Punjab is one of the earliest civilizations (Indus valley 4-5000 BC) which had well planned streets and a drainage systems. The Aryan (1500 BC) are said to have destroyed this civilization. But the Caucasian Aryans did improve the pigment of the dark skinned local Dasas and introduced horse and chariot to Punjab. Except for the elephant, we still continue to have all those possession in our villages intact till today - churkha, dhol, earthen ware and ox-cart. Those were the days of the Mahabharta and Ramayana.

Punjab has always been a place of small independent principalities and villages living quietly in their own agrarian way of life. The waters of five rivers irrigated its fertile lands providing a stable means of livelihood. But this prosperity invariably proved to be a liability when its peace was broken by the outside invaders – both from the East and from the West. While the rulers often did cave in easily, brave Punjabis did rise and fight for their land. This is the story of those heroes whom our history has forgotten.

When Alexander (325 BC) wanted to cross river Jhelum, he had to face Poros from Mandi Bahauddin. Poros fought bravely. But eventually, Alexander’s horses won against the Poros’s elephants. Thereafter, they became friends. Alexander finally crossed Jhelum hundreds of miles South at Athara Hazari. For some reason, while the Punjabis still name their sons after Alexander, I have yet to hear some one called Poros. Thereafter, Punjab became a part of the Eastern empires of Chandra Gupta and Ashoka with Taxila becoming a center of Buddhism.

As centuries roll by, we hear about the two folk heroes of Punjab - Raja Rasalu and Puran Bhagat, sons of the Raja of Sialkot (100-200 AD). Raja Rasalu was a handsome prince who dallied with the pretty maidens, went hunting, killed giants, robbed the rich and gave it to the poor. He had a horse ``fauladi’’ and a parrot ``Shadi’’ always resting on his shoulder. Puran, the younger brother was more saintly. He rebuffs the advances of his mother-in-law, Leena, and leaves home. He becomes a symbol of goodness and is called Puran Bhagat. And so as the history moves on, Punjab is again broken up into small principalities until conquered by the Gupta empire around 400 AD. This is time of the Puranas.

The next intruders are the Iraqi Arabs (Ommayeds and Abbasis (712 AD) who capture Southern Punjab upto Multan. They rule for 150 years; but Islam comes to Punjab much later through the non-Arab Sufi saints of Turk, Persian and Afghan origin.

After the Arabs, Mahmud of Ghazni (1018 AD) descends from the North West. Raja Jaypal of Shahi Dynasty faces him at Attock. Mahmud has 1500 horses and Jaypal has 300 elephants. It is a bloody fight where Jaypal loses. But Jaypal’s sense of honour and pride is such that instead of returning to Attock, he chooses to burn himself at the funeral pyre. As Mahmood advances, he shows no mercy even the Muslim states of Multan and Talamba. His Turko-Afghan successors like Qutbudin Aiback, Altimush and Razia Sultana are better; and during their time, art and literature flourishes. These are the times of Guru Nanak and Kabir. Data Gunj Bakhsh comes to Lahore with Mahmud Ghazni’s son, who was governor of Lahore.

The next invader Taimur (1370 AD) is held by Shaikha Ghakkar, the Chiefton of Salt Range. Shaikha fights bravely but Taimur prevails. The moment Taimur leaves for Dehli to end the Tughlaq dynasty, Shaikha again captures Lahore. On the way back, Taimur again takes back Lahore but takes with him Shaika’s son Jasrat. On the way to Farghana, Jasrat escapes, returns through the arduous terrain and again re-captures Lahore. During this period, we hear of a peasant revolt led by Sarang (1419).

Then after a 100 years, Babar (1526) comes to defeat the Afghan ruler Ibrahim Lodhi. In his Babar Nama, Babar describes the bravery of the Jats and Gujjars who had fiercely resisted him at Sialkot. Then Dulla Bhatti of Pindi Bhattian revolts and holds against Akbar for ten years. The peasants are asked not to pay the tax and revenue. Finally, Akbar agrees to let the land be a hereditary right, a departure from past where all land belonged to the king.

At the time of petering out of the Mughal empire, Nadir Shah (1736 AD), the Persian ruler, moves into Punjab on his way to Dehli. At the Indus-Jhelum Doab, the Khattars, Ghaebas and Gakkhars fight him. After he crosses Jhelum, the Gondal Rajputs take him on. Najabat, a poet of the time, writes about the accounts of velour by Dhilloo and Saidoo. After crossing Gujrat, when he reaches Chenab, Mirza Qalandar was waiting for him. When he reaches Ravi, Khoja Yaqub is there to fight him. He spares Lahore from rampage. But when he reaches Dehli to put an end the reign of Muhammad Shah Rangeela, he goes to the Jamia Mosque and takes out his sword – a signal for pillage of Dehli. 20,000 are killed and the booty includes the Peacock throne and Koh-e-Nur. Mir Taqi Mir, who was then 16, explains this gruesome brutality in his verses.

Ahmed Shah Abdali (1747), founder of the first Pashtoon state, is the next pesky visitor. Mir Manu fights him and repels him though he manages to capture Sialkot and Pasrur. Finally, Abdali ends the reign of Azuddin Alamgir.

The Punjabis go on aggression only once – when they have their very own empire for forty years under the efficient rule by Ranjit Singh 1799-1839) and the empire extends upto Kabul and Kandhar. After the death of Ranjit Singh, the British find an opportunity to capture Punjab. Ahmed Khan Kharal of Rai Nathoo (Neeli bar between Sahiwal and Multan) at the age of 80 takes up arms against the British in the 1857 mutiny. Then Bhagat Singh (1926) is instrumental in beginning a labour and peasant movement in Lahore. Lala Lajpat Rai, Sher-e-Punjab, loses his life in this struggle. The British radically transform the landscape of Punjab by introducing a canal system, railways and cantonments. They set up seminaries and churches and introduce a new faith in the area.

Punjab became a part of the Western Empires about six times – Greeks, Arabs, Afghans, Turks, Persians and Pashtoons. And it became a part of the Eastern empires about four times – Chandra Gupta, Ashoka, Mughals and British.

Punjab produced brave soldiers like Poros, Jaypal, Ranjit Singh, Shaikha, Jasrat, Dilloo, Saidoo, Ahmed Khan Kharal, Bhagat Singh, Lala Lajpat Rai and Mirza Qalandar. Its romantic heroes like Raja Rasalu, Puran Bhagat, Sarang and Dulla Bhatti live even today in the memory of village folk. Its Sufi saints and poets, who preached a message of love, include Amir Khusrao, Guru Nanak, Kabir, Data Gunj Baksh, Baba Fareed, Bahaudin Zakaria, Bulleh Shah, Sultan Bahu, Mian Mohammad and Shah Hussain. Not only great men but the Punjabi folk lore has strong willed women who dominated their beloveds – in the tales of Heer Ranjha, Sassi Punnu, Mirza Sahiban and Sohni Mahiwal.

All invaders who came to this land had one basic human failing – a greed for wealth. And their wrath was indiscriminate – irrespective of religion, race or creed. The attacks and occupation by the foreign rulers has had a deep impact on the psyche of the Punjabis – their threshold for subjugation has increased. They continue to readily accept a man on the horse back the moment he appears on the horizon.

ik khoj keetee taaN eh Punjabi wich jawaab aayaa. Tuhadi khoj - Choolistan dey qiley -- de naal milda koi panna nahi he ji ਸੁਝਾਵ - Eah Dhian rahe ki sare shabd de akkhar sahi hon - Hor koi shabad vartoo - koee hore aam shabad warto - Thorhae shabad wart kae koshish karo Prem Singh KahloN Jee, sawaad aa geyaa.

Dear Rashid Ji, you may find this link usefull:

http://www.punjabonline.com/servlet/library.language?Action=Main

Dear friends of APNA, just wanted to share this comparision of Landa and Gurmukhi with you. I hope that none of you mind me pasting this here:
_______________________________________________

http://www.ancientscripts.com/landa.html
The Landa script derives from a variant of the Sarada script, becoming graphically distinct by the 10th century CE. It was primarily used in Punjab and Sind to write the Punjabi language, but it was not well suited as due to additional sounds present in the Punjabi language. As a consequence, during the 16th century CE, the Landa script became the template for the Gurmukhi script, which was created to better represent the Punjabi language.

In the mid 19th century, the Landa script was adopted to write the Sindhi language. However, this proved to be short-lived, as Sindhi eventually came to be written in either Devanagari or an Arabic-derived script by the middle of the 20th century CE.

The following is the basic set of signs in the early Landa script.

http://www.ancientscripts.com/gurmukhi.html
The Gurmukhi script is tightly associated with the Sikh religion, as the words guru-mukh� literally mean "from the mouth of the guru". It was created in the 16th century CE by the second Sikh guru, Guru Angad, to write the Punjabi language. Stylistically, Gurmukhi derives its letter shapes from Landa, but considerable influence from Nagari is evident from the top horizontal bar present in most letters.

Punjabi has three tones, but they are not represented in the writing system except for sporadic use of the ha letter (reduced to a subscript) to indicate a high tone.

Vowels and other attachments:

Couple more recent news items which may be of interest to APNA members and Punjabis in general:

World Punjabi conference from January 23
http://www.tribuneindia.com/2004/20040114/main6.htm

Punjabi will jostle with Hindi on signboards (In Delhi)
http://www.tribuneindia.com/2004/20040114/ncr1.htm#4

BTW, i would have thought that the 'Tribune' would be one of the highest ranking regional newspapers considering how long its been around for. Oh well, never mind.

Ps, Happy Lohri everyone. Was very pleased to read that some villages in Punjab where celebrating Lohri for the birth of baby girls!

tuhaadae geet sun sun kae taan bahut mazaa aa rehaa hai... keep up the good work...
rab raakha

You probably misundrstood Suman Jee's comment. You have done excellent job on your efforts to express yourself in Gurmukhi. I happened to have your first draft and every body will tell you that the final draft was truly remarkable considering the short time you had. I am not computer savy and therefore cannot be of much help otherwise I would have volunteered to help. Keep up your efforts and good luck.

Sukhbir ji. Have to agree wholeheartedly. God knows there is no lack, and there has never been any lack ever, of bad writers. But one hopes for a critical eye in an editor. Or what is he/she there for?

Fantastic News Saeed P'ah Ji

MubarkaaN

Sukhbir

The Barkat Sidhu CD (which BTW is available in southern california)is called Rom Rom Vich Tu and is a collection of sufi songs. It was a very pleasant surprise.

In fact, this brings another question to the fore: why does a regional English daily like the Tribune lag so far behind other regional newspapers of India? I am referring here to the South Indian English dailies like the Hindu and the Deccan Chronicle; the East Indian English dailies like the Telegraph and the Stateman? Even smaller English dailies from Assam, Bihar and Kashmir seem to have better informed cultural profile in terms of the quality of critical debate they generate than our East Punjab daily. I do believe that the English dailies like the Dawn and the Nation from Pakistan are qualitatively way ahead of our Tribune. It is not just a lone wrtite-up by Prof Darshan Maini which has saddened me. By and large the critical/cultural foci on cinema, music, architecture, book reviews etc carried in the Daily Tribune inspire little confidence and are, in fact, embarrassingly misinformed at times.

Regards

Sukhbir

how does one go about actually changing a language ? i read, with great interest if i may add, intelligent and some times passioante posts from akhilesh jee, sukhbir jee, suman jee, saeed saheb, sajid jee, rammah jee, bali and and all others on language.. my question is -- do languages change by a few people deciding to change it ( or "improve it" ) or does media play a big role in it ?? do academics have a say in it or is it an evolution process in language that actually reflects the cultural/social journey of the society ??.. is a language better off by borrowing and assimilating freely from various other languages or does it need to stand on its own and resist "adulteration"..

i am not an erudite scholar of literature or language but my casual observation tells me that we have had examples of all kinds in recent years/decades.. let me try to clearly articulate ( or try to! ) what i mean..

----some exemplary personalities had an impact almost single handedly (or so is believed) in shaping a particular language.. examples often quoted are rabindranath tagore and swami vivekananda in bengal, both of whom introduced major changes in the then prevelant writing styles..

---media intervention can be clearly seen here in the usa where language is rapidly (extremely rapidly in some cases) changing specially in some sections of the society.. words like "bling bling", "flipping the camera", "hood rat", "word up!" etc. etc. are in common currency... and so are "yoga", "guru", "mantra", "karma", "pundit" etc. in other circles..

---as sukhbir jee once mentioned i think.. language at a particular time in history reflects the journey in time of that civilization and its trials and tribulations... sukhbir jee did you say it or am i just dreaming it up!! this is very logical and reasonable to expect..

---assimilation from other languages is not a bad thing, or is it? most languages call internet the internet.. router, network protcols and other fast changing technology constructs are called by their english names in most of the countries (even european countries..) ... efforts on the contrary have not borne fruits i think.. for example, hindization of these words did not catch on at all.. nor did its french counterparts (i think!)

similarly many indian languages like bengali, tamil, kannada, malyalam freely assimilte words from hindi and sanskrit and are actually doing pretty well.. every one in those states reads and writes in their language.. and the language is flourishing with english as the only main rival..

---sanskrit has remained very ancient and still follows grammar rules set by "pannini", thousandS years ago(?) and may be that is why it is not a spoken language for the last thousand years... hindi borrows freely from sanskrit and is flourishing on the other hand..

---now to my question ( i sure do take my time don't i??!!).. how can academics and intelligentia (spellling?) "change" a language... what steps if any or what general scheme if any..

meri bhul chuk muaaf karnaa... meri majaal tae naheen vidvaana/ustaadan age sawaal jawaab karan di par beadabi kar rehaan haan... i hope it opens up a discussion and brings evry body back... by the way, how does arabic, farsi and urdu fare on the "change and assimilation" scale ?? rajeev

Here is an article from Chandigarh Tribune's Sunday 'Spectrum':

"Pioneers of modern Punjabi love poetry"
http://www.tribuneindia.com/2004/20040111/spectrum/book10.htm

Sajid Chaudhry Ji, Perhaps you could add this tribute to Madam Noor Jehan on the APNA homepage: (Just a suggestion not a request)

http://pakistantimes.net/2004/01/06/entertainment.htm

rab raakha..

