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#1 TeraRoop11

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Posted 12 January 2006 - 11:37 AM

Waheguru Jee Kaa Khaalsa Waheguru Jee Kee Fatehh

Sangat Jee, I have pondered over this for quite some time, and was reminded of this question again during our discussion session today.

We come across the Rahaao in BaaNee in quite a number of places. When we are doing Paath, we read it aloud. However, we not do so in Keertan, and nearly every Shabad I hear nowadays has Rahaao in it, unless it's a Pauree or Salok.

Why don't we read out the Rahaao during Keertan? The only thing I could come up with is that it breaks up the flow of the tune of the Keertan.. but that's not really a legitimate reason..

:)

bhull chuk maaf karan di kripaalta bakshni Maharaj

Waheguru Jee Kaa Khaalsa Waheguru Jee Kee Fatehh!
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nwnku ivcwrw BieAw idvwnw hir qau drsn kY qweI ]12]
Poor Nanak has gone insane, longing for the Blessed Vision of the Lord's Darshan. ||12|

#2 Son of Guru Gobind Singh Ji

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Posted 12 January 2006 - 12:42 PM

interesting question. We probably don't read it it because it's an instructional note?

I have read someplace that someone was trying to make it a rule to read the rahaoo even in kirtan. But can't remember now..
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ਭਈ ਜੀਤ ਮੇਰੀ ॥ ਕ੍ਰਿਪਾ ਕਾਲ ਕੇਰੀ ॥

#3 Gurjeet Kaur

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Posted 12 January 2006 - 12:59 PM

i think traditionally only the rahaao pangtee was used as the main line of the shabad (asthaaee?). So people would automatically know that that pangtee carries the main message of the shabad... maybe its because of that?
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mskM Bgnµq sYlµ krdmM qrMq ppIlkh ]
The mosquito pierces the stone, the ant crosses the swamp,

swgrM lµGMiq ipMgM qm prgws AMDkh ]
the cripple crosses the ocean, and the blind sees in the darkness,

swD sMgyix ismrMiq goibMd srix nwnk hir hir hry ]55]
meditating on the Lord of the Universe in the Saadh Sangat. Nanak seeks the Sanctuary of the Lord, Har, Har, Haray. ||55||

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#4 Guru Pyaas

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Posted 12 January 2006 - 01:01 PM

vwihgurU jI kw Kwlsw!
vwihgurU jI kI &iqh!!


very interesting, please read
http://forums.wahegu...showtopic=10472

From an old post.....

Gur Fateh!

While a lot has already been said by me on this subject, but I do want
to extrapolate on the importance of being fully aware of all aspects of
Gurbani while interpreting and in the process even challenge the most
accepted forms of past interpretations.

Let me talk on one aspect of Gurbani interpretation and how the message
has been concoted in our sub-conscious mind due to materialist pursuits
of some of our keertanias. While I have touched on this subject a few
years back on this forum, but I think it is important to go back and use
this example to reflect on the topic in discussion.

The writing below is not in relation to the shabad "Jan Nanak
Bhagat....", which has already been clarified in the past articles.. The aim is
to make us aware of being aware of all the pointers while interpreting.

Please read below..........

FLOW AND PAUSE IN GURBANI KIRTAN


It is important to understand a few terminologies before we proceed
further.


rahau - While reading through a shabad in Guru Granth Sahib, we find
that one line has the word 'rahau' written at the end. Except for raag
Majh, we find the m ention of rahau in nearly all the other Bani.

Depending on it's type, for example, Chaupada (of 4 lines), Ashtpadi
(of 8 lines), etc., a shabad has that many defined lines. Somewhere in
the middle or in the beginning of the shabad one line has the word rahau
mentioned with the numeral 1. Rahau means 'wait' or 'pause' in Punjabi
- "Therau". The Gurus have clearly indicated that, while reading a
shabad, pause on this line.

Why the pause? Because the line with rahau is the central theme of the
shabad.

