Shivpreet Singh
Shivpreet Singh
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First Guru Amardas' shabad that has the most elegant definition of Maya in my view. It comes from Anand Sahib (Pauri 29).  Following my interpretation, I am sharing the poems I have written that are inspired by this shabad. 



Eh māyā 
This is Maaya,

jit har visrai 
by which Hari is forgotten …

moh upjai 
by which greed arises …

bhāo dūjā lāyā
by which duality attaches.


Jaisee agan udar meh 
taisee bāhar māyā
As is the fire within the womb, 
so is Maya outside

Māiā agan sabh iko jehee 
kartai khel rachāyā
The fire of Maya is one and the same
the Creator has staged this play

Jā tis bhāṇā tā jamiā 
parvār bhalā bhāyā
Divine order results in birth 
and the family is very pleased.

Liv chhuṛkee lagee trisnā 
māiā amar vartāyā
Love wears off, attachments trap 
Maya runs limitless


Kahai Nānak gur parsādī 
jinā liv lāgee 
tinee viche māyā pāyā
By Guru's Grace, 
those who are enrapt in love
find Hari within Maya

Eh māyā jit har visrai moh upjai bhāo dūjā lāyā
Kahai Nānak gur parsādī jinā liv lāgee tinee viche māyā pāyā


The Story of the Wrong Petal

Once I played a wrong note
in Raag Ramkali—
the raag that sprouts 
love of wholeness.

One finger slipped,
a small rebellion on the string,
and I could hear sirens
of the raag-police.

Yet the note kept opening—
like a heart
breaking into bloom.

For a moment I wondered:
how could this be any different
from Anandkali—joy itself, sprouting?

Afterwards the tanpura
kept breathing
its ancient tale: yes.




Choosing Petals

The fire that burns us within
is not unlike what chars the world.
 - Guru Amardas

More dangerous than those
who believe God is seated
on some distant seventh sky,

and perhaps even more fickle
than those who think
He is sitting quietly beside us,

are those who decide 
the only place He sits
is on a mitochondrial throne 

within us. It begins 
with a small preference—
a petal over the flower,

a daisy over a wild spring,
a season over the one sun
that burns without choosing.

Maya, Holding Love’s Hand

This morning I considered your hand in mine
the way one considers weather—
a warmth arriving
that leaves with its pockets full of light.

My chai cooled while I thought about
the thousand songs of forever,
of two people holding on.

Then an ancient bard cleared his throat
from somewhere behind the Bhagavad Gita
hummed a single note:
love ends but never maya.

Outside, a couple passed, hand in hand,
while the wind turned one leaf into two.

Magic of Maya

Once I saw a magician 
stretch one red ribbon
and suddenly there are two.

Today I watched a baby lizard
slide out of its parent
in an Instagram video,

landing on a thin branch
as if the tree itself
had just invented it.

What could be 
more magical
than birth?

Especially one followed by no school, 
no rehearsal, just climbing 
already without eyes. 

The ancient bard claims
Maya makes two out of one.
And what about death?

Death, that lizard still clinging 
to the branch long after the tree
has turned back into earth.

Even more
magical
than birth.

The First Separation

The first thing that happens to us
is eviction.

Someone lifts us into the light,
cuts our cord to our origin,
and suddenly the world has edges—
your body here,
your mother — somewhere else
already being called someone other.
Eh Maya!

And from that moment on
everyone encourages the distance.

They give us mirrors,
names,
opinions about what belongs to us.

The world becomes a long lesson
in the word mine.

My shoes.
My thoughts.
My problems.
Maya! 

By the time we grow up
we are excellent at being separate—
little islands with excellent Wi-Fi.

The ancient bard once
appeared in the name 
of ever-serving and
sang the song of anand, 
the song of joy!

Right here,
inside this very body
made of dust and grocery lists
and the occasional headache,

there is a door
that does not lead outward.
Eh Maya!

It opens inward.

And when the throat loosens—
just a little—
a song slips through

and suddenly
the walls between things
forget their jobs.

The body remembers the ocean
it was briefly separated from,

and for a few minutes
while the note is traveling,

mother, child, world, breath—
everything
is singing the same line.
Eh Maya
I have come to see the phrase Ghar Ghar Baba—from the writings of Bhai Gurdas—as remarkably expansive. On the surface, it simply means “Baba in every house.” But both Ghar (house) and Baba open into far richer territory.

The word ghar has always carried a deeper resonance. A house is not just a structure; it is a dwelling, a chamber, a place where something lives. If we follow this idea inward, the human body itself becomes a city of houses—trillions of cells, each a small room pulsing with life. And here, modern science offers an astonishing insight: these cells remember. Here is the article I was reading today: https://www.popularmechanics.com/science/a70578341/memory-cells-consciousness/ - Your Cells Can ‘Remember’—Meaning Your Entire Body Could Be Conscious, Some Researchers Suggest,

Research now shows that memory is not confined to the brain. Throughout the body, cells store traces of past experiences through changes in gene activity—a phenomenon known as epigenetic memory. Immune cells, for instance, “remember” previous pathogens, enabling faster responses to future threats. Memory, it turns out, is not centralized. It is distributed. The body itself is a field of remembering.

