Harikatha |
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AN ARTICLE ON KEERTAN SASTRAS - By B R Ghaisas |
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The word keertan has been derived from Sanskrit (kat-lyut) meaning "thereby generally telling, praising, celebrating" etc. There are usual discussions in seminars about the issue, whether keertan is an Art or a Science. The general trend of the discussions shows that it's an instrument of social education of a common man especially in the rural world. The words Art and Science are so much interrelated that it becomes very difficult to define keertan either as an Art or as a Science. But at the same time, if we try to define the said words in its proper perspective, it will give us the nature of the concept of keertan as an Art or a Science or both. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Keertan is included as one of the Navavidha Bhakti (Nine types of
devotion) and hence, it is a kind of Bhakti. sravanam keertanam vishnoho smaranam paadasevanam | Meaning, just
listening to keertans takes one towards good and prevents him from going towards
the evil. pravruttischa
nivruttischa pumsaam yenopadisyate | Meaning, whatever is of utmost interest, stable, eternal, non-corrupt, unaffected by the passage of time, and is the eternal truth, is described as a Science. Science is generally inviolable but the skillful application of the same is an Art. |
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To take the society towards the good and to give proper
expression to it is the basis of the keertan. Taking into consideration these
factors, among others, it can be said that keertan is based on scientific or
educational principles but the skillful application of those principles is an Art.
Therefore keertan is both a Science and an Art. The following books can be cited as the literature of
the keertan:
There is some discussion about the
principles of the keertan in the form of introduction in these books. The keertan
is divided into two sections, namely, Poorvaranga and Uttaranga
(story-telling). One of the
well-known keertankars (practitioner of keertan), Vinayak Ganesh Bhagwat of
Benaras has published, in 1926, a book on keertan Sastra entitled Keertanaacharyakam.
This book deals with the scientific and educational principles of the keertan. This
book denotes, among other things, two conventional systems of keertan, Vaiyasik (of
Vyasa) and Naradiya (of Narada). In both these systems he mentions the beginning
with Naman (praise) of Rukmini-Pandurang (Lord Krishna), Narada, Santa
Eknath (saint Eknath), Mata-pita (parents) and thereafter the prayers of Vyasa,
Valmiki, Lava-Kusa, who are the founders of the keertan system. This book further
elucidates as to who can be considered the master of the keertan system and
ultimately its utility. Then he describes the general and special features of keertan, the
keertankar, his way of expression, the eight different constituent factors and six
sub factors, the instruments used (Phakwaj, Tal and Vina) and how they are to be
arranged and used etc. Besides, he has analysed the system in to four parts, Dosha,
Guna, Vidhaan and Charitrarachana and each part has been discussed as
to its qualities, showing that sometimes Dosha can be converted or utilized as a
necessary quality too. He has shown and discussed the methodology
of the performance of keertan. In the end he has also touched the aspect of
economics of keertan. |
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THE KEERTAN PROCEDURE |
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The book further continues with the keertan procedure.
It begins with praises for Narada, Vyasa, Valmiki, Suka and Lava-Kusa, the original
proponents of the keertan system, which is encapsulated in the following sloka: devarishivyasavalmikisukaan lavakushaavubhaa | The author of the book submits with humility that the writing of this book is
not for one's self-assertion but for self-purification. Vaiyasik
and Naradiya are two basic systems of keertan as mentioned above. Out of
these, Naradiya is the older one. Whatever we observe today as the Naradiya
keertan was performed by Sukacharya. We can find such references in Srimad Bhagavata
mahatmya included in Padmapuran. prahladastaaladhaari
taralagatitayaa choddhavaha kamsyadhaari | The keertankar was Suka. He was accompanied by Prahlada, Uddhava, Narada, Gandharva, Arjuna and Indra, who played on various instruments i.e. Tala, Jhanj, Vina, Mridanga etc. That Naradeeya system is the oldest one can be evidenced by the words of Narada himself. Bramhadattaamimaam veenaam
swarabrahmavibhooshitaam References
are available to the effect that Narada to Vyasa to Suka was the chain of directions for
the singing of Bhagvat Katha. Since then Keertan Bhakti was included in Navavidha
Bhakti and sage Suka became the founder proponent of this system. Sitting on
Aasan (a yogic posture), with the book of Bhagavaccharitra in front and
explaining the content of the same, was the system practiced by Vyasa. Naradeeya
Sampradaya has been quoted by the following stanza. Veenaadivaadya sangeeta sahitya
samalankritam | Normally the person authorized to do such type of keertan is one from a learned group or anybody else who has the religious aptitude or appetite of such activity. The practice of such art gives mental satisfaction and happiness and helps acquire the four-fold objectives of human life - Dharma (charity), Artha (wealth), Kama (love) and Moksha (liberation/salvation). The speciality of
Harikeertan has been well expressed in the following stanza: vaagvaidagdhyaviraajitham
navanavonmesha arthakavyaanvitam | Meaning: That
type of keertan is the best, which includes select words and sentence constructions, newer
and modern poetical construction, methodical singing and describing God, taking the advise
of saints as the basis. Saint Ramdas of Maharashtra has characterized the model of keertan, which is being followed by keertankars. According to him, the components of a good keertan are Tala, Mridanga, Sangeeta, Nritya, Tana, Alapana, praising the Lord, with flavor and while following the tradition. This has been encapsulated in the following stanza: |
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Taala, Mridanga Harikeertana | Sangeeta Nritya Taana Maana | Naana Kathanusandaana | Tutochi Nedaave || (4-2-11) |
Rhythmic
cymbals and with a tambura, sing the song of God Music, dance, tuning and applause; to help And continue the connection of series of stories Do not allow the link to be snapped. |
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His views on keertan has been brought out beautifully in the following stanzas of his work Dasa bodha: |
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Yasha Keerti Prataapa Mahima | Aavadi Varnaava Paramaatma Jene Bhagavad Bhaktaancha | Santushta Hoye || |
Success,
reputation, bravery and importance Describe with love, the supreme soul Due to such action the soul of devotees gets contented. |
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karunaakeertanaachyaa lote | |
By the surge of
compassion from songs of God You should tell the story of God with thunder The ear drums of listeners Be filled with joy and happiness. |
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Bhakti Gyaana Vairaagaya Lakshana | Neethinyayaswadharmarakshana Saadhanamaarga Adhyaathmaniroopana | Praanjala Bolaave || |
The symptoms of devotion, knowledge - renunciation The signs at morality justice protection of self-religion The path of worship and narration of spiritual elevation Should be spelled out by you clearly, unhesitatingly. |
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