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INSIDE THE GURU'S GATE - Anpere

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pants who represent different Sikh organizations and exhibit martial arts and worship<br />

modes, such as seva and kirtan, will go in the front under guardianship of teachers<br />

and senior members (See Figure 25). The concentric composition of these key<br />

elements of a procession – the text being surrounded by a social layer of the young<br />

<strong>THE</strong> INTERNAL STRUCTURE OF NAGAR KIRTAN<br />

(as exemplified by a performance in 2000)<br />

1. Mounted on an elephant a Nihang Sikh beats a kettle-drum<br />

2. Panj pyare ride white horses, holding Sikh standards and swords<br />

3. Brass Band performs music<br />

4. A garlanded portrait of Nanak, Tegh Bahadur and Gobind Singh is<br />

transported on a rickshaw<br />

5. A garlanded painting of Nanak is transported on a rickshaw<br />

6. Brass Band performs popular bhangra music. Musicians are dressed<br />

up in traditional Punjabi folk dress<br />

7. A garlanded painting of Nanak is transported on a rickshaw<br />

8. School children from Guru Nanak Khalsa School in Gurubagh<br />

9. School children from Guru Nanak English School in Shivpur<br />

10. Girls of Bibi Nanki Kirtan Jatha at Guru Nanak Khalsa School in<br />

Gurubagh carry placards and perform devotional music<br />

11. Female members of the Red Cross at Guru Nanak Khalsa School<br />

12. School children from Guru Nanak Khalsa School carry<br />

flags and batons<br />

13. Boys and girls of the Karate club at Guru Nanak Khalsa School<br />

demonstrate karate chops<br />

14. Tractor with water reservoir<br />

15. Ten to fifteen Sikh and Hindu devotees carry watering- cans and<br />

sweep the road<br />

16. A group of male adults perform devotional music<br />

17. A junior group of panj pyare<br />

18. A junior group of panj pyare<br />

19. A senior group of panj pyare<br />

20. The main float conveying Guru Granth Sahib. One attendant<br />

distributes sanctified food (prashad) along the way<br />

21. A group of female adults perform devotional music<br />

Figure 25.<br />

and adults who demonstrate devotional acts – serves to make the superior Guru<br />

present in a here and now context and underscores that what should be the object of<br />

veneration is not just the scriptural corpus, but the interior teaching and words.<br />

Devotees virtually take out the words of Guru Granth Sahib to aesthetically mediate<br />

the Gurus’ teaching in music and in acts of charity that exemplify the teaching extended<br />

to implementation in social life.<br />

Within the temporal and spatial dimensions of Nagar kirtan, social rules and<br />

differentiations in everyday life should be set aside to promote an ideal mode of rela-<br />

407<br />

Published on www.anpere.net in May 2008

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