Seen through this lens, Ghar Ghar Baba becomes more than a spiritual ideal—it becomes a biological truth. Wisdom is not seated only in the mind. It is woven into every living unit of the body. Each cell carries the story of what has come before: its lineage, its adaptations, its encounters with the world.

Bhai Nandlal captures this beautifully:

“Bas buzurgi hast andar yaad-e oo.”
Greatness lies in remembering.

But here, memory is more than recollection. It is continuity. A cell remembers how to remain a skin cell rather than becoming something else. A body remembers how to heal. A culture remembers how to sing. And the human spirit remembers the presence that the saints call Baba.

So Ghar Ghar Baba can be heard anew: in every house of the body, in every cell of life, there is a remembrance. Wisdom is memory awakened. And when memory deepens, identity clarifies. When identity clarifies, service becomes natural.

The ancient bards understood this intuitively, long before molecular biology began to explain it: greatness is not something we accumulate. It is something we remember. And remembrance is already alive—in every house of the body.
Ghar Ghar Baba — the album is out now. These five shabads are available on Spotify, YouTube, and Apple Music:
  • Tera Daasan Daasa
  • Eh Maaya
  • Ghar Ghar Baba
  • Mittar Pyare Nu (feat. Suhail Yusuf Khan)
  • Yaad-e-oo

The phrase Ghar Ghar Baba comes from Bhai Gurdas’s shabad in praise of Guru Nanak. Literally, it means “Baba in every home.” But ghar is not just a physical structure—it is a doorway to something deeper. A house can be a shelter, yes, but it can also be the ribcage that holds each breath, a memory passed down through generations, a fleeting moment, even a planet or a universe. In this way, every breath becomes a home, every heart a dwelling place, every cell a quiet chamber of presence. And Baba may be the Guru, Guru Nanak, wisdom itself, or simply—love.

This album is a humble attempt to listen for that presence—the quiet, abiding wisdom that moves through every doorway of life. If we listen closely, perhaps we begin to hear what the old singers were pointing toward: that the world itself is one vast home, and the song of the Guru is already echoing in every house.

Ghar Ghar Baba.

#GharGharBaba #Shabad #ShivpreetSingh #GuruNanak #DhunAnand #SacredMusic #SpiritualMusic



I have been thinking of greatness these days and this morning I remembered a shlok by Guru Nanak which I used to often hear from my grandmother, and the more I have meditated upon it the more I have come to realize who it is a masterclass in spiritual poetry. It uses vivid natural imagery and incisive social observation to guide the seeker towards a fundamental truth. This particular composition, found on Ang 1412 of the Guru Granth Sahib, is not a single, linear argument but a diptych: two panels that, when viewed together, reveal a complete picture of spiritual integrity. The first panel uses the metaphor of the grand but useless silk-cotton tree to establish a principle of inner value. The second panel moves to the human realm, dissecting the nature of true humility versus its empty, performative shadow. Together, they form a powerful discourse on the essence of virtue, which the Guru identifies not in outward show, but in the sweet, lowly, and pure state of the heart. Here is the verse:

ਸਿੰਮਲ ਰੁਖੁ ਸਰਾਇਰਾ ਅਤਿ ਦੀਰਘ ਅਤਿ ਮੁਚੁ ॥
simmal rukh saraira at deeragh at much
The silk-cotton tree stands tall — very tall, very wide.

ਓਇ ਜਿ ਆਵਹਿ ਆਸ ਕਰਿ ਜਾਹਿ ਨਿਰਾਸੇ ਕਿਤੁ ॥
oi je aaveh aas kar jaye niraase kit
Those who come with hope leave disappointed.

ਫਲ ਫਿਕੇ ਫੁਲ ਬਕਬਕੇ ਕੰਮਿ ਨ ਆਵਹਿ ਪਤ ॥
fal fike ful bakabake kam na aaveh pat
Its fruit is tasteless, its flowers showy, its leaves of no use.

ਮਿਠਤੁ ਨੀਵੀ ਨਾਨਕਾ ਗੁਣ ਚੰਗਿਆਈਆ ਤਤੁ ॥
mithat neevi naanka gun changyaiyan tat
Sweetness and humility, Nanak — these are the essence of virtue.

ਸਭੁ ਕੋ ਨਿਵੈ ਆਪ ਕਉ ਪਰ ਕਉ ਨਿਵੈ ਨ ਕੋਇ ॥
sabh ko nivai aap kau par kau nivai na koye
Everyone bows for themselves. Few bow for another.

ਧਰਿ ਤਾਰਾਜੂ ਤੋਲੀਐ ਨਿਵੈ ਸੁ ਗਉਰਾ ਹੋਇ ॥
dhar taraajoo toliyai nivai su gauraa hoye
Place it on the scale — what lowers is weighty.

