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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).[10] 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.[11]

Generally speaking, kirtan, sometimes referred to as sankirtana (literally, "collective performance"), is a king 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).[19] 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.[12]

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Many Kirtan 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.[7][6]

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).[25][26] Beginning with the Tamil Alvars and Nayanars in around the 6th century, bhakti spread outside Tamilakam after the 12th century.[27][28] 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.[29] The story of Prahlada in the Avatara Katha mentions kirtan as one of nine forms of bhakti.[30]

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).[31] Jayadeva was a great classical composer and wrote devotional music in the dhruvapada style (which is similar to dhrupad).[31]

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."[33] 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.[34]

Meanwhile, in the Braj region, Vallabha acharya launched a devotional movement which focused on kirtan songs about baby Krishna and his early childhood.[39] 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".[42] Another kirtan style shared by the Braj traditions like the Vallabha, Haridasi, and Nimbarka is samaj gayan, which is a kind of collective singing.[43]

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.[49] 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.[50] A Naradiya kirtan performance can last for period of any length, from half an hour to 3 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.

Kirtan in Sikh history has been the musical analog of Kathas recitation, both preferably performed by ragi jatha, or professional trained performers.[52] A Sikh Kirtan is a religious, aesthetic and social event, usually held in a congregational setting on Sundays or over certain festivals to honor the historical Gurus, but major temples in the Sikh tradition recite Kirtan every day as a mark of daily bhakti (devotional remembrance) of God's name.[52]

Numerous Buddhist traditions use vocal music with instrumental accompaniment as part of their rituals and devotional practices.[60][61] Buddhist vocal music and chanting is often part of Buddhist rituals and festivals in which they may be seen as offerings to the Buddha.[25] Chants, songs and plays about the life of the Buddha by the Buddhists of Bengal are sometimes called Buddha-samkirtan or Buddha kirtan. Instruments like the Indian harmonium, flute, dotara, khol and kartal are used as accompaniment.[62][63]

Examples of Buddhist musical traditions include the Newari Buddhist Gunl Bjan, Tibetan Buddhist music, Japanese Buddhist Shmy, modern Indian Buddhist bhajans, and Cambodian Smot chanting. As there are many different traditions of Buddhist music and chanting, the musical instruments used vary widely, from solely relying on the human voice, to many types of classic instruments used in Asian music (such as the ancient Indian veena) as well as modern instruments (harmonium, keyboards, guitars, etc).

The Bene Israel, a Jewish community in the Indian subcontinent, adopted the devotional singing style Kirtan from their Marathi Hindu neighbors.[67] Their main traditional musical instruments are the Indian Harmonium and the Bulbul tarang.[68]

Stotra Nidhi mobile app has the devotional stotra texts of Sanatana Dharma (Hinduism) in Telugu, Sanskrit and English (IAST) languages, that are hosted on stotranidhi.com website. StoraNidhi is the ultimate mobile app for your devotional chanting. The app contains many stotras made by Adi Shankaracharya and many other great saints from India. The Stotra literature is important in understanding God and float in an unequated bliss. Use this app to chant powerful stotras and mantras in temples, devotional events as well as everyday at your home while doing puja.

The 16 step puja can also be performed over a longer period, sometimes hours together, for special occasions, festivals, and major events in life, such as rites of passage. In this case, the same 16 steps are expanded or added to, and each step is more elaborately attended to by the devotee, often through the guidance of a priest. Each step is given more time so that more material offerings and forms of worship, like chanting of hymns or other acts of devotion, can be offered at the feet of the Divine.

As sound vibration can affect the most subtle element of creation, it is interpreted in Hindu scriptures that spiritual sound vibrations can affect the atman (soul) in a particularly potent way. Such spiritual sound vibrations are said to have the ability to awaken our original spiritual consciousness and help us remember that we are beyond the ambivalence of life, and actually originate from the Divine. As such, the main goal of many types of Hindu musical expression is to help stir us out of our spiritual slumber by evoking feelings of love and connection that help us to better perceive the presence of the Divine within all. Some of the more popular examples of musical expressions within Hinduism include shlokas (verse, or poem), mantras (sacred syllables repeated in prayer), kirtans (congregational singing of mantras), and bhajans (devotional songs). You can find musical spiritual expressions through the US in temples, Mandirs, and community centers.

Here is a devotional prayer to Ayyappa, the lord of Sabarimala.

Mattha mathanga gamanam

Karunyamrutha pooritham

Sarva vigna haram devam

Sastharam pranamamyaham

Meaning: Salutations to Lord Ayyappa, who gallops like an elephant, is filled with immense compassion, and is the destroyer of hurdles.

Slokas can promote calmness and release stress in kids, contributing to their joyful disposition. First, explain the meaning of each verse and divide each line into two halves to make it easier for your child to memorize the slokas. Let them practice how to pronounce each word correctly. Gradually introduce chanting slokas to them. Your child can master slokas through regular practice.

With the regular chanting of shiv mantras, one becomes extremely strong from within, and their spirit becomes like an iron fist, which cannot be broken by any mishap. Those who chant shiv mantras with a pure soul can fight any battle in life, and come out of it being a better and stronger person. These mantras also help to cleanse the body and soul of any negative energy that could be inside the person or around them and fills their life with positive energy. e24fc04721