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Bhajan

February 05, 2023

Bhajan refers to any devotional song with a religious theme or spiritual ideas, specifically among Indian religions, in any language.[1] The term bhajanam (Sanskrit: भजनम्) means reverence and originates from the root word bhaj (Sanskrit: भज्), which means to revere, as in 'Bhaja Govindam' (Revere Govinda). The term bhajana also means sharing.

Bhajan in Coimbatore, Tamil Nadu, during Navratri Golu.

The term 'bhajan' is also commonly used to refer a group event, with one or more lead singers, accompanied with music, and sometimes dancing.[2] Normally, bhajans are accompanied by percussion instruments such as tabla, dholak or a tambourine. Handheld small cymbals (kartals) are also commonly used to maintain the beat. A bhajan may be sung in a temple, in a home, under a tree in the open, near a river bank or a place of historic significance.[3]

Having no prescribed form, or set rules, bhajans are normally lyrical and based on melodic ragas.[4] It belongs to a genre of music and arts that developed during the Bhakti movement.[1] It is found in the various traditions of Hinduism as well as Jainism. Within Hinduism, bhajans are particularly prevalent in Vaishnavism.[1]

Ideas from scriptures, legendary epics, the teachings of saints and loving devotion to a deity are typical subjects in bhajans.[4]

Bhajans have been widely composed anonymously and shared as a musical and arts tradition. Genres such as Nirguni, Gorakhanathi, Vallabhapanthi, Ashtachhap, Madhura-bhakti and the traditional South Indian form Sampradya Bhajan each have their own repertoire and methods of singing.[5]

Etymology

The Sanskrit word bhajan or bhajana is derived from the root bhaj, which means "divide, share, partake, participate, to belong to".[6][7][8] The word also connotes "attachment, devotion to, fondness for, homage, faith or love, worship, piety to something as a spiritual, religious principle or means of salvation".[9]

Hinduism

Historical roots

In Hinduism, Bhajan and its Bhakti term Kirtan, have roots in the ancient metric and musical traditions of the Vedic era, particularly the Samaveda. The Samaveda Samhita is not meant to be read as a text, but sung as it is like a musical score sheet that must be heard.[10]

Other late Vedic texts mention the two scholars Shilalin (IAST: Śilālin) and Krishashva (IAST: Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing and dance.[11][12] The art schools of Shilalin and Krishashva may have been associated with the performance of Vedic rituals, which involved story telling with embedded ethical values.[11] The Vedic traditions integrated rituals with performance arts, such as a dramatic play, where not only praises to gods were recited or sung, but the dialogues were part of a dramatic representation and discussion of spiritual themes.[13][14]

A lyric from a Hindu Bhajan

This body is but a guest of four days,
a house made of dirt.
On this earth your mark is made,
a symbol of your good work.

— Translated by David N. Lorenzen[15]

The Vedas and Upanishads celebrate Nada-Brahman, where certain sounds are considered elemental, triggering emotional feelings without necessarily having a literal meaning, and this is deemed a sacred, liminal experience of the primeval ultimate reality and supreme truth.[16][17][18] This supreme truth is considered as full of bliss and rasa (emotional taste) in the Hindu thought, and melodic sound is considered a part of human spiritual experience.[16] Devotional music genres such as Bhajan are part of a tradition that emerged from these roots.[16]

Hindu Bhajans

A Bhajan in Hindu traditions is an informal, loosely structured devotional song with music in a regional language.[19] They are found all over India and Nepal, but are particularly popular among the Vaishnav traditions such as those driven by devotion to avatars of Vishnu such as Krishna, Rama, Vitthal and Narayana (often with their consorts).[1][19] In Southern India, Bhajanais follow a tradition (Sampradaya) called the Dakshina Bharatha Sampradaya Bhajanai. This involves a tradition that has been followed for the last several centuries and includes Songs/Krithis/Lyrics from great composers all over India encompassing many Indian languages.[20]

A Bhajan may be sung individually, but more commonly together as a choral event wherein the lyrics include religious or spiritual themes in the local language.[1][4] Bhajans often describe loving devotion to a deity, legends from the Epics or the Puranas, compositions of Bhakti movement saints, or spiritual themes from Hindu scriptures.[21] The Bhajans in many Hindu traditions are a form of congregational singing and bonding, that gives the individual an opportunity to share in the music-driven spiritual and liturgical experience as well as the community a shared sense of identity, wherein people share food, meet and reconnect.[22] Bhajans have played a significant role in community organization in 19th and 20th century colonial era, when Indian workers were brought to distant lands such as Trinidad, Fiji and South Africa as cheap labor on plantations.[23][24][25]

Some Bhajans are centuries old, popular on a pan-regional basis, passed down as a community tradition, while others are newly composed. Everyone in the Hindu tradition are free to compose a Bhajan with whatever ideas or in praise of any deity of their wish. But since they are sung, they typically follow meters of classical Indian music, the raga and the tala to go with the musical instruments.[26] They are sung in open air, inside temples such as those of Swaminarayan movement, in Vaishnava monasteries, during festivals or special events, and at pilgrimage sites.[22]

There are some terms related to bhajan. Bhajansimran and Bhajankirtan help a disciple to achieve the higher reverence towards God.