This is the line in which Guru is conveying the topic discussed in the
shabad and it contains the Gurmat Vichar, the 'right thought'.
Therefore, we are required to pause on this line and contemplate the message.
The other lines in the shabad are used to explain/extrapolate the
contents of the central theme given in the line of rahau.

These other lines (the non-rahau lines) talk about prevalent practices,
arguments, reasoning, intention, etc. and are used for strengthening
and explaining the Central Theme.

The point to note is that the numbering of lines is meanigful: the
numbering conveys a definitive message. The message here is: Wait/Pause and
contemplate on the message. In this line the Guru is telling us the
theme of the shabad. The number 1 of rahau indicates, read this line
carefully. Now read the other (non-rahau) line, and correlate it to the
message in rahau. Now proceed to the other (Non-rahau) line thereby keep
proceeding with all the other lines in a sequential manner.

At times, if rarely, we find more than one rahau in a shabad. All the
rahaus in that shabad (usually 2,3 or 4) convey the same central theme:
reflect on truth. Gurus thought it appropriate to explain the same
central theme in different combination of words and therefore gave more
than one rahau.

asthai - In Keertan, or any music, we find one line keeps getting
repeated time and again. This common line, which is repeated each time after
a different line, is known as asthai in Indian classical music, or
Chorus in the western music.

antra - In Keertan, or any music, after singing the asthai, the
repetitive line, a different line is sung and upon its completion the asthai
is sung again and then a second different line is sung, followed by
asthai. This changing line is known as antra in Indian classical music.

The purpose of Keertan is to deliver the Gurus' message sweetly to the
listener. As rahau has the central theme of the shabad and contains the
spiritual message, its usage, as an asthai is repeated time and again
after every antra, which helps in the message getting drilled into the
listener's mind. The result is that the Guru's message gets delivered
many times while the shabad is being sung. This increases the probability
of retention of the central theme, Gurmat Vichar, by the listener's
mind.

Let us take a very popular shabad from Siri Raag, Page 44, which is
sung by raagis during a happy occasion in the family. Most of the Sikhs
will remember the shabad by its popularly known line:

"Lakh khushiyaan patshahiyaan
jey satgur nadar karey .........."

It's commonly found that raagis make the above line as the asthai while
singing the shabad because of the word khushiyaan (happiness). This
line is the second non-rahau line in the shabad and gets commonly used as
the asthai while singing.

The English interpretation of the shabad is:

SRI RAAG, MEHLA V: All happiness is achieved only by Thy Grace. The
precious gift of this human life becomes fruitful when one chants the True
Word. One who has such destiny written on his forehead enters the
Mansion of the Lord's Presence through the Guru. || 1 || O my mind, focus
your consciousness on the One. Without the One, all involvlements a re
worthless; emotional attachment to a mirage is verily false. || 1 || Pause
|| Hundreds of thousands of princely pleasures are yours to enjoy if
the True Guru bestows a Glance of Grace. If God bestows the Name of the
Lord, even for a moment, my mind and body are soothed. Those who have
such pre-ordained destiny hold tight to the Feet of the True Guru. || 2
|| Blessed is that moment, and fruitful is that time, when one is in
love with the True Lord. Suffering and sorrow do not touch those who have
the Support of the Name of the Lord. Grasping the seeker by the arm,
the Guru lifts them up and out, and carries them across to the other
side.
|| 3 || Embellished and immaculate is that place where the Saints
gather together. That person alone finds shelter who has met the Perfect
Guru. Nanak builds his house upon that site where there is no death, no
birth, and no old age. || 4 || 6 || 76 ||

If we were to sing this shabad in proper Keertan singing style by
making rahau (Mere man eikas sio chit laaye/eikas bin sabh dhund hai/sabh
mithiya moh maye) as asthai for repetition, then, upon reaching second
antra, the message that will get repetitively delivered to the mind will
be that we need to first make an effort to get our mind to focus on One
God, give up attachment to maya and emotional entanglements. If we
succeed in achieving this state of mind, then, as stated in the second
non-rahau line, thousands of pleasures will be attained only if God's Grace
falls upon us.

