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]
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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]
However, bhajans rose to prominence as a way of expressing fervent devotion to the divine, breaking down barriers of caste and society, during the Bhakti and Sant movements of medieval India (about the 6th to the 17th centuries).
By writing verses in a variety of regional languages, saints and poets like Kabir, Mirabai, Tulsidas, and Surdas played a crucial part in popularizing bhajans and making them understandable to a larger audience. Their Bhajan lyrics emphasized the universality of divine love while praising the intimate connection between the believer and the deity.
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]
Kripalu Maharaj is one of the modern era bhakti leaders and bhajan-kirtan composers.[47] 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.[48] Renditions of Shree Maharaji's bhajans and kirtans have been recorded by well-known singers in India such as Manna Dey,[49] Ajnish, Anuradha Paudwal and Anup Jalota.[50][51]
As far as Western music goes, about a half a million young people all over India love rock and roll, but through MTV and VTV that number A graduate of Berklee College of Music, Chris Hale was raised in Nepal and has served 10 years in India. He is currently living in New York and records devotional songs (bhajans) to Christ in Hindi with Peter Hicks and their group, Aradhna.
When it comes to his devotional life, however, the Hindu religious seeker wants bhajans, repetitious songs with a simple melodic line which the leader sings and the devotees repeat. Bhajans can outside wealthy devotees homes under shamianas (large tents) throughout the year but especially during festivals.
Today we are having non-stop twenty-four-hour global devotional singing (akhanda bhajan) by Sai devotees all over the world. This is being done not for the sake of one individual, one nation, or one community. It is for the welfare of humanity as a whole.
The bhajans that are sung permeate the ether in the form of sound waves and fill the entire atmosphere. Thereby, the whole environment gets purified. Breathing in this purified atmosphere, our hearts get purified. Reciting the Lord's name is a process of give and take. Singing the Lord's name should become an exercise in mutual sharing of joy and holiness. It should be remembered that the sounds we produce reverberate in the atmosphere. They remain permanently in the ether as waves and outlast the individual uttering the sounds.
Community bhajans should not be treated as a pasttime. When thousands of persons join in singing bhajans, they should be fully absorbed in the devotional process and the ecstasy of that experience. The singing should be vibrant and soulful, and not mechanical or drawling and uninspiring. It should combine feeling (bhava), melody (raga) and rhythm (tala). What delight can be experienced when all sing in chorus, with the same feeling, in the same tune, and to the same timing! When there is such unity, the Divine can be experienced.
When chanting the Name is done in community singing, it should be in a form in which the entire group can participate easily. The tune, the rhythm, etc. should be such that all can follow the bhajan. If the lead singer takes up a song that is not familiar to others, the response from the group will be poor. There will be no enthusiasm or genuine participation. Their minds will be distracted. When all the devotees participate in the bhajan, the vibrations that are produced will generate joy and harmony.
Many who organize mass singing on special occasions are not aware what kind of bhajans that should be sung then. A person who has an individual style of his own may sing as he likes in private, but he is not suitable for community singing.
Some rules are to be observed in conducting community bhajans. Elaboration of a melody (alapana) may be done in individual singing (keerthana), but it is wholly out of place in community bhajans. Hence, in such bhajans, the accent should be entirely on the Name.
This has been named an akhanda bhajan, that is to say, devotional singing done without a break. But was it really an akhanda bhajan? It is begun at 6:30 on the evening of one day and closed at 6:30 on the evening of the next day. Can we call it 'unbroken' devotional singing? What is a period of 24 hours, when we consider the vastness of the universe and the eternity of time? It is just a wink, a minute part of the life of man on earth. By engaging yourselves in the recitation of the name of God for one single day, you claim to have done devotional singing "without a break!" Akhanda-bhajan must be as continuous as breathing itself if it is to deserve its name.
Again, akhanda bhajans means that it should not be just a twenty-four hour affair or even a seven-day affair; it must go on from birth to death, this contemplation of the Source and Goal of things. The procession to the cremation ground starts immediately on birth, and the beating of the heart is the drumbeat for the march toward that place. Some take a longer route, some reach quickly, but all are on the way. Therefore, bhajans has to start in childhood and has to continue. It must be the constant companion of man, his solace and strength. Don't postpone it to old age, for it is the essential food for the mind.
Take the name of the Lord and repeat it always. I was listening to the bhajans you did here yesterday and today. Your voices were low; they could scarcely be heard outside this hall. I know that in a certain institution where they decided to do akhanda bhajans, they had to hire a few persons at so much per hour so that their plan could succeed. Do bhajans with faith and enthusiasm. Let the whole city shake with the devotion you put into every Name that you sing. The Name promotes comradeship and establishes concord; it stills all storms and grants peace.
Meaning: Sing always the glory of our Lord; Let the bhajan resound with love and devotion; Come to the feet of Lord Sai; In your heart's temple, light the lamp of love; He will take you across the ocean of life.
Most commonly, bhajans have lively melodies and repeating choruses that are easy to sing. Bhajans tend to appeal to the masses and are an important component of community and village life in India, as they are usually sung by groups rather than individuals
One person sings the first line or stanza, which is then followed by the choir. Popular themes for bhajans come from stories of the Hindu epics, such as the "Ramayana" and "Mahabharata," as well as from tales of the lives of the gods, such as Rama, Krishna and Shiva.
The bhajan is also a key concept in the practice of Surat Shabd yoga, which focuses on meditation on the inner sounds of the Self. In this type of yoga, bhajan refers to the music of the soul. As the yogi meditates, he focuses on the ajna (third eye) chakra, blocking out all external sounds and listening for the inner music. One asana used for this meditation is the bhajan squat pose (malasana) with the thumbs placed in the ears to block outside noise.
The head of the empire, Yogi Bhajan, died in New Mexico in 2004 at the age of seventy-five. Born Harbhajan Singh Puri, he arrived in the U.S. in 1969. He soon renamed himself Yogi Bhajan. He said he was a well-known holy man back home in India. In reality, in India, Bhajan had been merely a civil servant, a customs inspector.
Members of Yogi Bhajan's group claim to be Sikhs. However, according to mainstream members of the religion, by adhering to the doctrine of Yogi Bhajan, they are violating more traditional Sikh teachings. Yogi Bhajan's teachings are closer to a synthesis of Kundalini yoga, tantric and New Age practices than anything originating from Sikh teachings.
The audacity of Yogi Bhajan's claims makes this story particularly alarming. Bhajan taught, among other things, that he could see auras and see into the future. But perhaps his most outrageous claim was that he was the official religious and administrative leader of all Sikhs in the Western world. I am told that most legitimate Sikhs avoid any association with Bhajan's group, and that Yogi Bhajanism is by no means representative of the five-century-old Sikh tradition whose homeland is in the Indian Punjab. 0852c4b9a8
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