Mp3 Kirtan Bangla

[Pang Murdock]

Withroots in the Vedic anukirtana tradition, a kirtan is a call-and-response or antiphonal style song or chant, set to music, wherein multiple singers recite the names of a deity, describe a legend, express loving devotion to a deity, or discuss spiritual ideas.[6] It may include dancing or direct expression of bhavas (emotive states) by the singer.[6] Many kirtan performances are structured to engage the audience where they either repeat the chant,[7] or reply to the call of the singer.[8][9][10]

A kirtan performance includes an accompaniment of regionally popular musical instruments, especially Indian instruments like the Indian harmonium, the veena, sitar, or ektara (strings), the tabla (one-sided drums), the mrdanga or pakhawaj (two-sided drum), flute (woodwinds), and karatalas or talas (cymbals).[11] It is a major practice in Hinduism, Vaisnava devotionalism, Sikhism, the Sant traditions, and some forms of Buddhism, as well as other religious groups. Kirtan is sometimes accompanied by story-telling and acting. Texts typically cover religious, mythological or social subjects.[12]

The term kirtan is found as anukirtan (or anukrti, anukarana, literally "re-telling") in the context of a Yajna (Vedic ritual offering), which meant a dual recitation of Vedic hymns in a dialogue style which was part of a ritual dramatic performance.[1][17]

Generally speaking, kirtan, sometimes referred to as sankirtana (literally, "collective performance"), is a kind of collective chanting or musical conversation. As a genre of religious performance art, it developed in the Indian bhakti movements as a devotional religious practice (i.e. bhakti yoga).[20] However, it is a heterogeneous practice that varies regionally according to Christian Novetzke, and includes varying mixture of different musical instruments, dance, oration, theatre, audience participation and moral narration.[13]

Kirtans and bhajans are closely related, with both sharing common aims (devotion, faith, spiritual uplift and liberation), subjects, and musical themes. A bhajan is more free form, and can be singular melody that is performed by a single singer with or without one and more musical instruments. Kirtan, in contrast, generally differs in being a group performance, typically with a call and response or antiphonal musical structure, similar to an intimate conversation or gentle sharing of ideas. Kirtan also generally includes two or more musical instruments,[9][10] and has roots in Sanskrit prosody and poetic meter.[23]

Many kirtans are structured for more audience participation, where the singer calls a spiritual chant, a hymn or a devotional theme, the audience then responds back by repeating the chant or by chanting back a reply of their shared beliefs.[8][7]

Hindu kirtan is influenced by the practices and teachings of the various devotional Bhakti movements, who emphasized emotional loving relationship with a personal God, and also by the figures of the Sant tradition (like Kabir, Ravidas, and Namdev).[26][27] Beginning with the Tamil Alvars and Nayanars in around the 6th century, bhakti spread outside Tamilakam after the 12th century.[28][29] The foundations of the kirtan traditions are also found in works like the Bhagavad-gita which describes the bhakti marga (path of loving devotion to god) as a means to moksha. References to kirtan as a musical recitation are also found in the Bhagavata Purana, an important Vaishnava text.[30] The story of Prahlada in the Avatara Katha mentions kirtan as one of nine forms of bhakti.[31]

Bhakti poets and musicians like Jayadeva (the 12th century author of the Sanskrit Gita Govinda) were influential in the development of Indian devotional music genres like kirtan (which, though written in the vernacular, often imitated the style of Sanskrit bhakti poems).[32] Jayadeva was a great classical composer and wrote devotional music in the dhruvapada style (which is similar to dhrupad).[32]

There are various forms of Hindu kirtan, including northern traditions (often influenced by Hindustani music and Bengali music) and southern (Carnatic) traditions. Speaking of the Bengali kirtan tradition, Peggy Holroyde writes that "kirtans do not strictly adhere to the raga scale and they incorporate a chorus led by a leader. Much of the musical value is subordinated to the sentimental emotion expressed in the words of the song."[33] Regarding the southern (Carnatic) traditions of kirtan, they are generally "less ornate" than northern kirtan, making less use of "grace, trills and arabesques", but they are also much more structured musical forms.[33]

While kirtan is influenced by the practice of Indian classical music, they are much simpler than the complicated instrumental and vocal compositions of Indian classical ensembles. The focus of kirtan is on the lyrics or mantras, which deliver religious messages and stories. Guy Beck, writing on the northern kirtan tradition, states that "melody and rhythm are important, but devotional singers normally deplore musical virtuosity for its own sake, in contrast with the classical Hindustani and Karnatak traditions, which emphasize improvisation and technical mastery. A large variety of musical styles and forms exist, and no single formula has ever been mandated by custom to the exclusion of others. Musicians and religious leaders thus freely compose religious and devotional songs."[34] However, some kirtan styles are highly refined and technical, like dhrupad and Bengali padavali kirtan, which is considered by Bengalis to be the most cultured religious music.[35]

