View allAll Photos Tagged Raag,
Hay "místicos" que no saben
nada más que levitar,
y se van manteniendo vivos
sin saber dónde pisar.
Tocan su sitar,
cogen de aquí y allá,
y viven entre tierra y cielo
mientras logran mantener
esa mística inocente
que les hace parecer
verdaderos salvadores
ni se sabe ya de quién.
¡Dejen la mística, señores,
y arreglen lo que les toca,
que ya está sonando muy mall!
Ravi Shankar & Anoushka Shankar - Raag Khamaj.
This Shabad is by Guru Amar Daas Ji in Raag Vadhans on Ang 587
ਪਉੜੀ ॥
ਤਿਸੁ ਗੁਰ ਕਉ ਹਉ ਵਾਰਿਆ ਜਿਨਿ ਹਰਿ ਕੀ ਹਰਿ ਕਥਾ ਸੁਣਾਈ ॥
ਤਿਸੁ ਗੁਰ ਕਉ ਸਦ ਬਲਿਹਾਰਣੈ ਜਿਨਿ ਹਰਿ ਸੇਵਾ ਬਣਤ ਬਣਾਈ ॥
ਸੋ ਸਤਿਗੁਰੁ ਪਿਆਰਾ ਮੇਰੈ ਨਾਲਿ ਹੈ ਜਿਥੈ ਕਿਥੈ ਮੈਨੋ ਲਏ ਛਡਾਈ ॥
ਤਿਸੁ ਗੁਰ ਕਉ ਸਾਬਾਸਿ ਹੈ ਜਿਨਿ ਹਰਿ ਸੋਝੀ ਪਾਈ ॥
ਨਾਨਕੁ ਗੁਰ ਵਿਟਹੁ ਵਾਰਿਆ ਜਿਨਿ ਹਰਿ ਨਾਮੁ ਦੀਆ ਮੇਰੇ ਮਨ ਕੀ ਆਸ ਪੁਰਾਈ ॥੫॥
Pauree:
I am a sacrifice to the Guru, who recites the sermon of the Lord's Teachings.
I am forever a sacrifice to that Guru, who has led me to serve the Lord.
That Beloved True Guru is always with me; wherever I may be, He will save me.
Most blessed is that Guru, who imparts understanding of the Lord.
O Nanak, I am a sacrifice to the Guru, who has given me the Lord's Name, and fulfilled the desires of my mind. ||5||
---
I uploaded this last Monday and forgot to make it public after adding the title & description. Silly me ^_^
I hope everyone got a chance to spend that day with Guru Sahib - be it physically or mentally _/\_
p.s. I just realized that this works anyway, because there are people celebrating it today =p hehe
the dilruba is a small stringed instrument used in North Indian classical music, people say it was designed to be easily carried on horseback so that Sikh soldiers could sing gurbani keertan (Sikh devotional music) between battles.
oh yeah, camera details...
camera: cannon SX10is point and shoot
setting: auto everything
lighting: table lamp
:)
Every Sufi Dargah is incomplete without Qawwals and their quintessential Qawwali..be it Makhdoom Shah Baba at Mahim,or Khwajah Garib Nawaz at Ajmer or Nizamuddin Aulia in Delhi.
Qawwali is the staple diet of the devotees who come to pay their salutations to the Dargahs during the annual Urus..
No Urus is complete without Qawwali rendition in music and vocal praising the Holy Saint and his Holy Shrine.
And the qawwals get handsomely paid by the crowds , but more than money the Qawwals to seek the blessiings of the Holy Saint to achieve success in Bollywood or shows all over the world.
Indians and Pakistanis love Qawwalis..
Qawwali sourced from wikipedia.
Qawwali (Urdu/Persian: قوٌالی; Punjabi/Multani: ਖ਼ਵ੍ਵਾਲੀ, قوٌالی; Brajbhasha/Hindi: क़व्वाली) is a form of Sufi devotional music popular on the Indian subcontinent. It's a vibrant musical tradition that stretches back more than 700 years. Originally performed mainly at Sunni Sufi shrines throughout the subcontinent, it has also gained mainstream popularity. Qawwali music received international exposure through the work of the late Nusrat Fateh Ali Khan, largely due to several releases on the Real World label, followed by live appearances at WOMAD festivals. Often listeners, and even artists themselves, are transported to a state of wajad, a trance-like state where they feel at one with God, generally considered to be the height of spiritual ecstasy in Sufism. Although famous throughout the world, its economic and spiritual hub remains the Punjab province of Pakistan from where it gained entry into the mainstream commercial music industry and international fame.