As for Ustad Bade Ghulam Ali Khan Saheb, most of his recordings are available - almost freely available, if I may add - in Delhi, Kolkotta and Mumbai. In Kolkotta, ITC Sangeet Academy is the source. In Delhi Cannaught Place, Palika Bazar, Khan Market are the obvious pick-up points.The organisers of the Jullundur-based Harvallabh Festival have an incredibly large achival footage of Ustad Ji's renditions - some of these in lilting Punjabi - especially his "Aa ja na maahi mele challiye..." in PahaRi. Regards, Sukhbir

you will also find a couple of k l saigal's punjabi songs here.. some treat hunh!! lemme' know if it you like it..

- Title of Punjabi magazine �Lehran�, published in �Shahmukhi� (Persian script) from Lahore which has now started teaching �Gurmukhi script� to its readers. � Photo by Rajiv Sharma

Amritsar, January 11
New bridges are being built to establish people-to-people contact between two Punjabs. While the monthly Punjabi magazine, �Lehran�, published from Lahore took the initiative to publish literature in �Shahmukhi� (Persian script) and its transcription in �Gurmukhi script� simultaneously, many Punjabi writers in Pakistan have started following the trend.

The Editor of �Lehran�, Mr Akhtar Husain Akhtar, has endeavoured to teach alphabet of Gurmukhi to the readers so that gap between Punjabi writers and readers of both the Punjabs could be bridged up.

Dr Joginder Singh Kairon, a noted Punjabi writer and a former Chairman of the Punjab Text Board, said that this trend would help writers of both the Punjabs to study the source material available in �Gurmukhi� and �Shahmukhi� scripts.

Dr Sukhdev Singh Khehra, a Professor of Punjabi School of Studies, Guru Nanak Dev University, said that more than 60 per cent of Punjabi literature of medieval period was available in �Shahmukhi script� only.

Hence, it is the need of the hour to learn both the scripts to study and research. Dr Khehra said that the university had been making sincere efforts to bring both the Punjabs closer by teaching �Shahmukhi to the students of MA (Punjabi).

A subject of �Pakistani literature� is also a part of the academic course. Dr Khehra who had done his Ph.D. on �cultural consciousness in Punjabi literature� had dished out unique information about the robust Punjabi character by reading Punjabi novels of Pakistan.

Many Punjabi novels, authored by Fakhar Zaman, who was a minister during Bhutto�s regime, had used symbols to write about the hanging of Zulfikar Ali Bhutto.

Though his Punjabi novels were published in Gurmukhi script due to the efforts of Dr Karnail Singh Thind, a former Registrar of Guru Nanak Dev University yet Pakistan�s Punjabi literature is being published in �Shahmukhi and Gurmukhi� scripts simultaneously.

Dr Jatinder Jolly, a Reader in GND varsity�s Punjabi Department who had done his doctorate on �Pakistani literature,� said that the publication of Punjabi literature in both the scripts would go a long way in bridging the gap between Punjabi writers of both the Punjabs.

Ms Jagjit Kaur, a research fellow of the department, has been doing research on Pakistan�s Punjabi literature under Dr Jolly these days.

Some of the books which were published simultaneously in �Gurmukhi and Shahmukhi� scripts included �bolde athru� by Amin Malik and �Kurlandi tan� by USA-based Pakistani writer Ashraf Gill.

These books were printed in the press of noted Pakistani Punjabi writer, Illyas Ghumman who is based in Lahore.

A series of books of Urdu writers of Pakistan have been published by Mr Kulwant Singh Suri, the son of famous Punjabi novelist Nanak Singh.

The books are a blessing for literature lovers and have brought priceless poetic art to the doorstep of a common man. For Punjabi singers, musicians and composers the easy-to-read script would open doors for more meaningful milieu of songs compared to the current trend of music scores.

http://homepage.mac.com/patrickmoutal/macmoutal/rag.html

also, sajid saab tae apna mitro.. check out this link and you can download video of a small documnetry type of thing by bade ghulam ali saheb.. as far as i know it is the only video that there is of the great man.. you can also see barkat ali khan performing with him.. its a treat to watch him at work.. http://homepage.mac.com/patrickmoutal/macmoutal/rag.html happy listening.. rab raakha..

Salamat Ali and Nazakat Ali Khan have a few recordings in Punjabi. They were such wonderful singers but the quality of the tapes that I have is really bad - very frustrating. The formers son, Shafqat Ali Khan has some good stuff in Punjabi which is quite easily available. BTW there is a new singer from India, Barkat Sidhu I think, who is not too bad.

O mere veer ji, Rabb de vaste eh saari collection mainu v bhej devo. please contact me at my email address provided. tohadi jo v seva hove mainu jaroor dasna. mainu eh saariyaan cheezaan CD te chahidiyaan han. Sir aapdi bari meharbani hovegi. please do contact me.

Dear friends, please visit the below website. Im sure if possible, all APNA friends living in Pakistan will be able to attend the Punjab Lok Boli Mela:

http://www.lokpunjab.org/mela/
17-22 February; Depalpur, Punjab, Pakistan
Punjab Mother Language Festival 2004
A festival to celebrate linguistic diversity and rich literary and cultural heritage of the Punjab

http://www.lokpunjab.org/mela/English/introduction.asp
http://www.lokpunjab.org/mela/shahmukhi/introduction.asp
http://www.lokpunjab.org/mela/gurmukhi/introduction.asp

************Ghazal***********

oomraaN baadooN wehRRay aya kisraaN yar sanjapay da

sanooN aksar rehnda nahin hunn cheta apnay aapay da

dil dyaaN laggyaaN da koi daroo deway te maiN mannaaN

har koi weid hakeem sayanna yaro kasoo taapay da

jangal belay di wirani mele wargi lagay gi

naqsha khich ke dassaaN tenooN jay apnay aklapay da

ik table de doojay pasay rusya sajjaN beTha ae

kehRRay feetay de naal koi vichlee doori napay da

teray payar ne yar sikander akheeN banhyaN paTTyaN

jehRRay phul nooN wekhaaN ga oh teray werga japay da

Altaf Sikander Busal

Cogratulations. Keep up with your efforts. It will take time but the final draft is excellent.

Patiala, January 7
Eminent journalist Kuldeep Nayyar today sentimentally called for a reunion of both Punjabs, in India and Pakistan, to promote Punjabi on both sides of the border.

In a speech here after accepting the lifetime fellowship conferred on him, Mr Nayyar said the Partition had harmed Punjabi. He said as borders could not be changed, efforts should be made to enlarge the reach of Punjabi on both sides as the ethos and sentiments of the people on both sides was the same.

Earlier in his inaugural speech, religio-social leader Bhai Ashok Singh Bagrian said the Sikh religion did not belong to one section. Rather it represented the entire thought process from the First to the Tenth Guru.

Bhai Bagrian said the war philosophy advocated by Guru Gobind Singh was the first and rarest of its kind, adding the Guru himself sacrificed his two elder sons for the sake of righteousness in war while two others gave their life for the sake of religion.

Former Chief Secretary S.S. Dhanoa in his presidential address emphasised upon the need to look into and give meaning to the existing diversities in Punjabi language.

He said the simplicity of Gurmukhi script of Punjabi language gave straight and beautiful expression to even complex human experiences and abstract feelings.

In his presidential address, Vice-Chancellor Swarn Singh Boparai termed the compilation of Bani by Guru Arjan Dev in the form of Guru Granth Sahib as a �bliss to mankind�.

He said when rapid social change compresses humans to the point of disintegration it is the spirit of Gurbani which helped them to keep their psyche intact and gave a new meaning and strength to one�s life.

Citing the university�s effort for the development of Punjabi, the Vice-Chancellor said so far the Department of Punjabi Development had completed 103 projects and had started 60 new projects in language, literature and culture.

He said the university was in the process of making the entire encyclopaedia of the Sikhs available on the Internet, besides translating major Nobel Prize winning works into Punjabi.

Earlier, historian Dr J.S. Grewal was conferred a lifetime fellowship. Dr Grewal shared his sentiments and views about Sikh history on the occasion.

The Registrar, Dr Param Bakshish Singh, while presenting a vote of thanks dwelt upon the need to preserve Punjabi language, literature and culture in its historical perspective.

Dr Dhanwant Kaur, Head of the department of Punjabi Language Development, said the department inspired scholars and writers to delve deep into the ocean of Punjabi literature available till date.

Read it here: http://pakistantimes.net/2004/01/06/entertainment.htm

Ustad Jee de barey wich ehnaaN sitaaN nooN visit karo please. EhnaaN de print kaDh ke apney parents nooN wikhaa leyaa je. apni site te vee jhaat paa leyaa je. http://www.apnaorg.com/poetry/daman/

http://www.geocities.com/punjabsociety03/ustad_daman.htm

http://www.jang.com.pk/thenews/dec2002-weekly/nos-08-12-2002/lit.htm

...........GEET.........

KoonjaaN oDdiaan jaan ni maaye, apne apne des
SaaDi qismat Rub kiyouN likhiya, babal gahr perdes

Taap jiya chaRhiya ni menooN, saari raat meN roee
GuDDiaaN paTole yaadaaN de vich, seeney la la soee
SaariyaN sayyaaN milan nuN aayaaN, badal badal ke bhes
Baabal gahr perdes
Koonjaan oDdiaaN jaan ni maaye

VehRe vich meN chaap sonaaN paee, terey qadmaaN wali
Baari choN paee jhaatiaan maariN, sutti e meri lali
Sehje sehje aa ke merey, ottey deviN khes
Baabal gahr perdes
KoonjaaN oDdiaan jaan ni maaye

Beete vaile nuN meN apni, sochaaN naal paee bunn-di
SakhiaaN seheliaaN de haase meN, chaare paase sunn-di
Yaad aawan judd bitiaaN gallaN, dil nuN lagdi Thhes
Baabal gahr perdes
KonjaaN oDdiaaN jaan ni Maaye, apne apne des
SaaDi qismat Rub kiyouN likhiya, baabal gahr perdes

Javed Zaki

I assume that Shahmukhi script is older than Gurmukhi. Isnt Shahmukhi the same script Baba Farid wrote Punjabi in?

Gurmukhi was developed from a previous script called Landa by the second Sikh Guru.

You have a look at the Landa script for yourself here:
http://www.ancientscripts.com/landa.html

Hope that answers your questions.

Safir Rammah jee naal rawalpindi wich meeting 7 January nooN hosi te dost address note kar lain: Saeed Adnan Books, Dubai Plaza, 6th Road Chowk, Murree Road, Rawalpindi. Ph: 4417813 The venue of the meeting will be Brunal College, Dubai Plaza, Time: 7PM to 8 PM. Thanks.

Great news for all Punjabis! And a great start for Punjabiyat in 2004!

LAHORE: Punjabi language institute on the cards
http://www.dawn.com/2004/01/02/local21.htm
By Intikhab Hanif

LAHORE, Jan 1: The Punjab government is creating an autonomous institute to promote Punjabi language and culture, and spread its message of love for national integration.

Its likely name will be Institute of Punjabi Language and Culture, which will be created shortly through an act. Chief Minister Chaudhry Pervaiz Elahi will be its patron because of his personal interest in promoting the language.

A new building, depicting the Punjabi culture, will be built at the centre of the city for the institute, which will be run by a BS-20 director-general. It will function under the Punjab information and culture department.

Officials told Dawn on Wednesday that the CM had ordered the establishment of the institute after a 20-member delegation of Punjabi scholars and writers met him for this purpose on July 20.

Following that, a four-member committee was constituted to work for it. The committee members then visited the Jamshoro University and the Institute of Sindhiology, Hyderabad, to assess promotion of Sindhi language and culture.

"The entire spadework has been completed and the institute will soon be created through an act of the provincial assembly," they said. A detailed charter of the institute will be designed by a panel of experts, but its initial stated objectives would be to facilitate and patronize research activities and programmes regarding the Punjabi language, literature, art and culture representing various parts o6f the province.

It will also collect, preserve and arrange books of classical and modern Punjabi literature and set up a reference library with modern facilities and provisions for the common users and research scholars.

Besides, the centre will promote art and craft of the Punjab, project the province, its people, culture and folklore at national and international fora in their true perspective.

The Punjabi folk art, culture, craft and songs in their purest and simplest form will be preserved and books, journals, dictionaries and encyclopaedia will be published there.

The proposed institute will facilitate translation of the best literature of Urdu, English and other languages into Punjabi, develop and encourage culture of tolerance, peace and love as preached by the Sufi poets of the Punjab.

It will also aim at enriching the Punjabi language, enabling it to absorb into its folds advancements in science, technology and the dynamics of modern society, and to serve as a source of broadening the scope, usages and dimensions of Urdu.

Here is a article about the Bhupinder & Mitali I came across the net.
http://www.the-south-asian.com/May-2002/Bhupinder.htm

Regards

Sardarz, I also like that piece by Bhupinder Singh, but have only come across his name on this site. I enjoy listening to Hamid Ali Bela and Nusrat Fateh Ali Khan too. May aswell buy a few CD's from APNA so that i can listen to them while travelling on long trips.

Sajid Ji, Thanks for the correction on html commands.

And to all APNA friends and members, have a very Happy New Year!! and lets hope that 2004 brings more progress towards the development and preservation of Punjabi and Punjabiyat,

Best wishes to all,

Akhilesh

(I'll leave everyone with this news item i came across regarding the next World Punjabi Conference, scheduled to be held in Lahore from January 29th to 31st 2004).

