PuNjAbIyAt BaRe KuJ sAtRaAn......

PuNjAbIyAt BaRe KuJ sAtRaAn......
[i]Punjab, Punjabi, Punjabiyat, bhai mardane da rabab,babe nanak di naseehat , khande di pahul te sardari; vich vasiyat,panj kakaran da dhaarni , panj vikaaran to rehatpanj paaniyan di dharti , jhalli sooreya har aziiyat,chamkaur di gadi , sirhind diya neehan , har manni rabb di mashiiyat,afghan to laeke lal qile tak , hundi si khalas riyasat,hari singh nalwa te nawab kapur singh , naale ik akh ne kiti siyasat,band band katwaye , sir ditte , naale kiti gairan di hifasat,waris, hasham,noorpuri , pritam bulleya kiti sewa nihaayat,rangarh te dwayer jehe zalam , bhagat udham sarabhe di shahadat,waheguru ,allah ,ram, isaah , panj wele di nmaaz tin wele ibaadat,saragarhi , santali (47) te chaurasi (84) , jaggo tervi har hikaayat,guruan peeran yodheyan di dharti , bakhshi kadar har inayaat,mann, thareeke ,marada waleya , punjabi virse layi nemat,bhangre gidhe jaggo ik hissa , boht ameer virse di virasat,jagge jeone te dulle di daleri , dhanne jatt di mast tabeeyat,harfan ne ki byaan karni , es kaum es panth di kaabliyat,ustat kade vi poori na honi , chahe manga lakh janma di mohalat,vich shamil naam apna karda...meri enni kithe haisiyaat

InFoRaMaTiOn ReG. sIkHI

ਦਸ ਗੁਰੁ ਸਾਹਿਬਾਨ

1 ਗੁਰੂ ਨਾਨਕ ਸਾਹਿਬ ਜੀ

2 ਗੁਰੂ ਅੰਗਦ ਸਾਹਿਬ ਜੀ

3 ਗੁਰੂ ਅਮਰਦਾਸ ਸਾਹਿਬ ਜੀ

4 ਗੁਰੂ ਰਾਮਦਾਸ ਸਾਹਿਬ ਜੀ

5 ਗੁਰੂ ਅਰਜੁਨ ਸਾਹਿਬ ਜੀ

6 ਗੁਰੂ ਹਰਿਗੋਬਿੰਦ ਸਾਹਿਬ ਜੀ

7 ਗੁਰੂ ਹਰਿਰਾਇ ਸਾਹਿਬ ਜੀ

8 ਗੁਰੂ ਹਰਿਕ੍ਰਿਸ਼ਨ ਸਾਹਿਬ ਜੀ

9 ਗੁਰੂ ਤੇਗ ਬਹਾਦਰ ਸਾਹਿਬ ਜੀ

10 ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ ਸਾਹਿਬ ਜੀ

=====================

ਚਾਰ ਸਾਹਿਬਜ਼ਾਦੇ

1 ਸਾਹਿਬ ਅਜੀਤ ਸਿੰਘ ਜੀ

2 ਸਾਹਿਬ ਜੁਝਾਰ ਸਿੰਘ ਜੀ

3 ਸਾਹਿਬ ਜ਼ੋਰਾਵਰ ਸਿੰਘ ਜੀ

4 ਸਾਹਿਬ ਫਤਹਿ ਸਿੰਘ ਜੀ

===================

ਪੰਜ ਪਿਆਰੇ

1 ਭਾਈ ਦਇਆ ਸਿੰਘ ਜੀ

2 ਭਾਈ ਧਰਮ ਸਿੰਘ ਜੀ

3 ਭਾਈ ਮੋਹਕਮ ਸਿੰਘ ਜੀ

4 ਭਾਈ ਹਿੰਮਤ ਸਿੰਘ ਜੀ

5 ਭਾਈ ਸਾਹਿਬ ਸਿੰਘ ਜੀ

====================

ਪੰਜ ਤਖਤ

1. ਸ੍ਰੀ ਅਕਾਲ ਤਖਤ ਸਾਹਿਬ, ਅੰਮ੍ਰਿਤਸਰ (ਪੰਜਾਬ)

2. ਸ੍ਰੀ ਪਟਨਾ ਸਾਹਿਬ (ਬਿਹਾਰ)

3. ਸ੍ਰੀ ਕੇਸਗੜ੍ਹ ਸਾਹਿਬ (ਪੰਜਾਬ)

4. ਸ੍ਰੀ ਹਜ਼ੂਰ ਸਾਹਿਬ (ਮਹਾਂਰਾਸ਼ਟਰ)

5. ਸ੍ਰੀ ਦਮਦਮਾ ਸਾਹਿਬ (ਪੰਜਾਬ)

=====================

ਪੰਜ ਕਕਾਰ

1. ਕੇਸ

2. ਕਿਰਪਾਨ

3. ਕਛਹਿਰਾ

4. ਕੜਾ

5. ਕੰਘਾ

BOLIYAAN

LALLI Mukhre Te Ghundva Sarir Ni..

Tenu AAKDE SEYALA Wali HEER Ni...

Han Mass'han Mile Haun Nu...

Ni Tu MATAK MATAK Pabb Dhardi Ni...

Ferreh HAURE AGG Laun Nu...

Ni Tu MATAK MATAK Pabb Dhardi Ni...

Ferreh HAURE AGG Laun Nu...

================================

raati gidde vich de aayiaan sabb nandaan te bharjayiaan,

raati gidde vich de aayiaan sabb nandaan te bharjayiaan,

vich paaundiaan firaan duhaiyaan sabne milke reejhaan laiyan,

aiwe naa lokaan ton sharmaan nikiye,aiwe naa lokaan ton sharmaan nikiye,

ni gidha paa nikiye ni majajaan patiye,ni gidha paa nikiye ni majajaan patiye,

====================================

naale munda nachda naale kudi nachdi,

naale munda nachda naale kudi nachdi,

kudi nachdi gidhe de vich bada jachdi,

kudi nachdi gidhe de vich bada jachdi,

bhangde ch nachda punjabi munda vekh k,

bhangde ch nachda punjabi munda vekh k,

dhakk dhakk kudiyaan da dil dharke,

munda sohna oo punjabi sher waangu garhke,munda sohna o punjabi ooooooo

=====================================

KINNA SOHNA MUNDA SARDAR NEE MAJAJNE,

KARDA EE TAINU KINNA PYAAR NEE MAJAJNE,

LAGGE SAARE JAGG NU PIYARA KURIYE,

NEE KAHTON KEHNE EE JATTAN DA PUTT MAARA KURIYE

========================================

suthan sufdi shisheyaan vaali,,,,

suthan sufdi shisheyaan vaali ,,,

naal havva de kehndi ,,,

bai jad dharti addi maaraan,,,

dhamak jalandhar paindi ,,,

bai kali gut naal sab nu dangdi,,,

aap dangi na jaave ,,,

nachdi melan da,,,

long boliyaan paave.....

nachdi melan da ,,,,

long boliyaan paave....

================================

choole choolee choolee,

haripaaaaaachoole choole choolee

ni eek tenuu gal puchnee

oo eek tenu gal puchneeeee,

par jag de naazar ton oole

ni laara laapaa lae rakhdeeeee eeeeeeee ,

o laara laapaa laee rakhdee

par dil de peed na kholee

hun jatt te jakeen kar leee

ni tera kyonnn kaal jaa doolee

ni jatt te jakeen kar lee

ni tera kyon kaalja doole

===========================

HO AARA AARA AARA,

GALIYAN CH RULDA FIRE

TERA JHAKA LAIN DA MARA.....

TERE NA PASAND KURIYE...

TERE NA PASAND KURIYE

MUNDA PACHIYAN MURABBEYAN WALA

TERE NA PSAND........

KADE KAHE PENDU JEHA LAGDA

KADE KAHE RANG KALA

TERE NA PASAND KUDIYE.......

MUNDA PACHIYAN MURABEYAN WALA......,

=========================================

Arri arri arri kehke har koi boli paave,

ya fer boli pon to pehla kehnda dhave dhave,

na mei kehna arri arri, na hi dhave dhave,

jeeto sap wargi hath cho nikaldi jaave

jeeto sap wargi burhaaaaaaaaaaaa

==========================================

bapu ne munda padhan bhejya,

kahnda padh k banu patwari.

bai ohde pindo nitt si laghdi..........

ohde pindo nittt si langhdi,

roadways de laari.

bai pehle pindo oh si charda...........

pehle pindo oh si charda,

duje pindo kudi kuwari.

bai ohna fir ki si padhna.................

ohna fir ki si padha,jinu lag jye ishq bimari,

fail karaata ne bapu da patwari..................fail karaata ne bapu da patwari...................

fail karvata neeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee

=========================================

ਛੜੇ ਛੜੇ ਨਾ ਸਮਝੋ ਲੋਕੋ, ਛੜੇ ਬੜੇ ਗੁਣਕਾਰੀ।

ਨਾ ਛੜਿਆਂ ਨੂੰ ਫੋੜਾ ਫਿਨਸੀ, ਨਾ ਕੋਈ ਲੱਗੇ ਬਿਮਾਰੀ।

ਦੇਸੀ ਘਿਉ ਦੇ ਪੱਕਣ ਪ੍ਰਾਉਂਠੇ ਮੁਰਗੇ ਦੀ ਤਰਕਾਰੀ।

ਹੁਣ ਛੜਿਆਂ ਨੇ ਗੈਸ ਲਵਾ ਲਈ, ਫੁਕਣੋ ਹਟ ਗਈ ਦਾਹੜੀ।

ਪਹਿਲਾਂ ਭਾਈ ਜੇਠ ਛੜੇ ਸਨ, ਹੁਣ ਬਣ ਗਏ ਸਰਕਾਰੀ।

ਹੁਣ ਛੜਿਆਂ ਨੂੰ ਮੌਜਾਂ ਹੀ ਮੌਜਾਂ, ਕਹਿ ਗਏ ਅਟੱਲ ਬਿਹਾਰੀ।

ਸਾਡੇ ਛੜਿਆਂ ਦੀ, ਦੁਨੀਆਂ ਤੇ ਸਰਦਾਰੀ।

=====================================

chharha chharha na kar ni kurhie

vekh chharhe naal la ke,ni chharha tan tere bhande manjo,

hoooooo ni chharha tan tere bhande manjo,

rakhdu ain chamka ke, ni daal rinn ke ragdo cahttni,

hoooooo ni daal rinn ke ragdo cahttni, deo mithia rotian la ke,

beh ji peerhe te suit badami pa ke, behji peerhe te.

=====================================

hooooooo amli de larh la ti na maye ,bahuti e bhuki khanda,

ni ik khanda kali nagni,hooooo ik khanda kali nagni nale daru kadhda,

ni police tan ehnu fadn a gayiee,hoooooo ni police tan ehnu fadn a gayiee heth sdookan vrhda,

main keha munshi ji eh tan chuhe fadhda main keha munshi ji.

==================================

beggi beggi beggi......

ajj kal di parrai mittro fashion jogi rehgi....

munde bne ne bhaiyee firde...

pagg cheere wali sir to lehgi......

gutt kale naaaaag wargi

gutt kale naaaaag wargi

kal naii di dukan te rehgi.....

===============================

sun ni kudiye nachan waliye

nachde na sharmaiye

ni haan diyan nu haan payara

haan bina na laiye

ho bin tali na sajda gidda

tali khub vajaiye

ni kudiye haan diye

khich ke boliyaan paiye

kudiye haan diye.......

============================

Ho bai pehla nav guru da layie,

jis ne jagat banaya,bai bhant bhant de phul saza ke sohna jagat rachaya,

bai kade kise di kahi ni karda,

krda jo man aayea,bai bolian pao mittro

sir satgur di chhayea,bolian pao mittro

sir satgur di chhayea

==============================

sun ne melne mashli waleye

sun ne melne mashil waleye

na kar jhagre jheere

nee chari jawani luki na rehni

kha pee ke dudh peere

nee naankiya da mail wekh ke

munde maar de gere

ne nach lai shaam kure,

de ke shonk de gere

ne nach lai shaam kure,

de ke shonk de gere.....

saadi pagg sanu jaan to payari mitro…………

Ik Ik lad assi soch soch baniye

pole pole hatha naal poch – poch baniye

taahiyo tor jagg to niaari mitro

saadi pagg sanu jaan to payari mitro…………

uddo bani pagg ute badda maan aunda ae

jado koi keh k sardar g bulaunda ae

bade sir de k mili sardari mitro

saadi pagg sanu jaan to payari mitro…………

hundi ae trinjna ch gall saadi pagg di

kehn mutiara pagg dil sada thagdi

jado nikliye khich k tiaari mitro

saadi pagg sanu jaan to payari mitro…………

lakha cho pagg bani wkhri hai disdi

hath paawe pagg nu majaal hai g kisdi

sachi gall moho gurpreet ne uchaari mitro

saadi pagg sanu jaan to payari mitro…………

ਲੱਭੀ ਹੋਈ ਚੀਜ਼ ਨਾ ਗਵਾਏਓ ਸੋਹਣੇਓ ।

ਰੱਬ ਰੁੱਸ ਜਾਵੇ ਬਾਦਸ਼ਾਹੀਆਂ ਰੁੱਸ ਜਾਂਦੀਆਂ
ਗੁਰੂ ਰੁੱਸ ਜਾਵੇ ਵਡਿਆਂਈਆਂ ਰੁੱਸ ਜਾਂਦੀਆਂ
ਮਾਪੇ ਰੁੱਸ ਜਾਣ ਤੇ ਖੁਦਾਈਆਂ ਰੁਸ ਜਾਂਦੀਆਂ
ਮਾਪਿਆਂ ਦਾ ਦਿਲ ਨਾ ਦੁਖਾਏਓ ਸੋਹਣੇਓ
ਲੱਭੀ ਹੋਈ ਚੀਜ਼ ਨਾ ਗਵਾਏਓ ਸੋਹਣੇਓ ।

