Since the dawn of the 21st century, the West has witnessed a remarkable wave of enthusiasm for the promotion and spread of Gurmat Sangeet. This was the era when accomplished keertaniyas and musicians journeyed from East to West, carrying the fragrance of the Sikh musical tradition. Ironically, it was also the same period when linguists and scholars voiced concerns that the Punjabi language might soon fade. Amidst these anxieties, the Punjabi diaspora, especially the Sikh community, did more than establish themselves economically and politically. They safeguarded their cultural and religious heritage with deep commitment. Today, it is heartening to see how their efforts have given new strength to the Punjabi language (Gurmukhi) and Gurmat Sangeet, creating a revival that is not only flourishing in the West but flowing back into the East as well. Importantly, this revival is part of a much longer arc.
Sikh leaders and scholars had for decades envisioned restoring the Tanti Saaz tradition of the Gurus’ time. Their vision found practical momentum under leaders like Dr. Gurnam Singh and Prof. Kartar Singh, whose tireless efforts led to the reintroduction of these instruments at Sri Harmandir Sahib, Amritsar, in 2006.
This spirit was beautifully embodied by a Gurmat Sangeet ensemble from the United States, led by Ms. Leena Singh, which recently toured India. The group comprised eight members who offered Keertan at several historic Gurdwaras and academies in Delhi, Punjab, and beyond. What set them apart was their devotion to performing Gurmat Sangeet in its authentic instrumental tradition. Their ensemble included the Rabab—the very first instrument of Gurmat Sangeet—alongside the Taus, Saranda, Dilruba, Swar Mandal, and Sitar, an ancient instrument of Indian classical music. The absence of the harmonium, a now-ubiquitous addition to Shabad Keertan, underscored their intent to preserve the original spirit of Sikh sacred music. These young students have been learning Gurmat Sangeet for many years with discipline and dedication, participating in both Western music competitions and Sikh Keertan samagams. Their efforts and achievements have already been recognized in a SikhNet feature article, which highlighted the growing impact of their work. The sight of students between the ages of nine and twenty-two, seated with their teacher and playing these instruments with confidence and grace, left congregations deeply moved. This historic India tour was the natural next milestone in their journey of devotion and discipline.
The journey began on July 27th at Gurdwara Bangla Sahib, New Delhi. In a rare gesture, the management arranged the stage so every student could be visibly seated, a moment many described as Waheguru’s grace. The Raag Malhaar Chauki filled the hall with tranquility, and listeners described the Keertan as “a return to the Guru’s own time.” At Gurdwara Sis Ganj Sahib the next day, the sangat was visibly touched, with many describing the experience as one that gave them goosebumps and carried them into the presence of the Guru.
Fateh Garh Sahib, University, July 30th From Delhi, the group traveled to Punjab. On July 30th, at Fatehgarh Sahib, Sri Guru Granth Sahib World University hosted a Samagam under the banner “Puratan Tanti Saazan Teh Raagan Dee Peshkari.” Large banners welcomed the group, and local media highlighted the uniqueness of the event. Their presentation often included Shabads of Guru Tegh Bahadur Ji, sung in commemoration of the 350th anniversary of his martyrdom. They also performed Malhar Di Chauki, as Raag Malhar is traditionally sung in the rainy season according to Gurmat Sangeet, and offered Gurmat Raaganjali, a creative presentation rooted in scriptural Raags.
At Anandpur Sahib Sis Ganj Gurdwara, the Acting Jathedar of Akal Takhat Sahib, Singh Sahib Giani Kuldeep Singh Ji, arranged the Samagam. The performance began with a Manglacharan and continued with Shabads in different Raags. Adding a special dimension, the group presented Gurmat Raaganjali, a unique composition inspired in part by Western musical traditions. Based on the 31 Raags of Sri Guru Granth Sahib, it weaves the scripture’s Raags into a continuous and interconnected flow, performed entirely on traditional Sikh string instruments. The sangat sat in awe, with many requesting encore after encore.
On August 1st, at Guru Kashi University near Takhat Sri Damdama Sahib, hundreds of students and faculty gathered for “Shaam of Anhad Naad,” rising to their feet in ovation.
The tour reached its spiritual zenith on August 2nd at Sri Darbar Sahib, Amritsar, where the ensemble offered Keertan in Raag with Tanti Saaz in the sanctified presence of Head Granthi Giani Raghbir Singh Ji, who offered his personal appreciation. The group was also formally honored by the SGPC within the Darbar Sahib premises. Prominent Punjabi newspapers and televisions carried the story under headlines such as, “Children from the West bring Gurbani Raags and Tanti Saaz to Sri Darbar Sahib.”
The concluding chapter of the tour unfolded on August 4th at Chief Khalsa Diwan, one of Sikhism’s most esteemed institutions, where the President personally honored the group. At every step, Sangat members expressed amazement and gratitude that youth raised abroad were bringing back the Guru’s own tradition of Raag-based Keertan with heritage instruments. One elder remarked, “This is not merely a symphony, it is the Guru’s blessing returned to us.”
For Ms. Leena Singh, the tour was both humbling and transformative. Born in Chandigarh, she pursued Computer Science Engineering before moving to the United States in 1995, where she balanced her professional career with her love for Gurbani. A disciple of Professor Dr. Gurnam Singh Ji, a leading authority on Gurmat Sangeet, and Ustad Homayoun Sakhi, the world-renowned Rabab master, she immersed herself in Gurmat Sangeet while raising her family. Over the years, she founded the Sikh Heritage Symphony, trained dozens of students, authored works such as Raag Naad Journey with Dr. Gurnam Singh, and produced complete English audio translations of Sri Guru Granth Sahib. Her students have performed on some of the world’s most prestigious stages, including Carnegie Hall. This India tour, however, was a return to the source - a fulfillment of a vision to bring the authentic sound of Gurbani back to its birthplace.
Between July 24 and August 6, the students -Jaspreet Singh and Raisa Kaur on Rabab, Keerat Kaur on Dilruba, Amrit Kaur on Taus, Kirpa Kaur and Suhavi Kaur on Sitar, and Arni Manglani on Saranda, performed with remarkable devotion and artistry. Their collective effort reflected years of disciplined learning, but above all, a deep love for Gurbani.
This tour symbolized more than musicology. It represented Gurmat Sangeet returning from West to East in its original essence, reminding Sikhs everywhere of the timeless beauty of Raag and the sacred power of string instruments. It carried a message that resonates deeply: if young people in the West can embrace and excel in this authentic tradition, then surely the youth of Punjab, born in the very land of the Gurus, can reclaim it too.
The need of the hour is collaboration. Students in Punjab often face limited resources, with many academies lacking even basic instruments, while youth abroad have access to training and global exposure. At the same time, students in the West long for deeper connection with the spiritual homeland of Sikhism. Bringing these two streams together holds enormous potential. Parents traveling to Punjab should consider organizing such learning tours for their children. Likewise, Sikh institutions in India must open their doors to host and support visiting ensembles, allowing for a meaningful exchange of culture, devotion, and knowledge.
This tour showed what is possible when devotion meets discipline and when Waheguru’s grace carries an effort forward. It also planted the seed for a larger movement: that of students from East and West learning together, sharing their strengths, and restoring Gurmat Sangeet in its purest form for generations to come.