. They have come down to us only through written tradition. Cult-groups virtually disassociated from Sikhism even during the Guru-period have tried to corrupt the Mulmantar, Gurmantar and also distort Gurbani, but the Mulmanlar and gurmantar of Guru nanak has been recorded in all authentic recensions of Aad Sri Guru Granth Sahib, historically acceptable Janamsakhis, Gurbilases is absolutely correct, the correct Mulmantar is Ek : The One Transcendent God Omkar : All-pervading Immanent Spirit Satnam : His Name is Eternal Truth Karta Purkh : Creator, Perfect Being Nirbahu : Without Fear Nirvair : Without Enemity Akal murat : Immortal His divine Image Ajuni : Unborn Saibhan ; Self-Existent Gurparshad : By his Grace attained The Mulmantar is based on Guru Nanak’s experience and vision of the Unmanifest Absolute one and only one God, and His Manifest Immanent, all-pervading Light Omkar. This ek Omkar is also called the Bij mantar and is present in all invocations. The divine Attributes of God are given in the Mulmantar. It embodies the luminosity of the Unmanifest Absolute God and His All-pervading Light which gives Life and divine speak to all living creatures. It unfolds a vision of the Ultimate Reality and the Creative Power behind the universe. Contemplation and meditation on the Mulmantar opens the inner most being of man to the spiritual consciousness of the Immanent and Transcendent Presence of God. In the Guru Granth we find it in 33 places, besides being placed at the opening of new Ragas it is particularly attached to two major compositions of Aad Guru Granth Sahib namely Japji and a-Ki-Var. It appears it was inseparably associated with these impositions from the time of Guru Nanak. Minor Invocations: For invocations as minor sub-headings a part of it ek Omkar satnam kartapurkh gurprashad is used only eight times, while a still shorter invocation ek Omkar satgurprashad is used 525 times. These minor invocations are not Mulmantras. They are used even while writing a letter. For writing encyclic letters (Hukamnamas) these invocations were still reduced to brief statements and ekomkar guru sat. Guru Gobind Singh introduced a number of other invocations such as Vahguru-Ji-Ki Fateh, tav prashad, Akal Sahai. These Invocations are not mantras and are not used for meditations. CONTENTS ENGLISH SECTION 1. Preface 2. Foreword 3. Introduction 4. Blasphemous attacks Dr. Gurnam Kaur and Dr. Kharak Singh Mann 5. An Academic Analysis of a Ph D Thesis Dr Gurmel Singh Sidhu 6. Myth of early draft of Adi Granth (Manuscript 1245) Dr Balwant Singh Dhillon 7. The Text & Meaning of Adi Granth Dr Balkar Singh 8. Manuscript : A post 1606 Collection. Dr Kharak Singh Mann 9. Goindwal Pothis : A post 1595 production Daljeet Singh & Dr Kharak Singh Mann 10. Pashaura Singh’s “The Text & Ranbir Singh Sandhu meaning of Adi Granth” 11. If it is a Ph D Thesis ...? Dr Darshan Singh 12. The Text & Meaning of the Adi Granth Dr Devinder Singh Chahal 13. Can Pashaura Singh be defended? Gurtej Singh 14. Pashaura Singh’s Thesis on “The Text & Dr Trilochan Singh Meaning of Adi Granth” 15. Research-Coverage of Blasphemy Dr Surinder Singh Kohli 16. Sacrilege in the name of Research Prof. Manjit Singh Sidhu 17. Text & Meaning of Adi Granth : Gurbax Singh Pashaura Singh 18. The Text and Meaning of Adi Granth I.J. Singh 19. Pashaura Singh : Kuldeep Singh Provocative, contentious, Controversial 20. Mul-Mantar Revelation Dr Piara Singh 21. You call it a research Dr McLeod? Dr. Hakim Singh 22. Pashaura Singh’s Thesis on Adi Granth Iqbal Singh Sara 23. Centre of Sikh Studies or Blasphemy Dr. Sukhmander Singh 24. Mul-Mantar Revelatory Dr Jasbir Singh Mann 25. Pashaura Singh & his Thesis - An Analysis Sikh Missionary Centre Michigan 26. Pathology of Pseudo-Sikh Researchers with Dr S.S. Sodhi Linear, Myopic, Left Brain, and Mystified Western Realities 27. Aad Bir Bare (Punjabi) Prof. Sahib Singh 28. Gurbani Sampadan Nirnai (Punjabi) Principal Harbhajan Singh 29. Blasphemy Prohibited not research Dr Gurdarshan Singh Dillon APPENDIX A. Xerox copy of death dates & page in Manuscript 1245 B. Xerox Copy of a leaf from Goindwal Pothi Vol. I C. Letter to Dr McLeod Dr Jasbir Singh Mann D. Will Dr O’Connell respond to real issue? Dr Jasbir Singh Mann E. Letter dated 3rd Aug. 1993 by Prof. S.S. Sodhi to Dr J. Robert S. Prichard, President, university of Toronto F. Reply dated 10th Sept. 1993 by Adel Sedra, Vice-President and Provost, Toronto University, Toronto. G. Letter dated 17th Sept. 1993 by David Cook, Sent to Mr. Manohar