By Joseph Davey Cunningham

It is a 1915 variation of the unique e-book that used to be written in 1848. It strains the foundation and development of the Sikh kingdom from the time of Guru Nanak as much as the 1st conflict with the British in 1845-46. A completely researched quantity, it describes the rustic and its humans, the reform and teachings of Guru Nanak, the opposite Sikh professionals and ameliorations by means of Guru Gobind Singh, the institution of Sikh independence, the increase of Ranjit Singh, the supremacy of Ranjit Singh and his conquest of Multan, Kashmir and Peshawar, the deaths of Ranjit and Jawahar Singh and the battle with the English.

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Naojiat events amplify distinctions even as they briefly pull the skein of social relationships into a tight concentration. Musicians at temple festivals, for example, spare no effort to remain audible as distinct troupes, never matching rhythm, key, or timbre to match other troupes performing beside them, often simultaneously. A soundscape of densely layered lines, attracted to the space of the temple mouth but never resolving into sonic unity, extends through naojiat places. Like drinking games among friends, the register is agonistic, if one of festive competition.

In this narrative, A-Sian underscores the emotional and physical lightness usually associated with noisy-hot crowds. The narrative maintains its force through depiction of noise, violent competition, and tension across space. All are elements of naojiat. The procession mediates between disaster and redress, suggesting a relationship between the figure of the deity and a larger social network, beyond competition, that acts as a subject during times of commonly felt crisis (Sangren 1987, 2000). The lightest team best embodied collective (and divine) response to disaster.

Because carriers are not always fixed groups, but often open to crowds of worshippers struggling to lift or touch the palanquin briefly during the climax of processions, this contagious quality of palanquins extends into naojiat crowds, intensifying the movement between participants and observers. If incense accumulated in temple censers, images of deities, and architecture are all crowd products that maintain reciprocity and respect, community boundaries, and evaluative geographies, carrying palanquins forms another sort of demonstration: that of the reality of a larger subject than individual carriers.

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