[edit] Song content
The songs which constitute the qawwali repertoire are mostly in Urdu and Punjabi (almost equally divided between the two), although there are several songs in Persian, Brajbhasha and Siraiki.[1][2] There is also qawwali in some regional languages (e.g., Chhote Babu Qawwal sings in Bengali), but the regional language tradition is relatively obscure. Also, the sound of the regional language qawwali can be totally different from that of mainstream qawwali. This is certainly true of Chhote Babu Qawwal, whose sound is much closer to Baul music than to the qawwali of Nusrat Fateh Ali Khan, for example.
The poetry is implicitly understood to be spiritual in its meaning, even though the lyrics can sometimes sound wildly secular, or outright hedonistic. The central themes of qawwali are love, devotion and longing (of man for the Divine).
Qawwalis are classified by their content into several categories:
A hamd is a song in praise of Allah. Traditionally, a qawwali performance starts with a hamd.
A naat is a song in praise of the Prophet Muhammad. The opening hamd is traditionally followed by a naat.
A manqabat is a song in praise of either Imam Ali or one of the Sufi saints. Interestingly, manqabats in praise of Ali are sung at both Sunni and Shi'a gatherings. If one is sung, it will follow right after the naat. There is usually at least one manqabat in a traditional programme.
A marsiya is a lamentation over the death of much of Imam Husayn's family in the Battle of Karbala. Once again, this would typically be sung only at a Shi'a concert.
A ghazal is a song that sounds secular on the face of it. There are two extended metaphors that run through ghazals -- the joys of drinking and the agony of separation from the beloved. These songs feature exquisite poetry, and can certainly be taken at face value, and enjoyed at that level. In fact, in India and Pakistan, ghazal is also a separate, distinct musical genre in which many of the same songs are performed in a different musical style, and in a secular context. In the context of that genre, the songs are usually taken at face value, and no deeper meaning is necessarily implied. But in the context of qawwali, these songs of intoxication and yearning use secular metaphors to poignantly express the soul's longing for union with the Divine, and its joy in loving the Divine. In the songs of intoxication, "Wine" represents "knowledge of the Divine", the "Cupbearer" (saaqi) is God or a spiritual guide, the "Tavern" is the metaphorical place where the soul may (or may not) be fortunate enough to attain spiritual enlightenment. (The "Tavern" is emphatically not a conventional house of worship. Rather, it is taken to be the spiritual context within which the soul exists) Intoxication is attaining spiritual knowledge, or being filled with the joy of loving the Divine. In the songs of yearning, the soul, having been abandoned in this world by that cruel and cavalier lover, God, sings of the agony of separation, and the depth of its yearning for reunion.
A kafi is a song in Punjabi, which is in the unique style of poets such as Shah Hussain and Baba Bulleh Shah. Two of the more popular Kafis include Ni Main Jana Jogi De Naal and Mera Piya Ghar Aaya.
A munadjaat is a song where the singer displays his thanks to Allah through a variety of linguistic techniques. It is often sung in Persian, with Mawlana Jalāl-ad-Dīn Rumi credited as its inventor.
[edit] Composition of a qawwali party
A group of qawwali musicians, called a party, typically consists of eight or nine men — women are, for all intents and purposes, excluded from traditional Muslim music as respectable women are traditionally prohibited from singing in the presence of men, though these traditions are changing — including a lead singer, one or two side singers, one or two harmoniums (which may be played by lead singer, side singer or someone else), and percussion. If there is only one percussionist, he plays the tabla and dholak, usually the tabla with the left hand and the dholak with the right. Often there will be two percussionists, in which case one might play the tabla and the other the dholak. There is also a chorus of four or five men who repeat key verses, and who aid and abet percussion by hand-clapping.
The performers sit in two rows — the lead singer, side singers and harmonium players in the front row, and the chorus and percussionists in the back row.
Before the fairly recent introduction of the harmonium, qawwalis were usually accompanied by the sarangi. The sarangi had to be retuned between songs; the harmonium didn't, and was soon preferred.
