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Bhajan
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Hanuman, the perfect devotee of Rama visualised as a singer of bhajan
A Bhajan is any type of Indian devotional song. It has no fixed form: it may be as simple as a mantra or kirtan or as sophisticated as the dhrupad or kriti with music based on classical ragas and talas.[1] It is normally lyrical, expressing love for the Divine. The name, a cognate of bhakti, meaning religious devotion, suggests its importance to the bhakti movement that spread from the south of India throughout the entire subcontinent in the Moghul era.
Anecdotes and episodes from scriptures, the teachings of saints and descriptions of gods have all been the subject of bhajans. The Dhrupad style, Sufi qawwali[2] and the kirtan or song in the Haridas tradition are related to bhajan. Nanak, Kabir, Meera, Narottama Dasa, Surdas and Tulsidas are notable composers. Traditions of bhajan 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.
Contents
[hide]
* 1 Nirguni bhajan
* 2 Classic bhajans
o 2.1 Kabir: Chadaria Jhini Re Jhini
o 2.2 Meera: Mane Chakar Rakho Ji
o 2.3 Tulsidas: Shri Ramachandra Kripalu Bhaju Man
o 2.4 Surdas: Main Nahi Makhan Khayo
* 3 Sampradaya Bhajan
* 4 Modern forms
* 5 See also
* 6 External links
* 7 References
[edit] Nirguni bhajan
Nirguni bhajans originated around the 12th-14th century. They break away from organised forms of religion or rituals and celebrate a formless (nirguna) divinity, look for answers to the meaning of existence, encourage people to shed dogma and look at reality. Kabir is the best-known, Baba Bulleh Shah is another and the Bauls of Bengal have developed from these roots. The Sikh guru Nanak gathered many such bhajans into the Guru Granth Sahib. In the 20th century Kumar Gandharva[3] based compositions on the works of Kabir.
[edit] Classic bhajans
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Bhajans by Kabir, Mirabai, Surdas, Tulsidas and a few others are considered to be classic. The language of their works is influenced by several of the dialects of Hindi. They are widely enjoyed even among those who do not speak Hindi. Here is a representative selection of the best known bhajans by these poets.
[edit] Kabir: Chadaria Jhini Re Jhini
This bhajan has been recorded by several well known singers. Kabir refers to his body as a chadar, a sheet of cloth.
This is fine, this is fine cloth.
Dyed in the Ram Nam, the name of the lord,
A spinning wheel like an eight-petalled lotus spins it,
Five elements and three qualities are its pattern.
The Lord tailored it in ten moons,
Pressed the threads to get the weft tight.
It has been worn by gods, men and sages:
They soiled it with use.
Says Kabir; I have covered myself with this cloth most carefully,
And eventually will leave it as it was before.
[edit] Meera: Mane Chakar Rakho Ji
A version of this famous hymn was used in the 1947 Hindi film Meerabai. Mirabai lived in Rajasthan and her dialect of Hindi is more properly called a variety of Rajasthani. Because of Rajasthan's proximity to Gujarat, Rajasthani and Gujarati share many similar linguistic features, and Mirabai seemed equally at home in either language.
Lord Girdhari (Krishna), make me your servant.
As your servant, I will plant a garden, and see you every day.
In the groves and lanes of Vrindavan, I will sing about you.
[edit] Tulsidas: Shri Ramachandra Kripalu Bhaju Man
O my mind! Revere the kind Sri Rama, who can remove the fear of rebirths,
Who has lotus eyes, lotus face and lotus hands, lotus feet, red like the rising sun.
[edit] Surdas: Main Nahi Makhan Khayo
A very popular pad in Raga Ramkali. The naughty child Krishna was caught with freshly churned butter by his mother Yashoda, with some still on his face. He claims:
I did not eat the butter, mother.
I think my friends have smeared some on my face!
[edit] Sampradaya Bhajan
Sampradaya Bhajan or Dakhshina Bharatha Sampradaya Bhajan is the tradition of Bhajans (singing songs in praise of God and his divine love and simplicity) in India, particularly in South India. Dakshina" means "south" in Sanskrit and "Bharat" means "India". "Sampradaya" means a tradition which is handed down by one's ancestors.