Bhajan versus Kirtan in the Hindu traditions

A Bhajan is closely related to Kirtan, with both sharing common aims, subjects, musical themes and being devotional performance arts. A Bhajan is more free in form, and can be singular melody that is performed by a single singer with or without one and more musical instruments. Kirtan, in contrast, differs in being a more structured team performance, typically with a call and response musical structure, similar to an intimate conversation or gentle sharing of ideas, and it includes two or more musical instruments,[27][28] with roots in the prosody principles of the Vedic era.[29]

Many Kirtan are structured for more audience participation, where the singer calls a spiritual chant, a hymn, a mantra or a theme, the audience then responds back by repeating the chant or by chanting back a reply of their shared beliefs.[30][31] A Bhajan, in contrast, is either experienced in silence or a "sing along".[27][32]

Jainism

Stavan is a form of popular and historically pervasive genre of devotional music in Jainism.[33] The subject of a Stavan varies, ranging from praise of Jina, Jain religious ideas and its philosophy, in a manner similar to Bhakti Bhajans.[33]

Jainism rejects any Creator god, but accepts protector deities and rebirth of souls as heavenly beings, and its devotional singing traditions integrate these beliefs. Stavan may include dancing and worship rituals. Known as Bhajan in north and west Indian regional languages, a Stavan is typically sung as folk melodies by groups of Jain women, and are a formal part of ceremonies and celebrations within Jainism.[34]

Sikhism

The Sikh tradition places major emphasis on devotional worship to one formless God, and Bhajans are a part of this worship.[35] A more common form of community singing is called Shabad Kirtan in Sikhism.[4][2] A Shabad Kirtan is performed by professional religious musicians, wherein bani ('word', or 'hymns') from the Sikh scripture are sung to a certain raga and tala.[36]

Modern composers and singers of Bhajans

Local musicians singing bhajan at Kamakhya temple, Guwahati, Assam, India

A modern Bhajan has no fixed form: it may be as simple as a mantra or kirtan or as sophisticated as the dhrupad, thumri or kriti with music based on classical ragas and talas.[37]

V. D. Paluskar and V. N. Bhatkhande have combined Indian classical music with bhajan. Pandit Kumar Gandharva made famous the Nirguni Bhajans of Sant Kabir and Malwa Region. The dancer Mallika Sarabhai has produced performances based on bhajans. Abhinaya Chakravathi Sri JS Eswara Prasad Rao of Hyderabad, who is the disciple of AL Krishnamurthy Bhagavathar, Pudukkottai system, has produced performances based on Sampradaya bhajans under the title "Nitrya Sankeerthnam".[citation needed]

Bhajans of Vaishnavism, Shaivism, Shaktism traditions, Vedic mantras and Yoga chants have been composed, published in Western musical sheet format or recorded by western singers such as Krishna Das, Deva Premal, Miten, and by various West Indies singers influenced by East Indian heritage.[38][39][40]

The Stavan compositions and literature of the Jainism tradition are extensive, with a historic overview provided by Sri Sudhara Stavan Sangrah, traditionally preserved in "puja box" by Jain families.[41] It is vectored text with Jain lyrics and is canonically inspired.[41]

Kripalu Maharaj is one of the modern era bhakti leaders and bhajan-kirtan composers.[42] He has composed eleven thousand one hundred and eleven doha (couplets) on the leela of Radha and Krishna, and the devotional philosophy called Radha Govind Geet; 1008 pad (songs) called Prem Ras Madira; hundreds of kirtan in the form of Yugal Shatak and Yugal Ras and twelve pad which fully describe the beauty and the decorations of Krishna, and thirteen pad which describe the beauty and the decorations of Radha called Shree Krishn Dwadashi and Shree Radha Trayodashi.[43] Renditions of Shree Maharaji's bhajans and kirtans have been recorded by well-known singers in India such as Manna Dey,[44] Ajnish, Anuradha Paudwal and Anup Jalota.[45][46]

In the olden days, Sants such as Mirabai, Surdas, and Narsinh Mehta composed several bhajans that are universally sung even today.