[edit] Musical structure
Songs are usually between 15 to 30 minutes long. However, the longest commercially released qawwali runs slightly over 115 minutes (Hashr Ke Roz Yeh Poochhunga by Aziz Mian Qawwal). The qawwali maestro Nusrat Fateh Ali Khan has at least two songs that are more than 60 minutes long.
Qawwalis tend to begin gently and build steadily to a very high energy level in order to induce hypnotic states both among the musicians and within the audience. Songs are usually arranged as follows:
They start with an instrumental prelude where the main melody is played on the harmonium, accompanied by the tabla, and which may include improvised variations of the melody.
Then comes the alap, a long tonal improvised melody during which the singers intone different long notes, in the raag of the song to be played.
The lead singer begins to sing some preamble verses which are typically not part of the main song, although thematically related to it. These are sung unrhythmically, improvised following the raag, and accompanied only by the harmonium. After the lead singer sings a verse, one of the side singers will repeat the verse, perhaps with his own improvisation. A few or many verses will be sung in this way, leading into the main song.
As the main song begins, the tabla, dholak and clapping begin. All members join in the singing of the verses that constitute the refrain. Normally neither the lyrics of the main verses nor the melodies that go with them are improvised; in fact, these are often traditional songs sung by many groups, especially within the same lineage. As the song proceeds, the lead singer or one of the side singers may break out into an alap. Nusrat Fateh Ali Khan also popularized the interjection of sargam singing at this point. The song usually builds in tempo and passion, with each singer trying to outdo the other in terms of vocal acrobatics. Some singers may do long periods of sargam improvisation, especially alternating improvisations with a student singer. The songs usually end suddenly.
The singing style of qawwali is different from Western singing styles in many ways. For example, in words beginning with an "m", Western singers are apt to stress the vowel following the "m" rather than the "m" itself, whereas in qawwali, the "m" will usually be held, producing a muted tone. Also in qawwali, there is no distinction between what is known as the chest voice and the neck voice (the different areas that sound will resonate in depending on the frequency sung). Rather, qawwals sing very loudly and forcefully, which allows them to extend their chest voice to much higher frequencies than those used in Western singing, even though this usually causes a more noisy or strained sound than would be acceptable in the West.
[edit] Singing Order in Chistiya
Instrumental: This is supposed to be the announcement of the arrival of Khawaja Moinuddin Chishti's, as Sufi believes their saints are free of time-space. Also that Nabi, Siddique, Shaheed, and Saleh category of faithfuls are never dead, just gone into some other state from where they visit whenever they are mentioned, especially if there is a function in their honor.
Hamd
Naat
Manqabat Ali
Manqabat Ghous: Praise of Shaikh Abdul Qadir Jelani
Manqabat Khwaja: Praise of Khwaja Moinuddin Chishti
Manqabat Shaikh: Praise of the Shaikh/Pir if it is his anniversary
Rang or Badhawa: If it is the death anniversary of the Pir, then it is usually Rang, a poem by Amir Khusro. If it is the Shaikh's birthday, it is usually the Badhawa.
[edit] Legendary Qawwals of the Past
Aziz Ahmed Warsi
Aziz Mian Qawwal
Badar Ali Khan (aka Badar Miandad)
Bahauddin Qutbuddin
Fateh Ali Khan Mubarik Ali Khan
Jafar Husain Khan Badauni
Muhammed Saeed Chishti
Munshi Raziuddin
Nusrat Fateh Ali Khan
Sabri Brothers
[edit] Well-known Qawwals of Today
Abida Parveen
Amjad Sabri
Aziz Nazan
Bakshi Javed Salamat
Chhote Aziz Nazan
Faiz Ali Faiz
Fareed Ayaz
Ghulam Sabir Nizami and Ghulam Waris Nizami
Mehr Ali Sher Ali
Najmuddin Saifuddin
Rahat Nusrat Fateh Ali Khan
Sher Miandad Khan
Waheed and Naveed Chishti
ਰਾਗੁ ਮਾਝ ਚਉਪਦੇ ਘਰੁ ੧ ਮਹਲਾ ੪
Raag Maajh, Chau-Padas, First House, Fourth Mehl:
ੴ ਸਤਿ ਨਾਮੁ ਕਰਤਾ ਪੁਰਖੁ ਨਿਰਭਉ ਨਿਰਵੈਰੁ ਅਕਾਲ ਮੂਰਤਿ ਅਜੂਨੀ ਸੈਭੰ ਗੁਰ ਪ੍ਰਸਾਦਿ ॥
One Universal Creator God. The Name Is Truth. Creative Being Personified. No Fear. No Hatred. Image Of The Undying, Beyond Birth, Self-Existent. By Guru's Grace:
ਹਰਿ ਹਰਿ ਨਾਮੁ ਮੈ ਹਰਿ ਮਨਿ ਭਾਇਆ ॥
The Name of the Lord, Har, Har, is pleasing to my mind.