It is the collection of Kirtanas (songs) and Namavalis (songs composed of names of Hindu gods like Lord Rama, Lord Krishna etc.) in a specific order. Sri Marudhanallur Sadguru Swamigal, Sri Pudukottai Gopala Krishna Bhagavathar were instrumental in identifying the Kirtanas and Namavalis that are to be sung in any Bhajan and their evolution.
The trinity of gurus as far as Bhajans are considered as Bodhendra Swamigal, Sridhara Ayyaval and Marudhanallur Sadguru Swamigal. The sampradaya bhajana paddhati has mainly evolved due to the tradition and efforts of Marudhanallur Sadguru Swamigal.
The bhajans are typically rendered in the following order:
1. Dhyana Slokam
2. Sangraha Thodaya Mangalam (Thotakam - Beginning with a praise, Mangalam - End)Thodaya Mangalam is different from Thotaka Ashtakam of ADI SANKARA
3. Guru Dhyanam
4. Guru Abhangs
5. Sadhu Keertanas (hymns on Sadhus and sants. It can be abhangs also)
6. Jayadeva Ashtapadi (Geeta Govindam)
7. Narayana Teertha Krishna leela Tharangini
Panchapati (Five songs in Telugu (Bhadrachala Ramadas), Kannada (Sri Purandara dasa), Sanskrit (Sri Sadasiva Brahmendral), Tamil (Sri Gopalakrishna Bharati) and compositions of Sri Tyagaraja
1. Badrachala Bhakta Ramdas
2. Purandara Dasa
3. Sadasiva Brahmendra
4. Goplakrishna Bharatiyar
5. Thyagaraja
And if time permits, one can sing the North Indian Bhajan Compositions of
1. Kabir Das
2. Meera Bai
3. Tulsidas or Surdas
4. Marathi Abhangs on Lord Panduranga
The comes the turn of Dyana keertanais (hymns on Gods, stuti, Abhangs or Guru Keertanai). In the Dyana Keertana, it starts from Lord Ganesha Saraswati Muruga (Karthikeyan) Shiv Durga Narasimhan Ram Krishna Venkateshwar Vittal Ranganathan Dashavatara stuti Vittal (Marathi Abhangs on Lord Panduranga) Lakshmi Sita / Radha Hanuman Garuda Aiyappan Chandeeshwaran Nandikeshwaran Chaitanya deva (Gauranga) Guru Keertana
Then comes Pooja Sampradaya Kritis
1. Baro murare (welcome)
2. Sharanagata vatsala (request)
3. Kastoori gana.. (pooja)
4. Chita juni... (aarati)
5. Shobane
6. Jay Jay aarati...
7. kanjadalakshiki..
8. Prartana Abhang
9. Rajadi rajaya.. (pushpanjali)
10. Kattiya vachanam (verses from variety of books)
11. Chatur veda parayan
12. Kshetra mahatmiyam (verses on importance of tirta kshetras)
13. Upacharamu.. (upachara sankeertan)
14. Vinnappa gadyam (praying to God - shlokas)
15. Sri Krishna Govinda hare murare.. (naamaavali)
Pooja ends here and Divya namam starts. (deepa pradakshinam - With lighted lamp in the middle considering the lamp as God, bhagavatas will do sankeertan by doing pradakshinas). This equals going around the earth.
Then comes dolotsavam (making God sleep).
1. Anjaneya Keertanai
2. Mangalam
The Thotaka Ashtakam was composed by Thotakachariyar. It is sung in praise of Sri Adi Sankara of Kaladi. Legend says that Thotakachariya (or Thotakar) was a devotee of Aadi Sankara. Do not confuse this Thodaya Mangalam of Bhagavathas with the Thotaka Ashtakam of Thotakachariyar.