See also

References

  1. ^ a b c d e James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M. The Rosen Publishing Group. p. 97. ISBN 978-0-8239-3179-8.
  2. ^ a b Arnold P. Kaminsky; Roger D. Long (2011). India Today: An Encyclopedia of Life in the Republic. ABC-CLIO. pp. 484–485. ISBN 978-0-313-37463-0.
  3. ^ Anna King, John Brockington, The Intimate Other: Love Divine in Indic Religions, Orient Longman 2005, p 179.
  4. ^ a b c d Denise Cush; Catherine Robinson; Michael York (2012). Encyclopedia of Hinduism. Routledge. pp. 87–88. ISBN 978-1-135-18979-2.
  5. ^ Amaresh Datta (1987). Encyclopaedia of Indian Literature: A-Devo. Sahitya Akademi. pp. 430–431. ISBN 978-81-260-1803-1.
  6. ^ Cutler, Norman (1987). Songs of Experience. Indiana University Press. p. 1. ISBN 978-0-253-35334-4.
  7. ^ Pechilis Prentiss, Karen (1999). The Embodiment of Bhakti. US: Oxford University Press. p. 24. ISBN 978-0-19-512813-0.
  8. ^ Werner, Karel (1993). Love Divine: studies in bhakti and devotional mysticism. Routledge. p. 168. ISBN 978-0-7007-0235-0.
  9. ^ Monier Monier-Williams (1872). A Sanskrit-English Dictionary. Oxford University Press. p. 695.
  10. ^ Frits Staal (2009), Discovering the Vedas: Origins, Mantras, Rituals, Insights, Penguin, ISBN 978-0143099864, pages 107-112
  11. ^ a b Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. pp. 111–114. ISBN 978-81-208-1234-5.
  12. ^ Tarla Mehta 1995, pp. xxiv, xxxi–xxxii, 17.
  13. ^ ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav, ISBN 978-8170172789, pages 45–47
  14. ^ Maurice Winternitz 2008, pp. 181–182.
  15. ^ David N. Lorenzen (1995). Bhakti Religion in North India: Community Identity and Political Action. State University of New York Press. p. 242. ISBN 978-0-7914-2025-6.
  16. ^ a b c Guy Beck (1998). Bruno Nettl; et al. (eds.). The Garland Encyclopedia of World Music: South Asia, the Indian subcontinent. Routledge. pp. 246–247. ISBN 978-0-8240-4946-1.
  17. ^ Annette Wilke; Oliver Moebus (2011). Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism. Walter de Gruyter. pp. 886–898. ISBN 978-3-11-024003-0.
  18. ^ Stephen Breck Reid (2001). Psalms and Practice: Worship, Virtue, and Authority. Liturgical Press. p. 10. ISBN 978-0-8146-5080-6.
  19. ^ a b Guy Beck (1998). Bruno Nettl; et al. (eds.). The Garland Encyclopedia of World Music: South Asia, the Indian subcontinent. Routledge. pp. 251–254. ISBN 978-0-8240-4946-1.
  20. ^ Kuppuswamy, Gowri; Hariharan, M. "BHAJANA TRADITION IN SOUTH INDIA" (PDF). {{cite journal}}: Cite journal requires |journal= (help)
  21. ^ Annette Wilke; Oliver Moebus (2011). Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism. Walter de Gruyter. pp. 2–3, 33–37. ISBN 978-3-11-024003-0.
  22. ^ a b Guy Beck (1998). Bruno Nettl; et al. (eds.). The Garland Encyclopedia of World Music: South Asia, the Indian subcontinent. Routledge. pp. 254–255. ISBN 978-0-8240-4946-1.
  23. ^ Movindri Reddy (2015). Social Movements and the Indian Diaspora. Routledge. p. 164. ISBN 978-1-317-47897-3.
  24. ^ Helen Myers (1998). Music of Hindu Trinidad: Songs from the India Diaspora. University of Chicago Press. pp. 88, 128. ISBN 978-0-226-55453-2.
  25. ^ O'Callaghan, Marion (1998). "Hinduism in the Indian Diaspora in Trinidad". Journal of Hindu-Christian Studies. 11 (1). doi:10.7825/2164-6279.1178.