Note that the condition (rahau line to be used as asthai) is that we
make the effort to rid our mind of attachment/maya, then the result
(non-rahau line to be used as antra) is - if Satguru deems it worth then
Satguru provides hundreds of pleasures to the devotee.

Unfortunately, this shabad is commonly sung by raagis by ma king the
non-rahau Line No.2 as the asthai (Lakh khushiyan patshahiyan jey satgur
nadar karey....), which gets repeated many a time during the shabad
singing. Now see the change in deliverability of the message to our mind.
We are seeking from our Guru thousands of pleasures by God's Grace and,
upon getting them, we will then strive towards ridding our mind of
attachment/maya!

Note that by using the non-rahau line as asthai, the condition has
changed to: if Satguru deems it worth, then Satguru provides hundreds of
pleasures to us and the result (rahau line being used as antra) is that
we will make the effort to rid our mind of attachment/maya!

By using the non-rahau line in this shabad as asthai, our mind is
subconsciously being told to live on HOPE, rather than make the EFFORT,
which is the reverse of what the Guru is telling us in this shabad, viz.-
Devotee first makes the EFFORT and then HOPE should arise for God's
Grace.

Interesting, isn't it? We tend to ignore the finer details of Gurus'
message, which is so clear.

Probably that's the reason why Sikhs of today lack the spirit/spiritual
discipline for which our forefathers were known. I hope people will
start making the effort of getting the Sikhs in their immediate contact to
understand the importance of rahau in Keertan singing and strive
towards singing Keertan in the correct manner.

Those who are active in Gurudwara Management/teaching Keertan should
make it a point to teach the youth only those shabads in which rahau is
made the asthai. For a teacher to correct what he has already learnt in
so many years is a tough proposition, but he can definitely make an
effort to select those shabads from his Keertan bank for teaching the
youth/children, in which the rahau is made the asthai. In this way, we may
be able to slowly steer in the direction of true deliverance.

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:)

vwihgurU jI kw Kwlsw!
vwihgurU jI kI &iqh!!

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#5 Gurjeet Kaur

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Posted 12 January 2006 - 02:16 PM

great article :)
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mskM Bgnµq sYlµ krdmM qrMq ppIlkh ]
The mosquito pierces the stone, the ant crosses the swamp,

swgrM lµGMiq ipMgM qm prgws AMDkh ]
the cripple crosses the ocean, and the blind sees in the darkness,

swD sMgyix ismrMiq goibMd srix nwnk hir hir hry ]55]
meditating on the Lord of the Universe in the Saadh Sangat. Nanak seeks the Sanctuary of the Lord, Har, Har, Haray. ||55||

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www.flickr.com/gurjeetkaur

#6 TeraRoop11

    Naanak Daas Kaho Gur Vaah

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Posted 13 January 2006 - 05:24 AM

Thank you Jeeo! Great post..

I suppose that's it, Gurjeet Kaur Bhenjee.. but people have begun to start their Shabads from lines other than the Rahaao vaalee Pangtees..

oh well.. thanks again. :thumbsup:
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nwnku ivcwrw BieAw idvwnw hir qau drsn kY qweI ]12]
Poor Nanak has gone insane, longing for the Blessed Vision of the Lord's Darshan. ||12|

#7 Naam Vairaag

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Posted 13 January 2006 - 12:44 PM

Flow and Pause in Gurbani & Keertan

It is important to understand a few terminologies before we proceed further.
Rahau - While reading through a Shabad in Guru Granth Sahib, we find that one line has a word RAHAU written at the end. Except for Raag Tukhari, we find the mention of Rahau in nearly all the other Bani. Depending on the type of Shabad (Chaupada - 4 liner, Ashtpadi - 8 liner, etc.) it has that many defined lines. Somewhere in the middle, or in the beginning of the Shabad one line has the word Rahau mentioned, with the numeral 1.