ਗੁਰੂ ਦੀ, ਗਰੀਬ ਦੀ, ਕਿਸੇ ਬਦਨਸੀਬ ਦੀ
ਮੂੰਹੋ ਬਦਦੁਆ ਨਾ ਕਢਾਏਓ ਸੋਹਣੇਓ ,
ਲੱਭੀ ਹੋਈ ਚੀਜ਼ ਨਾ ਗਵਾਏਓ ਸੋਹਣੇਓ ।

ਦੁਨੀਆ ਦਾ ਹਰ ਰਿਸ਼ਤਾ ਮਾਂ ਦਿਆਂ ਪੈਰਾਂ ਸਦਕੇ ਹੈ
ਮਾਂ ਬੋਲੀ ਦਾ ਰੁਤਬਾ ਉਸਦੇ ਸ਼ਾਇਰਾਂ ਸਦਕੇ ਹੈ
ਸੱਭ ਦਾ ਭਲਾ ਤਾਂ ਇੱਕ ਦੂਜੇ ਦੀਆਂ ਖੈਰਾਂ ਸਦਕੇ ਹੈ
ਖੈਰਾਂ ਵਿੱਚ ਜ਼ਹਿਰਾਂ ਨਾ ਮਿਲਿਆਓ ਸੋਹਣੇਓ
ਲੱਭੀ ਹੋਈ ਚੀਜ਼ ਨਾ ਗਵਾਏਓ ਸੋਹਣੇਓ ।

ਪ੍ਰਥਮ ਭਗੋਤੀ ਪਹਿਲੀ ਪੂਜਾ ਮਾਂ ਦੀ ਹੁੰਦੀ ਏ
ਦੂਜੀ ਪੂਜਾ ਗੁਰੂ ਜਨਾ ਦੇ ਥਾਂ ਦੀ ਹੁੰਦੀ ਏ
ਫਿਰ ਮਰ ਜਾਣਿਆ ਮਾਨਾ ਰੱਬ ਦੇ ਨਾਂ ਦੀ ਹੁੰਦੀ ਏ
ਰੱਬ ਦਾ ਮਜ਼ਾਕ ਨਾ ਉਡਾਏਓ ਸੋਹਣੇਓ
ਲੱਭੀ ਹੋਈ ਚੀਜ਼ ਨਾ ਗਵਾਏਓ ਸੋਹਣੇਓ ।

eh subaah aa punjabiya da,

mapyaa di izzatt karni,RABB da naam japna eh subaah aa punjabiya da,

joothi gal kade ni jarni,haq sach layi datt k kharrna eh subaah aa punjabiya da,

dushmana nu gal nal launa,dosta naal har dukh sukh vandauna eh subaah aa punjabiya da,

uchi thaan te yaar bithana, nivi thaan te aap baithna eh subaah aa punjabiya da,

vadde veera da mann hai rakhna,chotya nu pyar hai karna eh subaah hai punjabiya da,

ji kehna te ji kahauna,rabb de moore sir zukana eh subaah aa punjabiya da,

dukh ta sab nu aunde ne,par dukha vich v hass k jeena eh subaah aa punjabiya da............

ਚਰਖਾ ਰੋਂਦਾ ਵੇਖਿਆ ਮੈਂ ਮੁਟਿਆਰ ਬਿਨ੍ਹਾਂ...

ਤੀਆਂ ਅਤੇ ਤਰਿੰਜਣਾਂ ਆਪਾਂ ਭੁੱਲ ਗਏ ਆਂ,

ਵੈਸਟਰਨ ਵਾਲੇ ਵਿਰਸੇ ਉੱਤੇ ਡੁੱਲ ਗਏ ਆਂ,

ਕੋਈ ਨਾ ਸਾਨੂੰ ਜਾਣੇ ਸੱਭਿਆਚਾਰ ਬਿਨ੍ਹਾਂ,

ਚਰਖਾ ਰੋਂਦਾ ਵੇਖਿਆ ਮੈਂ ਮੁਟਿਆਰ ਬਿਨ੍ਹਾਂ...

ਭੁੱਲਦੇ ਜਾਇਏ ਪਿੰਡਾਂ ਸੱਥਾਂ ਜੂਹਾਂ ਨੂੰ,

ਆਪਣੇ ਹੱਥੀਂ ਪੂਰਿਆ ਆਪਾਂ ਖੂਹਾਂ ਨੂੰ,

ਟੱਲੀਆਂ ਵਾਲੇ ਬਲਦ ਸੀ ਤੁਰਦੇ ਆਰ ਬਿਨ੍ਹਾਂ,

ਚਰਖਾ ਰੋਂਦਾ ਵੇਖਿਆ ਮੈਂ ਮੁਟਿਆਰ ਬਿਨ੍ਹਾਂ...

ਚਾਟੀ ਵਿੱਚ ਮੱਧਾਣੀ ਘਮ ਘਮ ਵੱਜਦੀ ਨਹੀਂ,

ਮੋਹਲੇ ਦੀ ਗੱਲ ਛੱਡੋ ਉੱਖਲੀ ਲੱਭਦੀ ਨਹੀਂ,

ਕਾਹਦੇ ਅਸੀਂ ਪੰਜਾਬੀ ਅਸਲ ਨੁਹਾਰ ਬਿਨ੍ਹਾਂ,

ਚਰਖਾ ਰੋਂਦਾ ਵੇਖਿਆ ਮੈਂ ਮੁਟਿਆਰ ਬਿਨ੍ਹਾਂ...

SIKHISM

INTRODUCTION:
Sikhism is one of the youngest religion in the world. It was founded by Siri Guru Nanak Dev Ji in 1469 who laid the basic principles of Sikhism. It offered the people a simple Sikh religion teaching "Oneness of God", whose name is TRUTH. Sikhism is a practical religion - a faith of hope and optimism. Its ideals form a large part of the more progressive elements in humanity today. It shows mankind how to lead a worthy and useful life in the World, which elevates it to the status of Universalod .

WHAT IS A SIKH ?
The word "Sikh" means a disciple. A Sikh is a person who believes in Waheguru and teachings of the Ten Gurus enshrined in the Guru Granth Sahib, the Sikh Holy Book.In short, a Sikh is a person who faithfully believes in the following:- One Immortal Being. - Ten Gurus from Guru Nanak Dev Ji to Guru Gobind Singh Ji.- The Guru Granth Sahib. - The utterances and teachings of the ten Gurus and... - The baptism bequeathed by the tenth Guru, and not owe allegiance to any other religion.

SIKH'S PERSONALITY:
The tenth Guru, Guru Gobind Singh Ji, initiated the Sikh baptism ceremony in April 1699 AD and thus gave a distinctive identity to the Sikhs.
This distinction is represented by five symbols, popularly known as Five K"s, because the first letter of each symbol begins with the letter "K". These are Kesh (long and unshorn hair), Kangha (a comb), Kara (a steel braclet), Kachera (pair of shorts), and Kirpan (a sword).
When Guru Gobind Singh Sahib Ji created the Khalsa Panth, he ordered them to maintain the five symbols - Panj Kakar. These symbols were not only necessary for the strength and uniformity of the organization, but also for the value they each had in their own right.

Kesh(Hair):
Hair (Kesh) was regarded as a symbol of saintliness and Dharma in ancient times. Guru Nanak Dev Ji started the practice of keeping unshorn hair. The keeping of hair is regarded as an indication of living in harmony with the Will of God. The shaving of hair may be construed as interference in nature's way and considering oneself wiser than God. Keeping hair is the most important symbol. A Khalsa become apostate (Patit) if he shaves or trims his hair.
Kangha(Comb):
Comb (Kangha) is necessary for keeping the hair clean and tidy.
Kacheraa(Shorts):
horts (Kacheraa) is regarded as a symbol of chastity. Moreover, it allows unembarrassed movement in times of action. It is also easy and comfortable to wear when at rest. It serves as a mark of readiness and agility.

Kara(Steel bracelet):
Steel bracelet (Kara) is a symbol of restraint and gentility; it also reminds the Sikh that he is bonded to the Guru. When a Sikh looks at it, he will think twice before doing an evil deed. These symbols are kept to preserve corporate unity and to foster the sentiment of brotherhood. They assist a Khalsa to look exactly like Guru Gobind Singh Sahib Ji (form wise) and thus hopefully prompt him to behave like a Guru.

Kirpan(Sword):
Sword (Kirpan) is an emblem of courage and adventure. In order to have self-respect, the Khalsa should maintain the means to vindicate his honour. The sword is to be used for the defense of oneself or others but not for offence.
People who wear a uniform and who are imbued with disciplined outlook are better able to achieve unity of purpose and acquire a real sense of brotherhood than those who have set no particular standards. A Sikh without these symbols is a non entity. Those who cut their hair or trim their beard commit a breach of the Cardinal Rules of the Order, and considered as 'apostates'

Geographical Punjab

>> LOCATION:

Situated in the north-west of India, Punjab is bordered by Pakistan on the west, the Indian states of Jammu & Kashmir on the north, Himachal Pradesh on it's nort-east and Haryana and Rajasthan on it's south.

>> AREA:

50362 square kilometers (Punjab occupies 1.54 % of the country’s total geographical area).

>> CAPITAL:

Chandigarh (population: 642,0000)

>> POPULATION:

23.51 million (P) for the year 1999Rural: 16.56 million (70.45 )% Urban: 6.95 million (29.55 )% The population of Punjab consists mainly of Punjabis and Rajputs.

>> OCCUPATION:

More than 80 percent of Punjab is cultivated, and farming is the leading occupation. The major crops are wheat, maize (corn), rice, pulses (legumes), sugarcane, and cotton. Among the livestock raised are buffalo and other cattle, sheep, goats, and poultry. The principal industries include the manufacture of textiles, sewing machines, sporting goods, starch, fertilizers, bicycles, scientific instruments, electrical goods, and machine tools, and the processing of sugar and pine oil.

>> LANGUAGES:

The official language is Punjabi, which is spoken by about two-thirds of the population. Many people are fluent in Hindi, English and Urdu also.

>> CURRENCY:

Rupee (100 paise equals one rupee)

>> STATE ANIMAL:

Black Buck - Locally called kala hiran, the Black Buck is a graceful antelope blessed with a striking colour and spiraled horns. The fawn’s coat is yellowish but it becomes turns black at maturity. It is found in the plains and avoid forests and hilly tracks. Mostly found in herds of 20-30, large herds may number several hundreds. With a keen eyesight and speed, it responds to alarm call by leaps and bounds.

>> STATE BIRD:

Baz (Eastern Goshawk)

>> STATE TREE:

Shisham

>> GEOGRAPHY:

Find Punjab on the globe at 29’30’’ N to 32’32’’ N latitude and 73’55 E to 76’50 E longitude. Punjab lies between the Indus and the Ganges rivers. Most of the state is an alluvial plain irrigated by canals. Punjab's arid southern border edges on the Thar or Great Indian Desert. The Siwalik Range rises sharply in the north of the state. The average temperature in January is 13° C (55° F), although at night the temperature sometimes lowers to freezing point. In June, the average temperature is 34° C (93° F), occasionally rising as high as 45° C (113° F). Annual average rainfall in Punjab ranges from 1250 mm (49 in) in the north to 350 mm (14 in) in the southwest. More than 70 percent of the annual rainfall occurs during the monsoon season i.e., from July to September.

>> CLIMATE:

Climatically the state has three major seasons - summer, winter and rainy season.

>> MAJOR LAND FEATURES:

Most of Punjab is a fertile plain; toward the southeast one finds semi-arid and desert landscape; a belt of undulating hills extends along the northeast at the foot of the Himalayas. Four rivers, the Ravi, Beas, Satluj and Ghaggar flow across the state in a southwesterly direction. They have numerous small and seasonal tributaries. In addition, Punjab is watered by an extensive canal system.

Traditional Punjab

Since time immemorial Punjab has been primarily an agricultural land. People here are rough and tough when it comes to physical work but they are quite lively otherwise. The culture of Punjab is very rich and the people are so attached to their land that they have still preserved their tradition in it's very original form. Punjab has seen many ups and downs since it's origin yetit has survived all odds because of it's unity. Punjab is well knit as one unit by the yarn of unity and it's people are bound together by a common tradition since ages.The old houses of traditional Punjab are worth seeing as they depict the art of the people of this land of cultural heritage. The spacious houses and high roofs show the architectural sense of the Punjabis. The doors and windows of the big havelis were the main attractions. Traditionally Punjab has been a land of agriculture. It is a storehouse of grains. The fertile plains of this region and the hardworking Punjabis together make Punjab an agriculturally rich state. Punjab was a rich state in the good olden days. It was healthy and wealthy. The people of Punjab believed in eating, drinking and merry-making. They found pleasure in everything they did. The utensils used in those days were made of copper and silver with lots of work done on them which made them decorative and ornated. These were an important part of their lives and each utensil was a live example of the artistic skills of the Punjabis.Traditionally Punjabis have been quite hardworking. While men were out in the fields, the women folk of Punjab involved themselves in the daily chores of the household and did almost everything themselves. If one happened to peep into a village of Punjab during the day, one would see the women folk busy with vivid household work. Though advancing technology has made work easier and faster, yet we can still trace women doing most of their work in the traditional style.

DANCES OF PUNJAB

DANCES :
It was in the jungles of Punjab where the first rays of civilization had appeared. In this respect Punjab is considered the motherland of dances. From tribals to the kings and eventually republics took shape. These changes left their seals on the sands of time and caused changes in culture also.The exuberance and vitality of the people of Punjab are vigorously displayed in their folk dances. With the drum beat or to the tune of some other instrument of folk music, the energetic feet of the people of Punjab are spontaneously set in motion to give birth to a folk dance - an expression of the soul triumphant, an outburst of emotions.Punjab's folk dances are replete with foreign influences. It is only in Punjab where there is no common dance for men and women.