  26. ^ Guy Beck (1998). Bruno Nettl; et al. (eds.). The Garland Encyclopedia of World Music: South Asia, the Indian subcontinent. Routledge. pp. 247–253. ISBN 978-0-8240-4946-1.
  27. ^ a b Peter Lavezzoli (2006). The Dawn of Indian Music in the West. A&C Black. pp. 371–372. ISBN 978-0-8264-1815-9.
  28. ^ Sara Black Brown (2014). "Krishna, Christians, and Colors: The Socially Binding Influence of Kirtan Singing at a Utah Hare Krishna Festival". Ethnomusicology. University of Illinois Press. 58 (3): 454–480. doi:10.5406/ethnomusicology.58.3.0454.
  29. ^ Alanna Kaivalya (2014). Sacred Sound: Discovering the Myth and Meaning of Mantra and Kirtan. New World. pp. 117–122. ISBN 978-1-60868-244-7.
  30. ^ Alanna Kaivalya (2014). Sacred Sound: Discovering the Myth and Meaning of Mantra and Kirtan. New World. pp. 3–17, 34–35. ISBN 978-1-60868-244-7.
  31. ^ Sara Brown (2012), Every Word Is a Song, Every Step Is a Dance, PhD Thesis, Florida State University (Advisor: Michael Bakan), pages 25-26, 87-88, 277
  32. ^ Malory Nye (2013). A Place for Our Gods: The Construction of an Edinburgh Hindu Temple Community. Routledge. p. 113. ISBN 978-1-136-78504-7.
  33. ^ a b M. Whitney Kelting (2001). Singing to the Jinas: Jain Laywomen, Mandal Singing, and the Negotiations of Jain Devotion. Oxford University Press. pp. 28–29, 84. ISBN 978-0-19-803211-3.
  34. ^ Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). South Asian Folklore: An Encyclopedia. Routledge. p. 302. ISBN 978-0-415-93919-5.
  35. ^ J. Gordon Melton; Martin Baumann (2010). Religions of the World: A Comprehensive Encyclopedia of Beliefs and Practices, 2nd Edition. ABC-CLIO. p. 1397. ISBN 978-1-59884-204-3.
  36. ^ Kristen Haar; Sewa Singh Kalsi (2009). Sikhism. Infobase. pp. 60–61. ISBN 978-1-4381-0647-2.
  37. ^ David Courtney: http://www.chandrakantha.com/articles/indian_music/bhajan.html
  38. ^ Isabel Laack (2011). Religion und Musik in Glastonbury: Eine Fallstudie zu gegenwärtigen Formen religiöser Identitätsdiskurse. Vandenhoeck & Ruprecht. pp. 298–306, 582. ISBN 978-3-647-54011-5.
  39. ^ Helen Myers (1998). Music of Hindu Trinidad: Songs from the India Diaspora. University of Chicago Press. pp. 294–339, 111–150. ISBN 978-0-226-55453-2.
  40. ^ Annette Wilke; Oliver Moebus (2011). Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism. Walter de Gruyter. pp. 285, 477–484, 790–801. ISBN 978-3-11-024003-0.
  41. ^ a b Mary Whitney Kelting (2001). Singing to the Jinas: Jain Laywomen, Maṇḍaḷ Singing, and the Negotiations of Jain Devotion. Oxford University Press. pp. 69, 215 with footnotes 13–14. ISBN 978-0-19-514011-8.
  42. ^ Hutton, F. 2008. Rose lore: essays in cultural history and semiotics. Lexington Books.
  43. ^ Saraswati, S. 2001. The true history and the relfigion of India: a concise encyclopedia of authentic hinduism. Motilal Banarsidass
  44. ^ Kinnear, M. 1985. A discography of Hindustani and Karnatic music. Greenwood Press.
  45. ^ Rang De with Anup Jalota at Radha Madhav Dham, Austin 5 April 2016 at the Wayback Machine. 20 October 2011. Indo-American News. Retrieved 15 December 2011.
  46. ^ Sampradaya Bhajanai, Birmingham, UK. 14 July 2017. How to perform Dakshina Bharatha Sampradaya Bhajanai with English Lyrics.