Gujral, Amarinder to attend Punjabi conference
Tribune News Service
http://www.tribuneindia.com/2003/20031229/punjab1.htm#6

Chandigarh, December 28
The ninth World Punjabi Conference is scheduled to be held at Lahore from January 29 to 31, 2004. According to a statement issued here today, the conference is aimed at jointly promoting the Punjabi language, culture arts and literature by communities on both sides of the international border.

About 200 delegates from 20 countries, including former Indian Prime Minister, Mr I.K. Gujral and the Punjab Chief Minister, are expected to attend the conference, according to Mr Deepak Manmohan Singh, one of the organisers.

The theme of the conference will be �Globalisation � language, culture and literature with special reference to Punjabi�. A cultural extravaganza, mushaira, drama and an exhibition would also be organised. The statement said that just like Punjabis in India, their counterparts in Pakistan were also involved in a continuous battle to preserve Punjabi culture in Pakistan as well as across the globe.

Mr A.S. Paul added that the 10th conference is planned to be held in India, the 11th in Paris or Vienna and the 12th again in Lahore. Eight conference with similar objectives have also been held earlier in India, Pakistan, USA, Canada and the UK.

Happy New Year to all APNA friends and visitors.

- Dr Surjit Pattar honours Safi Rammah at a function organised by the Punjabi Cultural Study Circle and the Punjabi Mazlis International at the Punjabi Bhavan.

Ludhiana, December 27
The Punjabi Culture Study Circle International (PCSCI) and the Punjabi Majlis International (PMI) organised a literary programme at the Punjabi Bhavan to felicitate Safir Rammah, coordinator of an America-based company in North America. Safir Rammah was honoured with �Virsay da Wasi� award. Mohtarma Aisha from the USA, Jaswant Zaffar and Principal Prem Singh Bajaj were also awarded with �Sarghi di Loe�, �Kaav Deep� and �Sahit Sagar� awards, respectively, in recognition of their contribution towards the promotion of Punjabi, Punjabi poetry, conservation of literary collections and maintenance of reference library at the Punjabi Bhavan.

Safir Rammah is a known international figure for his outstanding efforts in promoting Punjabi and Punjabiat across the borders through the academy of the Punjab in North America (APNA).

After deleting all the unsolicited e-mails from those "writers forum" guys who fill my inbox with a couple dozen messages everyday(I guess they do that to eveyone who has a e-mail address here),the exhaution carries me to APNA home page,
Where I inadverently go to the page that has BABA FARID's Baani sung by Bhupinder singh and listen to it to calm me down.I wish he had sung two 30 minute stings like Prof.Puran Singh
Does anyone know of any websites that could have Baba Farid's work sung by other artists like Bhupinder...

Regards.

Congratulations are in order to Safir Rammah Ji and (APNA):

Here is an article from today's Chandigarh Tribune (Ludhiana edition):

(Also merry xmas to APNA friends!)

Programme on Punjabi culture tomorrow
Our Correspondent
http://www.tribuneindia.com/2003/20031225/ldh2.htm#8

Ludhiana, December 24
The Punjabi Culture Study Circle International (PCSCI) and the Punjab Majlis International (PMI) are organising a literary programme on December 26 at the Punjabi Bhavan here to felicitate Mr Safir Rammah, coordinator of America-based Academy of Punjab in North America (APNA).

According to Ms Manu Sharma Sohal, chief coordinator, PCSCI, and Mr Charanjit Singh, Chairperson of PMI, Mr Rammah will be honoured with the award of �Wirsay da Waris� award Dr Jagtar Dhiman and Prof Kulwant Jagraon said that on this occasion, Ms Aisha from the USA, Mr Jaswant Zaffar and Mr Prem Singh Bajaj will also be presented �Sarghi di Loe�, �Kaav Deep� and �Sahit Sagar,� awards respectively, in recognition of their contributions towards the promotion of Punjab and Punjabiat, Punjabi poetry and cartoon art and the conservation of literary collection and the maintenance of the Reference library in the Punjabi Bhavan.

Mr Rammah is a known international figure for his efforts in promoting Punjabi and Punjabiat across the borders through APNA. The meeting would be presided over by Dr Surjit Patar and attended by literary persons from different parts of the state, including NRIs and representatives of different literary organisations.

On this occasion, the first phase report of a comprehensive survey on cultural pollution in Punjab, carried out by Dr Jagtar Dhiman and Mr Manu Sharma Sohal of the PCCI, will also be released. A DVD on a Punjab village, prepared by Canada-based Joginder Kalsi will be presented. Executives of the PCCI and the PMI have urged residents to participate in the function.

Social and cultural fabric of Punjab is apparently in danger because there are so many migrants that the demography of Punjab is changing...

Read it here:
http://www.tribuneindia.com/2003/20031223/edit.htm#7 - The migrant effect on Punjabi society

(Article is from todays Chandigarh Tribune)

Speaking of the British replacing the "a" with a "u" in Punjabi names such as Jallandhar being spelt Jullundhar etc is the same also true for the spelling of Punjab?

Should Punjab and Punjabi infact be spelt as Panjab and Panjabi?

kaurasach, I didnt stop in Tarn Taran town itself but you can find pretty good juttis in Fatehabad. About migrants working in the fields, there are about 200 Bihari families living in Fatehabad working on the fields. It seems as if Punjabis no longer want to work on their own lands. Not sure why not.

I also noticed that many Biharis seem to have embraced Sikhism. Well in Goindwal Sahib they have anyway...

Sukhbir, I was a little shocked at first when i read your comments. Wasnt sure exactly what the problem was, but now i can see the humour in the misunderstanding.

Finally, here is an article from today's Chandigarh Tribune highlighting the problem Punjabi is facing in Delhi.
___________________________________

Dhindsa urges Punjabis to converse in mother tongue
http://www.tribuneindia.com/2003/20031222/ncr1.htm#10
Noida: The main challenge that the Punjabi language is facing today is that Punjabis prefer to speak in English or Hindi with their children. They educate their kids in English medium schools, said Union Chemical and Fertiliser Minister S. S. Dhindsa while inaugurating a seminar on Punjabi journalism at Punjab Bhavan in New Delhi. He said there was no shortage of books, magazines or newspapers in Punjabi language as such but the number of Punjabi readers was shrinking.

�This is what worries me. What will happen in the years to come if this trend continues? We shall have no readers of Punjabi books, newspapers etc�, he rued.

All Punjabis should join hands to attend to this problem and work for a solution to it, Mr Dhindsa pleaded. Earlier, Dr S. S. Noor, in his keynote address had lamented that the standard of Punjabi newspapers and books was not comparable with English or Hindi publications. The minister also released two books on Guru Nanak by Punjabi writer S. S. Johar A number of scholars and eminent journalists like Mr Kuldeep Nayar, Mr Inder Sawhney, Me Tarlochan Singh of the National Minority Commission and Dr Maheep Singh had attended the seminar jointly organised by the Punjabi Thinkers Association and Punjabi Academy, Delhi. OC

GharrayaN sooT pajero jeeppaaN

oonj pardhaan ghareebaan da

chaar kanal di kothi paa ke

jhanda laan gharibaaN da

is basti da waDka yaro

hai pursaan gharibaaN da?

masjid de wal khulda ae bas

roshandaan gharibaaN da

soch kadi ke khali kiyoon ae

dastarkhwan gharibaaN da

Altaf Sikander Busal

Par paHji jara dekh ke "Sohni Jatti with a Sohni Jutti" the mix is rather dangerous ;-)...
Sukhbir ji
Vaise kasoor tuhadi ve nahin, pre-partition di english evaiN hi likhi jaandi hundi si
Jatt was written as Jut
Jatti was written as Jutti
Jallandher was written as Jullundhur ;-)
Regards.

Weyse theocratic te feudalist wassooN (historically, both functioned in a very close relationship and complemented each other) vich 'Jutti' te "Jatti" (zanaani) vich koee khaas farq neiN keeta jaaNda. Es tooN botta eh nikal da e keh saanooN Pubjab te Punjabiat di gal-baat kardiaaN hoyaaN progressive te regressive Punjab te Punjabiat di vaNd di ochechee parkh rekhhen di loR e.

Javed Zaki

Sukhbir

Sukhbir Garewal wrote:

"Akhilesh in his previous mail writes at the end of his missive: "BTW, you can find great Punjabi juttis in Fatehabad!" It is extremely distressing to read such utterly gender-insensitive, caste-offensive remark."

I dont understand? Dont all Punjabis wear juttis, irrespective of caste, gender or whatever else? My mom also bought a pear of juttis and my parents families happen to be different so-called "castes".

Im not sure exactly what the problem is... The only juttis i know of are traditional Punjabi shoes/slippers. If the word 'jutti' has another meaning which is insulting to women and certain "castes" (Who even bothers about caste?) then i am unaware of it.

Regards,

Akhilesh

Good news! APNA official membership has now reached 1507 members!

Just under 50 members have joined within the past 3 weeks.

I think this is very encouraging.

ps, I have just returned from a trip to India (first time in 13 years). It appears as though Punjabi language in Gurmukhi script is not only doing well in the Punjab state but also in Haryana.

Delhi, on the whole, is also dominated by Punjabis and Punjabi culture.

I visited the old Mosque in Fatehabad, distt Tarn Taran, Amristar. It is still standing but unfortunately is not in the best of condition. I can tell that at one time it must have been a very beautiful building. I am told that it was built by Sher Shah Suri (sp?) but wasnt able to find out the name of the Mosque.

BTW, you can find great Punjabi juttis in Fatehabad!

.......KAFI........

Ishq di agg pei machdi e
LooN looN de sir nachdi e

SaaR ke kar de dhooR swaah
Fir cha khilaare rah-o-rah
Per takni thheye mast nigaah
Eho gal ik sachdi e
.....Ishq di agg pei machdi e

SahNwaaN khushboo yaar wasse
Ragg ragg di her taar wasse
Saade ander b'ar wasse
SaanooN pei nit gachdi e
.....Ishq di agg pei machdi e

Ranjha roop sajaa ke aaya
AkhiaaN madh chhalka ke aaya
Sab kujh weych wachaa ke aaya
Wekhho Heer kih bachdi e
.....Ishq di agg pei machdi e
.....Loon looN de sir nachdi e

Javed Zaki

.......KAFI........ LooN looN de sir nachdi e

SaaR ke kar de dhooR swaah
Fir cha khilaare rah-o-rah
Per takni thheye mast nigaah
Eho gal ik sachdi e
.....Ishq di agg pei machdi e

SahNwaaN khushboo yaar wasse
Ragg ragg di her taar wasse
Saade ander b'ar wasse
SaanooN pei nit gachdi e
.....Ishq di agg pei machdi e

Ranjha roop sajaa ke aaya
AkhiaaN madh chhalka ke aaya
Sab kujh weych wachaa ke aaya
Wekhho Heer kih bachdi e
.....Ishq di agg pei machdi e
.....Loon looN de sir nachdi e

Javed Zaki

Paa Safir Rammah Jee Pakistan aa rahey neyN. Jogi Jhelumi dee kitaab "MundraaN", Dr. Laeeq Babri dee kitaab " "KUGOO GHORAY" (THE MUTE HORSES), Noor Mohammad Ch. dee akhaaN*aaN dee kitaab "Babey binaaN bakreeyaaN naheeN chardiyaaN" Iqbal Salahuddin de waDDee Punjabi Lughat (Dictionary) ohnaaN de layee kharid ke rakhyaaN neyN. Ehdey ilaawaa English wich Punjabi deeyaaN dictionaries, grammars te hor boht kujh www.apnaorg.com de asmaan te sajaawaN* laee akhaThaa keetaa jaa rehyaa ey. Kal raat meyN Islamabad Chinese writers and poets de wafd naal see. OhnaaN nooN apniyaaN tin kitaabaaN sufiyaaN barey peysh keetiyaaN. Boht khush hoey. Othey Pakistan de mashhoor naat-khawaaN Bashir Hussain Nazin naal mulaaqaat hoee. Oh dassaN* laggey ke ohnaaN neyN Punjabi dey 20,000 (round about) akhaaN* akhaThey keetey neyN. Balley, Balley. Eh kam da suN* ke eynee khushee hoee ke kujh naa puchho. Baqi fer.

Paa Zaki Jee, tuhaanoo pehlaaN wee ik waar likhyaa see ke rabb neyN tuhaanoo nasar likhan dee baRee ee sohN*ee salaaheyat dittee ey. Shaalaa kheyreeN wasso. Saeed

WaikhaN akhaN de jhrokay vichooN bit bit chanaN mainoN lagdee piyaree teri channani
Nachan kawaray naach kirnaN kawariyaN channaN tooN kanwara aiN kawaree teri channani

Os wailey JOGGI de vi dedayaN noN lo laggi mari jadooN hijar kattarri tere channani
OdooN mainooN patta lagga channaN tooN uddhar saiN uddharri tere channani

Prem ji, hahaha...main te parh ke loaT poaT ho giyaN...ikk vaar main ikk faarm te apni photo lagauni si...nawaN nawaN shehar ayea si main pindoN...vekheya..DAV college de koll ikk dukaan si utte wadday akhraN wich likheya si "Khaira Photostat te typing"..barhi mashhoor thaaN ain Ambarsar di...khair..Khaira dukaan de aggoN di langay si 2 chaar vaar..jad photo khichwaan di lorh payee main socheya chalo Khaira toN lwaah lainay aan...koi 16 saal di meri ummer si..nikki nikki muchh te khodi jihi daahRi.awein aaN nu...main sidha vajjeya Sardar Khaira de maThay te oh puchhan lagga..kaka ki kamm ay...main kiha ji...koi khaas nai bass ikk faarm te do photo lagwaaniyaN si khich diyo....oh thorha jiha khachari haasi hasseya te mainu moDeyaN toN phaRh ke dukaan de baahir bazaar wich khRaa ke kehan lagga,,, asiN photostat karday aan, photoaN nai khichday...photo khichwaani ay te jaa aun sahmne dukaan galli de moRh te...oudoN te main baRha kacha jiha hoyea....mainu ki pata ki farak ay photostat te phot wich.... par...ajj takk jadoN eh gall yaad aundi ay apnay apnay khiRh ke haasa nikall jaanda ay....

eisay taraN ikk saada rishtedaar aithey Amreeka ayea... ohnu koi Kentucky Fried Chicken te lai giya....jadd khaanay waliaN plaitaN lai ke table te baithan laggay te mash potato te gravy wali kaulli vall ungal karke kehn lagga...yaar aa kRaah wahwa taaza taaza lagda ay.. bhaaphaN chhad'da...thoRha thoRh hor na pawa laiyeye.