MALE FOLK DANCES :
1. Bhangra 2. Jhummar 3. Luddi 4. Julli 5.Dhankara 6.Dhumal
FEMALE FOLK DANCES :
1.Sammi 2.Giddha 3. Jago 4. Kikli

BHANGRA:
The Bhangra is perhaps the most virile form of Indian Folk Dances. Springing from the land of five rivers, it abundantly reflects the vigor, the vitality, the leaven of exuberance, and the hilarity permeated among the rural folk by the promise of a bumper crop. The Bhangra season starts with the wheat sowing and then every full moon attracts teams of young men in every village who dance for hours in open fields. The dancers begin to move in a circle around the drummer, who now and then lifts the two sticks, with which he beats the drum, to beckon the dancers to a higher tempo of movement. They start with a slow movement of their feet. As the tempo increases, the hands, the feet and in fact the whole body comes into action. They whirl round and round bending and straightening their bodies alternatively, hopping on one leg, raising their hands, clapping with their handkerchiefs and exclaiming Bale Bale! Oh Bale Bale to inspire themselves and others to the abandon of the dance.At intervals the dancers stop moving, but continue to beat the rhythm with their feet. One of the dancers come forward near the drummer and covering his left ear with his palm sings a boali or dholla, derived from the traditional folk songs of Punjab. Picking up the last lines, the dancers again start dancing with greater vigor.In addition to a drum, chimta-musical tongs and burchu and sound of the beats from earthen vessels are used as accompanying instruments. The costume of a Bhangra dancer consists of a bright, colored Patka on the head, a lacha or lungi of the same color, a long tunic and a black or blue waistcoat and ghunghroos on the ankles. Some dancers also wear small rings (nuntian) in their ears.When the wheat crop is nearing ripening, the breeze softly touches the surface of the golden crop creating a ripple and reckoning the sickle, when the hard labor of the farmer is about to bear fruit, it is time of rejoicing and merry making and through Bhangra their emotions find uninhibited and spontaneous expression of genuine happiness. The Bhangra season concludes with the Baisakhi fair when the wheat is harvested.Bhangra is considered the king of dances. There are several styles of dancing Bhangra. Sialkoti, Sheikhupuri, Tribal, Malwa, Majha. One of the Bhangra's moves is also akin to the moves of Shiv-Tandav dance, which is danced on one leg. Damru, hand-drum is also used in Bhangra which shows that folk dances and war dances have similar parentage.

JHUMMAR :
The Jhummar is a dance of ecstasy. It is a living testimony of the happiness of men. Any time is Jhummar time especially during Melas, weddings and other major functions and celebrations. Performed exclusively by men, it is a common feature to see three generations - father, son and grandson - dancing all together. There are three main types of jhummar, each of which has a different mood, and is therefore suited to different occasionally, reason of its predominating mood.This is also performed in a circle. The dancers dance around a single drummer standing in the center. It's costumes are the same as that of Bhangra. It is danced to the tune of emotional songs. The dance is without acrobatics. The movement of the arms only is considered its main forte. Toes are musically placed in front and backwards and turnings are taken to the right, sometimes the dancers place their one hand below the ribs on the left and gesticulate with the right hand. This dance does not tire out its performers and it is normally danced on moonlit nights in the villages away from the habitation. It is mostly danced by tribal Sikh professional acrobats and has yet not been owned by all Punjabis. The dancers of this dance let-off a sound, "dee dee" in tune with the beat of the dance which adds to its grace. This dance has also been integrated into Bhangra.

LUDDI :
This is also a male dance of Punjab. It is danced to celebrate a victory in any field. Its costumes are simple. Only a loose shirt (kurta) and a loincloth are used. Some tie a turban, other the Patka which is somewhat like a scarf tied across the forehead, while still others join in bareheaded. This is also a dance of gay abandon. The performers place one hand at the back and the other before the face copying the movement of a snake's head. This is also danced with the drummer in the center but sometimes the dancers dance before a throng of people and keep moving forward also. This dance is more popular across the Sutlej and in Pakistan it is almost as popular as the Bhangra. This dance has an historical background and pertains to that moment in history when Punjabi Sardars had begun to rescue Indian women that used to be forcibly taken in the direction of Basra in Middle East.This dance is also the dance of slow movements and some teachers by integrating it into Bhangra have finished its individual identity.

JALLI:
It is a religious dance associated with Pirs and recluses and is generally danced in their hermitages (khangahs). This dance is performed mostly in a sitting posture; sometimes it is also danced round the grave of a preceptor. A single dancer can also perform this dance. Toes are tensed in this dance. The dancer holds a thick staff in his hands and he dances by revolving it. Normally black clothes are worn by the dancer, so is his head covered with black scarf. Sometimes, the murids (followers) also the tie ghungroos (Jingling bells) around their waists like the Bhangra dancers of yore. This dance is fast disappearing.

DHANKARA :
At least two persons are required to perform this dance, though there is no upper limit. Like other male dances it is danced in circles. The dancers hold staffs of various colors in their hands. They dance as they ply their staffs in rhythm crossing them, with each other's. This dance is either performed at the common yards or in the vanguard of marriage processions to exhibit joy. Sometimes it is also called gatka dance (dance of the dum swords). Women also dance this dance but they do so separately and not in company with men. No special costumes are worn with it; only, sometimes the dancers tie a band around their waist. It is based on only a few movements but these movements are rather impressive. Its high point is achieved when dancers sit down and cross batons. Old people, young children and flexible young men all perform this dance.

DHUMALL:
This folk dance also has not been able to achieve the popularity of Bhangra. Of course it is a male dance and, likewise, is danced in a circle. Drum is used as the accompanying instrument; its costumes are akin to Bhangra and Jhumar.

GIDDHA :
The vitality of Bhangra can also be seen in the Giddha dance of the women of Punjab. This dance translates into gestures, bolian-verses of different length satirizing politics, the excesses committed by husbands, their sisters and mothers, loneliness of a young bride separated from her husband, evils of society or expressing guileless deep love.The dance is derived from the ancient ring dance. One of the girls plays on the drum or 'dholki' while others form a circle. Some times even the dholki is dispensed with. While moving in a circle, the girls raise their hands to the level of their shoulders and clap their hands in unison. Then they strike their palms against those of their neighbors. Rhythm is generally provided by clapping of hands.Giddha is a very vigorous folk dance and like other such dances it is very much an affair of the legs. So quick is the movement of the feet in its faster parts that it is difficult for the spectator even to wink till the tempo falls again. The embroidered 'duppattas' and heavy jewelry of the participants whose number is unrestricted further exaggerate the movements.During the dance 'giddha' songs called 'bolis' are also sung. One participant generally sings the 'bolis' and when the last but one line is reached, the tempo of the song rises and all start dancing. In this manner 'bolis' alternate with the dance sequence which continue for a considerable period of time.Mimicry is aso very popular in 'Giddha'. One girl may play the aged bridegroom and another his young bride; or one may play a quarellsome sister in law and another a humble bride. In this way Giddha provides for all the best forum for giving vent to one's emotions.The traditional dress during giddha dance is short female style shirt (choli) with ghagra or lehnga (loose shirt upto ankle-length) or ordinary Punjabi Salwar-Kamiz, rich in colour, cloth and design. The ornaments that they wear are suggi-phul (worn on head) to pazaibs (anklets), haar-hamela, (gem-studded golden necklace) baazu-band (worn around upper-arm) and raani-haar (a long necklace made of solid gold).

TEEYAN :
Giddha can be seen at its best when 'Teeyan' or the women's dance festival is celebrated. This festival in Punjab is celebrated in the month of Sawan. The dance usually takes place on the bank of some river or pond under big shady trees. Swings are thrown over the branches and singing, swinging and dancing starts. On this day when the married daughters come to their parent's house their brothers fix the swings for them. As they swing they share their anxieties with each other through songs. Dressed in their best and decked by ornaments, girls gather during these festivals like the fairies. These dancers look a medley of color and beauty. The festival continues till the 3rd Lunar day in the month to full moon and there is a gala function on the concluding day.

JAAGO:
On the night before the wedding, the female relations of the bridegroom prepare a 'Jaago'. Jaago is constructed on the style of ancient balconies on several surfaces of which lamps, fashioned out of dough of wheat flour are constructed in the style of stars, These are filled with ghee or oil, cotton wicks are placed in them and lighted. This effigy is put on the head of groom's mothers' brothers' wife, led by her the mother's relations, singing, dancing frolicking knocking at the doors of residents of the groom's village, enter in, dance gidha accept presents of food, grain and ghee for the lamps and continue these rounds through the night, when youth glows and the dark of the night resounds with mirth and laughter.

KIKLI:
Kilkli, is more of a sport than a dance, is generally popular with the young girls. The dance performed in pairs, is a favourite of the young girls. It can be done by any even number of performers starting with two. Before beginning the dance, the two participants stand face to face with their feet close to each other’s and their bodies inclined back. Standing in this pose the arms of the dancers are stretched to the maximum limitand their hands are interlocked firmly.The dance is performed when the pairs, maintaining this pose, wheel round and round in a fast movement at the same spot with the feet serving as the pivotal points. The girls sing as they swirl around with colorful ‘orhnis’ or ‘daupttas’ flowing from their heads and anklets producing tinkling melodies.There is a rich repertoire of traditional songs available that are used to accompany the ‘kikli’ dance. Most of these songs consist merely of loosely rhyming lines without underlying theme. One of the examples is :
Kikli kleer di,
Pag mere vir di,
Daupatta mere bhai da,
Phitte mun jawai da.

SAMMI :
The fairy dancers of the court of lord Indira are reputed to have taught the technique of Giddha and Sammi to the girls of this earth. The fairy which taught Giddha was known as Giddho while the one who taught Sammi was named as such. This kind of dance form is popular in Sandal Bar which now is in Pakistan. Sammi has not been able to gain popular acceptance and is breathing its last in the huts of the tribals. Women of Baazigars, Rai Sikhs, Lobanas and Sansi lot tribes dance in this medium. This is also danced in the privacy of women.This women’s dance is also performed like ‘Giddha’. The dancers stand in a circle and swing their hands, bringing them up from the sides, right in front up to the chest level and clap: they take their hands down in accordance with a rythem and clap again. Repeating this gesture, they bend forward and clap again, and go round and round in a circle. As the rythem is maintained with the beat of the feet, various kinds of swinging movements are performed with the arms. Most of the gestures are confined to the movement of the arms, clicking and clapping. No instrument is required as an accompaniment to this dance. Rythem is kept up with the beating of the feet and clapping.Special make-up is done by its performers. They knit their hair into thin plaits all over their head into intricate patterns and tie the remaining length of the hair in one full plait. In the middle of their head they fix a domed ornament shaped like an inverted lotus called phul-chowk or Suggiphul (flower of the crossings of the plaits). The performers wear a unisex kurta (male shirt) and the tehmet (lower cloth) and cover their head with a thick cloth of loose rectangular dimension, called 'Bhochhan'. Chutki is a frictional sound of single note created by pressing and then sIiding the thumb and the index or the middle finger and is used to keep the beat in this lance. The background song of this dance is also called sammi. This is also a dance of controlled movements. It is said that even the Devtas (angels) get inebriated while seeing this dance.

Games of Punjab

People of Punjab entertain themselves in a variety of ways. These include games, dhangals (wrestling bouts), folk songs and dances, kite flying, cock fights, etc. The games in Punjab are suitable for children, youth, adult and old people alike. Many of these games have been lost in the evolution of history, and the ones that remainare losing for perhaps these are not in fashion except a few which still survive.

Tirinjen:

One of the popular organized forms of work and entertainment for young girls is Tirinjen - where the girls spin and sing. Tirinjen is a kind of social club, which can be organized in any home, where place for spinning wheels and the girls is available for a day/night. The girls would sing and dance, would express their sorrow and happiness, pangs of separation and joy of meeting. The spinning wheel plays a significant role in the life of the women, as a companion, counselor in distress, friend and guide. An example of a song sung by a married girl during Tirinjen..
"Charkha mera rangla, vich sone dian mekhan,Ni mai tenu yaad karan, jad charkhe wal dekhan."

My spinning wheel is multi coloredInlaid with nails of gold,I think of youWhenever I see my spinning wheel.

"Har charkhe de gere Yad awen toon mitra"

Each circle of the wheel,Brings your sweet memories to my mind.

'Teej' or Teeans:

which is celebrated in the month of Sawan (July), is also a source of entertainment for girls. Teej festival starts on the third day of Sawan and continues for about thirteen days. This is a period when rainy season is at its best, having said good bye to the scorching heat, people are out to enjoy the rains. It is also the time for sowing. The whole atmosphere is relaxed and people have a sigh of relief. The girls celebrate it by having swings. One sees girls, even today, on the swings all over the villages during the rainy season. They have new clothes, special dishes to eat and special songs for the occasion. This festival has also made inroads into the urban society. A number of songs are sung during the occasion pertaining to various aspects of the social life.
"Ral auo sahio ni,Sabh tian khedan jaiyeHun aya sawan niPinghan piplin ja ke paiyePai ku ku kardi ni,Sahio koel Hanju dolhePapiha wekho ni,Bherha pee-pee kar ke bole.Paye pailan pande ni,Bagi moran shor machaya.Arhio khil khil phaulan ne,Sanu mahia yad kariya".Come on all friends!Let’s go and play Tian,The Sawan Heartens us,Let us hang the swings on the Peepal.Swinging ku-ku O friends!The cuckoo sheds its tearsAnd behold this PapihaWhich goes on singing pia-pia.The peacock dances gleefullyFilling the garden with its crowingsThese wretched blossoming flowersRemind us of our Ranjan.

Kikli:

This is another game, basically for women. Two girls clasp their hands and move in circle. This was a game, which was played by two or four girls and multiple of two thereof.

"Kikli kleer di,Pag mere vir de,Daupatta mere bhai daPhitte mun jawai da.".

Gheeta Pathar :

Some pebbles, stones or broken earthenware could be broken further into pieces and used for playing Gheeta Pather. This was a game, which did not involve running or jumping and was played sitting on the floor.

Khidu :

The girls would sing along with Khidu (Ball), in fact these rhymes and game is suitable for the children: This was for the first round, there was the second and third till the end was reached by counting ten and singing the tenth song.

Kokla Chhapaki:

This game is popular even today amongst the children. Both boys and girls play it. Children sit in a circles and a child who has cloth in hand goes around the circle-singing: It is a kind of warning for the children sitting in a circle not to look back. The cloth is then dropped at the back of a child. If it is discovered before the child who had placed it there had completed the round, the child who discovered the cloth would run after him and try to touch him with it till he sits in the place vacated by the one who had discovered the cloth

Chicho Chich Ganerian :

This game is for both boys and girls. It is generally played by two teams and involves drawing as many vertical lines as possible.