Bibliography

  • Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249–254. doi:10.2307/3204783. JSTOR 3204783.
  • Natalia Lidova (2014). Natyashastra. Oxford University Press. doi:10.1093/obo/9780195399318-0071.
  • Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5.
  • Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0.
  • Adya Rangacharya (1998). Introduction to Bharata's Nāṭyaśāstra. Munshiram Manoharlal Publishers. ISBN 978-81-215-0829-2.
  • Sreenath Nair (2015). The Natyasastra and the Body in Performance: Essays on Indian Theories of Dance and Drama. McFarland. ISBN 978-1-4766-1221-8.
  • Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3.
  • Maurice Winternitz (2008). History of Indian Literature Vol 3 (Original in German published in 1922, translated into English by VS Sarma, 1981). New Delhi: Motilal Banarsidass. ISBN 978-8120800564.

External links

 
Wikiquote has quotations related to Bhajan.

February 05, 2023
bhajan, refers, devotional, song, with, religious, theme, spiritual, ideas, specifically, among, indian, religions, language, term, bhajanam, sanskrit, भजनम, means, reverence, originates, from, root, word, bhaj, sanskrit, भज, which, means, revere, bhaja, govin. Bhajan refers to any devotional song with a religious theme or spiritual ideas specifically among Indian religions in any language 1 The term bhajanam Sanskrit भजनम means reverence and originates from the root word bhaj Sanskrit भज which means to revere as in Bhaja Govindam Revere Govinda The term bhajana also means sharing Bhajan in Coimbatore Tamil Nadu during Navratri Golu The term bhajan is also commonly used to refer a group event with one or more lead singers accompanied with music and sometimes dancing 2 Normally bhajans are accompanied by percussion instruments such as tabla dholak or a tambourine Handheld small cymbals kartals are also commonly used to maintain the beat A bhajan may be sung in a temple in a home under a tree in the open near a river bank or a place of historic significance 3 Having no prescribed form or set rules bhajans are normally lyrical and based on melodic ragas 4 It belongs to a genre of music and arts that developed during the Bhakti movement 1 It is found in the various traditions of Hinduism as well as Jainism Within Hinduism bhajans are particularly prevalent in Vaishnavism 1 Ideas from scriptures legendary epics the teachings of saints and loving devotion to a deity are typical subjects in bhajans 4 Bhajans have been widely composed anonymously and shared as a musical and arts tradition Genres such as Nirguni Gorakhanathi Vallabhapanthi Ashtachhap Madhura bhakti and the traditional South Indian form Sampradya Bhajan each have their own repertoire and methods of singing 5 Contents 1 Etymology 2 Hinduism 2 1 Historical roots 2 2 Hindu Bhajans 2 3 Bhajan versus Kirtan in the Hindu traditions 3 Jainism 4 Sikhism 5 Modern composers and singers of Bhajans 6 See also 7 References 7 1 Bibliography 8 External linksEtymology EditThe Sanskrit word bhajan or bhajana is derived from the root bhaj which means divide share partake participate to belong to 6 7 8 The word also connotes attachment devotion to fondness for homage faith or love worship piety to something as a spiritual religious principle or means of salvation 9 Hinduism EditHistorical roots Edit In Hinduism Bhajan and its Bhakti term Kirtan have roots in the ancient metric and musical traditions of the Vedic era particularly the Samaveda The Samaveda Samhita is not meant to be read as a text but sung as it is like a musical score sheet that must be heard 10 Other late Vedic texts mention the two scholars Shilalin IAST Silalin and Krishashva IAST Kṛsasva credited to be pioneers in the studies of ancient drama singing and dance 11 12 The art schools of Shilalin and Krishashva may have been associated with the performance of Vedic rituals which involved story telling with embedded ethical values 11 The Vedic traditions integrated rituals with performance arts such as a dramatic play where not only praises to gods were recited or sung but the dialogues were part of a dramatic representation and discussion of spiritual themes 13 14 A lyric from a Hindu Bhajan This body is but a guest of four days a house made of dirt On this earth your mark is made a symbol of your good work Translated by David N Lorenzen 15 The Vedas and Upanishads celebrate Nada Brahman where certain sounds are considered elemental triggering emotional feelings without necessarily having a literal meaning and this is deemed a sacred liminal experience of the primeval ultimate reality and supreme truth 16 