Sunday, May 30, 2010
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Thursday, May 13, 2010
The Hindu : Friday Review Delhi / Music : In His service
The Hindu : Friday Review Delhi / Music : In His service
Photo: Anu Pushkarna
Erode Rajamani Bhagavathar
| Erode Rajamani Bhagavathar uses bhajan as a tool for national integration. |
Erode Rajamani Bhagavathar
It is said that namasankirtan (repetition of the divine name of God in devotion and in group) is a powerful spiritual tool where the seekers can relish divine bliss and can also share it with others. K.V. Narasimhan, popularly known as Erode Rajamani Bhagavathar, a renowned exponent of sampradaya bhajan, has this rare ability and has been taking the participants of his bhajan programmes to a level of divine ecstasy through this tool.
Says Rajamani, "Namasankirtan is the easiest way to reach God in this kalyug, when compared to other forms like yaga and tapas." He also recites a Sanskrit verse, which roughly translates to "Lord Krishna telling Narada that He (Lord Krishna) does not reside in Vaikunth; nor does He reside in the hearts of yogis; but resides at the place where namasankirtan is being done."
Hailing from a place called Kooniyur in Tirunelveli District in Tamil Nadu, Rajamani has a rare distinction of being a disciple of the doyen of Sampradaya Bhajan, Pudukottai Brahmashri Sanjeevi Bhagavathar.
Inherited interest
Having inherited the art of Carnatic vocal music from his mother, through his vivid interest, Rajamani also learnt and started playing the harmonium and the mridangam when he was young. While in his teens, he got the opportunities to accompany his revered guru, Shri Sanjeevi Bhagavathar and other Bhagavathars on the harmonium. After completion of his commerce graduation, a job in a private sector company moved Rajamani in the late 1980s to Erode, a small town in Tamil Nadu.
Recalls Rajamani, "Gopalakrishnan, a family friend who was then in Erode, encouraged me to lead a bhajan group telling me I had the capacity to do so. A bhajan group called Sri Guru Krupa Bhajan Mandali was formed in 1991, which was a turning point in my life." Rajamani gave up his job in the company in 1999 to become a full-time artiste. By his sheer interest, devotion and dedication, he soon learnt in-depth the Puja Paddhati, Divyanamam, Dolotsavam and Pavvalimbu. With the blessings of Brahamashri Gopalakrishna Bhagavathar, he rose to the height of excellence in rendering Pudukottai Paddhati of Samprayada Bhajan in great detail.
A repository of bhajan songs and one of the very few credited with an in-depth knowledge of rendering a complete form of Sampradaya Bhajan, Rajamani is happy that he is involved, in a way, in `national integration' as he sings compositions in various Indian languages like Hindi, Sanskrit, Marathi, Tamil, Telugu and Kannada, etc. Proudly he adds, "I even have some ardent Muslim fans, who know the entire bhajan Paddhati and sit throughout my bhajan programme."
Rajamani is happy that music sabhas increasingly give slots for samprayada bhajans during music seasons and auditoriums are packed to capacity. He draws attention to the fact that in Carnatic music concerts too, one-third of the concert time is being dedicated for bhajans. Rajamani advises the modern youth of the country, particularly those in the IT sector and experiencing a stressful work atmosphere, "To participate in bhajans and namasankirtans, get diverted and release stress. It's divine music, after all".
To wean away children from television and the Internet, Rajamani advises parents to expose them to bhajans and namaskirtans even if they don't like it. "After some time, they would automatically start liking them. This would help them to grow as good citizens of the country," he says.
Father of two children, Rajamani admits that it is very difficult to balance family life and his profession, which keeps him away from home for days in a month.
But very quickly he gives the entire credit to his wife Vasantha, who manages the family well and also sings with him during his performance, whenever possible. He also acknowledges that she is the main person behind his progress.
Rajamani creates a positive vibration amongst the participants of his bhajans and namaskirtans as sahitya, melody, bhava and laya fuse smoothly when he performs. Says Rajamani, "Sincerity and devotion have been the key factors in my success. Be sincere and devoted in whatever you do. These would take you to greater heights."
Rajamani has always enjoyed performing in Delhi and has a word of praise for Delhi devotees and rasikas. "They are devoted to the core and are knowledgeable."
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