Yaar TooN te buhat kujh likh ditta e. MeriaN te akhaN gilliaN ho gayaN saNh. ChooRh Kaana vichon dee gae taN meree Naani Jee nooN yaad kar laina.

Oh buDRi Maaee jehRi davaa lain Daak khane gai si, jaroor mere bhain hovegee.

BaRe chir di gall e mere master ne apni kappee ditte ke eh daak khane lai jaa te paise jama karva lia. Mein bhajja bhajja Dava Khane gia te compounder nooN kapee ditte te kiha, eh master jee de paise jama kar lai. Uss nooN samajh aa gai ke master jee ne iss kamle nooN daak khane bhejia si te eh Dava khane aa gia e. Yaar sade kamLe paiNdoo lokaN dee boli hi aisee e. Ehde vich sada ki kassor e.

Laih ikk hore gall suNh. MeiN Toba Tek Singh Wazeefe da imtihaNh waste chalia si. Master Shukar-U-Din mere Naal si. Asin Gojre tesaNH te gaddi dee udeek kar rahe si. Kisee neN kiha ke gaddi late e. Mein sochia gaddi nen palta kha lia hoNhaN e. JadoN gaddi Gojre tessaNh te pujee taN meiN vekhia ikk sajan apne Tunde hath naal apne Kulle te paag baNh riha si. Mein sochia gaddi palta kha gai e te uss da hath vadhia gia e. Oh sajan Baree de neRhe baitha si. JadoN mein andar gia te mein vicharley PhaTTe te baith gia. Master jee ne hukam ditta, Putter mere kol baith. Master jee baree kol baithey si. Mein kiha ke mein vichar vale PhaTTe te baithna e. MenooN Daarr si ke je gaddi late gai te meree vi BaaHN vadhi jaigee. Veer jee meinooN te iho hi patta si ke MajhaN gawaN latediaN ne. Kee patta si ke gaddi vee late jaNdee e. Sadde paindooN kamliaN te bhaveiN hAAss lavo parr eh sadee boli e.

SajanaN khush raho te wattan ja ke apne yaaraN beliaN nall Apne bachpan dian yaadaN dian KhusiaN mannao. Tuhada APNA Yaar Prem

Zakki ji, tuhadian wattan pherian de kissey sunn sunn saada vi dil oudar giya.

Jogi Jhelum died long ago. He lived in Machine Mohallah # 2 and I was living in Machine Mohallah # 3 Jhelum. Many years back his all the kalam was collected in one book called "MundraaN". I have the book in my library. I would also love to publish it sometime in future. He was very genuine poet who had true attatchment with the land and the masses, though he could not get any formal education and was working as a mason but he had great thoughts. Just go through these lines so that you could have little chas or sawaad(taste) of his poetry.:

Naa baal naal zindgee, Naa maal naal zindgee,

naa maaN-piyaaN (parents) de naal, naa zaal (wife) naal zindgee

zindgi te maot Jogi doveyN koee cheez naheeN

khiyaal naal maot ey khiyaal naal zindgi.

Dr. Zaki Jee, jam jam aao apney watnaaN nooN. Merey ik dost Col. Mohammad Ilyaas (of ChelyaaNwaalaa, Gujrat) said:

wich pardeysaaN cheytey aaway, sohN*aa deys piyaaraa,

apN*ey Takht Hazaarey naal naa raldaa Balkh Bukhaaraa.

ik hor thaaN Col. Ilyaas ee kehNdey neyN:

Terey baahjooN jee naa lagdaa, aa mil yaar piyaarey,

tooN aawayN te raoN*aq lagdee dil de takht hazaarey.

Jogi Jhelum died long ago. He lived in Machine Mohallah # 2 and I was living in Machine Mohallah # 3 Jhelum. Many years back his all the kalam was collected in one book called "MundraaN". I have the book in my library. I would also love to publish it sometime in future. He was very genuine poet who had true attatchment with the land and the masses, though he could not get any formal education and was working as a mason but he had great thoughts. Just go through these lines so that you could have little chas or sawaad(taste) of his poetry.:

Naa baal naal zindgee,

Naa zaal (wife) naal zindgee,

naa maaN-piyaaN (parents) de naal zindgee

zindgi te maot Jogi doveyN koee cheez naheeN

khiyaal naal maot ey khiyaal naal zindgi.

Dr. Zaki Jee, jam jam aao apney watnaaN nooN. Merey ik dost Col. Mohammad Ilyaas (of ChelyaaNwaalaa, Gujrat) said:

wich pardeysaaN cheytey aaway, sohN*aa deys piyaaraa,

apN*ey Takht Hazaarey naal naa raldaa Balkh Bukhaaraa.

ik hor thaaN Col. Ilyaas ee kehNdey neyN:

Terey baahjooN jee naa lagdaa, aa mil yaar piyaarey,

tooN aawayN te raoN*aq lagdee dil de takht hazaarey.

teynooN sutyaaN jaag naa aaee

ve chiRyaaN bol geiyaaN

I logged on to the apna site after a long time to check if there were any details regarding the death of the one and only Surjit Bindrakhia.
I heard about his death over the last long weekend of Thanksgiving and was much saddened by it.
The rumor went he died of AIDS and not heart failure..
I wanted to come in and check good ol APNA site to read the comments of forum contributors..
Anyone has any more details besides the article published on the home page of Apna site...
Bindrakhia had a hauntingly high pitched voice,I had always hoped he would sing some of Shiv Batlvi's works.. But alas this will never happen now :-( Regards

Najam Hussain Syed bare ik boht ee bharveeN te khubsurat likhat Col. Nadir horaaN dee.

Elegies of nature and mother tongue

All of Najam Hussain Syed's poetic work has been written in rhythm and rhyme, meant to be sung or dramatically recited like most classical Punjabi poetry By Nadir. Ali

I consider Najam Hussain Syed's writings on literary criticism to be his greatest contribution to Punjabi literature though his literary work, comprising 22 books, covers other subjects like poetry and drama as well.

Eh link wekho:

http://www.jang.com.pk/thenews/sep2003-weekly/nos-28-09-2003/lit.htm#1

Paa Safir Jee, ehdi saaNbh karo. Regards.

GEET

Alf Allah mann chaNba khaRe cha
Te mushak machaave sahwaaN
Koee mukhh wajadani vekhhaan
Te ohde sang Tur janwaaN

TenooN sutya jaag na aaee
ChiRyaaN bol geiyaaN

Mann vich nehra palda rehNda
Tann da baalan balda rehNda
Lobh lobhawaaN rol geiyaaN
ChiRyaaN bol geiyaaN

RahwaaN rahwaaN bhulya phhir da
Khhed eh saara, dil te sir da
KerniyaaN takRi tol geiyaaN
ChiRyaan bol geiyaaN

Lobh da piyala bhar bhar peeta
KeetiyaaN da na daaru kita
KeetiyaaN surt madhol geiyaan
ChiRyaaN bol geiyaaN

JinnhaaN waa'de toR nabhaaye
Ohnaan chaNgge karam kamaaye
Oh sajnaaN de kol geiyaan
ChiryaaN bol GeiyaaN
tenooN sotya jaag na aaee
ChiRyaan bol geiyaaN

Hafizur Rahman Jee ik muddat toN Punjab, Punjabi, te Punjabiat baarey likhdey aa rahey neyN. Here is one very informative article on the issue of Sikhs. What a sad fate of Punjabis that Sikhs have become mystry for the present generation of our country. I hope such articles will help to learn more about Sikh Punjabis. Rammah Jee, the foto of Baba Guru Nanak Jee is very beautiful with the article. You can copy it and save it. Here is the link:

http://www.dawn.com/weekly/books/books6.htm

ARTICLE: The Sikh enigma

By Hafizur Rahman

Except for periodic though regular visits by groups of Sikhs to their shrines in Pakistan, we in this country, and particularly in Punjab, which was their home before Partition, rarely get to see any member of this virile community, what to say of sitting down and talking to them. My own dear friend, Gurdial Singh, with whom I can only correspond, lives in Chandigarh and we haven't met since 1945. Because Indian newspapers are not available, all that we come to know about the Sikhs is through books. They come out rather well in these books, whoever the authors. Before Partition, the areas of Rawalpindi and Lyallpur (now Faisalabad) had become exceedingly prosperous because of the Sikhs' industriousness and spirit of enterprise. Otherwise too, they made life in the united Punjab more colourful by their merry abandon, their friendliness and their devil-may-care attitude to the problems of life. The younger generations in Pakistan know very little about the faith and social pattern of the Sikhs. Of course there are written accounts regarding Partition, especially in school and college textbooks, describing the Sikhs' murderous propensities in which we conveniently forget to tell our children that the Muslims were as thorough in killing the Sikhs in West Punjab as the Sikhs were in hacking Muslims to pieces across the new border. However, one hopes that is past history now. The new generations also do not know that the Sikhs believe unalterably in the Oneness of God (they call Him Rabb) and abhor idolatory of any kind. Like Islam, Sikhism ordains that there shall be no separation of one's faith from politics, and that has been one of their problems, just as it is of the Muslims. However, over the centuries, society got so constituted in Punjab that there grew a divide between the Sikhs and the Hindus on the one hand and the Muslims on the other. Mughal repression was partly responsible for this historical gulf. It comes as a great surprise to most young people when they are told that the foundation stone of the Golden Temple in Amritsar, Sikhism's holiest shrine, was laid by Mian Mir, the saint of Lahore. The conclusive history of the Sikhs is contained in Khushwant Singh's voluminous book on the subject though it doesn't cover recent events. However, books written over the last decade or so vividly describe how the Sikhs of Indian Punjab grew out of their ages-old antipathy towards the Muslims and, instead, began to make their Hindu compatriots the target of their hate. This was a result of the widespread feeling among them that the Indian government gave them a raw deal despite their heroic role in the two wars with Pakistan and their remarkable success in converting the state of Punjab into the granary of India. From this resentment emerged the demand for a separate Sikh homeland, "Khalistan". Much more violent than this demand was the insurrection of the Sikhs in Punjab and gory attacks on the Hindus. This culminated in the Indian army's incursion into the Golden Temple to flush out terrorists in which the charismatic leader Jarnail Singh Bhindranwale lost his life, followed by the assassination of Prime Minister Indira Gandhi by her Sikh bodyguards, the retaliatory killing and burning by the Hindus of over 3,000 Sikh citizens in Delhi, and the shoot-to-kill police action against Sikh militants in Punjab. It is widely believed that relations between the Sikhs and the Indian government can never again assume the old pattern of affectionate official indulgence towards the community. As stated above, those interested in the Sikh question have to read books to understand its various facets. For example, Mark Tully's Amritsar: Mrs Gandhi's Last Battle, (Jonathan Cape) is the story of the rise of Bhindranwale and the graphic day-to-day, almost hour-to-hour, account of the army action in the Golden Temple and what followed. The book leaves one with the conclusion that although the terrible happenings were born of the Sikhs' feeling of deprivation, the failure of Mrs Indira Gandhi and her government to take timely measures led to the violent agitation and the gory developments. I remember how, at that time, most Pakistanis could not appreciate the Sikhs' anger and violent reaction to the Indian army's raid on the temple. They only understood when I drew a parallel about the possible desecration of the Khana-i-Kaaba by armed men. Personally I always felt that had Mrs Gandhi been more of a stateswoman and less the impulsive politician, she could have avoided the bloodshed and also prevented Bhindranwale from becoming a hero of youthful Sikhs. Before his death in the Golden Temple, Bhindranwale had become the idol of almost the whole Sikh nation, including senior military officers and intellectuals. I was a witness to the scene on the steps of the Punjab Assembly in early 1947 when Master Tara Singh waved a naked sword in the air and said about the impending creation of Pakistan, "Over our dead bodies!" The very same Master Tara Singh is reported to have said to the Indian government in the early fifties, "If you are true nationalists, then, for the sake of the nation, you must let the Sikhs live honourably. You will err in attempting to extinguish, in the name of nationalism, their distinctive identity." This cause of identity was later taken up by many Sikh intellectuals. It is not generally known in Pakistan that as an aftermath of Operation Blue Star to flush out Bhindranwale from the Golden Temple, there was mutiny in a number of Sikh regiments. Even senior Sikh army generals, known for their outstanding war service, were disenchanted. When her bodyguards shot Indira Gandhi dead, they shouted that they had done their duty as Sikhs. Both were killed immediately by security men. Short of Khushwant's History of the Sikhs, Ram Narayan Kumar's The Sikh Struggle (Chanakya Publications, Delhi) is a useful book if one wants to be acquainted with the birth of Sikhism, the life of its founder, Guru Nanak, the respective contributions of his twelve apostles, its transformation from a peace-loving community to a militant force and its trials and tribulations in Mughal times. On the other hand if someone is interested in how the Sikh insurrection in East Punjab was quelled, Joyce J.M. Pettigrew's The Sikhs of the Punjab (Zed Books) draws a graphic picture of not only the police action but also of the heartbreaks and the tragedy and the indiscriminate torture and killing of innocent villagers and their dear and near ones that went into it. She has culled all her information from personal interviews with the affected families. There is a startling sentence in the book about the view of some Delhi high-ups at that time that a war could be started with Pakistan in order to finish the Sikh problem on the way! I have mentioned these three books because I happened to have read them. But there are many more, and still more are destined to be written because the Sikhs are a fascinating subject any day, quite apart from what they have gone through in recent times. Anyway, we in Pakistan can only know them through books.