17 18 This supreme truth is considered as full of bliss and rasa emotional taste in the Hindu thought and melodic sound is considered a part of human spiritual experience 16 Devotional music genres such as Bhajan are part of a tradition that emerged from these roots 16 Hindu Bhajans Edit A Bhajan in Hindu traditions is an informal loosely structured devotional song with music in a regional language 19 They are found all over India and Nepal but are particularly popular among the Vaishnav traditions such as those driven by devotion to avatars of Vishnu such as Krishna Rama Vitthal and Narayana often with their consorts 1 19 In Southern India Bhajanais follow a tradition Sampradaya called the Dakshina Bharatha Sampradaya Bhajanai This involves a tradition that has been followed for the last several centuries and includes Songs Krithis Lyrics from great composers all over India encompassing many Indian languages 20 A Bhajan may be sung individually but more commonly together as a choral event wherein the lyrics include religious or spiritual themes in the local language 1 4 Bhajans often describe loving devotion to a deity legends from the Epics or the Puranas compositions of Bhakti movement saints or spiritual themes from Hindu scriptures 21 The Bhajans in many Hindu traditions are a form of congregational singing and bonding that gives the individual an opportunity to share in the music driven spiritual and liturgical experience as well as the community a shared sense of identity wherein people share food meet and reconnect 22 Bhajans have played a significant role in community organization in 19th and 20th century colonial era when Indian workers were brought to distant lands such as Trinidad Fiji and South Africa as cheap labor on plantations 23 24 25 Some Bhajans are centuries old popular on a pan regional basis passed down as a community tradition while others are newly composed Everyone in the Hindu tradition are free to compose a Bhajan with whatever ideas or in praise of any deity of their wish But since they are sung they typically follow meters of classical Indian music the raga and the tala to go with the musical instruments 26 They are sung in open air inside temples such as those of Swaminarayan movement in Vaishnava monasteries during festivals or special events and at pilgrimage sites 22 There are some terms related to bhajan Bhajansimran and Bhajankirtan help a disciple to achieve the higher reverence towards God Bhajan versus Kirtan in the Hindu traditions Edit A Bhajan is closely related to Kirtan with both sharing common aims subjects musical themes and being devotional performance arts A Bhajan is more free in form and can be singular melody that is performed by a single singer with or without one and more musical instruments Kirtan in contrast differs in being a more structured team performance typically with a call and response musical structure similar to an intimate conversation or gentle sharing of ideas and it includes two or more musical instruments 27 28 with roots in the prosody principles of the Vedic era 29 Many Kirtan are structured for more audience participation where the singer calls a spiritual chant a hymn a mantra or a theme the audience then responds back by repeating the chant or by chanting back a reply of their shared beliefs 30 31 A Bhajan in contrast is either experienced in silence or a sing along 27 32 Jainism EditStavan is a form of popular and historically pervasive genre of devotional music in Jainism 33 The subject of a Stavan varies ranging from praise of Jina Jain religious ideas and its philosophy in a manner similar to Bhakti Bhajans 33 Jainism rejects any Creator god but accepts protector deities and rebirth of souls as heavenly beings and its devotional singing traditions integrate these beliefs Stavan may include dancing and worship rituals Known as Bhajan in north and west Indian regional languages a Stavan is typically sung as folk melodies by groups of Jain women and are a formal part of ceremonies and celebrations within Jainism 34 Sikhism EditThe Sikh tradition places major emphasis on devotional worship to one formless God and Bhajans are a part of this worship 35 A more common form of community singing is called Shabad Kirtan in Sikhism 4 2 A Shabad Kirtan is performed by professional religious musicians wherein bani word or hymns from the Sikh scripture are sung to a certain raga and tala 36 Modern composers and singers of Bhajans Edit source source source source source source source source source source source source Local musicians singing bhajan at Kamakhya temple Guwahati Assam