The word rahau means WAIT.... PAUSE....in Punjabi "Therau". Gurus have clearly indicated that while reading the Shabad, take a PAUSE on this line. Why Pause? Because the line with RAHAU has the central theme of the Shabad. This is the line in which Guru is conveying the topic discussed in the Shabad and it contains the Gurmat Vichar, the RIGHT THOUGHT. Therefore we are required to pause on this line and contemplate the message. The other lines in the Shabad are used to explain/extrapolate the contents of the Central Theme given in the line of Rahau. These other lines (the non-Rahau lines) talk about prevalent practices, arguments, reasoning, intention, etc. and are used for strengthening/explaining the Central Theme.

The point to note is that the numbering of lines is meanigful: the numbering conveys a definitive message. The message here is: Wait/Pause and contemplate on the message. In this line the Guru is telling us the theme of the Shabad. The number 1 of Rahau indicates ,read this line carefully. Now read the other (non-Rahau Line) line, and correlate it to the message in Rahau. Now proceed to other (Non-Rahau) line thereby keep proceeding with all the other lines in a sequential manner.

At times, if rarely, we find more than one rahau in a Shabad. All the Rahaus in that Shabad (usually 2,3 or 4) convey the same central theme: reflect on truth. Gurus thought it appropriate to explain the same central theme in different combination of words and therefore gave more than one Rahau.

Asthai - In Keertan (or any music) we find one line keeps getting repeated time and again. This common line, which is repeated each time after a different line, is known as Asthai in Indian Classical Music, or Chorus in the Western Music.

Antra - In Keertan (or any music) after singing the Asthai (the repetitive line) a different line is sung, and upon its completion the Asthai is sung again and then a second different line is sung, followed by Asthai. This changing line is known as Antra in Indian Classical Music.

The purpose of Keertan is to deliver the Gurus’ message sweetly to the listener. As Rahau has the central theme of the Shabad and contains the spiritual message, its usage, as an Asthai is repeated time and again after every Antra, which helps in the message getting drilled into the listener’s mind. The result is that the Guru’s message gets delivered many times while the Shabad is being sung. This increases the probability of retention of the central theme (Gurmat Vichar) by the listener’s mind.

Let me take a very popular Shabad from Siri Raag, Page 44, which is sung by Raagis during a happy occasion in the family. Most of the Sikhs will remember the shabad by its popularly known line:

Lakh khushiya patshahiya

jey satgur nadar karey .........

It’s commonly found that Raagis make the above line as the Asthai while singing the shabad because of the word Khushiya (Happiness). This line is the second non-Rahau line in the Shabad and gets commonly used as the Asthai while singing.


The English translation of the Shabad is:

SRI RAAG, MEHLA V: All happiness is achieved only by Thy Grace. The precious gift of this human life becomes fruitful when one chants the True Word. One who has such destiny written on his forehead enters the Mansion of the Lord’s Presence through the Guru. || 1 || O my mind, focus your consciousness on the One. Without the One, all involvlements are worthless; emotional attachment to a mirage is verily false. || 1 || Pause || Hundreds of thousands of princely pleasures are yours to enjoy if the True Guru bestows His Glance of Grace. If He bestows the Name of the Lord, even for a moment, my mind and body are soothed. Those who have such pre-ordained destiny hold tight to the Feet of the True Guru. || 2 || Blessed is that moment, and fruitful is that time, when one is in love with the True Lord. Suffering and sorrow do not touch those who have the Support of the Name of the Lord. Grasping him by the arm, the Guru lifts them up and out, and carries them across to the other side. || 3 || Embellished and immaculate is that place where the Saints gather together. He alone finds shelter who has met the Perfect Guru. Nanak builds his house upon that site where there is no death, no birth, and no old age. || 4 || 6 || 76 ||


If we were to sing this Shabad in proper Keertan singing style by making Rahau (Mere man eikas sio chit laaye/eikas bin sabh dhund hai/sabh mithiya moh maye) as Asthai for repetition, then upon reaching second Antra, the message that will get repetitively get delivered to the mind will be that we need to first make an effort to get our mind to focus on One God, give up attachment to Maya and emotional entanglements. If we succeed in achieving this state of mind, then (as stated in the second Non-Rahau line) thousands of Pleasures will be attained (only if) if His Grace falls upon us.