Lukan Miti (Hide & Seek):

This was also played by both boys and girls and continues to this day. Two teams can also play this. One has to hide, the other has to seek but before doing it a call is given.

Guli Danda:

This is basically a game for the boys and is the simplest version of modern cricket. It is played with a wooden stick and 'guli' (another small wooden piece pointed at both the ends.) Two teams divide themselves, one throws the guli and the other team uses the danda- (stick) to strike it. There are various other games that are played with Guli Danda..

Kidi Kada or Stapoo :

This is a game played both by the girls and boys. It is still common amongst some of the children. This game is played with in small boundary (court), drawn on the ground and a piece of stone.

Ghaggar Phissi :

This is another game for the boys. One boy would bend and the other boys, may be one or two or three get on top of him, if he could bear the weight, he would win. In case he could not bear the weight and fell, he would lose.

Kabbadi :

This game is popular even today and is played now by both boys and girls. This was included in the Asian Games also and is popular all over south Asia. The game is played between two teams. A line is drawn between the two teams and each team would send a player across the line. If the player after crossing the line is able to touch a player of the opposite side and came back without being caught, the team doing so would win and a point was added to its score. This process by the player crossing the line has to be performed in a single breath. The team with higher score would be the winner..

Rasa Kashi (Tug of War):

The men generally played this game. These day’s women also participate in the game which is played by two teams. A line is drawn between the two teams, each having one end of the rope in its hands. The team, which is able to drag the other team to its side, is the winning team.

Akharas:

These were very popular. Located near the well outside the village, sometimes near the temple. These were the places where the boys learnt wrestling from a Guru or Pehlwan-Wrestler.

Martial Art :

This was also a part of the teaching in Akharas, where the boys learnt the use of weapons. Nihangs practice martial arts to keep up the traditions.

Kite Flying (Patang Bazi):

It is now very much an urbanized game and is popular with the rural folks as well. It has now assumed an International character.Besides the games mentioned above, Chaupat, Shatranj (Chess), camel and bullockcart races, cock fights in addition to Kabutar bazi, chakore bazi and bater bazi are well known.LATTOO ( yo-yo), played mostly by the boys.

SPORTS MEET :

Today in almost 7000 villages in Punjab in one decade or the other rural sports competitions are being held. Rural folk organize them. In fact these village sports have opened the floodgates of village development.Before Independence in 1947 major importance was given only to Kabaddi and wrestling, after Independence the circle of rural sports also got widened. The rustic "Khido Khaoondi" (literally a ball made out of cuttings of cloth and a stick twisted at the end like a flat hockey and players from villages, having no facilities beyond uneven grounds to play began to dominate in the game. Twelve of our country’s greatest hockey players have come out of a single village called SANSARPUR in Jalandhar District.

Punjabi Festivals

Holi:

The most colorful and hilarious of all the festivals, which are celebrated in, Punjab is Holi, celebrated on the full moon day of Phagun. Holi is a festival of colors. The revelers embrace their friends and relatives, and go out in groups, embrace their near one another with liquid colors and gulal. A big fair known as Hola Mohala is held at Anandpur on the next day after Holi. People come from far-off places to join it.

Hola Mohalla:

Each year, spring is ushered in by the Sikhs with the celebration of a vigorous and colorful festival at Anandpur Sahib. The festival is slated for the day after Holi and is called Hola Mohalla.It was here at Anandpur Sahib that Guru Gobind Singh, the tenth and last guru, instituted the pahul (baptism of the Khalsas), and elected the panj pyare (the beloved five), and militarized his followers into the order of Nihangs (warrior-mendicants) at this site.
This festival of the Nihangs held at their headquarters Anandpur Sahib began as a counterpart to Holi. Though it almost did away with the throwing of colors, nonetheless, it is more colorful.
Martial arts like archery, sword fencing, fancy horse-riding, tent-pegging, and the deft handling of other contraptions of offence and defense are displayed by the Nihangs. Spectacular and thrilling acts of dare-devilry nimbly executed are performed. The festivities close with a ceremonial procession taken through the township. The langar (community feast) is open through the day and lasts as long as there are any takers.Dressed in along tunic of bright deep blue, an elaborate turban, sometimes of enormous size, at times banded with strips of bright yellow, armed with weapons of one’s liking – bows and arrows, spears, swords and shield, muskets, guns or what have you - the Nihang displays his skills at this festival of valor, a pageant of the past.

Gurupurabs:

The festivals held in honor of the Sikh Gurus are called Gurupurabs. They are well spread over the year but there are three important ones. On the full moon of Kartik the birth anniversary of Guru Nanak is celebrated by the devotees with great ardor. Two days earlier a non-stop reading of the Adi Granth is started. At different places religious congregations are held and hymns from the Granth Sahib are chanted. Large processions and are taken out through the towns. At night buildings are illuminated. The birth anniversary of Guru Gobind Singh is also celebrated in a similar manner. The third important Gurupurab is the one associated with the martyrdom of Guru Arjan Dev.
The festivals connected with the lunar days, Ekadashi (eleventh lunar day), Pooranmashi (full moon), and Masya (new moon) occur every rnonth. Similarly, Sankranti, when the sun enters the new Zodiac sign, is celebrated on the first of every month of the Vikrarmi era with great gusto. It is also an occasion to prepare and eat the nicest of foods.In the Punjab, where the Vikrami era is followed, the year begins with Chet (March-April). On the first of this month the arrival of the new year is celebrated by the performance of a ritual of taking the new corn, known as ann nawan karna. Sheafs of new corn are roasted and then the parched grain is eaten. Everyone must have a bath on the new year day, and put on new clothes. Delicacies like kheer and halwa are prepared and eaten.

Baisakhi:

It is one of the most popular festivals of the Punjab, with fairs held at various places. Baisakhi, the first day of the month of Baisakh (April/May) is New Year’s Day, going by the Saka calendar. It corresponds to April 13th of the Gregorian calendar. Essentially it is a North Indian harvest festival, for it is the day when the reaping of the rabi (winter crop) begins. The jubilation at a bountiful harvest becomes the reason for celebration.Through celebrated all over North India, it is nowhere as colorful as it is in Punjab, India’s granary. The joy of the energetic Punjabis is manifest in the strenuous folk dance, the Bhangra. This dance usually enacts the entire process of agriculture from the tilling of the soil through harvesting. As the beat of the dholak (drum) changes, the sequences progress. The dance movements express ploughing, sowing, weeding, reaping and winnowing. The final sequence shows the farmer celebrating the harvest.
Though in real life the farmer has to toil hard in order to win grain from the soil, this dance shows him performing his labors with grace and ease, a smile to his lips. Women too join the men, both at reaping during the day, and in the many dances and folk songs at evening. Baisakhi has a special significance for the Hindus. It is believed that the Ganga descended to the earth on this auspicious day. The Kumbha is held every twelve years at Hardwar on this occasion.For the Sikhs the day has a deep religious meaning. At Anandpur this day in 1699 AD, the tenth and last Guru, Gobind Singh, baptized the Sikhs into the Khalsa, meaning the Elect. This baptism of the sword, called pahul, led to the creating of the panch pyare, the Beloved Five. The Sikhs became a militant order so as to meet the challenges of persecution at the hands of the Mughal rulers. The Khalsa was to adopt the panch kakkas, (the five K’s), Kesh (unshorn hair), kanga (small boxwood comb in their hair), kaccha (a pair of shorts), kara (a steel bangle), and a kirpan (a short dagger), which have since become their distinctive signs. The Guru enthused their valor by calling them Singh (lion), now a suffix to every Sikh’s name. To commemorate the day of the initiation of the sword, a large number of Sikhs flock to Harmandir Sahib (the Golden Temple, Amritsar), their major shrine. They take a dip in the holy Amrit sarovar (pool of nectar), the lake in the midst of which the Golden Temple stands. Religious service follows in the form of Akhand Paath – an end chanting of the holy
On the eleventh day of the bright half of Jeth (May-June) falls Nirjala Ekadashi, which is better known in the Punjab as Nimani Kasti. Hindus, especially women, observe fast on this day and smear the body with powdered sandalwood. This fast is very hard to keep because for the whole day one has to abstain even from water. Charitably inclined people put up stalls for free distribution of sweetened and chilled water. The stalls, known as chhabils, are a common sight on this day

Teeyan:

Teeyan, a festival of the rainy season, is celebrated on the 3rd of the bright fortnight of Sawan (July-August). The four months from Harh (June-July) to the first half of Assu (September) are called Chaumasa. During this period the sky generally remains overcast and the weather shifts between sultriness and rainfall. Rains bring the longed-for relief to the heat-stricken Punjabis, and the rhythm of the little and big drops of rain instills in them the enthusiasm which must seek expression in fun and frolic. A newly-married girl looks forward to the rainy days when a brother or some other male relative from the parental home may come to escort her to her father's place. This reversal from bride to being just a daughter again is such a liberating and thrilling experience that it cannot be put into words. One day before the Teeyan, girls apply henna to their hands and feet, and on the day of the festival they put on their best clothes and go out to the fair. The fair resounds with the songs of love and the rhythm of dance. The songs are known as Teeyan songs. The Giddha dance has become a regular and most enchanting feature of this festival. At home women make kheer, a dish specially associated with Sawan.

Rakhi:

In Bhadon, on the day of the full moon, the Rakhi festival is celebrated. On this day sisters tie the multic
olored thread on the right wrist of their brothers. So long as a sister has not tied the rakhi to her brother, she is not supposed to eat anything. After she has done so she offers some sweets to her brother and he in return gives her some gift or money. Rakhi is meant to remind the brother of his promise to protect his sister whenever she needs this protection. The true origin of this festival is, however, lost in antiquity.

Dussehra:

The Dussehra festival, as in most other parts of India, is celebrated in a big way. This festival marks the victory of good over evil. Big tall effigies of Ravana, Kumbhkarna and Meghnath are burnt at a large number of places. During the Nauratas Ram Lila is organized at innumerable places in the State. This song and drama has, from year to year, contributed largely to the continuance of the tradition of folk-drama in India.

Diwali:

Earthen lamps or candles are lighted over buildings all over the State. People celebrate the festival with great gusto. Houses are white-washed days ahead of it, new clothes are purchased and sweets of all kinds are prepared. People worship Goddess Lakshmi with an offering of sweets and silver coins. Thereafter they distribute sweets among friends and relatives. It is believed that on this night Goddess Lakshmi in the company of Vidmata (goddess of fate) takes a round of every house and wherever she takes a fancy, she bestows immense prosperity.
In the Golden Temple of Amritsar, Diwali is celebrated with great eclat. Earthen lamps are lighted all round the holy tank and their undulating reflections in the water look extremely fascinating. Sikhs started celebrating Diwali at Amritsar from the time of their Sixth Master, Guru Hargobind. When he rescued fifty-two rajas from imperial detention in the fort of Gwalior and reached Amritsar, the residents there welcomed him by illuminating the whole-city.

Lohri:

Lohri, which comes on the last day of Poh (December-January), is another extremely popular festival. A few days before it arrives youngsters get together in groups and go round their localities singing folk-songs connected with Lohri and collecting fuel and money for the bonfire. This is a special day for making offerings to fire. When fire is lit up in the evening, orthodox men and women go round it, pour offerings into it, and bow before it in reverence. The first Lohri for a new bride, or a new-born babe, is enthusiastically celebrated, and sweets are distributed.One of the stories behind the celebration of this festival goes like this;
Somewhere between Gujaranwala and Sialkot in Pakistan now, there was a thick forest called Rakh. There used to live a Muslim Dacoit named Dulla Bhatti, the Robinhood of Punjab. He was brave, generous and provided maximum help to everyone in distress. During the reign of Jahangir, a middle class Hindu who was a jealous and a cunning man spread a rumor that his niece was very beautiful and would do credit to muslim harem. On hearing this, the mughal officers wanted to carry her off forcibely. The girls father was extreamly worried and sought the protection of Dulla Bhatti. Dulla at once got her married to a young Hindu boy at a simple ceremony in the forest.
He lit the sacred fire in keeping with the Hindu custom. Since there was no priest to chant the holy mantras, he broke into a hiliarious song composed extepore to add chear to the occasion. This song is sung even today on the occasion.The song goes ;

"Sunder mundriye, Ho! Tera kaun bachera ,Ho! Dhulla bhatti wala ,Ho!Dulle dhi vaiahi ,Ho!Ser Shakar Pai ,Ho!Kudi de boje pai ,Ho!Kudi da lal pataka, Ho!Kudi da salu pata ,Ho!Salu kaun samete ,Ho!Chacha gal dese ,Ho!Chache churi kuti ,Ho!Jimindara luti ,Ho!Jimindara sado HoGin gin paule lao ,Ho!Ik paula rh gaya...Sepai fadh kei lai gaya..."

Maghi:

Next day after Lohri comes Maghi, also called Makar Yonkranti (entry of the sun in the sign or Capricorn). It is very popular with the punjabis. On this day fairs are held at many places. The people go out for a holy dip and give away a lot of charity. The special dish of the day is kheer cooked in sugarcane juice.

PAGG

BINA PAGG TON KON KAHEGA
DILON TUHAANU SARDAR,
BINA DUPATTE NAHIYON JACHDE
SUIT TE PATIALA SHAHI SALWAR,
ANAKH , SIDAK PEHCHAN BANAAO
SIMRAN KARO BAAR BAAR,
NION K RAHEYO "SIKHI" AGGAY
ESDE EHSAAN NE ANGINAT BESHUMAAR,
RAKHAN JO LAJ SOHNIYA "PAGGAN TE DUPATTE" SIKHI DI
"DHANWAD A MANDEEP VALLON OHNA NU VAAR VAAR"

BhAgAt SiNgH sARDaR sOorMa

Bhagat Singh was a revolutionary and a martyr, born on 28 September 1907. The second son of Kishan Singh and Vidya Vati. Bhagat Singh was imbued from childhood with the family's spirit of patriotism.