Rain Rhapsodies

Madan Gopal Singh

I

A little before the rains arrived in our town, we began to hear the resonance of rain.

The smell of distant waters wafted across in the swelter of Delhi�s dry heat. The expectant ontology of a season about to overwhelm us was felt all around. We little children sensed something that we did not quite comprehend. We felt happy in being bound up in an elemental mystery�

This was in the late-fifties in what was then a refugee colony on the edge of Delhi. Beyond this line of habitation was a stretch of wild, thorny landscape that had lain as it was since the days of Hastinapur. As a kind of a buffer between the Upanishadas and the Puranas. It was the space of imperious snakes, indifferent hyenas, lazy rodents and yellow flowers we often boiled in the hope of hitting upon a magical dye.

The heat grew relentlessly radiating all kinds of feverish threats. Occasionally, from the street a luckless hawker would announce his goods so musically that women found it irresistable not to take a peek. The cloth from Dhaka, the china from Shanghai� Women and children gathered around this map of the world imagined through the hawker�s quaint baskets and bundles. This was the time for the weakest of children to get onto the seasonal swings� Rains were round the corner.

The walls of our houses were much thicker than now. The ceilings much higher. The fans much heavier. The summer heat would assail our tender nostrils filling it with tingling spasm of pain. Very often a blood vessel would crack-open under the weight of heat� And then the humidity increased mercilessly. The harmoniums made from the Calcuttan-wood acquired richness of tones overnight. The dark rooms of our mud-cemented walls kept us cool indoors as we slept crouched foetal-like next to our mothers. We slept safe and deep in our dreams and the rain began to come down from the skies to affirm its primeval bond with earth from whose water it arose in a simple rite of ecological passage. Middle of the night, we woke up in utter wonderment. It was raining�

Water, muddied and exuberant, overflowed everywhere. Shallow ponds of rainwater surfaced overnight. Inside water hordes of children gamboled and frolicked in their pristine nudity. Across the Punjabi refugee colony stayed the Rajasthani nomads. The nocturnal silence was intermittently pierced by the croaking frogs and once in a while a folk-melody arose from across the road. These were the earliest songs of yearning and desire; of separation and erotica that we ever heard�

Mornings were full of the miasma of cow-dung mixed with rain waters flowing down the nullah. The closure of schools forced by the blinding rains caused untold joy and recrudescence of mirth amongst malingering children. Homes that were like a flowing, continuous spaces till yesterday bacame mysteriously fragmented and adults often disappeared behind closed doors. The idea of home grew strongly as the Monsoons entrenched themselves. The home appears to us today through the haze of time as a cave or even a womb. We were also greatly mesmerized by the dark Krishna holding an entire community of people he had protected from the deluging rains under the mount Goverdhan he had delicately balanced on his finger. But the idea of an uninterrupted home itself was paradoxically fragmented by the machinations of erotica. The lure of water was irresistably visceral. How many rasas did the rains bring? How many emotions? How many songs?

Air gurgled and hissed through the early morning taps announcing the arrival of regulated water. Invariably it synchronized with the women reciting Baramaha � A Poetic Almanac of Seasons � from the Holy Granth (compilation 16th century under the supervision of the 5th Sikh Guru Arjun Dev). Their poetic incantation muttered ever so gently under their breath was perhaps an antidote to all the zones of dark desires that came to the fore with the visceral dance of ecology. Within the Gurudwaras, the rendition was austere and in strict conformity with the dhrupad ang � perhaps the oldest form of Indian classical music with strong religious associations � as laid down in the Holy Book itself.

II

From the sacred to the profane in a manner of speaking was the journey of a song from the red-light area about waiting and expectancy. I remember my diasporic aunt on a short visit to India from Montreal wanting desperately a recording of Munnawar Sultana�s rendition of love pangs of a woman-courtesan separated from her man in the midst of torrential rains, distraught and waiting for his return. Here was a paradox of societal binds, transgressions and re-binds. The folklore about the nautch girls or the courtesans tied down by professional constraints to please the feudal male, is that they have been disengaged from the name of the father � at least from the time of the gandharvas. The entire creative attempt is to establish a legitmacy of some sort. (Mani Kaul deals, at length, with this theme in his Sidheshwari. ) The trauma was especially acute in the shikwas � a mode of spirituo-romantic musical rendition steeped usually in mock-complaints. The space of religiosity was as if denied to these perennially displaced women.

The articulation of desire, more precisely feminine desire/s, � or what the poet Kalidas calls more appropriately the pace of desire � itself was a bit of a taboo and was expressed in terms associated with the darkness of nature or the irrationality of the elements. Alongside the image of night, rain was the the other potent carrier of this pace of desire. But such articulations were split always already. The formal principles of Natya Shastra came in handy. The desire was couched in an etiquette of mannered coyness. However, the nautch girls also had a way with verbalisation which often transgressed the gastronomic truce between her and her consuming listener. Through the agency of vowels and nasalisations � often conceived quite literally as points of creative transits � the women were able to open the space of chaitanya or conscience within the otherwise predictable aestheticist typologies. This is how a fundamental shift occurred within the idea of shringar from a merely cosmetic-decorative engagement with the self to an almost pagan articulation of desire.

Rains open up, like the non-indifferent nature itself, as an ecological sign. Musically, the energy of the sign is internally evoked before it acquires the body of meaning within the communicative field outside. Poet Kalidas was the first to work towards elemental saturations � in Abhijnan Shakuntalam and Meghadootam, Kumar Sambhav for example � especially while dealing with water and rains-soaked forests. The sufis � especially from the Qadri-Shatari silsilas - from the 14th century onward attempted to install the humankind within the wondrous design of ecology. This was a clear break from the Perso-Arabic obsession with the dis-installing drive rooted in the Judgement Day. However, rain remained rare and illusive in their creative output except and exceptions such as the following from Bulle Shah�s (18th C) Spell were hauntingly assertive about the feminine creative impulse.

Toona (Translation of Ik ToonNaa AchaMbaa GaaNvaaN Gi a poem by the 18th century Sufi poet from Punjab, Bulle Shah, by Madan Gopal Singh)

A wondrous spell I�ll sing
I�ll placate my beloved
who's turned away from me

I�ll recite, re-recite this spell
and see it burn
under the warmth of my breath
the fire of the sun
gone dead long since
I�ll re-ignite

Koel in my eyes
dark and deep
clouds in the skies
My brows will raise
storms unexpected unseen
Deep inside my heart
the seven seas
from within this heart
the wave of my love would arise

Like the splitting flash of lightening
I�ll roll, rumble, blast
frightening him to the last
I�ll come pouring down
From the clouds

In the hearth of my ishq
the stars glow bright and mild
wondrous embers of varying lights
My shroud I�ll sew
with moonlight
Traversing the homeless path
the unstruck melody I�ll strike

It�ll then be time to sleep with him
Will I be called a woman then?

(Toona - is a mode of writing that may be traced back to the writings of Hazrat Amir Khusrau (13th C). Within our cosmology � a Toona is normally associated with an installation created to bring the object of desire under an unquestioning and often irrational influence of the creator. The installation is more often than not a feminine artefact created out of kitchen spices and bears testimony to the women�s desperate need to extend the area of her influence and power outside of the kitchen space.)

The return to the saturated elemental signs and, within these signs, the rains began with Rabindranath Tagore (20th C) in Bengal and Puran Singh (20th C) in Punjab and was subsequently passionately taken up by Jibnanand Das in Bengal and Harbhajan Singh in Punjab. Is there an affinity between these two water-logged topographies? I wonder.

Thanks for the the post. There is some revival of Punjabi in Indian Cinema also. There is hardly a movie that doe not have a song/dialogue or two in Punjabi. However due to economic reasons people opt for English and Hindi/urdu in India and Pakistan. English medium schools in India are very popular and second language almost always is Hindi. The "stigma" of Punjabi as a rural language or worst language of uneducated/uncultured is another problem.

My personal opinion is that revival of Punjabi to some extent is partly due to some dedicated Punjabi lovers in India/Pakistan and to a large extent due to Punjabees settled abroad. Their financial and political successes are in a small way are also resposible to bring some respect to to Punjabi language/culture. I konw many people settled abroad proudly speak Punjabi and if they were in India or Palistan, they probably would speak Hindi or Urdu in their daily lives.

After long time, I could sit in front of PTV and noticed one very encouraging sign. There was a program "TOP TEN" Pop Songs. It was amazing that eight out of ten songs were in Punjabi and the remaining two also have touch or taRkaa of Punjabi. One thing more interesting is that the singers of Punjabi songs were not only Punjabies but also Urdu-speaking guys and Pathans. Truth comes out even if someone suppresses it with the full establishment machinery. Yes, it is alive Punjabi which has very strong and powerful folk and sufi base that today young generation of the whole country likes Punjabi songs though they are not given a chance to read and write in it but even then there is a bright future of this langauge as it is staying number one in the media.

KiyoN paa Sukhbir Jee, Sameer Jee, Safir Jee, Dullah Bhatti Jee, Dr. Zaki Jee, Suman Jee, Prem Singh KahloN Jee.

....AkhiaaN....

Hijar de seik ne silh'yaaN akhiaaN
Jhole vekhen, gill'yaaN akhiaaN

AzlaaN lei mere chete wassiaaN
JheRiaaN pal lei mill'yaaN akhiaaN

Teri akhh de pe'maane thheeN
Mae'kharaaN diaaN dhill'yaaN akhiaaN

Mae'kharaaN vich hal-chal mach gaee
ThhoRiaaN jaeen bas hill'yaaN akhiaaN

Saade mann nuN pat-pat khaawan
TeriaaN tikhiaaN bill'yaaN akhiaaN

Tere jaan da roala sonn ke
Ro ro ke meiN chhill'yaaN akhiaaN

Deed teri da chan chaRhya te
RoNdiaaN roNdiaaN khill'yaaN akhiaaN

JAVED ZAKI

Deeply moved that you liked the four lines I posted on the forum. The lines were recently sung by Dr Madan Gopal Singh at a concert in Chennai (Madras) where Dr Madan and the Sikh Bharat Natyam dancer, Navtej Johar, gave a sterling rendition of Heer Ranjha for well over two hours. The concert was covered live by some South Indian channels and was extensively covered by the leading newspapers such as the Hindu and the Indian Express. These lines are part of a larger poem which unfortunately I do not remember very well. Dr Madan's rendition of his own Heer Ranjha is becoming quite a draw.

But that apart, I rather like your "tabdili" and I think it would be a great idea to have your version recorded.

All the very best

Sukhbir

....GEET....

Ranjhana Ve
Chan Eid da chaRhya
Teri deed da chaRhya

TuN lashkaara, chaah meri da
TuN ee chaanan, raah meri da
BeThhi rawaaN teri rahwaan mal ke
TuN mann layeeN je Heer ve aRya
....RaNjhana ve
....Chan Eid da chaRhya
....Teri deed da chaRhya

Vekhh ve sajnaaN, taara taara
Roop tere da sab e khalaara
MenooN sab e sufna jaape
TuN mere je naal aa khhaRya
....RanjhnaaN ve
....Chan Eid da chaRhya
....Teri deed da chaRhya

Javed Zaki

....GEET....

Ranjhana Ve
Chan Eid da chaRhya
Teri deed da chaRhya

TuN lashkaara, chaah meri da
TuN ee chaanan, raah meri da
BeThhi rawaaN tere raste raste
TuN mann layeeN je haan ve aRya
....RaNjhana ve
....Chan Eid da chaRhya
....Teri deed da chaRhya

Vekhh ve sajnaaN, taara taara
Roop tere da sab e khalaara
MenooN sab e sufna jaape
TuN mere je naal aa khhaRya
....RanjhnaaN ve
....Chan Eid da chaRhya
....Teri deed da chaRhya

Javed Zaki & Sukhbir Grewal

I think this observation is correct that gurdas maan is a good performer but not a good singer. the reason behind that is his songs compilation is not a one whole song from one geetkaar but one stenza from hare one stenza from there and shuf-in some sher from someone else. this is the reallty behind his songs lyrics.

NOW, come to his perfor-m ance part he is good looking,charming,bodily fit,knows how to talk with his eyes. knows how to dress nicely and knows how to make stage looks full with performers, These are the key elements to be a "GOOD PERFORMER"

The East Punjab government has put up another 'Punjabi Heritage' story on its website. It is on Warris Shah:

http://www.punjabgov.net/news.asp?fol_name=heritage\latest\&file_name=her1&p_title=Glorious Heritage of Punjab

ps, I noticed that the credit to Safir Rammah Ji and APNA for writing the article on Shiv Kumar Batalvi is missing - http://www.punjabgov.net/news.asp?fol_name=heritage\archive&file_name=shiv2&get_pic=&p_title=Glorious Heritage of Punjab&curr_f=2&tot_file=3

Someone please inform the webmaster at punjabgov.net to put it back on.

Sukhbir

ID MUBARAK

Here is an email i got back from Panjab Radio regarding APNA:

"Thank you for your kind words of support and encouragement. We hope that you will join the many thousands of others who have passed on the 'good news' about Panjab Radio to their family, friends and acquaintances.
I will pass your e-mail to our Managing Director in respect of your idea regarding APNA.
Kind regards
Pammi Nizzar
Station Manager"

I am planning to publish my 2nd book of Punjabi poetry. We will discuss it when we meet. It is most probable that we will be in Islamabd by the end of December. However, I will let you know about it. take care. Take care.Javed Zaki

In my visit Pakistan, I also have plan to visit Islamabad, along with my child and Dr. Khlaida Zaki (my wife). We probablly be there for two-three days. Take care.

Javed Zaki

yeah! you are right. Ilisten to this radio station religiously. Man they have some good shows to listen to. Khaas karke old punjabi songs.