ਅਪਰਾਧੀ ਦੂਣਾ ਨਿਵੈ ਜੋ ਹੰਤਾ ਮਿਰਗਾਹਿ ॥
aparaadhee doonaa nivai jo ha(n)taa miragaeh
The guilty bow twice — like a hunter in the forest.

ਸੀਸਿ ਨਿਵਾਇਐ ਕਿਆ ਥੀਐ ਜਾ ਰਿਦੈ ਕੁਸੁਧੇ ਜਾਹਿ ॥੧॥
sees nivaiaai kiaa theeaai jaa ridhai kusudhe jaeh
What happens by lowering the head if the heart remains impure?


The opening image is striking and immediate: "The silk-cotton tree stands tall — very tall, very wide." The Guru paints a picture of immense physical grandeur. The simmal (silk-cotton tree) is a botanical marvel, towering over its surroundings, its thick trunk and sprawling branches promising shade and sustenance. It is, by all external measures, a success. Yet, this promise is a profound deception. Guru Nanak immediately subverts the image of majesty: "Those who come with hope / leave disappointed." The tree is a monument to futility. Its fruit is tasteless, offering no nourishment; its flowers are showy but lack fragrance or substance; its leaves are coarse and useless. Every part of this magnificent structure is, upon closer inspection, hollow. The tree is all form and no function, all appearance and no reality. It exists only for itself, taking up space and offering nothing of value to the world. This is a powerful allegory for a life lived solely on the surface—a life of status, wealth, and physical prowess that, devoid of inner goodness, ultimately leaves both the self and others unfulfilled.

From this negative example, the Guru distills a positive, counter-intuitive truth in the concluding couplet of the first panel: "Sweetness and humility, Nanak — / these are the essence of virtue." The word for sweetness, miṭhat, implies not just a pleasant taste but a gentle, amiable, and benevolent nature. Nīvī, or humility, is the quality of being low, both in stature and in ego. The contrast with the silk-cotton tree is absolute. The tree's virtue was in its appearance of height; true virtue lies in the "lowness" of humility. The tree's nature was bitter or useless; the virtuous nature is sweet. The Guru redefines the axis of value: spiritual weight is not measured by how high one stands, but by how deeply one can bow.

This redefinition sets the stage for the second panel, which plunges us into the complexities of human behavior. The Guru begins with a blunt observation of social reality: "Everyone bows for themselves. / Few bow for another." Here, "bowing" is a metaphor for service, deference, and sacrifice. Most human action, the Guru observes, is ultimately self-serving. Even acts of apparent kindness are often performed for personal gain, reputation, or a sense of self-satisfaction. This is the bow of the ego, a transaction where the "bow" is simply the price paid for a desired outcome.

Guru Nanak then introduces a profound paradox to redefine what true "weight" or worth is: "Place it on the scale — / what lowers is weighty." In the physical world, a heavier object makes the scale go down. In the spiritual realm, Guru Nanak reverses this law. The being who is genuinely humble, who "lowers" themselves in selfless service and submission to the Divine Will, is the one who is truly substantial, truly valuable. They have the "weight" of spiritual merit.

The Guru then provides two contrasting examples of "lowness" to clarify this paradox. The first is the hunter in the forest. To successfully hunt a deer, the hunter must crouch low, becoming small and inconspicuous. This bowing is born of aparādh, or guilt—the intention to do harm. It is a strategic lowering of the self for a selfish and violent purpose. This bow is heavy with sin, not virtue. The second example is implied in the rhetorical question that ends the salok: "What happens by lowering the head / if the heart remains impure?" This points to the ritualistic bow, the empty gesture of piety performed in temples or before holy men, while the heart remains filled with ego, greed, and malice. This bow is like the silk-cotton tree—impressive in its outward form but utterly hollow at its core. It carries no weight on the spiritual scale.

The hunter and the hypocrite perform the same physical act as the truly humble person—they lower themselves. But their inner state, their intention, is diametrically opposed. The true humility the Guru advocates is not a posture but a condition of the heart. It is a sweetness of being that arises from the eradication of ego, a natural lowness that seeks nothing for itself. It is the essence (tat) of virtue, the reality behind the form.

In this salok, Guru Nanak guides the seeker from a deceptive exterior to a truthful interior. He dismantles our attachment to the grand and the showy, using the silk-cotton tree as a warning against a life of hollow appearance. He then challenges our understanding of human action, forcing us to look beyond the gesture to the intention. The true measure of a person, the Guru declares, is not their height, their show, or even their bowed head, but the purity of their heart. To be truly "weighty," one must be inwardly sweet and genuinely low—a state of being that requires no performance, for it is the very essence of the soul in harmony with the Divine.

And the epitome of harmony with the Divine: considering everything that is happening as sweet. A matra to live by: Meetha Meetha!



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SHIVPREET SINGH

Singing oneness!
- Shivpreet Singh

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