Singh Bal, Vice-Provost, Toronto University, Toronto. Secretary, Ontario Council of Sikhs, Toronto. H. The future of Sikh Studies in North America Our Contributors pMjwbI Bwg (Punjabi Section) 1. mu`K-bMd sMpwidk 2. pSorw isMG dy QIss dw Akwdimk AiDAYn fw. gurmyl isMG is`DU 3. gurU nwnk dyv XUnIvristI dI h`Q-ilKq nM: 1245 fw. KVHk isMG mwn dw qoVswr 4. iek pRwcIn h`Q-ilKq dI cox s. mnohr isMG mwrko 5. duSmx bwq kry AnhoxI s. mnohr isMG mwrko 6. is`K Drm dy iKlw& iek v`fI swizS s. hrijMdr isMG dlgIr 7. AMimRq kaurw ibiKAw mITI s. gurqyj isMG 8. Koj-p`qr jW Awid sRI gurU gRMQ swihb qy is`Dw hmlw s. gurqyj isMG 9. Koj dy nW qy Drm inMidAw pRo. mnjIq isMG PREFACE Academic Circles are aware that a group of scholars generally concerned with the Christian Mission in Punjab have been producing literature on Sikhism which is far from well researched or even unbiased. But, it is now well known that Pashaura Singh in his present work guided by the ex-missionary W.H. Macleod has evidently crossed all limits of propriety. For, he calls a manuscript, which admittedly bears in its contents a forged ‘Nishan’ of a Guru and the date of demise of the Fifth Guru, a draft of the Aad Granth by Guru Arjun. The Manuscript has no date and no name of the scribe nor any history beyond its sudden appearance at Amritsar in 1987, when curiously Pashaura Singh started his textual research at Toronto. Surprisingly, the manuscript is understood to have on it some words in English and a few lines in Punjabi supposed to have been written by a professor. On the basis of this manuscript Pashaura Singh has accused the Fifth Guru of altering linguistically and theologically the Bani in the Guru Granth Sahib. By any measure Pashaura Singh has gone beyond the bounds of rationality, ethics or even the Law. It is indeed amazing that such a sub-standard work, which appears evidently motivated should have been accepted in foreign University. The only reason for such suprious work having been passed as academic activity could be an ignorance in the Western world of essentials of Sikh Studies and literature on the subject. It is, evidently, the baseless, content and character of Pashaura Singh’s work that has aroused a spontaneous reaction and response from the Sikh literate world both in India and abroad. So far as the Sikh academic world is concerned they know by now the facts of the matter. But, these are known neither to the public at large nor generally among the western academic world. It is this aspect of the matter which we feel needs to be well known. Hence, the necessity of present publication so that the shoddy nature of the work is exposed and well known. The Shiromani Gurdwara Parbandhak Committee, a representative body of the Sikhs and a final authority on religious affairs after having received reports of two experts committees on the subject initiated proceedings against Pashaura Singh to appear before Sri Akal Takhat to explain his acts of blasphemy. Mr. Pashaura Singh is still evading to ear apparently because he has hardly any ground to defend himself. It is our great pleasure that a galaxy of scholars, from Guru Nanak Dev University, Amritsar, Punjabi University, Patiala, tjab University, Chandigarh, Institute Aramand Frappier, versity of Qubec, Canada, Ohio State University, U.S.A., versity British Columbia, Vancouver, New York University, ta Clara University, C.A., Dalhousie University, Dr. ochan Singh, Editors of Sikh Journals, many other idemicians and representatives of Sikh Organisations have tributed to this book by their thoughtful and valuable writings. It is under the inspiration and blessings of the Guru that this ik has been undertaken and the project was completed hin a short period. Because of pressures and the need to ig out the publication early, the errors and omissions in it deeply regretted. We also take this opportunity profusely to thank all the olars who have very kindly contributed their articles for this book. We are deeply grateful to the members of this organisation for their generous help in publishing of this book. In this regard our thanks are also due to Dr. Bishan Singh Samundri, Formerly Vice - Chancellor, Guru Nanak Dev University, u-itsar, for writing a forword. In the end, we should suggest to the S.G.P.C., Chief Khalsa van and other Sikh Organisations in India and abroad to see proper distribution of this book amongst all circles, so that y become aware of the Truth of the matter and get educated order to take adequate measures to stop any mischief of this kind.