India A modern Bhajan has no fixed form it may be as simple as a mantra or kirtan or as sophisticated as the dhrupad thumri or kriti with music based on classical ragas and talas 37 V D Paluskar and V N Bhatkhande have combined Indian classical music with bhajan Pandit Kumar Gandharva made famous the Nirguni Bhajans of Sant Kabir and Malwa Region The dancer Mallika Sarabhai has produced performances based on bhajans Abhinaya Chakravathi Sri JS Eswara Prasad Rao of Hyderabad who is the disciple of AL Krishnamurthy Bhagavathar Pudukkottai system has produced performances based on Sampradaya bhajans under the title Nitrya Sankeerthnam citation needed Bhajans of Vaishnavism Shaivism Shaktism traditions Vedic mantras and Yoga chants have been composed published in Western musical sheet format or recorded by western singers such as Krishna Das Deva Premal Miten and by various West Indies singers influenced by East Indian heritage 38 39 40 The Stavan compositions and literature of the Jainism tradition are extensive with a historic overview provided by Sri Sudhara Stavan Sangrah traditionally preserved in puja box by Jain families 41 It is vectored text with Jain lyrics and is canonically inspired 41 Kripalu Maharaj is one of the modern era bhakti leaders and bhajan kirtan composers 42 He has composed eleven thousand one hundred and eleven doha couplets on the leela of Radha and Krishna and the devotional philosophy called Radha Govind Geet 1008 pad songs called Prem Ras Madira hundreds of kirtan in the form of Yugal Shatak and Yugal Ras and twelve pad which fully describe the beauty and the decorations of Krishna and thirteen pad which describe the beauty and the decorations of Radha called Shree Krishn Dwadashi and Shree Radha Trayodashi 43 Renditions of Shree Maharaji s bhajans and kirtans have been recorded by well known singers in India such as Manna Dey 44 Ajnish Anuradha Paudwal and Anup Jalota 45 46 In the olden days Sants such as Mirabai Surdas and Narsinh Mehta composed several bhajans that are universally sung even today See also EditFilmi devotional songs Gurunath Salabega Stotras Kirtan RagaReferences Edit a b c d e James G Lochtefeld 2002 The Illustrated Encyclopedia of Hinduism A M The Rosen Publishing Group p 97 ISBN 978 0 8239 3179 8 a b Arnold P Kaminsky Roger D Long 2011 India Today An Encyclopedia of Life in the Republic ABC CLIO pp 484 485 ISBN 978 0 313 37463 0 Anna King John Brockington The Intimate Other Love Divine in Indic Religions Orient Longman 2005 p 179 a b c d Denise Cush Catherine Robinson Michael York 2012 Encyclopedia of Hinduism Routledge pp 87 88 ISBN 978 1 135 18979 2 Amaresh Datta 1987 Encyclopaedia of Indian Literature A Devo Sahitya Akademi pp 430 431 ISBN 978 81 260 1803 1 Cutler Norman 1987 Songs of Experience Indiana University Press p 1 ISBN 978 0 253 35334 4 Pechilis Prentiss Karen 1999 The Embodiment of Bhakti US Oxford University Press p 24 ISBN 978 0 19 512813 0 Werner Karel 1993 Love Divine studies in bhakti and devotional mysticism Routledge p 168 ISBN 978 0 7007 0235 0 Monier Monier Williams 1872 A Sanskrit English Dictionary Oxford University Press p 695 Frits Staal 2009 Discovering the Vedas Origins Mantras Rituals Insights Penguin ISBN 978 0143099864 pages 107 112 a b Natalia Lidova 1994 Drama and Ritual of Early Hinduism Motilal Banarsidass pp 111 114 ISBN 978 81 208 1234 5 Tarla Mehta 1995 pp xxiv xxxi xxxii 17 ML Varadpande 1990 History of Indian Theatre Volume 1 Abhinav ISBN 978 8170172789 pages 45 47 Maurice Winternitz 2008 pp 181 182 David N Lorenzen 1995 Bhakti Religion in North India Community Identity and Political Action State University of New York Press p 242 ISBN 978 0 7914 2025 6 a b c Guy Beck 1998 Bruno Nettl et al eds The Garland Encyclopedia of World Music South Asia the Indian subcontinent Routledge pp 246 247 ISBN 978 0 8240 4946 1 Annette Wilke Oliver Moebus 2011 Sound and Communication An Aesthetic Cultural History of Sanskrit Hinduism Walter de Gruyter pp 886 898 ISBN 978 3 11 024003 0 Stephen Breck Reid 2001 Psalms and Practice Worship Virtue and Authority Liturgical Press p 10 ISBN 978 0 8146 5080 6 a b Guy Beck 1998 Bruno Nettl et al eds The Garland Encyclopedia of World Music South Asia the Indian subcontinent Routledge pp 251 254 ISBN 978 0 8240 4946 1 Kuppuswamy Gowri Hariharan M BHAJANA TRADITION IN SOUTH INDIA PDF a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help Annette Wilke Oliver Moebus 2011 Sound and Communication An Aesthetic Cultural History of Sanskrit Hinduism Walter de Gruyter pp 2 3 33 37 ISBN 978 3 11 024003 0 a b Guy Beck 1998 Bruno Nettl et al eds