INSIDE THE GURU'S GATE - Anpere

the Dasam Granth, which utilize similar allegories. 512 Instead of waving lamps before
a manifestation of a supernatural power as the final stage of worship, the Sikhs will
sing these hymns in successive order at the end of the evening liturgy. 513 Thus the
verses, which use linguistic images derived from a Hindu ritual to articulate devotion
and praises of God, are now sung every night at the gurdwara as a typical Sikh ceremony.
The ragi may insert additional gurbani verses to the performance, but the singing
of the collection of verses called Arti will conclude the daily service of kirtan. 514
INVOKING GOD AND EVOKING MOODS
When the ragi ensemble is seated on the dais the leader begins the performance with
an instrumental prelude in which he plays the tune of the raga for a few minutes to
create an atmosphere. Then comes a brief moment of contemplation during which the
performer will utter his mangalcharan or introductory invocation. Mangalcharan, literally
an “auspicious undertaking”, signifies an opening panegyric, song, verse or
prayer, often directed to a divine being for success, that begins a play, poem or ceremony
in Indian performances. As Lutgendorf (1991) points out, in both religious and
secular performances mangalcharan functions as a cultural “performance marker” – “a
sign to the audience of the moment of transition into the performance frame.” 515 In
the context of Sikh devotional music, mangalcharan consists of a small shalok or a few
lines derived from Guru Granth Sahib. It is equally common to call this prelude by
the name of dandaut, a noun that signifies the bodily act of saluting by a full prostration.
516 The utterance of mangalcharan is a speech act which is attributed several meanings.
First of all it is an act to praise and invoke God and submit oneself to a divine
power. By praising God the divine is invited to assist the performance. “I say to God,
you are full of all qualities. Save me from unsteadiness, so my mind will not go here
and there,”a local ragi in Varanasi explained. Performers often emphasize that they
are merely “instruments” for the conveyance of gurbani and the mangalcharan allows
them to take permission of God and appeal for support in the devotional enterprise.
The utterance is seen as an act of submission. “It is to place your self at the feet of the
Guru”, one performer said. The mangalcharan will also create a short moment during
which the ragi is able to settle his mind and create the appropriate bent for gurbani.
One ragi said the opening stanza was as a way to “get involved in God” by engaging
in the words of the Gurus. It is a kind of meditation that domesticates the performer’s
512
The hymns included in the Guru Granth Sahib are found of page 694 (Ravidas), 695 (Sain),
1350 (Kabir), and 695 (Dhanna). The verses from Dasam Granth consist of three sawaiye on page
79, 495, 254, and two dohra on page 254 and 79. See Amrit Kirtan, p. 835.
513
Within the structure of the evening liturgy the singing of Arti occurs before the granthi will
read the Sikh supplication (Ardas) and commence the Sukhasan ceremony.
514
One verse of Kabir, which is said to be particularly designed for Arti, is inserted after the
singing of Dhanna’s hymn. The verse appears on page 656 in Guru Granth Sahib.
515
Lutgendorf 1991: 183.
516
Gill & Joshi 1999: 396.
296
Published on www.anpere.net in May 2008