"Aye watan Aye Watan humko teri kasam... teri rahon me jaan tak luta jayenge"

More on:
http://shahidbhagatsingh.org
http://en.wikipedia.org/wiki/Bhagat_Singh
http://www.marxists.org/archive/bhagat-singh/index.htm
http://www.freeindia.org/biographies/freedomfighters/bhagathsingh/index.htm
http://www.answers.com/topic/bhagat-singh

RaNgLa PuNJAb

ਵੈਨਕੂਵਰ ਦੇ ਅੰਤਰ ਰਾਸ਼ਟਰੀ ਹਵਾਈ ਅੱਡੇ ਤੇ ਪੰਜਾਬੀ ਦਾ ਬੋਲਬਾਲਾ।

ਅਸੀਂ ਸਦਾ ਸੁਖੀ ਵਸਦਾ ਪੰਜਾਬ ਮੰਗੀਏ|

ਦਿਲ ਯਾਰੋ ਰਹਿੰਦਾ ਸਦਾ ਹੋਕੇ ਭਰਦਾ,
ਚੇਤਾ ਪਰਦੇਸੀਆਂ ਨੂੰ ਆਵੇ ਘਰ ਦਾ ,
ਗੂੜ ਪਾ ਕੇ ਕੱਢੀ ਹੋਈ ਸ਼ਰਾਬ ਮੰਗੀਏ ,
ਅਸੀਂ ਸਦਾ ਸੁਖੀ ਵਸਦਾ ਪੰਜਾਬ ਮੰਗੀਏ |

ਸਿਰ ਉਤੇ ਸ਼ਾਂ ਜਿੱਨੇ ਮਾਣੀ ਗੁਰਾਂ ਦੀ,
ਤੜਕੇ ਪੰਜਾਬ ਪੜੇ ਬਾਣੀ ਗੁਰਾਂ ਦੀ ,
ਚਿੜੀ ਚੁੱਗ ਖੇਤਾਂ ਵੱਲ ਚੋਗਾ ਚਲੀਆਂ,
ਗਾਉਦੀਆਂ ਰਾਹਾਂ ਚੱ ਸਦਾ ਰਹਿਣ ਟਲੀਆਂ,
ਚਾਟੀਆਂ ਦੇ ਵਿੱਚ ਘੁਮੱਣ ਮਦਾਣੀਆਂ ,
ਰੋਣਕਾਂ ਦੀ ਰੱਬ ਤੋ ਕਿਤਾਬ ਮੰਗੀਏ,
ਅਸੀਂ ਸਦਾ ਸੁਖੀ ਵਸਦਾ ਪੰਜਾਬ ਮੰਗੀਏ|

ਸੋਓਣ ਦਾ ਮਹੀਨਾ ਹੋਵੇ, ਤੀਜ ਤੀਆਂ ਦੀ,
ਅੰਬਰਾ ਨੂੰ ਪੀੰਘ ਸ਼ੂਹੇ ਨੂਹਾਂ ਧੀਆਂ ਦੀ,
ਗਿੱਦੇ ਵਿੱਚ ਨੱਚਣ ਸੌਕੀਣ ਨਾਰੀਆਂ,
ਉਡਣ ਪਰਾਦੇਂ ਗੁਤਾਂ ਲਾਣ ਤਾਰੀਆਂ,
ਚੋਬਰਾਂ ਚੱ ਮਹਿਕਦਾ ਗੁਲਾਬ ਮੰਗੀਏ,
ਅਸੀਂ ਸਦਾ ਸੁਖੀ ਵਸਦਾ ਪੰਜਾਬ ਮੰਗੀਏ|

ਬੜਾ ਚਿੱਤ ਕਰਦਾ ਏ ਮੇਰਾ ਭਰੋਂ ਦਾ,
ਹੇਵੇ ਰੋਟੀ ਮੱਕੀ ਦੀ ਤੇ ਸਾਗ ਸਰੋਂ ਦਾ ,
ਮੱਖਣ ਦਾ ਪੇੜਾ ਹੋਵੇ ਸ਼ੱਨਾ ਲੱਸੀ ਦਾ,
ਆਊਦਾਂ ਏ ਸਵਾਦ ਪੀ ਕੇ ਲੱਸੀ ਦਾ,
ਵੱਡਾ ਵੀਰਾ ਹੋਵੇ ਭਾਬੀ ਸ਼ੇੜਦਾ ,
ਕਦੇ ਨਾ ਸ਼ਰੀਕੇ ਤੋਂ ਜਵਾਬ ਮੰਗੀਏ,
ਅਸੀਂ ਸਦਾ ਸੁਖੀ ਵਸਦਾ ਪੰਜਾਬ ਮੰਗੀਏ|

je mile v

je mile v,taan sada mast mlangi cho mile
oh sdeevi khushi,mildi nahi samaan de naal

taare taare takk bande di pahunch sukhaali karde ne
dharti wale nitt,ambar di folafaali karde ne

phulla de kumlaye chehre,mehak guwachi kaliyaan di
iss gulshan vich,luk luk baithe,eh maalhi ki karde ne!
==============================================
chitti chadhar laah sutt kudiye,pahen faqeeran di loyi
chitti chadhar nu daag laggega,loyi nu daag na koyi
ashiq bakkri mashooq kasai mein mein kardi kohi
jiyon jiyon mein mein bahuta kardi,tiyon tiyon moyi moyi
ki jaana main koyi [Bulleh Shah]
=================================================
shaama da v vehla langhiyaa,mukh na dikhiya tera
meh aya te bizli chamki,hoiya barah hanera!
teri yaad ne thokar maari,akhiyaan de kaase dull gaye ne
tainu aaun da cheta bhulliya aa,saanu saun da cheta bhulliya aa!
================================================

Babbu Maan

Babbu Maan was born in village Khant Maanpur district Fatehgarh Sahib of Punjab on 18 March, 1975. He was the youngest child among two sisters Rupi and Jassi and the only son of Babu Singh Maan (Senior). Babbu Maan was very much fond of playing music since his childhood. He would see everything with the eyes of music as even to play with pans to create rhythmic sounds. He learned how to write lyrics, at college (Punjab University, Chandigarh) when he was about 16, and all those circumstances were taking him to be a super star. After that he started singing and composing music and so on. Sukhwinder is his favorite singer and he love to listen Sukhwinder. This is also known that the Babbu Maan love the houses and walls made by clay and straw (Kucche Ghar).
ਪਿਹਲੀ ਵਾਰ ਜੱਦ ਆਖਿਆ ਕੇ TU MERI MISS INDIA
ਉਠ ਪਏ ਤੇਰੇ ਦੀਵਾਨੇ, ਉਡ ਗਈ ਸੱਬ੍ ਦੀ ਨਿੰਦਿਆ.........

ਸਫਰ ਸ਼ੁਰੂ ਹੋਇਆ ਤਾਂ ਚ੍ਲ ਪਈ SAUN DI JHADDI
ਨ੍ਚ੍ਣ ਲਈ ਨਾਲ ਬਾਈ ਦੇ , ਸਭ ਦੁਨੀਆ ਉਠ ਖ੍ੜੀ...........

ਵਕ਼ਤ ਲੰਘਿਆ ਤਾਂ ਆ ਗਈਆ OHI CHAN OHI RAATAN
ਸਾਰੇ ਜੱਗ ਵਿੱਚ ਹੋਈਆ ਬੱਬੂ ਬਾਈ ਦੀਆਂ ਬਾਤਾਂ........

ਜੱਬ ਯਾਦੋਂ ਭਰੀ ਚੱਲੀ HAWAYIEN
੮੪ ਕੇ ਦੰਗੋ ਕੀ ਯਾਦੇਂ ਆਈਂ ....................

ਜੱਦ ਤੇਰੇ ਆਸ਼ਿਕ਼ਾ ਨੂ ਲੱਗੀ ਤੇਰੀ PYASS
ਸਭ ਨੇ ਲਿਖਾਇਆ "ਮੈਂ ਤਾਂ ਤੁਰਦੀ ਫਿਰਦੀ ਲਾਸ਼"............

ਜਦੋਂ ਬਾਈ ਲੈਕੇ ਆਏ RABB NE BANAIYAN JODIEAN
ਕਿਸਮਤ ਨੇ ਸ਼ੋਰੱਤ ਦੀਆਂ ਹਵਾਵਾਂ ਬਾਈ ਵੱਲ ਮੋੜੀਆ.........

ਹੁਣ ਸਿਰ ਚੜਕੇ ਬੋਲਿਆ MERA GHAM
ਸੁਣ ਕੇ ਮਿਤਰਾਂ ਦਾ ਤਾਂ ਹੋ ਗਿਆ ਜੇ ਕੰਮ....................

ਬੜੀ ਉਡੀਕ ਮਗਰੋਂ ਬੱਬੂ ਬਾਈ ਲੇਕੇ ਆਇਆ HASHAR
ਮਾਨ ਜੱਟ ਨੇ ਤਾਂ ਰਹਿੰਦੀ ਖੁਨਦੀ ਕ੍ਡਤੀ ਕ੍ਸਰ ...............

ਪਿਆਰ੍

ਪਿਆਰ੍ ਉਹ੍ ਜੋ ਰੂਹਾਂ ਦੇ ਤਕ੍ ਗੁਜਰੇ,
ਤਕ੍ ਕੇ ਪਿਆਰ੍ ਜਿਤਾਉਣਾ ਕੋਈ ਪਿਆਰ੍ ਨਹੀ
ਦਿਲਾਂ ਵਿਚ੍ ਜੇ ਫ਼ਾਂਸ੍ਲੇ ਰੈਹ੍ ਜਾਵਣ੍,
ਸਜਨ੍ ਗਲ੍ਹ੍ ਨਾਲ੍ ਲਾਉਣਾ ਕੋਈ ਪਿਆਰ੍ ਨਹੀ
ਜਿਓਣ੍ਦੇ ਯਾਰ੍ ਦੇ ਦਿਲ੍ ਨੂ ਦੁਖ੍ ਦੇ ਕੇ,
ਪਿਛੋਂ ਕਬਰ੍ ਤੇ ਆਉਣਾ ਕੋਈ ਪਿਆਰ੍ ਨਹੀ
ਤੇਰਾ ਪਿਆਰ੍ ਕੜਕ੍ਦੀ ਦੁਪ੍,
ਸਮੇਂ ਦੇ ਨਾਲ੍ ਹੀ ਢਲ੍ ਗਿਆ ਵੇ
ਤੁ ਕੀ ਜਾਣੇ ਇਸ੍ ਦੁਪੇ,
ਸਾਡਾ ਕੀ-ਕੀ ਜਲ੍ ਗਿਆ ਵੇ
ਲੋਕੀ ਤੇਰੇ ਬਾਰੇ ਪੁਛ੍ਦੇ,
ਮੁੜ੍ ਮੁੜ੍ ਕੇ ਨਾ ਦਸਿਆ ਜਾਵੇ
ਬਦੋ ਬਦੀ ਆ ਜਾਵਨ੍ ਹਨ੍ਝੂ,
ਉਤ੍ਲੇ ਮਨੋ ਨਾ ਹਸਿਆ ਜਾਵੇ
ਅਖ਼ੀਂਆ ਦੀ ਲਾਲੀ ਤਕ੍ ਸਜ੍ਨਾ,
ਵੇ ਕੇਈ ਰਾਤਾ ਹੋਈਂਆ ਸੋਂਦੇ ਨਾ
ਅਸੀਂ ਸੋਨਾ ਵੀ ਕਿਸ੍ ਗਲ੍ਹੋਨ੍ ਆ,
ਜਦ੍ ਸੁਪ੍ਨੇ ਦੇ ਵਿਚ੍ ਆਉਂਣ੍ਦੇ ਨਾ

ਮਾਂ

ਅੰਤਾਂ ਦੇ ਲਾਡ ਲਾਉਂਦੀ ਸੀ,ਡਿੱਗੇ ਨੂੰ ਚੁੱਕ ਹਿੱਕ ਨਾਲ ਲਾਉਂਦੀ ਸੀ,ਰੂਹ ਫੁੱਲ ਵਾਗੂੰ ਖਿੜ੍ਹ ਜਾਂਦੀ,ਜਦੋਂ ਪੁੱਤ ਪੁੱਤ ਆਖ ਬੁਲਾਉਂਦੀ ਸੀ,ਲੱਖਾਂ ਦੁੱਖ ਝੱਲਦੀ ,ਫਿਰ ਵੀ ਮੱਥੇ ਵੱਟ ਨਾ ਪਾਉਂਦੀ ,ਤਾਹੀਂਓ ਤਾਂ ਮਾਂ ਮੁੜ ਮੁੜ ਚੇਤੇ ਆਉਂਦੀ,ਓਹਦੀ ਬੁੱਕਲ ਵਰਗੀ ,ਦੁਨੀਆ ਤੇ ਨਿੱਘੀ ਥਾਂ ਨੀਂ ਲੱਭਣੀ,ਉਹਦੇ ਪੱਲੇ ਵਰਗੀ ,ਦੁਨੀਆਂ ਤੇ ਸੰਘਣੀ ਛਾਂ ਨੀਂ ਲੱਭਣੀ,ਕਦਰ ਕਰੋਂ ਮਾਵਾਂ ਦੀ ,ਜੇ ਕਿਧਰ ਖੋਈ ਮੁੜ ਮਾਂ ਨੀਂ ਲੱਭਣੀ!!!!..............

ਦੇਬੀ

ਦਿੱਲ ਦੇ ਰਿਸ਼ਤੇ ਟੁੱਟਦੇ, ਡੂੰਗੇ ਜ਼ਖਮ ਲਗਾ ਜਾਂਦੇ...
ਪੀੜ ਸਹਣ ਦੀ ਬੁਕੱਤ ਹੌਲੀ ਹੌਲੀ ਆਉਂਦੀ ਏ...

ਤੱਕਣਾ ਛਡਿਆ ਤੈਨੂੰ, ਵੇਖੀਂ ਭੁਲ ਵੀ ਜਾਵਾਂਗੇ...
ਜਾਨ ਨਿਕੱਲਦੀ ਆਖਿਰ ਥੋੜਾ ਚਿਰ ਤਾਂ ਲਾਉਂਦੀ ਏ...