ਵਡਭਾਗੀ ਹਰਿ ਨਾਮੁ ਧਿਆਇਆ ॥
By great good fortune, I meditate on the Lord's Name.
ਗੁਰਿ ਪੂਰੈ ਹਰਿ ਨਾਮ ਸਿਧਿ ਪਾਈ ਕੋ ਵਿਰਲਾ ਗੁਰਮਤਿ ਚਲੈ ਜੀਉ ॥੧॥
The Perfect Guru has attained spiritual perfection in the Name of the Lord. How rare are those who follow the Guru's Teachings. ||1||
ਮੈ ਹਰਿ ਹਰਿ ਖਰਚੁ ਲਇਆ ਬੰਨਿ ਪਲੈ ॥
I have loaded my pack with the provisions of the Name of the Lord, Har, Har.
ਮੇਰਾ ਪ੍ਰਾਣ ਸਖਾਈ ਸਦਾ ਨਾਲਿ ਚਲੈ ॥
The Companion of my breath of life shall always be with me.
ਗੁਰਿ ਪੂਰੈ ਹਰਿ ਨਾਮੁ ਦਿੜਾਇਆ ਹਰਿ ਨਿਹਚਲੁ ਹਰਿ ਧਨੁ ਪਲੈ ਜੀਉ ॥੨॥
The Perfect Guru has implanted the Lord's Name within me. I have the Imperishable Treasure of the Lord in my lap. ||2||
ਹਰਿ ਹਰਿ ਸਜਣੁ ਮੇਰਾ ਪ੍ਰੀਤਮੁ ਰਾਇਆ ॥
The Lord, Har, Har, is my Best Friend; He is my Beloved Lord King.
ਕੋਈ ਆਣਿ ਮਿਲਾਵੈ ਮੇਰੇ ਪ੍ਰਾਣ ਜੀਵਾਇਆ ॥
If only someone would come and introduce me to Him, the Rejuvenator of my breath of life.
ਹਉ ਰਹਿ ਨ ਸਕਾ ਬਿਨੁ ਦੇਖੇ ਪ੍ਰੀਤਮਾ ਮੈ ਨੀਰੁ ਵਹੇ ਵਹਿ ਚਲੈ ਜੀਉ ॥੩॥
I cannot survive without seeing my Beloved. My eyes are welling up with tears. ||3||
ਸਤਿਗੁਰੁ ਮਿਤ੍ਰੁ ਮੇਰਾ ਬਾਲ ਸਖਾਈ ॥
My Friend, the True Guru, has been my Best Friend since I was very young.
ਹਉ ਰਹਿ ਨ ਸਕਾ ਬਿਨੁ ਦੇਖੇ ਮੇਰੀ ਮਾਈ ॥
I cannot survive without seeing Him, O my mother!
ਹਰਿ ਜੀਉ ਕ੍ਰਿਪਾ ਕਰਹੁ ਗੁਰੁ ਮੇਲਹੁ ਜਨ ਨਾਨਕ ਹਰਿ ਧਨੁ ਪਲੈ ਜੀਉ ॥੪॥੧॥
O Dear Lord, please show Mercy to me, that I may meet the Guru. Servant Nanak gathers the Wealth of the Lord's Name in his lap. ||4||1||
If only I knew.