Recommended publications
  • Download Golden Temple
    Golden Temple Golden Temple, Amritsar Golden Temple or Harmandir Sahib is the place of pilgrimage for Sikhs located in Amritsar. The temple was designed by Guru Arjun Dev, the fifth Sikh guru. There is no restriction for the member of any community or religion to visit the temple. This tutorial will let you know about the history of the temple along with the structures present inside. You will also get the information about the best time to visit it along with how to reach the temple. Audience This tutorial is designed for the people who would like to know about the history of Golden Temple along with the interiors and design of the temple. This temple is visited by many people from India and abroad. Prerequisites This is a brief tutorial designed only for informational purpose. There are no prerequisites as such. All that you should have is a keen interest to explore new places and experience their charm. Copyright & Disclaimer Copyright 2017 by Tutorials Point (I) Pvt. Ltd. All the content and graphics published in this e-book are the property of Tutorials Point (I) Pvt. Ltd. The user of this e-book is prohibited to reuse, retain, copy, distribute, or republish any contents or a part of contents of this e-book in any manner without written consent of the publisher. We strive to update the contents of our website and tutorials as timely and as precisely as possible, however, the contents may contain inaccuracies or errors. Tutorials Point (I) Pvt. Ltd. provides no guarantee regarding the accuracy, timeliness, or completeness of our website or its contents including this tutorial.
    [Show full text]
  • Master of Performing Arts (Vocal & Instrumental)
    MASTER OF PERFORMING ARTS (VOCAL & INSTRUMENTAL) I SEMESTER Course - 101 (Applied Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To critically appreciate a music concert. 2. To understand and compare the ragas and talas prescribed for practical’s. 3. To write compositions in the prescribed notation system. 4. To introduce students to staff notation. Course Content:- I. Theoretical study of Ragas and Talas prescribed for practical and their comparative study wherever possible. II. Reading and writing of Notations of compositions Alap, Taan etc. in the Ragas and Talas with prescribed Laykraries. III. Elementary Knowledge of Staff Notation. IV. Critical appreciation of Music concert. Bibliographies:- a. Dr. Bahulkar, S. Kalashastra Visharad (Vol. 1 - 4 ). Mumbai:: Sanskar Prakashan. b. Dr. Sharma, M. Music India. A. B. H. Publishing Hoouse. c. Dr. Vasant. Sangeet Visharad. Hatras:: Sangeet Karyalaya. d. Rajopadhyay, V. Sangeet Shastra. Akhil Bhartiya Gandharva Vidhyalaya e. Rathod, B. Thumri. Jaipur:: University Book House Pvt. Ltd. f. Shivpuji, G. Lay Shastra. Bhopal: Madhya Pradesh Hindi Granth. Course - 102 (General Theory) Credits: 4 Marks: 80 Internal Assessment: 20 Total: 100 Course Objectives:- 1. To study Aesthetics in Music. 2. To appreciate the aesthetic aspects of different forms of music. Course Content:- I. Definition of Aesthetics and its Application in Music. II. Aesthetical principles of Different Haran’s. III. Aesthetical aspects of different forms of Music. a. Dhrupad, Dhamar, Khayal, Thumri, Tappa etc. IV. Merits and demerits of vocalist. Bibliographies:- a. Bosanquet, B. (2001). The concept of Aesthetics. New Delhi: Sethi Publishing Company. b. Dr. Bahulkar, S. Kalashastra Visharad (Vol.