Note that the CONDITION (Rahau line to be used as Asthai) is that we make the effort to rid our mind of attachment/Maya, then the RESULT (Non-Rahau line to be used as Antra) is - if Satguru deems it worth then he provides hundreds of pleasures to the devotee.


Unfortunately, this Shabad is commonly sung by Raagis by making the non-Rahau Line No.2 as the Asthai (Lakh khushiya patshahiya jey satgur nadar karey....), which gets repeated many a times during the Shabad singing. Now see the change in deliverability of the message to our mind. We are seeking from our Guru thousands of pleasures, by His Grace and, upon getting them, we will then strive towards ridding our mind of attachment/Maya! Note that by using the non-Rahau line as Asthai, the CONDITION has changed to: if Satguru deems it worth, then He provides hundreds of pleasures to us and the RESULT (Rahau line being used as Antra) is that we will make the effort to rid our mind of attachment/Maya!


By using the non-Rahau line in this Shabad as Asthai, our mind is subconsciously being told to live on HOPE, rather than make the EFFORT, which is the reverse of what the Guru is telling us in this Shabad, viz.- Devotee first makes the EFFORT and then HOPE should arise for His Grace.


Interesting....isn’t it? We tend to ignore the finer details of Gurus’ message, which is so clear.................Probably that’s the reason why Sikhs of today lack the spirit/spiritual discipline for which our forefathers were known. I hope people will start making an effort of getting the Sikhs in their immediate contact to understand the importance of Rahau in Keertan singing, and strive towards singing Keertan in the correct manner.

Those who are active in Gurudwara Management/teaching Keertan should make it a point to teach to the youth only those Shabads in which Rahau is made the Asthai. For a teacher to correct what he has already learnt in so many years is a tough proposition, but he can definitely make an effort to select those Shabads from his Keertan bank for teaching the youth/children, in which the Rahau is made the Asthai. In this way, we may be able to slowly steer in the direction of true deliverance.

Guru Ang Sang
Amardeep Singh
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#8 daas_mandeep singh

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Posted 28 July 2007 - 01:34 AM

waheguru
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#9 Pritam Singh Khalsa

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Posted 28 July 2007 - 11:18 AM

This is my main main question about Rahao. Arent we supposed to actually "pause" for a moment and contemplate what that section is implying and say rahao.

I read somewhere that you should pause when doing paath for a sec but then what about an Akhand Paath???

Also some Hukamnamas are stopped at Rahao becasue its a long Bani etc so why dont short banis end with Rahao because with some Hukamnamas I can remember the shorter tuks that have rahao in it.

I asked GianiJi at the Gurdwara and he wasnt able to fulfill me with this answer correctly as according to Gurmat. (He somewhat knows but he said he should not teach me something that he should still learn, as according to Gurmat)

This is one of many reasons why I have so much love for Gurmat, If one doesnt do something then dont give out that advise that you dont even follow. Or if you dont for sure know then you need to learn it still.

VaheguruJio
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#10 lowest of the low singhni

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Posted 28 July 2007 - 12:13 PM

Another thing we tend not to do when singing Kirtan is say 'Salok Mehla Panjvaa' etc at the beginning of the shabad, but we say it when we're doing our Paath.
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#11 Pritam Singh Khalsa

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Posted 29 July 2007 - 07:08 AM

Another thing we tend not to do when singing Kirtan is say 'Salok Mehla Panjvaa' etc at the beginning of the shabad, but we say it when we're doing our Paath.

True thats another thing that I couldnt remember. Some Gurdwaras do only when they are switching Kirtani and seems like they are starting earlier stating the Banis author because of the tabla tuning etc.
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