{I thought this was pretty clever! Taken at the 6th Annual Gathering of the Ohlones today. Turtle [maybe tortoise? probably turtle] shell surrounded by genuine animal furs [some claws/nails intact]}
This Shabad is by Guru Arjan Dev Ji in Raag Gauree on Ang 205
gourree mehalaa 5 ||
Gauree, Fifth Mehla:
raakh pithaa prabh maerae ||
Save me, O My Father God.
mohi niragun sabh gun thaerae ||1|| rehaao ||
I am worthless and without virtue; all virtues are Yours. ||1||Pause||
pa(n)ch bikhaadhee eaek gareebaa raakhahu raakhanehaarae ||
The five vicious thieves are assaulting my poor being; save me, O Savior Lord!
khaedh karehi ar bahuth sa(n)thaavehi aaeiou saran thuhaarae ||1||
They are tormenting and torturing me. I have come, seeking Your Sanctuary. ||1||
kar kar haariou anik bahu bhaathee shhoddehi kathehoo(n) naahee ||
Trying all sorts of things, I have grown weary, but still, they will not leave me alone.
eaek baath sun thaakee outtaa saadhhasa(n)g mitt jaahee ||2||
But I have heard that they can be rooted out, in the Saadh Sangat, the Company of the Holy; and so I seek their Shelter. ||2||
kar kirapaa sa(n)th milae mohi thin thae dhheeraj paaeiaa ||
In their Mercy, the Saints have met me, and from them, I have obtained satisfaction.
sa(n)thee ma(n)th dheeou mohi nirabho gur kaa sabadh kamaaeiaa ||3||
The Saints have given me the Mantra of the Fearless Lord, and now I practice the Word of the Guru's Shabad. ||3||
jeeth leae oue mehaa bikhaadhee sehaj suhaelee baanee ||
I have now conquered those terrible evil-doers, and my speech is now sweet and sublime.
kahu naanak man bhaeiaa paragaasaa paaeiaa padh nirabaanee ||4||4||125||
Says Nanak, the Divine Light has dawned within my mind; I have obtained the state of Nirvaanaa. ||4||4||125||
---
This Shabad is by Guru Arjan Dev Ji in Raag Tilang on Ang 724
thila(n)g mehalaa 5 ghar 3 ||
Tilang, Fifth Mehla, Third House:
miharavaan saahib miharavaan ||
Merciful, the Lord Master is Merciful.
saahib maeraa miharavaan ||
My Lord Master is Merciful.
jeea sagal ko dhaee dhaan || rehaao ||
He gives His gifts to all beings. ||Pause||
thoo kaahae ddolehi praaneeaa thudhh raakhaigaa sirajanehaar ||
Why do you waver, O mortal being? The Creator Lord Himself shall protect you.
jin paidhaaeis thoo keeaa soee dhaee aadhhaar ||1||
He who created you, will also give you nourishment. ||1||
jin oupaaee maedhanee soee karadhaa saar ||
The One who created the world, takes care of it.
ghatt ghatt maalak dhilaa kaa sachaa paravadhagaar ||2||
In each and every heart and mind, the Lord is the True Cherisher. ||2||
kudharath keem n jaaneeai vaddaa vaeparavaahu ||
His creative potency and His value cannot be known; He is the Great and carefree Lord.
kar ba(n)dhae thoo ba(n)dhagee jichar ghatt mehi saahu ||3||
O human being, meditate on the Lord, as long as there is breath in your body. ||3||
thoo samarathh akathh agochar jeeo pi(n)dd thaeree raas ||
O God, You are all-powerful, inexpressible and imperceptible; my soul and body are Your capital.
reham thaeree sukh paaeiaa sadhaa naanak kee aradhaas ||4||3||
By Your Mercy, may I find peace; this is Nanak's lasting prayer. ||4||3||
"Common" Shabads. Telling yourself that it's okay - taking His (W)ord for it.
Hmm..
I bolded those thuks in the first Shabad because every time I hear/think of this Shabad, those are the lines that come into my head. We used to have one CD playing in the car for months at a time {before we got the multiple CD player thing in the car} - a lot of Harjinder Singh Ji Srinagarwale {at least I think that's who this one is}. Anyway.. For some reason, every time I'd hear that track, that line would just sort of.. Pierce my heart. I could really just feel it do whatever it does, the little jump, or squeeze, or whatever. That one line has made me cry on more than one occasion.
Butttt.. The reason I posted the Shabad is because of "Raakh Pithaa Prabh Mere".
Ummmmmmmmmm... Um. um um um.. Oh man.
Inspired from
Ustad Rashid Khan singing Raag Desh [Nadaan Jiya Re Gum Gayo Re]
www.youtube.com/watch?NR=1&v=6sT3DJsUIzo&feature=...