    [Show full text]
  • The Rich Heritage of Dhrupad Sangeet in Pushtimarg On
    Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda ||Shree DwaDwarrrrkeshokesho Jayati|| || Shree Vallabhadhish Vijayate || The Rich Heritage Of Dhrupad Sangeet in Pushtimarg on www.vallabhkankroli.org Reference : 8th Year Text Book of Pushtimargiya Patrachaar by Shree Vakpati Foundation - Baroda Inspiration: PPG 108 Shree Vrajeshkumar Maharajshri - Kankroli PPG 108 Shree Vagishkumar Bawashri - Kankroli Copyright © 2006 www.vallabhkankroli.org - All Rights Reserved by Shree Vakpati Foundation - Baroda Contents Meaning of Sangeet ........................................................................................................................... 4 Naad, Shruti and Swar ....................................................................................................................... 4 Definition of Raga.............................................................................................................................. 5 Rules for Defining Ragas................................................................................................................... 6 The Defining Elements in the Raga................................................................................................... 7 Vadi, Samvadi, Anuvadi, Vivadi [ Sonant, Consonant, Assonant, Dissonant] ................................ 8 Aroha, avaroha [Ascending, Descending] ......................................................................................... 8 Twelve Swaras of the Octave ...........................................................................................................
    [Show full text]
  • THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal)
    BPA MUSIC (Hindustani Vocal / Sitar/Tabla) THEORY FY Paper I - History of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Origin of music 14 2. History and development of music from vedic period to present era. 14 3. Comparative study between Hindustani Karnataka Sangeet Paddhti 14 and taal paddhati 4. Brief life sketch & contribution of 14 a. Pt. Vishnu Narayan Bhatkhande b. Pt. Vishnu Digambar Paluskar c. Pt. Omkarnath Thakur 5. History of Gharana with [Basic Introduction]. 14 Paper II - Principles of Music 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1. Technical terms : Sanget, Saptak, Ashtak, Mandra, Madhya, Taar, Shuddh, Vikrut, Chal-Achal, Varna, Alankaar, Purvang, Uttarang, Sthayi, Antara. 14 Short Notes: Naad, Swar, Shruti, Raag, Raag-Jaati, Alaap, Taan, Vaadi, Samvaadi, Anuvaadi, Vivaadi, Varjit, That Alankar, Pakad, Aaron Avroh Gram-Murchhana, Taal, Sam, Matra, Khali, Bhari, Avartana, Laya, Theka, Principles of raag formation 2. Classification of musical instruments and introduction of parts. 14 3. Types of taanas 14 4. Description of ragas and taals under practical study and their comparative study wherever possible. 14 5. Reading and writing of notations of bandish and layakaris of prescribed taals (1/2, ¼) 14 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper III – Indian Culture 35 MARKS (35 Marks External + 15 Marks Internal) Unit-1 (1) Concept of culture and civilization. Ancient Indian culture and its evolution 7 (2) Indus valley civilization. Art as an important facet of Indian culture from Indian Valley up to the 21st century. 7 (3) Division of Vedas 7 (4) Buddhism and Jainism, Mauryan India, Gupta period, Medieval Mysticism 7 (5) Indian culture as reflected in Maha Kavyas 7 BPA MUSIC, DANCE, DRAMA (COMMON) THEORY FY Paper IV – English 70 MARKS (70 Marks External + 30 Marks Internal) Unit-1 1.