I agree with you 100% on to spreading the good word about our good website wherever we can. It can be even batter if are to able to sponser one of their shows which carries strong flair about our agenda. It feels to me that you live in valait. te mere valaiti veer saanu pata karke hi das chado ke oh radio wale ki charge karde han kise v program nu sponser karan da. changa bai beliyo!!!

OH SACH YAAD AAYA!!!JAGJIT_NAUSHERAVI KITEY SAADA DULLA BHATTI TE NAHIN.

yeah! you are right. Ilisten to this radio station religiously. Man they have some good shows to listen to. Khaas karke old punjabi songs.

I agree with you 100% on to spreading the good word about our good website wherever we can. It can be even batter if are to able to sponser one of their shows which carries strong flair about our agenda. It feels to me that you live in valait. te mere valaiti veer saanu pata karke hi das chado ke oh radio wale ki charge karde han kise v program nu sponser karan da. changa bai beliyo!!! OH SACH YAAD AAYA!!!JAGJIT_NAUSHERAVI KITEY SAADA DULLA BHATTI TE NAHIN.

Here in UK there is a 24 hour pure Punjabi Radio station available on SKY digital TV called "Panjab Radio" on channel 880. It is also available on the net at http://www.panjabradio.co.uk

I have once before phoned in on one of their shows and gave them the website address for APNA, after which they went on air and told their viewers to log on to apnaorg.com.

I dont know if anything significant came of this but i have just now sent an email to them informing them about APNA and to get in touch with you.

I think it would be beneficial for APNA to work with Panjab Radio for the promotion of Punjabi language, literature and culture.

I suggest to all other members here to listen to Panjab Radio every so often at http://www.panjabradio.co.uk. Safir Rammah Ji, you can also get in touch with them through their website.

Sat Sri Akaal

Dear friends, if any of you have some time to spare, please spread the word about APNA on the internet or on Punjabi radio stations.

A few days ago i had decided to officially become a member, and within the past couple of days i have posted links to APNA home-page and information about this organization on many different message boards across the net.

When i checked the member list at least 5 people seem to have joined APNA within the past 2 or 3 days.

I am not suggesting that we spam the net with links to apnaorg.com, but just spread the good word about this organization which will no doubt become the saviour and guardian of the Punjabi language and literature.

When i am next in Punjab i am going to introduce my relatives to this site and make sure that they also become members.

APNA membership says that there are currently 1460, im hopeful we can pull this up to 2000 members soon.

You are welcome in your land of five rivers. I would love to meet all of you. I will come to Lahore for a couple of days.

Dear APNA Mitro, there is one very good article published in today's Dawn, Karachi on the importance of mother tongue. The article is written by renowned Pakistani scholar Dr. Tariq Rehman. He himself is non-Punjabi but he strongly recommended the teaching of Punjabi along with other languages. Dear Safir Rammah Jee, please put it in the front page. Also put one bar for collecting suggestions from all the readers of this site that how we can promote Punjabi? Regards.

The right to learn in your mother tongue

By Dr Tariq Rahman

If one goes to an elitist English-medium school and meets the principal, or whoever condescends to grant an audience, one finds out that one's mother tongue - assuming one is a Pakistani - is held in supreme contempt. I once asked a certain principal whether Punjabi children had the right to be educated in Punjabi even in the juniormost classes and she gave me the kind of look one reserves for the mentally handicapped. Yet the UNESCO position paper, Education in a Multilingual World (2003) says clearly: 1. Instruction in the mother tongue is essential for initial instruction and literacy and should be extended to as late a stage in education as possible. 2. Communication, expression and the capacity to listen and dialogue should be encouraged: first of all in the mother tongue, then, if the mother tongue is official or the national language in the country, in one or more foreign languages. 3. Measures should be taken to eliminate discrimination in education at all levels on the basis of gender, race, language, religion, national origin, age or disability or any other form of discrimination. As we can all see, our English-medium schools violate all these principles and with the utmost arrogance. They force small children - children as young as three or four whose tongues can hardly lisp words of their own language - to speak English. They force their teachers, some of whom very wisely keep using Urdu, to put up the pretence of talking in the totally incomprehensible English to their tender pupils. And, of course, these schools discriminate against children on the basis of wealth, urban culture and English. They charge unaffordable tuition fees discriminating against the less affluent; those who run them have the audacity to interview parents and show contempt for those who produce food and clothes (peasants and the workers); and they discriminate against parents who do not know English. Even worse, they send material written in English to children's homes and create the kind of snobbish atmosphere where those who cannot speak English feel ignored, held in contempt or marginalized. Urdu-medium schools - the schools that most children attend - are less snobbish than their English-medium counterparts. However, they too look down upon Punjabi and are completely ignorant of other minor or vernacular languages. Indeed, it comes as a surprise to most people that Pakistan has sixty-nine languages and not just the six or seven we keep hearing about. These small language communities are not always so small that it should be impossible to teach them in their mother tongues. Some have hundreds of thousands of speakers and are spoken in fairly large contiguous areas. For instance, Balti, spoken in Baltistan has over 300,00 speakers; Burushaski, spoken in Hunza, Nagar and Yasin Valleys has over 70,000 speakers; Kalami, spoken in Kalam and Dir (Kohistan) has over 70,000 speakers; Khowar, spoken in Chitral, has over 250,000 speakers and Gujrati, spoken in the old city of Karachi, has several thousand speakers. The children of these communities are, however, educated in Urdu or maybe English and not in their own mother tongue. I once happened to go to Kalam in Swat to a school where very young children were being instructed in Pushto. This was the teacher's mother tongue and also of a few students. Most children, however, were speakers of Kalami. When asked questions the children remained quiet. The headmaster explained to me that Kalami children were slow learners and very shy. However, the more likely explanation was that they were struggling with an alien language in an alien atmosphere - the school. And this is a story repeated all over Pakistan - indeed, all over the world. This is cruel towards the children because by denying their mother tongue we are denying them the easiest means for understanding the world. What they do is to memorize sounds and it is only later that they start internalizing concepts. Even worse, we are denying them their identity. What we are conveying to them is that your language, your identity as a people, is worthless. If you want to become worthy of respect you must become like some dominant, alien, community. This is an insult but children internalize it and show contempt for their own people, their language, their culture, their values, their history all their lives. Moreover, this process of weaning children away from their languages kills these languages over time. As more and more people shift to the languages of power (English and Urdu, in that order in Pakistan) the indigenous languages become obsolescent. Finally, they are no longer passed on to the children. Then, with the death of the last speaker, the language dies. This is an infinitely sad thing to happen. After all, a community is shaped by its language. The community dies, its worldview dies, its music and folk tales and jokes and riddles - all die. And along with it the traditional knowledge the community might have possessed - such as on herbs, food, animals, healing methods, education - also disappears. This is a great loss but communities allow it to happen because the market conditions imposed by society are such that they cannot afford to maintain their language. Moreover, the community itself feels ashamed of its languages since society considers them inferior jargon. The native speakers, thus, unwittingly become accomplices in the murder of their own mother tongue. That is why some people call this phenomenon 'language suicide' rather than 'language murder' which it really is. But it is 'murder' if you consider the market pressures, the policies which create that pressure, and the attitude we have towards the languages of our ordinary people. These being the conditions, can something be done to promote the smaller, or the marginalized, languages of Pakistan? Certainly a lot. First, the government must make instruction in the mother tongue compulsory in the first three years of school. This will mean that Punjabi will be the medium of instruction in most Pakistani schools. However, children whose parents or grandparents came from the Urdu-speaking parts of India should have the right to be educated in their mother tongue. Punjabi children, whose families no longer speak Punjabi, must, however, be educated in Punjabi. Books, films, games and other material will have to be made in not only Pushto, Balochi, Brahvi, Seraiki and Hindko but also in Khowar, Shina, Burushaski, Balti, Gujrati and so on. Material giving information on AIDS, family planning, women's rights, children's rights can also be provided in these languages. Most of this material will, however, be audio or audio-visual. This is achievable because Papua New Guinea, which has 840 languages for a population of only five million, has published material in hundreds of languages and teaches children in more than 220 languages. The literacy rate is 81 per cent for males and 63 percent for females. This is more than we have achieved and we too can make it happen. But for this, we shall have to teach our school administrators and teachers - especially those from elitist English medium schools - that they have no right to look down upon our languages or stop children from using them.

Zahra, Suman Jee, and other apna friends, please go through one very good article on the education of our women: Here is the link: http://www.dawn.com/weekly/education/education.htm

Javed Zaki

Undoubtedly, Shiv Batalvi, who died young, is a most revered romantic Punjabi poet till date. He set new milestones in the romantic Punjabi poetry, gave a new meaning, status and direction to it.

Imaginative and subtle like Keats and rebellious like Shelley, Shiv enriched the Punjabi language by artistic use of words in his poetic verses. Those who had have been lucky to go through his classic epic � Lunna � will certainly testify that Shiv was a master craftsman of words to create an imagery of events while describing a particular scenario.

Once, he faced a bizarre situation. A babu in the office of the Punjab State University Text Book Board literally floored him. The babu not only questioned his competency with regard to Punjabi but also refused to make the payment to him in lieu of the translation work done by him from English to Punjabi. Shiv made several rounds to get the payment, but in vain.

The Punjab State University Text Book Board allotted the famed book � The Indian Heritage � authored by Humayun Kabir to Shiv for translation in Punjabi. Obviously, the board had assigned the work to him after duly examining his skill and intellectual capacity to handle it. Earlier, he had translated a Russian book in English to Punjabi and that book had become immensely popular. And before that he had won the Sahitya Akademy Award in 1965. He was the youngest poet to win such a prestigious literary award. His books had become part of syllabi in various universities and many scholars were doing Ph.D on his literary accomplishments.

After completing the task, Shiv deposited the script with the board. He asked for the money for the work done. However, the dealing clerk raised an objection on the file that Shiv is not qualified to translate the book. Shiv visited the board office several times but the dealing official refused to budge. And senior officers also showed their inability to help Shiv.

In the meantime, Shiv fell sick. And he died in May, 1973. His wife Aruna Batalavi was aware of the shabby treatment meted out to Shiv by the board. She approached, Prof Bhushan, another eminent Punjabi writer and satirist. Prof Bhushan, who recently retired from Government College Ropar, was a close friend of Shiv, prepared a representation and asked Mrs Batalavi to approach, Mr Manmohan Singh, a senior IAS Officer, who was then Administrative Secretary of the board. Mr Manmohan Singh, was a man of immense literary taste and an abounding fan of Shiv.

Mrs Batalvi reached the office and sent a slip to Mr Manmohan Singh. On glancing over the slip, Mr Manmohan Singh rushed out immediately even without wearing his shoes to greet Mrs Batalvi. With a lot of grace and respect, he took her inside his office and asked what help he could extend to her. She narrated the story.

Mr Manmohan Singh picked up the phone and asked the then Director of the board to over-rule all objections and make the payment before the closure of the office on the same day. He offered her tea and asked to wait for the cheque. Well before end of the office hours, the cheque was handed over to her.

But the great poet was not there to see it happen. He had left this world to be �a star� as he wrote himself in one of his most popular poems that-� joban rute Jo vi marda, ful bane jan tara (those who die in their prime either become flower or star)�. Shiv is a star, the glow of which will never fade out from amongst the Punjabi literature. And the babu �Badshahs� still reign supreme in offices.

The Sikhs could not have opted for Pakistan because the Muslim League and militant Muslim National Guards did not want the Sikhs, Hindus, Parsees, Jains and Dalits to remain in what would comprise 'Pakistan'. Why do you think they resorted to such extreme and inhuman methods to wipe them out and create a divide among ordinary Muslim, Sikh, Hindu etc civilians? (Spreading propaganda, inciting killings, lootings etc)

Also, since Sikhs were only 15% of undivided Punjab and were scattered all around the region, where exactly could they have made a 'Sikh' country which contained a majority of Sikhs? Amritsar district? Patiala? I dont think Sikhs were in majority even in these two places...

All i can say is it is a shame religion and politics were combined and it is a shame that the Unionist Party Punjab was unable to hold on to power and gain Punjab's independence as a sovereign nation, separate from British inventions of Hindia and Pakistan.

Anyway, that was then and this is now....

Personally, I am not very enthuisiastic about translating poetry from one language to another and the reasons are sociological. a language (Particular its symbols, metaphors and ideoms) has a cultural context. It is also due to the relative level of development of a language in comparison to the language in which it is being translated. I have read some english translations of Punjabi poems on this forum. Their english translations were mismerizing while original poems were just all right. The role (bias) of te translator is another important factor. I confronted thse problem myself while translating my own poem.
The following translation I recited in a poetic gathering on the campus of the Michigan State University. Although it was well apprecited ( However, I could not figure out wether it was due to the contents of the poem or my recitation style (I, first, recited the poem in english but sung it in Punjabi). But I was amazed to know some of the references to the poem, which completely had no relevance. But, I kept silent keeping in mind the so-called notion that "let the reader/listner describe the poem that she/he comprehends" it. May be, it was due to my poor translation, which could not convey the real meanings. Well, here is the english translation.

...My Swirling Dance...

Blazing colors of my idealism,
keep my body and heart warm.
Sun dazzles in my eyes and
awareness is my fate.
May God make me Shah Hussein,
all confusions will cease.
...People will enjoy my swirling dance
...People will enjoy my swirling dance

I long to reside every home
like a �message of consciousness�.
How gratifying it is to be Ranjha,
I want to let know the whole world.
O God! Bless me with the secrets of �Ishq'
and make it my destiny.
...People will enjoy my swirling dance
...People will enjoy my swirling dance.