ਦਿੱਲ ਵਿੱਚ ਰਹਿੰਦੇ, ਦਿੱਲ ਚੋਂ ਇਕ ਦਮ ਕੱਢਣੇ ਸੌਖੇ ਨੀ...
ਸੱਜਣ ਹੁੰਦੇ ਨਸ਼ੇਆ ਵਰਗੇ ਛੱਡਣੇ ਸੌਖੇ ਨੀ...

ਖੂਨ 'ਚ ਰਚਿਆ ਤੋਂ, ਜਦ ਵੱਖਰੇ ਹੋਣਾ ਪੈ ਜਾਂਦਾ...
ਓਹਿਓ ਸਕਦਾ ਜਾਨ ਕਦੀ ਏ ਜਿਸ ਦੀ ਆਉਂਦੀ ਏ...

ਗੁਜ਼ਰ ਜਾਨਿਏ ਲਗਦੀ ਏ, ਤੂੰ ਗੁਜ਼ਰੇ ਕਲ ਜਹਿ
ਸੀਨੇ ਦੇ ਵਿੱਚ ਸੱਦਾ ਰਡਕਨੇ ਵਾਲੀ ਗਲ ਜਹਿ....

ਗੱਪ ਜਹਿ ਲੱਗਦੀ ਏ, ਜੇ ਕਰ ਮੈਨੂੰ ਕੋਇ ਕਹੇ
ਨੀਲਿਆਂ ਅੱਖਾਂ ਵਾਲਿ ਤੈਨੂੰ ਅਜੇ ਵੀ ਚਾਹੁੰਦਿ ਏ....

ਤੇਰੇ ਰਾਹਾਂ, ਤੇਰੀ ਜਿੰਦਗੀ ਵਿੱਚ ਨਾ ਆਵਾਂਗੇ ...
ਤੇਰੇ ਸ਼ਹਿਰੋਂ ਹਾਉਕੇ ਵਾਂਗੂ ਨਿੱਕਲ ਜਾਵਾਂਗੇ..

ਦੇਬੀ ਨਲੋਂ ਸਾਰੇ ਰਿਸ਼ਤੇ ਤੋਡਣ ਵਾਲਿਏ ਨੀ
ਤੇਰੇ ਨਾਂ ਨਾਲ ਦੁਨਿਆ ਸਾਨੂੰ ਕਿਓ ਬੁਲਾਂਦੀ ਏ...
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ਰੱਬ ਕਰੇ ਮੰਜ਼ੂਰ ਇੱਕੋ ਗੱਲ ਅਸੀਂ ਚਾਹਿਏ, ਤੂੰ ਅਖਾਂ ਸਾਹਮਨੇ ਹੋਵੇਂ ਜਦੋਂ ਦੁਨਿਆਂ ਤੋ ਜਾਇਏ.. ਇਸ ਸ਼ੱਰਤ ਤੇ ਪੁੱਗੇ ਸਾਨੂੰ ਪੋਟਾ ਪੋਟਾ ਹੋਣਾ, ਤੂੰ ਗਿਨੇ ਪੋਟਿਆਂ ਤੇ ਅਸੀਂ ਗਿਣਤੀ ਚ ਆਇਏ.. ਤੇਰੇ ਕੋਲ ਬਿਹ ਕੇ ਸਾਨੂੰ ਮਹਿਸੂਸ ਹੁੰਦਾ ਕੀ, ਸਥੋਂ ਹੁੰਦਾ ਨਹੀ ਬਿਆਣ ਕਿਨੇਂ ਗੀਤ ਲਿੱਖੀ ਜਾਇਏ.. ਨਿੱਗਾ ਤੇਰੇ ਵੱਲ ਜਾਵੇ ਤਾ ਗੁਣ ਦਿੱਸਦੇ ਨੇ ਲੱਖਾਂ, ਐਬ ਦਿੱਸਦੇ ਕਰੋੜਾਂ ਜਦੋ ਸ਼ੀਸ਼ੇ ਸਾਹਮਨੇ ਜਾਇਏ.. ਕਿਨੇਂ ਦੇਬੀ ਦੇ ਗੁਨਾਹ ਬਖਸ਼ਾਉਣ ਵਾਲੇ ਰਹਿੰਦੇ, ਦੇ ਦੇ ਆਗਿਆ ਕੇ ਮਾਫਿਆਂ ਮੰਗਨ ਕਦੋ ਆਇਏ..
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JE yAar mEre naAl guSsE Ne, kOi kAmi mEre wiCh hOve gI
Je yAar merE nAal guSse Ne, kOi kAmi mEre wiCh hOve gi
Oh jiNna UttE cHir dA sEe itBaAr mEre nAal guSse Ne
kOi kAmi mEre wiCh hOve gi
kOi kami mEre wiCh hOve gi
kOi kAmi mEre wiCh hOve Gi
KoI kaMi merE Wich hoVe gI

RukNa c jiThE rUkiA nAhi, jhUknA c jiThe jhUkiA nAhi
ruKnA c jiThE rUkiA nAhi,

jHukNa C jithe jhukia nahi
Je sAmE Di chAal nU tAkiA nAhi -2, jO bAn nA c bAn SaKia nAhi
kOi kAmi mEre wiCh hOve gi
kOi kami mEre wiCh hOve gi
kOi kAmi mEre wiCh hOve Gi
KoI kaMi merE Wich hoVe gI



Oh kiSe dIl wiCh ferA paAya nAhi jE kiSe nE mAinu chAhya nAhi
kiSe diL wiCh fEra pAaya nAhi Je kIsE nE mAinu chAhyA nAhi
mOoh sOhnE kInnE hOtH sOhnE -2, naA kiSe tE mErA aAya nAhi
kOi kAmi mEre wiCh hOve Gi

ਜੋ ਪਾਣੀ ਵਾਂਗ ਪਵਿਤਰ ਪਿਆਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ।

ਮਤਲਬ ਲਈ ਜੋ ਕਰੇ ਦੋਸਤੀ ਮਾੜੀ ਹੁੰਦੀ ਏ,
ਜਿਹੜਾ ਔਖੇ ਵੇਲੇ ਖੜਜੇ ਯਾਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ,
ਜੋ ਪਾਣੀ ਵਾਂਗ ਪਵਿਤਰ ਪਿਆਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ।

ਆਪਣਿਆਂ ਤੋ ਟੁੱਟ ਕੇ ਜਿਹੜਾ ਬਣਜੇ ਹੋਰਾਂ ਦਾ,
ਕਾਹਦਾ ਮਾਣ ਪਤੰਗਾ ਨੂੰ ਵੇ ਕੱਚੀਆਂ ਡੋਰਾਂ ਦਾ,
ਜਿਹੜੀ ਇਕ ਦੀ ਹੋ ਕੇ ਰਹਿ ਜੇ ਨਾਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ,
ਜੋ ਪਾਣੀ ਵਾਂਗ ਪਵਿਤਰ ਪਿਆਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ।

ਲੋਕਾਂ ਪਿਛੇ ਲੱਗਕੇ ਆਪਣੇ ਘਰ ਨਹੀਂ ਪੱਟੀਦੇ,
ਪਿਆਰ ਕੀਮਤੀ ਹੀਰਾ ਇਸਦੇ ਮੁੱਲ ਨਹੀਂ ਵੱਟੀਦੇ,
ਜਿਹੜਾ ਰੀਝਾਂ ਨਾਲ ਪਿਰੋਇਆ ਹਾਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿਂਦੇ ਨੇ,
ਜੋ ਪਾਣੀ ਵਾਂਗ ਪਵਿਤਰ ਪਿਆਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ।

ਸੱਜਣਾਂ ਦੇ ਲਈ ਵਾਧਾ ਘਾਟਾ ਜਰਨਾ ਪੈਂਦਾ ਏ,
ਕਦੇ-ਕਦੇ ਜਿੱਤ ਕੇ ਹਰਨਾ ਪੈਂਦਾ ਏ,
ਜਿਹੜੇ ਮੁੱਖ ਤੇ ਹਰ ਪੱਲ ਹਾਸਾ ਸ਼ਿਗਾਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ
ਜੋ ਪਾਣੀ ਵਾਂਗ ਪਵਿਤਰ ਪਿਆਰ ਤਾਂ ਉਹਨੂੰ ਕਹਿੰਦੇ ਨੇ।

ਸਾਨੂੰ ਮਾਣ ਪੰਜਾਬੀ ਹੌਣ ਦਾ...

ਸਾਨੂੰ ਮਾਣ ਪੰਜਾਬੀ ਹੌਣ ਦਾ...
ਅਸੀਂ ਜੰਮੇ ਪੰਜਾਬ, ਸਾਡੀ ਬੌਲੀ ਪੰਜਾਬੀ....
ਰੰਗ ਚੜ੍ਹਿਆ ਸਾਨੂੰ ਪੰਜਾਬਿਅਤ ਦਾ..
ਜੱਗ ਤੌਂ ਬਾਲ੍ਹਿਆਂ ਸਾਡੇ ਚ ਖੂੱਬਿਆਂ ਨੇ...
ਵੈਰ ਮੰਨਣਾ ਪਊ ਪੰਜਾਬਿਆਂ ਦਾ....,
ਜਿੱਥੇ ਰੱਲ ਜਾਇਏ ਚਾਰ ਪੰਜਾਬੀ..
ਊੱਥੇ ਵੱਖਰਾ ਪੰਜਾਬ ਬਣਾ ਲੈੰਦੇ..
ਰੌਬ ਮੰਨਣਾ ਪਉ ਨਵਾਬਿਆਂ ਦਾ....

WHO WE ARE ??????

ਸਾਨੂੰ ਥਾਪਣਾ ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ ਦੀ ,
ਸੀਸ ਤਲੀ ਤੇ ਰੱਖਣਾ ਜਾਣਦੇ ਹਾਂ |
ਤੱਤੀ ਤਵੀ ਤੇ ਬੈਠ ਕੇ ਗੀਤ ਗਾਈਏ ,
ਆਰੇ ਹੇਠ ਵੀ ਜਿੰਦਗੀ ਮਾਣਦੇ ਹਾਂ |
We are founded and blessed by Guru Gobind Singh, we know how to play with death. We enjoy even the most feared conditions , we enjoy the life under deadly circumstances .

ਦੋਵੇ ਬਾਲ ਅਜੇ ਵੀ ਹਸਦੇ ਨੇ ,
ਪੁੱਛ ਵੇਖਿਓ ਸਰਹੰਦ ਦੀ ਕੰਧ ਕੋਲੋ |
ਦੋਵੇ ਸ਼ੇਰ ਅਜੇ ਵੀ ਜੂਝਦੇ ਨੇ ,
ਪੁੱਛ ਵੇਖਿਓ ਚਮਕੌਰ ਦੀ ਜੰਗ ਕੋਲੋ |
Both younger sons of Guru Gobind Singh , are still smiling , go and inquire from the wall of Sarhand , where they were buried . Both elder sons are still fighting bravely , Go and inquire from the War of Chamkaur .

ਮੀਰ ਮਨੂ ਨੇ ਵਾਢੀਆਂ ਲੱਖ ਪਾਈਆਂ ,
ਅਸੀਂ ਫਿਰ ਵੀ ਖਿੜੇ ਗੁਲਜ਼ਾਰ ਵਾਂਗੂ |
ਵੱਢੇ ਸਿਰਾਂ ਦੇ ਸੀ ਜਦੋਂ ਮੁੱਲ ਪੈਂਦੇ ,
ਹੋਏ ਹੌਂਸਲੇ ਸਾਡੇ ਅੰਗਿਆਰ ਵਾਂਗੂ |
When Nwaab Meer mannu had started assassination of sikhs as if he were cutting the grass, even then we smiled like flowers. When there were cash rewards and prizes announced to cut our head, even then our confidence augmented like fire.

ਟੋਟੇ ਜਿਗਰ ਦੇ ਸਾਹਮਣੇ ਕਰਨ ਟੋਟੇ ,
ਮਾਂਵਾ ਡੱਕਰੇ ਝੋਲੀ ਪਵਾਊਂਦੀਆਂ ਨੇ |
ਉੱਚਾ ਸੁੱਟ ਕੇ ਬੋਚਦੇ ਨੇਜਿਆਂ ਤੇ ,
ਰਤਾ ਫਿਰ ਵੀ ਨਹੀ ਘਬਰਾਉਂਦੀਆਂ ਨੇ |
Children were being cut into pieces in front of the eyes of their mothers. And mothers were getting the pieces in their laps . Cruels used to throw the child in the air and then catch it on the sharp pointed spear. And all this happening in front of that brave sikh mothers who done this sacrifice but never deviated form the path of sikhism and never surrendered to that cruels .

ਅਸੀਂ ਭਾਜੀਆਂ ਮੋੜਨਾ ਜਾਣਦੇ ਹਾਂ,
ਪੁੱਛ ਵੇਖਿਓ ਮੁਗਲ ਦਰਬਾਰ ਕੋਲੋ |
ਜੇਕਰ ਫਿਰ ਵੀ ਕਿਸੇ ਨੂੰ ਸ਼ਕ ਹੋਵੇ ,
ਪੁੱਛ ਵੇਖਿਓ ਡਾਇਰ ਪਰਇਵਾਰ ਕੋਲੋ |
We perfectly know how to take revenge.Go and inquire form Mughal's court. even then if someone has any doubt, Go and inquire from Gen. Dyre's family.

ਸਾਡੀ ਪਿੱਠ ਤੇ ਖੜਾ ਇਤਿਹਾਸ ਸਾਡਾ ,
ਸਾਨੂੰ ਮਾਣ ਏ ਲਹੂ ਦੇ ਰੰਗ ਉੱਤੇ |
ਅਸੀਂ ਜਾਣਦੇ ਕਿੰਜ ਕੁਰਬਾਣ ਹੋਣਾ ,
ਸੋਹਣੇ ਦੇਸ਼ ਦੀ ਇਕ ਵੀ ਮੰਗ ਉੱਤੇ |
Our history is our witness , We are proud of the blood of sikh martyrs in our history and we know how to sacrifice for our nation, just on the first call.