    [Show full text]
  • Know Your Heritage Introductory Essays on Primary Sources of Sikhism
    KNOW YOUR HERIGAGE INTRODUCTORY ESSAYS ON PRIMARY SOURCES OF SIKHISM INSTITUTE OF S IKH S TUDIES , C HANDIGARH KNOW YOUR HERITAGE INTRODUCTORY ESSAYS ON PRIMARY SOURCES OF SIKHISM Dr Dharam Singh Prof Kulwant Singh INSTITUTE OF S IKH S TUDIES CHANDIGARH Know Your Heritage – Introductory Essays on Primary Sikh Sources by Prof Dharam Singh & Prof Kulwant Singh ISBN: 81-85815-39-9 All rights are reserved First Edition: 2017 Copies: 1100 Price: Rs. 400/- Published by Institute of Sikh Studies Gurdwara Singh Sabha, Kanthala, Indl Area Phase II Chandigarh -160 002 (India). Printed at Adarsh Publication, Sector 92, Mohali Contents Foreword – Dr Kirpal Singh 7 Introduction 9 Sri Guru Granth Sahib – Dr Dharam Singh 33 Vars and Kabit Swiyyas of Bhai Gurdas – Prof Kulwant Singh 72 Janamsakhis Literature – Prof Kulwant Singh 109 Sri Gur Sobha – Prof Kulwant Singh 138 Gurbilas Literature – Dr Dharam Singh 173 Bansavalinama Dasan Patshahian Ka – Dr Dharam Singh 209 Mehma Prakash – Dr Dharam Singh 233 Sri Gur Panth Parkash – Prof Kulwant Singh 257 Sri Gur Partap Suraj Granth – Prof Kulwant Singh 288 Rehatnamas – Dr Dharam Singh 305 Know your Heritage 6 Know your Heritage FOREWORD Despite the widespread sweep of globalization making the entire world a global village, its different constituent countries and nations continue to retain, follow and promote their respective religious, cultural and civilizational heritage. Each one of them endeavours to preserve their distinctive identity and take pains to imbibe and inculcate its religio- cultural attributes in their younger generations, so that they continue to remain firmly attached to their roots even while assimilating the modern technology’s influence and peripheral lifestyle mannerisms of the new age.
    [Show full text]
  • Essence of Rajasthani Miniature: Ragamala Painting
    ISSN 2319-5339 IISUniv.J.A. Vol.3(1), 115-124 (2014) Essence of Rajasthani Miniature: Ragamala Painting Bhoomika Dwivedi and Madan Singh Rathore There is a connection between the various elements of nature and the human conscience which consequently leads to the creation of all phenomenal Arts. It is the similar approach and nature that creates accordance between the different streams of Arts. Through the common motif of expression of emotions and sentiments, all distinctive forms of arts result in ecstasy and blissfulness. Mysterious music and sounds are always present in nature, like the chirping of birds and the falling cascade. Similarly, we may consider rainbow as the most sublime form of painting noticed in the vicinity of nature. Music and painting have been the medium of worship and pleasure since the ancient times as both of them spring out of the deepest corner of the heart and soul. It is not just music which contains rhythm, it is also, metaphorically, an inherent aspect of painting. If music is a balanced mixture of tone and rhythm, painting contains a proportional harmony of color and lining to achieve an entirety. According to Vishnudharmottara Purana: fcuk rq u‘R; 'kkL=s fp=lw=e~ lqnqfoZne~ A To learn painting, one needs to have an understanding of music, and this was noticed in the 11th Century which emphasized on music education in order to learn painting. Painting also follows the belief of the 3 Lokas (Worlds) just like the art of dancing, which is reiterated in the Vishnudharmottara Purana again as: ;Fkk u‘Rrs rFkk fp=S =SYkksD;kuqd‘fr% Le‘rk%AA In India, it has been a tradition of Puranas to concretize an abstract form.
    [Show full text]
  • Dasvandh Network
    Dasvandh To selflessly give time, resources, and money to support Panthic projects www.dvnetwork.org /dvnetwork @dvnetwork Building a Nation The Role of Dasvandh in the Formation of a Sikh culture and space Above: A painting depicting Darbar Sahib under construction, overlooked by Guru Arjan Sahib. www.dvnetwork.org /dvnetwork @dvnetwork Guru Nanak Sahib Ji Guru Nanak Sahib’s first lesson was an act of Dasvandh: when he taught us the true bargain: Sacha Sauda www.dvnetwork.org /dvnetwork @dvnetwork 3 Golden Rules The basis for Dasvandh are Guru Nanak Sahib’s key principles, which he put into practice in his own life Above: Guru Nanak Sahib working in his fields Left: Guru Nanak Sahib doing Langar seva www.dvnetwork.org /dvnetwork @dvnetwork Mata Khivi & Guru Angad Sahib Guru Angad Sahib ji and his wife, the greatly respected Mata Khivi, formalized the langar institution. In order to support this growing Panthic initiative, support from the Sangat was required. www.dvnetwork.org /dvnetwork @dvnetwork Community Building Guru Amar Das Sahib started construction on the Baoli Sahib at Goindval Sahib.This massive construction project brought together the Sikhs from across South Asia and was the first of many institution- building projects in the community. www.dvnetwork.org /dvnetwork @dvnetwork Guru RamDas Sahib Ji Besides creating the sarovar at Amritsar, Guru RamDas Sahib Ji designed and built the entire city of Amritsar www.dvnetwork.org /dvnetwork @dvnetwork Guru Arjan Sahib & Dasvandh It was the monumental task of building of Harmandir Sahib that allowed for the creation of the Dasvandh system by Guru Arjan Sahib ji.