Running after the mirages of my ideals,
day-in day-out.
And memory of any colorful event
envelope me with gay feeling.
But, very often I do not find comforts in
worldly things and become restless
...People will enjoy my swirling dance
...People will enjoy my swirling dance

Javed Zaki

Personally, I am not very enthuisiastic about translating poetry from one language to another and the reasons are sociological. a language (Particular its symbols, metaphors and ideoms) has a cultural context. It is also due to the relative level of development of a language in comparison to the language in which it is being translated. I have read some english translations of Punjabi poems on this forum. Their english translations were mismerizing while original poems were just all right. The role (bias) of te translator is another factor. I confronted this problem myself while translating my own poem.
The following translation I recited in a poetic gathering on the campus of the Michigan State University. Although it was well apprecited ( However, I could not figure out wether it was due to the contents of the poem or my recitation style (I, first, recited the poem in english but sung it in Punjabi). But I was amazed to know some of the references to the poem, which completely had no relevance. But, I kept silent keeping in mind the so-called notion that "let the reader/listner take the poem that she/he comprehends" it. May be, it was due to my poor translation, which could not convey the real meanings. Well, following is the english translation. ...My Swirling Dance...

Blazing colors of my idealism,
keep my body and heart warm.
Sun dazzles in my eyes and
awareness is my fate.
May God make me Shah Hussein,
all confusions will cease.
...People will enjoy my swirling dance
...People will enjoy my swirling dance

I long to reside every home
like a �message of consciousness�.
How gratifying it is to be Ranjha,
I want to let know the whole world.
O God! Bless me with the secrets of �Ishq'
and make it my destiny.
...People will enjoy my swirling dance
...People will enjoy my swirling dance.

Running after the mirages of my ideals,
day-in day-out.
And memory of any colorful event
envelope me with gay feeling .
But, very often I do not find comforts in
worldly things and become restless
...People enjoy my swirling dance
...People enjoy my swirling dance

| Javed Zaki

....KAFI....

La lei RaNjhan de naal meiN yaari
Deen duni da hosh naaN kaaee
ChaRh gayee ander ba'ar khomaari

Shoah saathhoN ghar baar chhoDaya
Takht hazara soch samaya
Ik ik pal teri yaad haNdaya
RoNdi watdi zaaro zaari
...La lei RaNjhan de naal meiN yaari

Rutt birhoN, jiNd maar mokaee
Yaar di kidhrooN, khabar naaN aaee
MeiN oagan di saar bholaee
Phhir di baile maari maari
...La lei RaNjhan de naal meiN yaari

Butt ban beThhi, raah meiN teri
Dard pei hoNjaaN, Dheri Dheri
Kallam kalli, raat heneri
Aa waNj teri taahNg osaari
...La lei Ranjhan de naal meiN yaari

aa mil RaNjhan, yaar begaane
Heer peye tere gunn gaane
MagroN lehn cha hijar zamaane
Saawan thhee jaae ander naari
...La lei RaNjhan de naal meiN yaari

Lafzaali

Duni= DunyaaN
BirhoN = Hijar, Jodaaee
Oagan = Jide vich koaee khobi naan hovey
Shoah = Ishq
Naari = ugg warga
Aa waNj = Aa ja
TaahNg osaari = Omeed laaee e
JAVED ZAKI

Saeed bhra ji, could not agree more with your comments below about Sikhs and Pakistan. Many sikhs blame their leaders for not asking for their own country at the time, others doubt their wisdom in opting for India but truth is if Pakistan was to be not a secular country then sikhs did not have much choice. As for comments by the author in the article below, there are enough delusional people in each community. There were objections on the play on Bulleh Shah peformed few days ago in Chandigarh or Amristar(?) about some part about Banda Bahadur. One of problems is we believe our heroes to be perfectly perefect without any flaws or mistakes. Truth is anyone who walked on this earth on his two feet has dirt in his toes.

Safir If you really want to go ahead to put in the bible, gita, confucius etc etc, here is an email address where you could find some stuff. It is a bookshop in Delhi called Star Publishers and the owner is Anil Verma. He also mails books to the US and is very reliable. The web site is

www.starpublic.com and the em is

starpub@satyam.net.in.

Yes, I certainly remember Shahid Nadeem, he came over for dinner along with Adam Nayyar of the folk music institution. We also saw a couple of his plays here. He and and his wife have done wonderful and courageous work via their plays and performances. Please convey our greetings when you see him. I hope he will contact us when he comes to LA next.

Safirwww.starpublic.com and the em is

starpub@satyam.net.in.

Yes, I certainly remember Shahid Nadeem, he came over for dinner along with Adam Nayyar of the folk music institution. We also saw a couple of his plays here. He and and his wife have done wonderful and courageous work via their plays and performances. Please convey our greetings when you see him. I hope he will contact us when he comes to LA next.

Observing the history of this region, specially during 1940s, what I could understand is unfortunately very bitter. Sikhs were cornered by the three forces British, Hindus, and Muslims. They did not have any option except what they decided. If they could join Pakistan, I firmly believe they could not stay with Pakistan for more than one year. The direction which was adopted by Pakistan at that stage, was not to create a peaceful paradise for anyone except for the safety and prosperity of fuedalists and others, their allies. Lator on, they proved as front-liners of the Western powers against the communist block. Now, tell me where you could fix the sikhs among such pre-determined decisions. It was all lip service for the sikhs that they could join muslims of Pakistan. Pakistan was not meant a secular state. Though you can find some speeches of Mr. Jinnah on secularism But it was not Jinnah who was solely ruling the country. With poor health conditions, he was not making any decisions. The present U-turn of Pakistan's liberal policies is again based on the directions from the forces who controled this region from the very beginning. In the games of those powers, what we got, was extremly sad fate of Punjab which is still the same ie, violence, illiteracy, intollerance, sectarianism, racism, hatredness, anger, cheating, greed, corruption etc. Dear friends, unfortunately, I don't see any silver line. Ah, I wish I could see that.

Ah!Bindrakhiye da kuveley tur jana. par jiven ke ohde last geet di line waangar 'Main tirke Ghare da paani,kal nahi hona'. Aj mainu yaad aa rahi hai 1986 or 87 di gall jadon Mainu v Mouka milya c Bindrakhiye naal ik stage ton gaon da Mouka. Oh ropar collage di team naal singer aaya c te main delhi university di team valon c. Os bande nu live sunan da swad hi kujh hor c. Khaas karke jadon tusi os naal gall-baat karde c te osda nimrta bhareya lehja tohanu is tarah mehsus karaonda c jiven tusi ohde vade bhai hon ja pher koi jigri yaar. Te stage te os bande nu teams di performences de vich gap nu fill karan vaaste stage te leyanda ja reha c almost har team di performence de baad. Osde Mirze di Osdi Jugni di kaalja khondi Hek!!!. It will all be greatly missed. Khore Rabb nu v changi awaj vaaley Lok bare pasand aaon lag paye ne. Pehle UNFK te hun Bindrakhiya.OYE HOR V TE SO CALLED PUNJABI MA-BOLI DE SO-CALLED SEVAK SAN OHNA VICHON KISE NU CHUK LAINDA

....KAFI....

La lei RaNjhan de naal meiN yaari
Deen duni da hoash naaN kaaee
ChaRh gayee ander ba'ar khomaari
MeiN oagan di saar bholaee
Teri kidhrooN khabar naaN aaee
Rutt birhoN, jiNd maar mokaee
Phhir di baile maari maari
...La lei RaNjhan de naal meiN yaari

Butt ban beThhi, raah meiN teri
Dard pei hoNjaaN, Dheri Dheri
Kallam kalli, raat heneri
Aa waNj teri taahNg osaari
...La lei Ranjhan de naal meiN yaari

Aa mil kidhroN Shaam saloane
Raadha Heer, tere gunn goane
Teri soch de boote laone
Ander soan theye cha naari
...La lei RaNjhan de naal meiN yaari

Lafzaali

Duni= DunyaaN
BirhoN = Hijar, Jodaaee
Oagan = Jide vich koaee khobi naan hove
Soan = Saawan
Naari = ugg warga
Aa waNj = Aa ja
TaahNg osaari = Omeed laaee e

JAVED ZAKI

Sufi play from Pak - Tribune Reporters

http://www.tribuneindia.com/2003/20031116/nov15icev2-56k.ram - Click for 56k Video

Amritsar, November 15 Artistes from Pakistan staged �Bullha�, a play here today. The play, written by Shaid Nadeem , is based on the life and teachings of the 16th century poet saint, Baba Bulle Shah.

The promoter of Ajoka-theatre group for social change of Lahore and the director of the play Gauhar and the cast got a standing ovation by 1000-odd spectators. Gauhar said though Baba Bulle Shah belonged to the 16th century, his sayings on love and tolerance were still relevant.

She saidhe represented the composite Punjabi culture of tolerance ,brotherhood and peace. Incidentally, there were 16 qawwalis in the play.

PS, Saeed, Thank you for posting that article from DAWN regarding Guru Arjan Dev's martyrdom.

Here is the report of one function arranged by Academy of Letters, Islamabad. Here is the

link: http://www.dawn.com/2003/11/16/nat23.htm

Report: :Renewed interest in Bulleh Shah's poetry

By Jonaid Iqbal

ISLAMABAD, Nov 15: There has been a revival of interest in Bulleh Shah's (1680-1758) poetry both in Pakistan and abroad, mainly due to the works of leading pop singers, eminent poet Mansha Yad said. As a result, the Pakistani youth living in England and the United States are asking more about the poet, he said. He expressed these views while presiding over a special Halqa-i-Arbab-i-Zauq literary sitting on Friday night. The meeting was specially devoted to the discussion of the poetry of the legendary rustic poet, who is easily the most quoted Punjabi poet of all times. The discussion on Bulleh Shah's poetry, originally scheduled for Saturday, was advanced by one day, and the members were informed only six hours before the event through telephone. As a result, very few members arrived at the Writers House of the Pakistan Academy of Letters to participate in the special programme. Mansha Yad initiated the impromptu discussion, which, nevertheless was the most scintillating one and focused on Bulleh Shah's poetry and the 18th century era. He said Bulleh Shah's poetry was a voice against undue religious coercion, in the same tradition as that of Waris Shah and Shah Husain; only that Bulleh Shah's protest was more forceful and stronger. Another short-story writer Hameed Shahed said the legendary poet lived in a disjointed time when the grip of Mughal rulers was loosening due to, among other things, religious coercion of Emperor Aurangzeb. In carrying the discussion forward, Mansha Yad, Sarwat Mohiuddin, Asghar Abid, Akhtar Usman, Col Sharafat (retired) and Khaleequzzaman observed that the songs of well-known singers and groups like Junnon and Shahzad Roy contributed towards highlighting the works of the great Punjabi poet. But, that did not solve the problem, they said. They pointed out a number of obstacles in the way of real dissemination of the poet's message. The task of publishing an authentic collection of Bulleh Shah's poetry is still awaiting a scholar who will roam the countryside, collecting original manuscripts of his poetry and Kafis. As Akhtar Usman said the task was a daunting one, which could only be accomplished by a team of research experts, not necessarily from government departments. He said those who ever undertook the task, must have rich knowledge of Punjabi folk culture, without which it was almost impossible to understand Bulleh Shah. Akhtar Usman also stressed the need for good translation of the poet's works in Urdu as well as provincial languages. Sarwat Mohiuddin, who was the chief guest at the meeting, expressed her concern over too much emphasis being laid on the philosophical contents of the poet's works. This can lead to a loss of focus on the common man's and the people's poet, who wanted us to workout a balance and understanding between our lives now, and in the hereafter. She insisted on fully understanding the great poet, who would talk of mundane objects, such as a spinning wheel. The common rustic people of his age, as well those of the current times, fully understood the significance of Charkha as an object of daily use, she said. Ms Mohiuddin said through the parable of the spinning wheel, Bulleh Shah was unravelling the mystery of life of every time, before the final journey. The labour and the process involved in spinning cotton yarns and weaving them in strong fabrics was described in some details in the folk songs and 'Kafis' of Bulleh Shah, and should be read as an invitation to the common people to make their lives trouble free. "We encounter in these poems the routine and daily experience of weaving new clothes. This is a symbolism about life's thread, which should be strong. Bulleh Shah wants to say if the thread of life, which we weave, is weak, life will become sullied and the journey to the hereafter will be a pathetic one," Ms Mohiuddin said.

My village was closest to the hostel of everyone else's place...a wopping 20 miles. But not un-reachable. To add salt to the injury the buses going to the village passed through the road next to the hostel...every other day I would look at crying Satbir, nostalgic Parshotam Kumar, Sunil burried deep in some mystery Hindi novel..he was only one who did not seem to miss home......top 3 nerds next door although as nostalgic as us were more worried about their answers to the numericals being off my .0001 even though teacher asked to calculate only 3 decimal places using logarithimic tables...use of calculators was banned that year by GNDU. I would pick up my small bag and head towards Hall Gate to catch the bus...I would feel so nostalgic ke jee karoo udd ke pind pahunch jaawaN...by the time I would reach home nostalgia would go down..and parents will look at me and someone would say...ajj phair...I would feel ashamed of myself and promise not to come back before Saturday evening..Mostly it would be me and Parshotam heading for home together..one evening we were feeling so down....partly because of our homework... Parshotam said something about his "chaayee"...I rememebered something about my home..and we decided to head for the bus stand. Our routes were different so I was all by myself en-route to Naushehra that in the middle of the way I felt..lakh laa'naht mannaN...ghar diyaN paRhan bhaijeya te tooN roz basta chuk ke pind nu tur paindaN....I got of the bus at some stop and took the return bus to ambarsar...I went straight to my room and did not get out until late in the night just before the mess closes. I went down to grab my dinner...as I was walking through the hall I saw some one going towards the other hallway towards Parshotam's room ...I recognised, It was Parshotam. I called him...oye tooN??....he turned his head surprised and as if caught stealing something...and said..te.aa..te..te tooN??...what a co-incidence...he did the same thing...he said he took the bus to Patti but got off at gurdwara ShaheedaN and came back....we had a good laugh and decided to not go home before weekends....it took lot of emotional strenghtening up...eventually we got over it....few years later...only reason to go home was to pick up some money.