ਜਦੋਂ ਅੰਬਾਂ ਨੂੰ ਲਗਿੱਆ ਬੂਰ ਹੋਵੇ ,
ਕੋਇਲ ਆਣ ਕੇ ਉਸ ਥਾਂ ਚਿਹਕਦੀ ਹੈ |
ਜਿੱਥੇ ਜਿੱਥੇ ਸ਼ਹੀਦਾਂ ਦੀ ਰੱਤ ਡੁੱਲੇ ,
ਉੱਥੇ ਫਸਲ ਗੁਲਾਬ ਦੀ ਮਹਿਕਦੀ ਹੈ |
-------------------------------------------------------
ਕੌਮਾਂ ਜਿਉਂਦੀਆਂ ਸਦਾ ਕੁਰਬਾਨੀਆਂ ਤੇ, ਅਣਖ ਮਰੇ ਤੇ ਕੌਮ ਹੈ ਮਰ ਜਾਂਦੀ ।
ਓਸ ਕੌਮ ਨੂੰ ਸਦਾ ਇਤਿਹਾਸ ਪੁੱਜੇ, ਬਿਪਤਾ ਹੱਸਕੇ ਕੌਮ ਜੋ ਜਰ ਜਾਂਦੀ ।
ਸਿਰ ਦੇ ਸਰਦਾਰ ਕਹਾਏ ਆਪਾਂ, ਤਾਹੀਉਂ ਸਿਰੀ ਦਸਤਾਰਾਂ ਸੋਂਹਦੀਆਂ ਨੇ ।
ਤਾਹੀਉਂ ਅਸਾਂ ਨੂੰ ਸਿੰਘ ਹੈ ਕਿਹਾ ਜਾਂਦਾ, ਤਾਹੀਉਂ ਅਸਾਂ ਤੋਂ ਮੌਤ ਹੈ ਡਰ ਜਾਂਦੀ ।
ਝੁਕਣ ਲਈ ਨਹੀ ਅੱਖੀਆਂ ਸਿੱਖ ਦੀਆਂ, ਇਹ ਤਾਂ ਬਣੀਆਂ ਨੇ ਸ਼ਹੀਦੀ ਖੁਮਾਰੀਆਂ ਲਈ ।
ਦੋਹਾਂ ਗੱਲਾਂ ਲਈ ਸਿੱਖ ਦਾ ਸੀਸ ਬਣਿਆ, ਜਾਂ ਆਰੀਆਂ ਲਈ ਜਾਂ ਸਰਦਾਰੀਆਂ ਲਈ ।
ਜਾਲਿਮ ਰੋਜ ਜੰਮਦੇ ਤਾਵੀਂ ਮੁੱਕ ਜਾਦੇਂ ........
ਸਿੰਘ ਰੋਜ ਮਰਦੇ ਤਾਵੀਂ ਮੁਕੱਦੇ ਨਹੀ...........
ਬੜੇਂ ਕੋਮ ਨੇ ਜਖਮ ਖਾਦੇ.........................
ਅਗਲੇ ਭਰੀ ਜਾਦੇਂ ਪਿਛਲੇ ਸੁੱਕਦੇ ਨਹੀ......
ਓ ਜਾਲਿਮ ਗੋਲੀਆਂ ਤੇ ਗਿਣ ਕੇ ਮਾਰਦਾ ਨਹੀ
ਤੇ ਲਾਛਾਂ ਅੱਗੋ ਅਸੀ ਵੀ ਗਿਣ ਕੇ ਚੁੱਕਦੇ ਨਹੀ

ਤਿਸ ਤੇ ਊਪਰਿ ਨਾਹੀ ਕੋਇ ਕਉਣੁ ਡਰੈ ਡਰੁ ਕਿਸਕਾ ਹੋਇ||

ਮੰਗਦਾ ਹਾਂ ਖੈਰ

●●══════════════════════════════════●
════════════(( ਮੰਗਦਾ ਹਾਂ ਖੈਰ ))════════════●
ਜਿੰਨਾਂ ਦਾ ਕਰਕੇ ਪੰਜਾਬੀ ਮੈਂ ਕਹਾਉੰਦਾ,
ਮੰਗਦਾ ਹਾਂ ਖੈਰ ਉਹਨਾਂ ਪੰਜਾਂ ਦਰਿਆਵਾਂ ਦੀ,
ਜਿੱਥੇ-ਜਿੱਥੇ ਬਣੇ ਨੇ ਗੁਰੂ-ਧਾਮ ਦੁਨੀਆ ਵਿੱਚ,
ਮੰਗਦਾ ਹਾਂ ਖੈਰ ਉਹਨਾਂ ਸਾਰੀਆਂ ਹੀ ਥਾਵਾਂ ਦੀ,
ਜੋ ਮੈਨੂੰ ਹਰ ਵੇਲੇ ਗਲਤੀ ਤੋਂ ਰੋਕਦੀਆਂ,
ਮੰਗਦਾ ਹਾਂ ਖੈਰ ਉਹਨਾਂ ਗਾਲਾ ਤੇ ਸਲਾਹਾਂ ਦੀ,
ਘਰਾਂ, ਪਿੰਡਾਂ, ਸ਼ਹਿਰਾਂ ਅਤੇ ਦਿਲਾਂ ਨੂੰ ਜੋ ਜੋੜਦੇ ਨੇ,
ਮੰਗਦਾ ਹਾਂ ਖੈਰ ਉਹਨਾਂ ਸਾਰਿਆਂ ਹੀ ਰਾਹਾਂ ਦੀ,
ਹਰ ਪਸ਼ੂ-ਪੰਛੀ, ਜੀਵ ਜਿਸ ਵਿੱਚੋਂ ਸਾਹ ਲਵੇ,
ਮੰਗਦਾ ਹਾਂ ਖੈਰ ਉਹਨਾਂ ਤਾਜ਼ੀਆਂ ਹਵਾਵਾਂ ਦੀ,
ਹਰ ਵਾਰ ਜਿੰਨਾਂ ਨੇ ਸਹਾਰੇ ਦਿੱਤੇ ਸੱਜਣਾ ਵੇ,
ਮੰਗਦਾ ਹਾਂ ਖੈਰ ਉਹਨਾਂ ਸਾਰੀਆਂ ਹੀ ਬਾਹਵਾਂ ਦੀ |


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●════════════(( ਐਨਾ ਉੱਚਾ ਨਾ ਲਿਜਾਵੀਂ ))════════════●

ਜਦੋਂ ਤੇਰੇ ਨਾਲ ਲਾਈ, ਕਾਹਤੋਂ ਹੋਰ ਦਰ ਜਾਵਾਂ,
ਜੇ ਮੈਂ ਕਰਾਂ ਨਾ ਗੁਨਾਹ, ਕੀਹਨੂੰ ਦੇਵੇਂ ਤੂੰ ਸਜਾਵਾਂ,
ਇਸ ਗੱਲ ਦੀ ਤਮੀਜ਼ ਤੇ ਤੌਫ਼ੀਕ ਰੱਬ ਦੇਵੇ,
ਕਦੇ ਕੰਮ ਤੋਂ ਬਗੈਰ ਵੀ ਮਿਲਨ ਤੈਨੂੰ ਆਵਾਂ,
ਮੇਰੇ ਮੱਥੇ ਨੂੰ ਨਸੀਬ ਹੁੰਦੇ ਰਹਿਣ ਤੇਰੇ ਪੈਰ,
ਮੇਰੇ ਪੈਰੀਂ ਲੱਗ ਜਾਣ ਤੇਰੇ ਪਿੰਡ ਦੀਆਂ ਰਾਹਾਂ,
ਤੂੰ ਹੀ ਦਿੱਤੀ ਮਸ਼ਹੂਰੀ, ਤੂੰ ਓਕਾਦ ਵਿੱਚ ਰੱਖੀਂ,
ਐਨਾ ਉੱਚਾ ਨਾ ਲਿਜਾਵੀਂ ਕਿ ਜ਼ਮੀਨ ਭੁੱਲ ਜਾਵਾਂ,
ਐਨਾ ਉੱਚਾ ਨਾ ਲਿਜਾਵੀਂ ਕਿ ਜ਼ਮੀਨ ਭੁੱਲ ਜਾਵਾਂ |

●══════════════════════════════════●
●════════════(( ਮੈਂ ))════════════●

ਨਾ ਮੈਂ ਬੋਡੀ-ਗਾਰਡ ਰੱਖੇ, ਨਾ ਪਿਸਤੌਲ-ਬੰਦੂਕਾਂ,
ਨਾ ਮੈਂ ਕਿਸੇ ਦੇ ਵੇਹੜੇ ਅੱਗੇ ਪੀ ਕੇ ਮਾਰਾਂ ਕੂਕਾਂ,
ਨਾ ਮੈਂ ਫੁਕਰਾ, ਨਾ ਬੇਸ਼ੁਕਰਾ, ਨਾ ਕਲੀ ਵਿੱਚ ਫੂਕਾਂ,
ਚਟਨੀ ਖਾ ਕੇ ਕਰਾਂ ਗੁਜ਼ਾਰੇ, ਰਗੜ ਗੰਡੇ ਦੀਆਂ ਭੂਕਾਂ,
ਬੱਸ ਥੋੜੇ ਜੇਹੇ ਯਾਰ ਕਮਾਏ, ਇਜ਼ੱਤ ਨਾਲ ਸਲੂਕਾਂ,
ਵੱਸਦੇ ਰਹਿਣ ਮੀਆਂ ਤੇ ਆਸ਼ਕ, ਰਾਜ਼ੀ ਰਹਿਣ ਮਸ਼ੂਕਾਂ |

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●════════════(( ਕੌਮੀ ਖੂਨ ))════════════●

ਜਿਹੜੀ ਗਊ ਸ਼ੇਰ ਦੇ ਮੂੰਹ ਆ ਗਈ,
ਉਹਦਾ ਮਾਸ ਵੀ ਨਹੀਂ ਤੇ ਉਹਦੀ ਖੱਲ ਵੀ ਨਹੀਂ,
ਜਿਹੜੇ ਬਾਗ ਦਾ ਮਨ ਬੇਈਮਾਨ ਹੋ ਜਾਵੇ,
ਉਹਦੇ ਪੱਤੇ ਵੀ ਨਹੀਂ ਤੇ ਉਹਦੇ ਫਲ ਵੀ ਨਹੀਂ,
ਜਿਹੜੇ ਮਕਾਨ ਦੀ ਨੀਂਹ ਜਵਾਬ ਦੇ ਜਾਵੇ,
ਉਹ ਬਿੰਦ ਵੀ ਨਹੀਂ ਤੇ ਉਹ ਪਲ ਵੀ ਨਹੀਂ,
ਜਿਹੜੇ ਕੌਮ ਦੇ ਖੂਨ ਵਿੱਚੋਂ ਬੇਗੈਰਤ,
ਉਹ ਅੱਜ ਵੀ ਨਹੀਂ ਤੇ ਉਹ ਕੱਲ ਵੀ ਨਹੀਂ |

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●════════════(( ਕੁਝ ਜੋ ਿਦਲ ਦੇ ਨੇੜੇ ))════════════●

ਕੁਲੀਆਂ ਚ ਰਦਿਆਂ ਨੇ ਮਹਿਲਾ ਦੇ ਜੋ ਖੁਆਬ ਦੇਖੇ ,
ਹੌਲੀ-ਹੌਲੀ ਓਹਵੀ ਪੂਰੇ ਹੋ ਗਏ ...
ਖੁਦਾ ਦੀ ਖੁਦਾਈ ਵਿੱਚ ਲੋਕਾਂ ਦੀ
ਲੁਕਾਈ ਵਿੱਚ, ਜਸ਼ਨ ਅਤੇ ਮੇਲਿਆਂ ਚ ਖ਼ੋ ਗਏ ...
ਨਕਲੀ ਜੇ ਹਾਸੇ ਮਿਲੇ ਝੂਠੇ ਜੇ ਦਿਲਾਸੇ ਮਿਲੇ ,
ਪਹਿਲਾ ਵਾਲਾ ਓਹੋ ਸੰਸਾਰ ਨਹੀਂਓ ਮਿਲਿਆ ....
ਸਾਰੇ ਹੀ ਜਹਾਨ ਵਿੱਚ ਮਿੱਤਰ ਬਣਾਏ ,
ਬੜੀਆਂ ਕਮਾਈਆ ਯਾਰੀਆਂ ,
ਕੀ ਕਈਏ ਕਿਨਆਂ ਨੇ ਕਿੰਨੀ-ਕਿੰਨੀ ਵਾਰੀ ,
ਸਾਡੀ ਜੜ ਤੇ ਚਲਾਈਆਂ ਨੇ ਜੋ ਆਰੀਆਂ ...
ਬੜੇ ਇਨਸਾਨ ਮਿਲੇ ਕਈ ਬੇਈਮਾਨ ਮਿਲੇ ,
ਤੇਰੇ ਜਿਨਾ ਉੱਚਾ ਕਿਰਦਾਰ ਨਈਓ ਮਿਲਿਆ ...
ਬੜਾ ਕੁੱਝ ਿਮੱਲ ਿਗਆ ਤੇਰੇ ਜਾਨ ਿਪਛੋ ,
ਪਰ ਤੇਰੇ ਿਜਹਾ ਸਾਨੰੂ ਿਕਤੋ ਿਪਆਰ ਨਹੀਉ ਿਮਲੀਆ ...

PUNJAB

MAIN AJJ KATHA SUNAWA APNi.............MAINU KEHNDE NE PUNJAB...
MERE SINE CH SHEK (HOLE) NE........DARD UTHDA BE HISAB.....
MERE TAN TE LAKHA JAKHAM Ne......HUNDA RIA MAI LAHU LUHAN....
KINJH..DARD SUNAWA..APNA............MERI KAMBDI AJJ JUBAN....
MAINU SADIA TO GIA LUTEA...................,,EH JANE KUL JHAN
MERE WAD WAD KITE DAKRE..........MERI KAD DE RAHE NE JAAAN..
KADE FOL KE AIS NU VEKHEO......MAI HA DARDA BHARI KITAB...