    [Show full text]
  • Sikhism Reinterpreted: the Creation of Sikh Identity
    Lake Forest College Lake Forest College Publications Senior Theses Student Publications 4-16-2014 Sikhism Reinterpreted: The rC eation of Sikh Identity Brittany Fay Puller Lake Forest College, [email protected] Follow this and additional works at: http://publications.lakeforest.edu/seniortheses Part of the Asian History Commons, History of Religion Commons, and the Religion Commons Recommended Citation Puller, Brittany Fay, "Sikhism Reinterpreted: The rC eation of Sikh Identity" (2014). Senior Theses. This Thesis is brought to you for free and open access by the Student Publications at Lake Forest College Publications. It has been accepted for inclusion in Senior Theses by an authorized administrator of Lake Forest College Publications. For more information, please contact [email protected]. Sikhism Reinterpreted: The rC eation of Sikh Identity Abstract The iS kh identity has been misinterpreted and redefined amidst the contemporary political inclinations of elitist Sikh organizations and the British census, which caused the revival and alteration of Sikh history. This thesis serves as a historical timeline of Punjab’s religious transitions, first identifying Sikhism’s emergence and pluralism among Bhakti Hinduism and Chishti Sufism, then analyzing the effects of Sikhism’s conduct codes in favor of militancy following the human Guruship’s termination, and finally recognizing the identity-driven politics of colonialism that led to the partition of Punjabi land and identity in 1947. Contemporary practices of ritualism within Hinduism, Chishti Sufism, and Sikhism were also explored through research at the Golden Temple, Gurudwara Tapiana Sahib Bhagat Namdevji, and Haider Shaikh dargah, which were found to share identical features of Punjabi religious worship tradition that dated back to their origins.
    [Show full text]
  • Introduction
    Introduction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ikh Heritage Month Posters.indd 3 5/21/2014 10:03:14 PM *XUX1DQDN &ROXPEXVODQGVLQWKH$PHULFDV ŧ Gurus /HRQDUGRGD9LQFLSDLQWVWKH0RQD/LVD 0LFKDHODQJHORSDLQWVFHLOLQJRIWKH6LVWLQH&KDSHO *XUX$QJDG ŭ*XUXŮLVGHULYHGIURPguŧGDUNQHVV RI6LNKVSLULWXDODXWKRULW\7KH*XUX ŧ 0DUWLQ/XWKHUSRVWVKLV7KHVHV DQGruŧOLJKW7KXVIRU6LNKVDJXUXLVD *UDQWK6DKLEZDVGHFODUHGWREHWKH*XUX VLQJXODULQVWLWXWLRQJXLGLQJWKHVHHNHU IRUHYHUE\*XUX*RELQG6LQJKLQ IURPLJQRUDQFHWRHQOLJKWHQPHQW7KH *XUX$PDUGDV *XUXLV3HUIHFWLRQIRUD6LNK $OWKRXJKWKHUHZHUHQRORQJHU (OL]DEHWK,LVFURZQHG4XHHQRI(QJODQG ŧ KXPDQ*XUXVWKHG\QDPLFZLVGRP *DOLOHR*DOLOHL :LOOLDP6KDNHVSHDUHDUHERUQ 6LNKVEHOLHYHWKDWWKHVDPHGLYLQHOLJKW
    [Show full text]
  • The Institution of the Akal Takht: the Transformation of Authority in Sikh History
    religions Article The Institution of the Akal Takht: The Transformation of Authority in Sikh History Gurbeer Singh Department of Religious Studies, University of California, Riverside, CA 92521, USA; [email protected] Abstract: The Akal Takht is considered to be the central seat of authority in the Sikh tradition. This article uses theories of legitimacy and authority to explore the validity of the authority and legitimacy of the Akal Takht and its leaders throughout time. Starting from the initial institution of the Akal Takht and ending at the Akal Takht today, the article applies Weber’s three types of legitimate authority to the various leaderships and custodianships throughout Sikh history. The article also uses Berger and Luckmann’s theory of the symbolic universe to establish the constant presence of traditional authority in the leadership of the Akal Takht. Merton’s concept of group norms is used to explain the loss of legitimacy at certain points of history, even if one or more types of Weber’s legitimate authority match the situation. This article shows that the Akal Takht’s authority, as with other political religious institutions, is in the reciprocal relationship between the Sikh population and those in charge. This fluidity in authority is used to explain and offer a solution on the issue of authenticity and authority in the Sikh tradition. Keywords: Akal Takht; jathedar; Sikh institutions; Sikh Rehat Maryada; Shiromani Gurdwara Parbandhak Committee (SGPC); authority; legitimacy Citation: Singh, Gurbeer. 2021. The Institution of the Akal Takht: The 1. Introduction Transformation of Authority in Sikh History. Religions 12: 390. https:// The Akal Takht, originally known as the Akal Bunga, is the seat of temporal and doi.org/10.3390/rel12060390 spiritual authority of the Sikh tradition.