Thank you, Val, for introducing me to such a wonderful music!
www.flickr.com/photos/ma85/6386099389/in/set-721576226493...
・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・
A diary-like experiment of life-sized emaki scroll on 1350mmx30m Kent paper roll. Planning 1850mm a day. Acrylic and charcoal.
1350mmx30mのケント紙ロールによる等身大絵巻の日記的実験。
制作可能な日に、幅1850mm制作予定。アクリル絵具、木炭を使用。
Emaki
This is Bhai Jasbir Singh From India But Now Living In Manchester (UK), He has done Sangat With Bhai Randhir Singh but he was only a little baby. I love the way Bhai Sahib says my name and when we see each other I love giving him a big jaapi!
He Makes me SMILE!!! GUROOOOO
ওগো, কে তুমি বসিয়া উদাসমুরতি
বিষাদশান্ত শোভাতে!
ওই ভৈরবী আর গেয়ো নাকো এই
প্রভাতে—
মোর গৃহছাড়া এই পথিক-পরান
তরুণ হৃদয় লোভাতে।
Buy a print here: fineartamerica.com/featured/hawaii-shishir-sathe.html
Sunsets like these always make me yearn for Raag Yaman..
Here's one beautiful gazal in Yaman, that Sneha made me listen and I have been listening to since then, all week!
my vaja (harmonium), a western instrument adapted to north indian classical music. it's often used in gurbani keertan (sikh religious music).
black and white inspired by Surinder Singh.
‘The rising sol makes no sound & yet as the dawn breaks on the Snake river in the Grand Tetons, we hear the notes of a "Raaga" of the purest silence ever imagined. The seven "Soors" of Hindustani classical music (notes) plays a harmony in the form of soft hues over the river & the mountains. The colors which begin as dark & brooding blue at twilight are like the opening "Aalaap" accompanied with the plucks of a monotonous Tanpura drone. A few Tabla taals kicks in at a slow rhythm, as the mist caresses the river & crashes rhythmically at the rocks on the shore. Suddenly, a Harmonium buzzes a first pentium of five notes of Raag Bhoopali, as a soft crimson sliver breaks on the horizon. There is surely a Maestro Conductor hidden in the fog surrounding us. The majestic Teton peaks glow as they pick up the tempo to a crescendo as it echoes the blissful symphony to an orgasmic crescendo.
Tetons reverberate. Silence was never so musical.
Painting titled Raag Deepak by Avinash Godbole displayed at National Gallery of Modern Art, Bengaluru.
I'm a sucker for window light. With Robert Capa in #Shenzhen #china #selfie #muslin #eavig
102 Likes on Instagram
2 Comments on Instagram:
wahidadnan: eto raag keno?
sarkerprotick: ohh.. ki look
The main center for metal casting in Bangladesh is in Dhamrai. For many generations, this place has produced handmade metal ware for markets throughout Bangladesh, using techniques that are over 2,000 years old. These methods are used to make items ranging from ornate Hindu and Buddhist statues to simple household objects such as pitchers (kolshi as is locally called – the lead shot) and also items include quality statues, decanters, bowls, spoons and plates.
Over the past fifty years, many of the families in Bangladesh who have been involved in the metal casting trade have taken on other work. With stiff competition from inexpensive machine-made aluminum and plastic products coming in from India and other countries in the region, the market for handcast items has gradually dwindled away.
As a result, the tradition of making handmade cast metal objects is in jeopardy. For example, there are only six people left in Bangladesh who are capable of making masterpiece-quality Hindu and Buddhist images using the lost wax method. Twenty years ago, there were over 30 craftsmen who knew this technique. If this trade is someday lost, an important part of Bangladesh's artistic tradition will vanish forever.
>>>>> Raag Durga <<<<<
Port Blair, Andaman
morning.
(
Raag Bhairavi is the most famous of all raagas & is called queen among all raagas because any song composed in it is melodious. Usually in the concerts it is sung at the end by the great pandits because it is so melodious that we would not like listening to any other raag after listening raag Bhairavi.
Raga Bhairavi belongs to Bhairavi Thaat. It is a late morning Raga, and traditionally is the last raga performed at a session. Shuddh Bhairavi uses all the seven notes in the ascending and descending order, Rishabh, Gandhar, Dhaivat and Nishad being komal (flat) and Madhyam being shuddha (full). The derivative ragas out of this structure are grouped under the broad head of Bhairavi Thaat.