The attachment to Naushehra started weakening....and it did until few years...few years until I saw my first grey hair....te hunn te sufnay ee othoN de aunday ne....waise vi jaddoN safr te jao te manzil te phunch ke ghar wapis jaan di sikk jaag uThdi ay...par..par..hunn te wapisi da vi koi raah nai...sheeNhaN pattan malle...there is no way to escape it...so will use it with my name. jagjit naushehrvi.

Zaki

On a different note, if you recall, you did meet with Shahid of Ajoka group when he was in California. We had invited him and Madeeha Gauhar in Washington. I have a video copy of their play Bulleh Shah. It is a wonderful play and I will highly recommend it to anyone who may get a chance to see it during their visit to India. Shahid and Madiha have been doing some great work in providing opportunities for cultural exchanges between East and West Punjab. I plan to spend some time with them if they will be back in Lahore during my time there.

Also, for anyone in the Washington Area: Punjab Heritage Foundation/APNA/ISHA will be presenting Balwant Gargi's play "Rayee Da PahaR" this Sunday. For details, please see the following web page:

http://www.isha.net/rdp.doc

Suman Ji: Please do continue to write on the forum. You may become the catalyst for activating other serious contributors.

I have to choose my words more carefully. I did not mean the comment about 'Indians' in a bad way, but i get the impression that many people from India, regardless of their racial background, are not so accustomed to terms or differences between things like race/ethnicity, culture, religion and nationality.

Most of the 'Indians' (citizens of that country) i have come across are under the impression that race, culture and religion is all just one thing, that being "Hindu". I have also found that many of these people have been brought up thinking that almost everything and everyone under the sun is a Hindu, was a Hindu, came from Hinduism, came from Hindi/Sanskrit or came from Hindustan.

Again, i am sorry if that offends anyone, but this is just from my observation. A couple of members from my family who live in India are also like this even though they are Punjabis and not from Hindustan (Central Hindi part of India). I guess this all comes from lack of proper education and knowledge of the World outside of South Asia. Or maybe it is because their media and government is so corrupt and bombards them with lies and propaganda everyday.

Regarding Ramayana and Mahabharat, i guess that is an inappropriate topic since i have seen many debates on whether they are factual/religious stories or just literature.

Once again, i hope i have not offended anyone.

Peace,

Secondly, perhaps because you are so young (as you have pointed out) you are able to make such a wide generalization about 'Indians". It is never possible to cover a country, a race or a religion with one slick phrase.

Suman Ji, Well, the person who wrote "No other site on Internet has as much Information about our religion as This site has" appears to come from India, and in my experience of speaking with Indians, they are incapable of comprehending the differences between race/ethnicity, culture, religion and nationality and then separating these things from one another.

No offence to anyone who was born and lives in India as i am just making an observation from my own experiences.

I personally dont have a problem with religious texts being translated into Shahmukhi and Gurmukhi and then put on the site, but then again if Islamic and Sikh texts are put up then im sure some effort should be made to translate Vedic, Christian and Buddhist texts into Punjabi, as these are also religions found in Punjab.

By the way, i have noticed that some people are complaining of lack of conversation on the forum. Perhaps one of you should start a debate.

I myself am here more so to learn rather than to contribute since my Punjabi is below basic and i am much younger than most of the other members, although i dont have a problem in sharing my opinion on issues i have some knowledge about.

One final comment. Regarding your remark "Mix it (Religion) with literature and it stunts intellectual growth and inhibits genuine communication.". Wouldnt you say the two great Vedic epics, Ramayana and Mahabharata, which are a mixture of religion and literature for followers of Vedic Dharma, are master-pieces which encourage growth, not stunt it?

I dunno, not having read the actual books myself and only knowing the basic story of each i may be jumping to the wrong conclusion...

PS, here is a news article from Chandigarh Tribune which may be of interest to some members here - Pak theatre group brings play on Bulle Shah - http://www.tribuneindia.com/2003/20031115/punjab1.htm#12

The 'aims and objectives' of APNA are clearly stated and geared toward literature and language. Music and song, as the communicator of this literature and language, are also an integral part of this site. There are innumerable poets, singers and writers represented here and they co-exist in a very secular environment. This is a remarkable accomplishment. And the consequence has been that the readership and participation was also very broad based and represented a very healthy range of opinion.

The Koran and the Jap Jee though, are religious texts. It is likely, therefore, that they attract a different kind of readership. By chance, I happened to have had a brief talk with Safir before they were put up. At that time I was not sure of my own convictions in this matter. I thought about, and even offered, to bring in a Gurmukhi and/or Urdu rendition of the Gita to be posted - the theory being that if the relgions of the Punjabis were to be posted then all of them should be here. But slowly it dawned on me that I could not travel down such a road.

These religious texts are absolutely part of the Punjabi heritage, but they are not part of our literary history, because the intent of a religious text is utterly different from that of literature.

Religiosity is in the air these days and it certainly has not been the fountain of either good words or deeds. Mix it with politics and we have seen the results throughout history and see them still. Mix it with literature and it stunts intellectual growth and inhibits genuine communication. I am beginning to think that this is the reason why there is no longer an exchage of ideas on this forum. Instead we have an abundance of pronouncements, of inane theses and cut and paste opinions.

kaurasach, Here is the West Punjab governments homepage, it has a district map of Punjab province: http://www.punjab.gov.pk/

I dont know if its just me, but after looking at the map it seems as though the Punjab government has recently renamed some of its districts since the last time i browsed through that site. Maybe i am mistaken and just never paid attention to districts like "Mandi-Bahaudddin" and "Bahawalnagar".

Interesting that the Punjab government has listed "Jats, Rajputs, Arains, Gujars and Awans" as the major "ethnic" groups of Punjab. I guess the person who wrote that is unaware that none of those (except maybe Gujjars)are ethnic groups, they are social-castes, a result of Brahmanism. None of them are any different from eachother, they are all Punjabis.

Also, this person is clearly confused about Punjabi racial stock when he/she wrote that "although originally belonging to the Aryan stock, the people of Punjab are descendants of the Iranians, Turks, Afghans and Arabs who came individually or in groups." Is that some kind of sick joke? Or just an inferiority complex?? Ok, so Punjabis are descendents of different races which migrated to Punjab, that is true, but Arabs, Turks and Afghans? This person needs a history lesson.

On the 'folklore' page of the site it says that Punjabi is a "local dialect" even though this same person stated that Punjabi is the mother-tongue of 90% of the population on the 'history' page.

Both the Punjab (West and East) government websites were obviously written by people who care nothing for the truth, or even consistency in the false information they spew out.

Sat Sri Akaal.

Interesting article from Chandigarh Tribune below.

Punjab's Hindu/Sikh relations.

Hindu-Sikh relations � I

Independence changed equations

by Khushwant Singh

http://www.tribuneindia.com/2003/20031103/edit.htm#5

Hindu-Sikh relations - II

Punjabiat can show the way to brotherhood

by Khushwant Singh

http://www.tribuneindia.com/2003/20031104/edit.htm#5

Interesting article from Chandigarh Tribune below.

Punjab's Hindu/Sikh relations.

Hindu-Sikh relations � I Independence changed equations by Khushwant Singh http://www.tribuneindia.com/2003/20031103/edit.htm#5

Hindu-Sikh relations - II Punjabiat can show the way to brotherhood by Khushwant Singh http://www.tribuneindia.com/2003/20031104/edit.htm#5

I just watched the film "Pinjar". Its another name could be COOGHEE. It is wonderful movie on 1947.

*********Ghazal*************

chup na kar kujh momhooN bole aeh chakkar ki ae

chup theeN agla warqa phole aeh chakkar ki ae

teray sab mazdooraaN de te ho gae choopni warge moonh

tera chehra gole matole aeh chakkar ki ae

jis din da tooN wekhia mera ho gaya bojha haula

behnda naiN tooN meray kole aeh chakkar ki aeh

maiN te aeho akhya si ke pae gai loRR ae sajnaaN di

Khiskan lag pae yaar adole ae chakkar ki ae

pehlaan meray payar de phulaaN nooN too seenay landa si

aj ni ditay pereeN role ae chakkar ki ae

teri khatir maiN te sajna kakhooN haula hoya

tooN vi karda aeN yaar makhole ae chakkar ki ae

GaliooN aunda wekh Sikander chakkraaN wich pe janda aeN

sanwal,mithhrra,ranjhan,dhole, aeh chkkar ki ae

*****Altaf Sikander Busal******

.......Baba Ji Guru Nanak de Janam Din Te........

Nanak roop sobah di laali
Rutba aali aali
Mukhh rashmaaN da dhota hoya
Soorat karmaan waali
....Soorat KamaaN waali

Teri mehk jhuli jagg saare
GaliyaaN dwaare dwaare
Ik dunya te chaanan kita
Tere mukhh lashkaare
Saade te vi karam kareeN cha
Muk jaave bad-haali
.....Soorat karmaaN waali

Aa waNj maahi, aNder wass cha
LooN looN de vich rass cha
Munn theeve cha harya bharya
KidhrooN nimmaN hass cha
Prem di raNgli joat jaga de
Dunya theye sokhaali
.....Soorat karmaaN waali

MeN oagan mera seena bhar de
ANder noori kar de
Muk jaavan sab roale goale
Rooh nooN amrat kar de
TooN Punjab da surjan tara
PuNj nadiyaaN da waali
.....Soorat karmaaN waali

Javed Zaki

Bali Jee. I hope you would like to recite it in your program. If you need any clarification about pronunciation, call me at 517-381-8938 after 6:00pm. Thanks.

Reviewed by Shafqat Tanvir Mirza

The indigenous music of India was at one time a controversial subject for the Muslims who came from foreign lands. According to Inayat Ilahi Malik (Private Life of Ragas) in the midst of great political tension, Ghiasuddin Tughlaq convened a congress of 235 ulema to discuss the issue if religious law sanctioned the use of music. Nizamuddin Auliya, who attended the Congress, spoke in favour of using music as a stimulant for spiritual purification. He based his argument on the hadith. During the conference, Ilmuddin Multani, who had returned from extensive travel in the Muslim world, gave evidence to the effect that musical assemblies were a common practice in sufi hospices all over the world.

Music was the controversial issue for those sufis who came to the subcontinent. They had to face two initial problems, first which music should be used and in which linguistic form. For a very long time the languages of the new rulers were used for official and private business including religious teachings. We hardly come across any reference to local languages in the early books written in India by the Muslims in Arabic or Persian. The prejudices against the local languages and music were so deep that a 16th century Bengali poet, Muttlib, believed that translating religious book into Bengali was sinful. "I translated Muslim religious books into Bengali. I am sure I committed a grave sin".(Tariq Rahman's Language and Politics in Pakistan)

Such were the prejudices backed by the orthodox Muslims and the rulers which were openly flouted by the Muslim sufis who had to establish direct contact with the masses. They used the popular language and the musical traditions. Baba Farid, the earliest poet of the Indus Valley, used the genre of the Doha and he was also accused by the official imam of Ajudhan (Pakpattan) of 'singing and dancing' in mosques.

After the sufis adopted the local languages, it was inevitable that they would borrow the musical traditions of the local people too. Perhaps it was the bhajan which was the most popular among the non-Muslims and the kafi is its Muslim alternative wholly used by the Muslim sufis. We find no non-Muslim poet of the kafi worth the name in Punjabi and Sindhi, the main exponents of the kafi as a genre of poetry and music.

Dr Abdul Jabbar Junejo has compiled the book under review with the aim of presenting selected kafis of Punjabi, Seraiki, Sindhi and Katchi which have been popular since their creation. Thus music and poetry both find their place in this book. About music and poetry, Malik says: "The sufis of Sindh such as Shah Latif Bhitai, Sachal Sarmast, Shah Inayat and Lal Shahbaz Qalandar used ragas as the medium of their message of love, peace and virtue. Ragas such as Purbi, Sohni, Ramkali, Bhairvi and Jog, were widely used to sing verses of these poets."

The strongest tradition of kafi flourished in Punjab where Shah Husain emerged the first and the great poet of kafi. This 16th century poet of Lahore was followed by Baba Bulleh Shah and Khwaja Farid all of whom were wedded to music. Shah Husain and Bulleh Shah used to sing themselves, Shah Husain in classical ragas while Farid's kafis were sung in the presence of the poet by his private qawwals, singers and dancers.

This small book has been divided into seven chapters dealing with the kafi as a raga. It has kafi as a piece of poetry, selected kafis and introductory notes about the kafi-singers of our time and they include Pathaney Khan, Hamid Ali Bela, Zahida Parveen, Surayya Multanikar, Ustad Muhammad Jumman, Manzoor Ali Khan, Abida Parveen, Master Chandar, Geoni Bai and Bhagat Kanwar Ram.

The publisher of Bulleh Shah's kafis are devotees of Bulleh Shah and last year they published 35 kafis of Bulleh Shah with their English translation in book form and distributed it free on the urs of the Baba. This year they assigned the job to a well-known writer Maqsud Saqib to select 110 kafis of Bulleh Shah and publish the book for free distribution. Maqsud has rearranged his selection and edited some of the longer pieces, including pieces of other genre, that is, gandhan, dohey atthwar, and baranmah. The two kafis referred to in Junejo's book are not found in the Kafian> and at least one:Ant behr di kal na kai rangi rang banaya is not in Dr Faqir's collection. Over all it has been beautifully produced.

Kafian

By Dr Abdul Jabbar Junejo Bazme Saqafat, Langey Khan Library Building, Multan 132pp. Rs70

Kafian Baba Bulleh Shah

Edited by Maqsud Saqib, Abid Mir and Shabbir Ahmad Self-published.

Available from Block 15 # 01-08 Dempsey Road, Singapore 249675. Email: Kashmircarpet@pacific.net.sg And Suchet Kitab Ghar Chowk, Ganga Ram Hospital, Lahore 210pp. Price not listed