    [Show full text]
  • NDIN in Collaboration With: the Sikh Coalition, UNITED SIKHS, and Researchers at the University of Southern California -Center for Religion and Civic Culture
    BE A READY CONGREGATION Tip Sheets for Faith Community Partners Competency Guidelines: Sheltering & Mass Care for Sikhs These guidelines are provided to inform cultural competency and reasonable religious accommodation mandates for U.S. Mass Care providers, and to assist staff and volunteers in competently meeting the needs of Sikhs during disaster response or recovery operations —whether at a government or private shelter, or a shelter in a Gurdwara (a Sikh temple) or any other house of worship. In Mass Care registration or service settings, Sikhs may or may not choose to self -identify and, despite common assumptions, their outward dress or appearance may not identify them as Sikh. Moreover, ethnic or regional garb does not necessarily indicate religious observance. The Sikh faith originates from the Punjab region of Pakistan and India. For example, aside from the Sikh turban ( Dastar ) which some Sikh men (common) and women (less common) choose not to wear, Buddhists, Christians, Hindus, Muslims and members of other faith communities from South Asia may also wear the same (or similar) ethnic clothing. Although some Sikhs may feel comfortable raising concerns about their religious needs, others may not voice their concerns regarding any or all of the following issues. SHELTERING • Greetings and Physical Interaction: Upon entering a Mass Care setting, families and individuals who appear in a turban or Punjabi garb, or self -identify as Sikh, will feel most welcome if staff demonstrate a willingness to respect and meet their cultural and religious needs. These first impressions matter. Staff must also recognize greeting customs. Sikhs greet one another, and can be greeted by non -Sikhs with the Punjabi salutation —Sat Sri Akal : roughly translated as, "Blessed is the person who says 'God is Truth.” Sikhs do exchange handshakes with, or embrace, people of the opposite gender.
    [Show full text]
  • APPLICATION PACKET Who Are We?
    4429 Hycliffe Drive Troy, MI 48098 www.dvnetwork.org APPLICATION PACKET Who Are We? The Dasvandh Network is a 501(c)(3) charitable organization with a vision to inspire a new level of giving to Panthic and related charitable projects across North America by providing awareness, transparency and accessibility to these efforts. We have two main goals: 1. To inspire a new level of giving within the community. In order to do this, we have developed an online Sikh social giving platform – the Dasvandh Network – which will raise awareness and increase accessibility to charitable projects. 2. To ignite Panthic and related initiatives by removing resource constraints. The Dasvandh Network hopes to provide a reliable stream of funding to projects, providing them the ability to focus on program development vs. fundraising. In addition, the DVN Mentor Network will provide strategic advisory to teams in need from established professionals. What does this mean for you? Your project or organization can apply to the Dasvandh Network to appear on our online platform and obtain exposure to Sikh donors. What we offer to organizations and project teams: • Creating new donors within the community. • Raising awareness of projects. • An efficient way to fundraise. • An ability to focus on program development. Our Approach In order to accomplish our goals, the Dasvandh Network has a long-term view of achieving our mission. We realize: • To have a sustained impact we must inspire the next generation of donors and grow alongside them. • We must build trust with the community through a track record of transparency, efficiency and impact.
    [Show full text]