The word "Bhairavi" derives from one of the eight forms of the Devi, born in the burial grounds. So fanatically loved and widely embraced is Raga Bhairavi that its elemental imprint is firmly fixed in the mind of even the untutored Indian rasika. Bhairavi is also one of the ten fundamental Hindustani thATs proposed by the great sangeetaggya Pandit Vishnu Narayan Bhatkhande.)
Plenário do Senado Federal durante sessão deliberativa ordinária semipresencial.
Na ordem do dia, deliberação das indicações ao Tribunal de Contas da União e outras autoridades, e análise do PLV 28/2021 que institui o Programa de Venda em Balcão, com o objetivo de promover o acesso do pequeno criador de animais ao estoque público de milho.
À tribuna, em discurso, senadora Soraya Thronicke (PSL-MS).
Mesa:
senador Carlos Portinho (PL-RJ);
presidente do Senado Federal, senador Rodrigo Pacheco (PSD-MG);
secretário-geral da Mesa do Senado Federal, Gustavo A. Sabóia Vieira;
vice-presidente do Senado Federal, senador Veneziano Vital do Rêgo (MDB-PB).
Foto: Jefferson Rudy/Agência Senado
"You are the River, All-knowing and All-seeing.
I am just a fish-how can I find Your limit?
Wherever I look, You are there.
Outside of You, I would burst and die.
I do not know of the fisherman, and I do not know of the net.
But when the pain comes, then I call upon You.
You are present everywhere.
I had thought that You were far away.
Whatever I do, I do in Your Presence.
You see all my actions, and yet I deny them.
I have not worked for You, or Your Name.
Whatever You give me, that is what I eat.
There is no other door-unto which door should I go?
Nanak offers this one prayer: this body and soul are totally Yours.
He Himself is near, and He Himself is far away; He Himself is in-between.
He Himself beholds, and He Himself listens.
By His Creative Power, He created the world.
Whatever pleases Him, O Nanak-that Command is acceptable."
(Shabad by Guru Nanak Dev Ji in Siree Raag on Pannaa 25)
This fisherman was cleaning a net at Prabhu ghat along the Ganges in Varanasi (Benaras).
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Durga Puja (Bengali: দুর্গা পূজা, ‘Worship of Durga’) is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi, Maha Saptami, Maha Ashtami, Maha Navami and Vijayadashami. Durga Puja festival marks the victory of Goddess Durga over the evil buffalo demon Mahishasura. Thus, Durga Puja festival epitomises the victory of Good over Evil.
Durga Puja is widely celebrated in Bangladesh; all over the places of Dhaka, Chittagong, Khulna, Sylhet, Rajshahi, Rangpur, Bogra and other major places and all the villages of Bangladesh where the 20% population is Hindu. Nowadays, many diaspora Bengali cultural organisations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal.[6] After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement.[7] In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, who is Durga's consort (Durga is an aspect of Goddess Parvati), in addition to Lakshmi, Saraswati with Ganesha andKartikeya, who are considered to be Durga's children.[8] Worship of mother nature is done, through nine types of plant (called "Kala Bou"), including a plantain (banana) tree, which represent nine divine forms of Goddess Durga. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Vijaya greetings and publication of Puja Annuals.
Source: Wikipedia
>>>> Raag Durga <<<<
Plenário do Senado Federal durante sessão deliberativa ordinária semipresencial.
Na ordem do dia, medidas alternativas de prova de vida para os beneficiários da Previdência Social, além de outros dois itens: o PL 12/2021, que prevê a quebra temporária de patentes de vacinas e medicamentos destinados ao combate da Covid-19 e o PL 2136/2020 sobre videochamadas relativas a pacientes internados em serviços de saúde.
Bancada:
senadora Eliziane Gama (Cidadania-MA);
senador Veneziano Vital do Rêgo (MDB-PB);
senador Alessandro Vieira (Cidadania-SE);
senador Nelsinho Trad (PSD-MS).
Foto: Marcos Oliveira/Agência Senado
Zamany k andaaz badly gaye .,.,. Naya Raag hy,Saaz badly gaye ~ Iqbal
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Listen : www.youtube.com/watch?v=9Ry7y-TmhwY