Regarding the arrangement, most kirtan performances are done by a group, with a choir led by a lead singer sitting on the floor, though sometimes, kirtan is done by standing group in temples, religious processions, or on the street.[34]

Generally speaking, the performance may begin with recitations of Sanskrit mantras, like Om, names of deities, and may also include some Sanskrit prayers.[36] Then the lead singer sings a song or a mantra while accompanying himself with a versatile instrument (like a harmonium or a sarangi), and the chorus (which may include the audience as well) repeats the lines and provides musical accompaniment and keeps the rhythm (with percussion instruments like the tabla). Sometimes the lead may have some solo lines, and the chorus can accompany them with a refrain.[34] The performance may be punctuated by short sermons or stories.[36] The song repertoire is generally drawn from medieval authors, but may include more recent additions.[36] In temples, a formal worship ceremony (arati) may also follow.[36]

The 16th century CE saw an explosion of Vaishnava kirtan in the north. During this time, Chaitanya Mahaprabhu popularized Krishna based kirtan in Bengal, promoting and teaching the singing of Vaishnava songs which celebrate the love between Radha and Krishna, understood as being the love between the soul and God.[40][32] Chaitanya is also known as the father of padavali singing, a highly developed and complex musical tradition.[32]

Meanwhile, in the Braj region, Vallabha acharya launched a devotional movement which focused on kirtan songs about baby Krishna and his early childhood.[40] One ofshoot of this tradition is the Radha-centered Radha-vallabha Sampradaya, whose singing style known as Haveli Sangeet is based on Hindustani classical forms like "dhrupad" and "dhamar".[43] Another kirtan style shared by the Braj traditions like the Vallabha, Haridasi, and Nimbarka is samaj gayan, which is a kind of collective singing.[44]

Kirtan as a genre of religious music has been a major part of the Vaishnavism tradition, particularly starting with the Alvars of Sri Vaishnavism sub-tradition between the 7th to 10th century CE.[45] After the 13th-century, two subgenres of kirtan emerged in Vaishnavism, namely the Nama-kirtana wherein the different names or aspects of god (a Vishnu avatar) are extolled, and the Lila- kirtana wherein the deity's life and legends are narrated.[46]

In Andhra Pradesh, the compositions of the Tallapaka Annamacharya, a 14th-century Vaishnava mystic, represent the earliest known southern music called "sankirtana". He wrote in praise of Lord Venkateswara, the deity of Seven Hills in Tirumala.[47] During his long and prolific career, he reputedly composed and sang 32,000 Sankirtanas and 12 Shatakas (sets of hundred verses) in both Telugu and Sanskrit.

The show goes for two or three hours as time permits and is not divided into parts like "Naradiya Kirtan". This form was effectively performed for years by personalities like Hari Bhakti Parayan (sincere devotee of god) Sonopant (mama) Dandekar, Dhunda maharaj Deglurkar, Babamaharaj Satarkar, Dekhanebuwa, and many others in modern times. An institute at Alandi near Pune offers training in this form of Kirtan.

Naradiya Kirtan is divided into five main parts: naman (prayer), Purvaranga (the main spiritual lesson), chanting the names of God, katha or Akhyan (a story to support the lesson), final prayer.[50] The Naradiya Marathi Kirtan popular in Maharashtra is most often performed by a single performer, and contains the poetry of saints of Maharashtra such as Dnyaneshwar, Eknath, Namdev and Tukaram. Learned poets from 17th and 18th century such as Shridhar, Mahipati, and Moropant contributed to develop this form of kirtan.[51] A Naradiya kirtan performance can last for period of any length, from half an hour to three hours. Attendees may wear traditional clothing and the performers use instruments like the Indian harmonium, drums, and string instruments of various types mostly "Zanz", "chipali", "Tal" or "Chimata". Naradiya kirtan performers are usually very learned in literature, music, dance, acting and comedy.

Jugalbandi Kirtan is performed by two persons, allowing question-answer, dialogue and debate. Performance requires skill in music, dance, comedy, oratory, debate, memory, general knowledge and Sanskrit literature. Training takes place at the Kirtan Kul in Sangli, the Akhil Bharatiya Kirtan Sanstha[52] in Dadar, Mumbai, the Narad Mandir at Sadashiv Peth, Pune and the Kalidas Mahavidyalay in Ramtek, Nagpur as well as at smaller schools in Goa, Beed and Ujjain.

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