KAR FAISLA..MERI TAQDEER DA..........MERE JISM TE WAHI LAKEER
LAHU AJE V OTHO SIMDA ...........JITHO PACHEA EH SARIR
MAI ASHIQ PAK WFA DA..................MERI NAS NAS VICH HAI PEERH
MERI MITTI CH HAN SISKIA.............JINHU SUNDE PEER FAQIR....
MAI RO--RO HOEA RATRHA..............MAINU LAHU DI CHARI SLAB
KADE CHOH KE MAINU VEKHEO............WAG PAE NAINA CHO AAB

AGG WARI MERE TE KEHAR D......MERE JHULSE GAE HAN ANG...
MERE TAN TE CHALE PAE GAE..........MERA NILA HO GYA RANG
KARNE LAI MERA KHATMA ...............KHANJAR LISHKAN WICH JANG...
IK HADSA BAN K REH GAI......................SE DIL CH JO UMANG
AJJ RUHA ARSHI RONDIA.................KOI CHERE FER RABAB
AAYE HOSH TA FIR MAI VEKH LA.............BABE NANAK WALA KHAB

MAI KIS HALAT...CHO LANGEA..........MERI KISE V LAI NA SAAR
MAINU 5 DARIA PUCHDE .........EH KIHO JEA INTSAR....
MERE TOTTE TOTTE HO GAE.....MAI HOEA BOHT BEJAR
MERA AMAN KIDRE TUR GYA .....MAI DADHA BE KARAR.....
MERE ANDRO HOOOK UTHDI........ AWEE CHANAN DA INQLAB
MAI UDEEK HA JIDHI KAR RIA .....GOONJE FJA' CH FER RABAB,......

ਪਿੰਡ ਗੁਆਚ ਗਿਆ...

ਨਾਂ ਉਹ ਪਿੰਡ ਦੀਆ ਡੰਡੀਆ, ਨਾਂ ਉਹ ਪਿੰਡ ਦੇ ਹਾਣੀ
ਨਾਂ ਪਹਿਲਾਂ ਵਰਗੇ ਕਾਮੇ ਦਿਸਣ, ਨਾਂ ਉਹ ਸੱਥ ਪੁਰਾਣੀ
ਹਸਦੀ ਵਸਦੀ ਨਗਰੀ ਦਾ ਇਕ, ਝੁੰਡ ਗੁਆਚ ਗਿਆ ਹੈ ।
ਸ਼ਹਿਰ ਚ ਵਸਦਿਉ ਲੋਕੋ ਮੇਰਾ, ਪਿੰਡ ਗੁਆਚ ਗਿਆ ਹੈ ।
ਰੁਖੀ ਮਿਸੀ ਰੋਟੀ ਖਾ ਕੇ, ਸਾਰੇ ਠੰਡਾ ਪਾਣੀ ਪੀਂਦੇ ਸਾਂ
ਸ਼ਹਿਰਾਂ ਵਿਚ ਕਸੂਤੇ ਫਸ ਗਏ, ਸੋਹਣੀ ਜ਼ਿੰਦਗੀ ਜੀਂਦੇ ਸਾਂ
ਨਾਂ mundian ਦੀ ਢਾਣੀ, ਪਿੰਡ ਦਾ, ਖੂਹ ਗੁਆਚ ਗਿਆ ਹੈ
ਸ਼ਹਿਰ ਚ ਵਸਦਿਉ ਲੋਕੋ ਮੇਰਾ, ਪਿੰਡ ਗੁਆਚ ਗਿਆ ਹੈ ।
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."ਜੱਨਤ ਨਾਲੋਂ ਸੋਹਣੀਆਂ ਮੇਰੇ "ਪਿੰਡ" ਦੀਆਂ ਗਲੀਆਂ,
ਗਲੀਆਂ ਦੇ ਵਿੱਚ ਖੇਡ ਕੇ ਕੁੱਝ ਰੀਝਾਂ ਪਲੀਆਂ,
ਹਾਣੀ ਮੇਰੇ ਹਾਣ ਦੇ ਹੋ ਮੇਰੇ ਦਿਲ ਦੇ ਜਾਨੀ,
ਜਿੱਥੇ ਬਚਪਨ ਬੀਤਿਆ ਤੇ ਚੜੀ ਜਵਾਨੀ,
ਬਚਪਨ ਜਿੱਥੇ ਬੀਤਿਆ ਮੈਂ ਕਿੰਵੇਂ ਭੁਲਾਵਾਂ,
ਆਪਣੇ ਸੁਰਗਾਂ ਵਰਗੇ "ਪਿੰਡ" ਤੋਂ ਮੈਂ ਸਦਕੇ ਜਾਵਾਂ,
ਆਪਣੇ ਸੁਰਗਾਂ ਵਰਗੇ "ਪਿੰਡ" ਤੋਂ ਮੈਂ ਸਦਕੇ ਜਾਵਾਂ.

sikhi nal ishq

ਵਾਹਿਗੁਰੂ ਜੀ ਕਾ ਖਾਲਸਾ ਵਾਹਿਗੁਰੂ ਜੀ ਕੀ ਫਤਹਿ....
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ਸਿੱਖ਼ੀ ਮਹਿਬ਼ੂਬ ਨਹੀਂ ਬਣਂਦੀ ਕਮਦਿਲਿਆਂ ਤੇ ਕਮਜ਼ੋਰਾਂ ਦੀ
ਇਹ ਆਸ਼ਿਕ ਸੱਚੇ ਮਰਦ਼ਾਂ ਦੀ ਪੁੱਗਦੀ ਓਹਦੇ ਬਲਿਕਾਰਾਂ ਨੂੰ
ਸਿੱਖ਼ੀ ਨਾਲ ਕੀਤਾ ਇਸ਼ਕ ਜਿਹਨਾਂ ਕੀ ਗੁਜ਼ਰੀ ਓਹਨਾਂ ਲੋਕਾਂ ਤੇ
ਸਿੱਖ਼ੀ ਕਿਸ ਭ਼ਾਅ ਨੂੰ ਮਿਲਦੀ ਏ ਜ਼ਰਾ ਪੁੱਛ ਕੇ ਦੇਖ ਸਰਦ਼ਾਰਾਂ ਨੂੰ
ਗੁਰੂ ਗੋਬਿੰਦ ਸਿੰਘ ਜਹੇ ਅਮਰਿਤ ਵਾਲੀਆਂ ਧਾਰਾਂ ਕਹਿੜੇ ਮੁੱਲ ਮਿਲੀਆਂ
ਇਹ ਪਹਿਨਂਣ ਵਾਲੇ ਜਾਣਂਦੇ ਨੇ ਦਸਤਾਰਾਂ ਕਹਿੜੇ ਮੁੱਲ ਮਿਲੀਆਂ
ਹੱਸ ਮੰਨਣਾਂ ਯ਼ਾਰ ਦੇ ਭਾਣੇਂ ਨੂੰ ਸਿੱਖ਼ੀ ਦਾ ਪਹਿਲਾ ਕਾਇਦਾ ਏ
ਤੱਤੀ ਤਵੀ ਤੇ ਸੇਜ਼ ਵਿਛਾ ਲਇਏ ਫੁੱਲ ਸਮਝ ਲਿਆ ਅੰਗਿਆਰਾਂ ਨੂੰ
ਸਿੱਖ਼ੀ ਨਾਲ ਕੀਤਾ ਇਸ਼ਕ ਜਿਹਨਾਂ ਕੀ ਗੁਜ਼ਰੀ ਓਹਨਾਂ ਲੋਕਾਂ ਤੇ
ਸਿੱਖ਼ੀ ਕਿਸ ਭ਼ਾਅ ਨੂੰ ਮਿਲਦੀ ਏ ਜ਼ਰਾ ਪੁੱਛ ਕੇ ਦੇਖ ਸਰਦ਼ਾਰਾਂ ਨੂੰ
ਇੱਕ ਸ਼ਹਿਨਸ਼ਾਹ ਮਾਛੀਵਾੜੇ ਜੰਗਲੀ ਹੋ ਬੇਵ਼ਤਨਾ ਪਿਆ ਰਿਹਾ
ਓਹਦਾ ਲਖ਼ਤੇ ਜਿਗ਼ਰ ਸ਼ਹੀਦੀ ਪਾ ਚਮਕੌਰ ਬੇਕੱਫਣਾਂ ਪਿਆ ਰਿਹਾ
ਬੱਚਿਆਂ ਦੇ ਲਹੂ ਦਾ ਰੰਗ ਕੈਸਾ ਤੇ ਗਾੜਾ ਕਿੰਨਾ ਹੁੰਦਾ ਏ
ਓਹਦੀ ਲੱਜ਼ਤ ਕੈਸੀ ਪੁੱਛ ਜਾ ਕੇ ਸਰਹੰਦ ਦੀਆਂ ਦਿਵਾਰਾਂ ਨੂੰ
ਸਿੱਖ਼ੀ ਨਾਲ ਕੀਤਾ ਇਸ਼ਕ ਜਿਹਨਾਂ ਕੀ ਗੁਜ਼ਰੀ ਓਹਨਾਂ ਲੋਕਾਂ ਤੇ
ਸਿੱਖ਼ੀ ਕਿਸ ਭ਼ਾਅ ਨੂੰ ਮਿਲਦੀ ਏ ਜ਼ਰਾ ਪੁੱਛ ਕੇ ਦੇਖ ਸਰਦ਼ਾਰਾਂ ਨੂੰ
ਇੱਕ ਦੇਹ ਉੱਬਲ ਕੇ ਪਾਣੀਂ ਵਿੱਚ ਓਹਨੂੰ ਪਾਣੀਂ ਪਾਣੀਂ ਕਰ ਗਈ ਏ
ਕੋਈ ਬਿਨਾਂ ਸੀਸ ਤੋਂ ਲੜਦਾ ਪਿਆ ਤੱਕ ਮੌਤ ਸ਼ਰਮ ਨਾਲ ਮਰ ਗਈ ਏ
ਸਿੱਖ਼ੀ ਦੇ ਆਸ਼ਿਕ ਕਰ ਗਏ ਜੋ ਓਹ ਵਣਂਜ ਕਰੂਗਾ ਕੌਣਂ ਭਲਾ
ਸਿਰ ਵਿੱਕ ਗਏ ਅੱਸੀਆਂ ਅੱਸੀਆਂ ਦੇ ਖੁਸ਼ੀਆਂ ਨੇ ਸ਼ਾਹੂਕਾਰਾਂ ਨੂੰ
ਸਿੱਖ਼ੀ ਨਾਲ ਕੀਤਾ ਇਸ਼ਕ ਜਿਹਨਾਂ ਕੀ ਗੁਜ਼ਰੀ ਓਹਨਾਂ ਲੋਕਾਂ ਤੇ
ਸਿੱਖ਼ੀ ਕਿਸ ਭ਼ਾਅ ਨੂੰ ਮਿਲਦੀ ਏ ਜ਼ਰਾ ਪੁੱਛ ਕੇ ਦੇਖ ਸਰਦ਼ਾਰਾਂ ਨੂੰ
ਕਿਸ ਤਰਾਂ ਦੇ ਪਰਚ਼ੇ ਪੈਂਦੇ ਨੇ ਸਿੱਖ਼ੀ ਦੇ ਸਕੂਲੇ ਪੜਦਿਆਂ ਨੂੰ
ਤੱਕ ਆਰੇ ਦੇ ਨਾਲ ਚਿਰਦਿਆਂ ਨੂੰ ਜੰਡਾ ਨਾਲ ਬੱਝ ਕੇ ਸੜਦਿਆਂ ਨੂੰ
ਘੋੜਿਆਂ ਦੀਆਂ ਕਾਠ਼ੀਆਂ ਤੇ "Brar" ਇਹਦੇ ਆਸ਼ਿਕਾਂ ਰਾਤਾਂ ਕੱਟੀਆਂ ਨੇ
ਖ਼ੁਦ ਜਾਗੇ ਦਿੱਤਾ ਸੌਣਂ ਨਹੀਂ ਓਹਨਾਂ ਜ਼ੁਲਮ ਦੀਆਂ ਸਰਕਾਰਾਂ ਨੂੰ
ਸਿੱਖ਼ੀ ਨਾਲ ਕੀਤਾ ਇਸ਼ਕ ਜਿਹਨਾਂ ਕੀ ਗੁਜ਼ਰੀ ਓਹਨਾਂ ਲੋਕਾਂ ਤੇ
ਸਿੱਖ਼ੀ ਕਿਸ ਭ਼ਾਅ ਨੂੰ ਮਿਲਦੀ ਏ ਜ਼ਰਾ ਪੁੱਛ ਕੇ ਦੇਖ ਸਰਦ਼ਾਰਾਂ ਨੂੰ |
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DASMESH TERI KAUM TE JHULLIYAN BATHERIAN,
BACCHDE RAHE AA REHMATAN SIRR UTTE TERIYAAN..
LIKHEYA JO DAADHA DHUR TON,MUKKADAR NE MAAREYA,
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HAKK LAYE BAAJON JHUK GYA,US SIRR NE MAAREYA,
DUSHMAN NE MAAREYA KADE REHBAR NE MAAREYA..
DASMESH TERI KAUM NU.....

BUKKAL DE SAPP ASA TON SAAMBHE NAA JAAVDE,
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BERRHI DA RAAKHA RAB JE TUFAAN VICCH MALAAH,
CHAPPU HI IK DOOSRE TON KHO HI JAAVDE..
AAPO CH BEYAKEENI DE KHANJAR NE MAAREYA,
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DASMESH TERI KAUM NU.....

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IKKO VATTAN CH MAARE AA DOHRE KANOON DE..
HUNDA SITAM EH HO REHA SAUDA KI ASA NAAL,
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CHAADAR TANI AA BAHUTEYA MOOHAN TE BHEKH DI,
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RAKHNA NI KARZ PAI JAAVE KUJH V SAHAARNA,
TAIH AAPNA LAYA KAUM NE AAPNA UTAARNA..
MUKK SAKDE AA FER JE NAZARA NU FER LAYE,
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TERE TON UKKHRI SAADI HI EH NAZAR NE MAAREYA,
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DASMESH TERI KAUM NU.