The Garland Encyclopedia of World Music South Asia the Indian subcontinent Routledge pp 254 255 ISBN 978 0 8240 4946 1 Movindri Reddy 2015 Social Movements and the Indian Diaspora Routledge p 164 ISBN 978 1 317 47897 3 Helen Myers 1998 Music of Hindu Trinidad Songs from the India Diaspora University of Chicago Press pp 88 128 ISBN 978 0 226 55453 2 O Callaghan Marion 1998 Hinduism in the Indian Diaspora in Trinidad Journal of Hindu Christian Studies 11 1 doi 10 7825 2164 6279 1178 Guy Beck 1998 Bruno Nettl et al eds The Garland Encyclopedia of World Music South Asia the Indian subcontinent Routledge pp 247 253 ISBN 978 0 8240 4946 1 a b Peter Lavezzoli 2006 The Dawn of Indian Music in the West A amp C Black pp 371 372 ISBN 978 0 8264 1815 9 Sara Black Brown 2014 Krishna Christians and Colors The Socially Binding Influence of Kirtan Singing at a Utah Hare Krishna Festival Ethnomusicology University of Illinois Press 58 3 454 480 doi 10 5406 ethnomusicology 58 3 0454 Alanna Kaivalya 2014 Sacred Sound Discovering the Myth and Meaning of Mantra and Kirtan New World pp 117 122 ISBN 978 1 60868 244 7 Alanna Kaivalya 2014 Sacred Sound Discovering the Myth and Meaning of Mantra and Kirtan New World pp 3 17 34 35 ISBN 978 1 60868 244 7 Sara Brown 2012 Every Word Is a Song Every Step Is a Dance PhD Thesis Florida State University Advisor Michael Bakan pages 25 26 87 88 277 Malory Nye 2013 A Place for Our Gods The Construction of an Edinburgh Hindu Temple Community Routledge p 113 ISBN 978 1 136 78504 7 a b M Whitney Kelting 2001 Singing to the Jinas Jain Laywomen Mandal Singing and the Negotiations of Jain Devotion Oxford University Press pp 28 29 84 ISBN 978 0 19 803211 3 Peter J Claus Sarah Diamond Margaret Ann Mills 2003 South Asian Folklore An Encyclopedia Routledge p 302 ISBN 978 0 415 93919 5 J Gordon Melton Martin Baumann 2010 Religions of the World A Comprehensive Encyclopedia of Beliefs and Practices 2nd Edition ABC CLIO p 1397 ISBN 978 1 59884 204 3 Kristen Haar Sewa Singh Kalsi 2009 Sikhism Infobase pp 60 61 ISBN 978 1 4381 0647 2 David Courtney http www chandrakantha com articles indian music bhajan html Isabel Laack 2011 Religion und Musik in Glastonbury Eine Fallstudie zu gegenwartigen Formen religioser Identitatsdiskurse Vandenhoeck amp Ruprecht pp 298 306 582 ISBN 978 3 647 54011 5 Helen Myers 1998 Music of Hindu Trinidad Songs from the India Diaspora University of Chicago Press pp 294 339 111 150 ISBN 978 0 226 55453 2 Annette Wilke Oliver Moebus 2011 Sound and Communication An Aesthetic Cultural History of Sanskrit Hinduism Walter de Gruyter pp 285 477 484 790 801 ISBN 978 3 11 024003 0 a b Mary Whitney Kelting 2001 Singing to the Jinas Jain Laywomen Maṇḍaḷ Singing and the Negotiations of Jain Devotion Oxford University Press pp 69 215 with footnotes 13 14 ISBN 978 0 19 514011 8 Hutton F 2008 Rose lore essays in cultural history and semiotics Lexington Books Saraswati S 2001 The true history and the relfigion of India a concise encyclopedia of authentic hinduism Motilal Banarsidass Kinnear M 1985 A discography of Hindustani and Karnatic music Greenwood Press Rang De with Anup Jalota at Radha Madhav Dham Austin Archived 5 April 2016 at the Wayback Machine 20 October 2011 Indo American News Retrieved 15 December 2011 Sampradaya Bhajanai Birmingham UK 14 July 2017 How to perform Dakshina Bharatha Sampradaya Bhajanai with English Lyrics Bibliography Edit Wallace Dace 1963 The Concept of Rasa in Sanskrit Dramatic Theory Educational Theatre Journal 15 3 249 254 doi 10 2307 3204783 JSTOR 3204783 Natalia Lidova 2014 Natyashastra Oxford University Press doi 10 1093 obo 9780195399318 0071 Natalia Lidova 1994 Drama and Ritual of Early Hinduism Motilal Banarsidass ISBN 978 81 208 1234 5 Tarla Mehta 1995 Sanskrit Play Production in Ancient India Motilal Banarsidass ISBN 978 81 208 1057 0 Adya Rangacharya 1998 Introduction to Bharata s Naṭyasastra Munshiram Manoharlal Publishers ISBN 978 81 215 0829 2 Sreenath Nair 2015 The Natyasastra and the Body in Performance Essays on Indian Theories of Dance and Drama McFarland ISBN 978 1 4766 1221 8 Emmie Te Nijenhuis 1974 Indian Music History and Structure BRILL Academic ISBN 90 04 03978 3 Maurice Winternitz 2008 History of Indian Literature Vol 3 Original in German published in 1922 translated into English by VS Sarma 1981 New Delhi Motilal Banarsidass ISBN 978 8120800564 External links Edit Wikiquote has quotations related to Bhajan Retrieved from https en wikipedia org w index php title Bhajan amp oldid 1137028226, wikipedia, wiki, book, books, library,

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