By Candramauli Swami

History of Kirtan in ISKCON for a ELM project.

Doing research into how kirtan has evolved in our society from the very beginning, with styles, instruments, singing, arrangements in and outside of temples, street sankirtan etc. Starting with Srila Prabhupada in the early days in NYC and up to the present.

Summary

Some technical notes

Green notes are those, which are written by me, no exact source, these are based on those information which I’ve heard before, and my conclusions.

Gray texts show the references. Those, which have a * before them, are originally from the Kirtan Standards Book, published in 2008 by the Kirtan Standards Committee, led by H. H. Janananda Goswami. It can be downloaded from internet:

http://www.kirtanisourlifeandsoul.com/wp-content/uploads/2016/03/Kirtan-Standards-Book.pdf

The references are quotations, however, these some parts, which seamed less important, may be left out.

1. Prabhupada’s principles

Structure of kirtan

He said a good kirtana lasts half an hour to forty minutes and the first half an hour is all slow and then it speeds up to a crescendo the last ten minutes. He liked the kirtana that was slow. Also in public programs whenever there were guests he almost always sang (sings standard Hare Krsna tune) or some similarly very simple melodies slowly and just gradually building to a crescendo.

* Revatinandana Das

When Srila Prabhupada first arrived in England in 1969, he told the devotees how, in Lord Caitanya’s sankirtana, instruments were played softly while accompanying the lead singer, and louder for the chorus, back and forth.

* Indradyumna Swami, Harinama Eva Kevalam

Dancing and instruments in the Sankirtan party:

Each party must consist of seven men as follows: two mrdanga, four karatala, and one dancer. One of the karatala players is lead singer, and the dancer dances freely up and down between the two lines of players three on each side as in the drawing.

* letter to Hamsaduta dasa, June 13, 1970

Another proposal is I want to form a sankirtana party in which two members will play mrdanga, eight will play the cymbals, two will play on tampura, and one harmonium, besides that there will be the leader of the party.

* letter to Hamsaduta, LA, January 22, 1968

Although Srila Prabhupada himself taught us many other mantras, he always stressed the chanting of the Hare Krishna maha mantra. He said that at least half of the arati kirtana should consist of chanting of the Hare Krishna maha mantra. For example, in a temple where mangala-arati only lasts for 20 minutes, devotees should only sing each of the Gurvastakam once, in order to leave ten minutes for chanting Hare Krsna. This was a well known dictum in the “early days.”

* Bhakti Vikasa Swami, Kirtana

Singing, different tunes

Responsive chanting is very nice; one good singer may lead, and the others may join in. That is the system in India. It is very good for two reasons especially: One, the chanter gets to rest, so he does not become tired, and two, you get to chant and hear, that is the process.

* letter to Hamsaduta dasa and Himavati dasi, March 3, 1968

So far your questions: Any tune can be used. When it is in relationship with Krishna, that makes it bona fide;

* letter to Ekayani, August 31, 1971

Conversation with Allen Ginsburg: The conversation turned to the upcoming program at the Avalon Ballroom.

“Don’t you think there’s a possibility of chanting a tune that would be more appealing to Western ears?” Allen asked.

“Any tune will do,” said Prabhupada. “Melody is not important. What is important is that you chant Hare Krsna. It can be in the tune of your own country. That doesn’t matter.”

* SP Lilamrita

In temple kirtanas, for the pleasure of the Deities devotees should sing specific traditional melodies according to the time of day. A particular melody is appropriate for the morning and another for the evening. At least once Srila Prabhupada stopped a devotee from singing the wrong tune during mangala-arati and said, “Sing the morning tune.” Srila Prabhupada wanted these traditional melodies to be introduced in the West, particularly the Bengali melodies sung in the kirtanas of Lord Caitanya’s day.

* Indradyumna Swami, Harinam Eva Kevalam

Most important is that the melody remains very simple.

* letter to Suresvara dasa, February 3, 1972 / in regards to chanting SB and Bg verses

However, during public engagements it may be difficult for Westerners to respond to traditional Bengali melodies. Srila Prabhupada therefore agreed that other melodies could be sung in such situations.

* Indradyumna Swami, Harinam Eva Kevalam

Another time he told Visnujana that he did not like melodies that had long, extended notes in them. He liked the melody to be filled with the mantra.

* interview with Revati-nandana dasa, Memories, Vol. 1

During the lecture he gave that day he also said, “Don’t harmonize during the response.” The leader may sing little variations, but the group should sing a steady response. One person shouldn’t be singing one melody and another doing another melody during the response. “These things,” he said, “will help one pay more attention to the mantra as one is chanting and dancing. That way one will get the maximum benefit, and the kirtana will also become more ecstatic.”

* interview with Revati-nandana dasa, Memories, Vol. 1

The record which you have sent singing Sri Ram, Jaya Ram, Jaya Jaya Ram, and other Kirtana is really a new turn and we have enjoyed the record so nicely. This Narada Muni song is in your country tune and I think it will attract many more of common man to join the Kirtana so you should practice this standard Kirtana more conveniently so that during your Rathayatra festival you can have this singing with the procession.

* letter to Mukunda, June 6, 1967

What instruments to use

Regarding your question about kirtana, practically we are not concerned with the instruments. They are used sometimes to make it sweeter, but if we divert our attention for using the instruments more, that is not good. Generally kirtana is performed with mrdanga and karatalas, but if somebody is expert instrument player, he can be admitted to join Sankirtana. We can accept everything for Krishna’s service, but not taking the risk of diverting attention to any other thing which will hinder our Krishna Consciousness. That should be our motto, or principle.

* letter to Jadurani, 26 May 1969

My opinion is that it is not necessary for us to utilize these different musical talents for spreading Krsna Consciousness. I would rather see people follow strictly the path of Lord Caitanya and His Sankirtana devotees. We are using mrdanga, karatala, that is enough. We are not musicians. We are Krsna bhaktas. Therefore we do not stress so much importance on these different musical talents. Sri Caitanya Mahaprabhu is God Himself. Had He thought it would have been better to spread Krsna Consciousness by another way He would have done so. But no, simply with mrdanga and karatala, traveling and chanting Hare Krsna, asking everyone to chant Hare Krsna, preaching simply Srimad-Bhagavatam philosophy, this is the process. There is no need for us to try and add anything to this simple method. It will only be a distraction.

* letter to Jagadisa Pandit, 28 December 74

Regarding instruments for temple kirtanas, karatala and mrdanga are sufficient. There is no need of other instruments.

* letter to Rupanuga, 2 February 1975

He didn’t like harmonizing, and he didn’t like melodic instruments during kirtana because the melodies of the instruments would detract from listening to the mantra; although he liked rhythm. Srila Prabhupada said that harmoniums and other melodic instruments are not meant for kirtana, as the ear will follow the music and be diverted from the holy names. Rhythm instruments are good, he said, because they increase the motivation to dance, and dancing in turn invokes devotion.

* Revatinandana Das

You may also have melodious accompaniment instruments, and amplifiers.

* letter to Hamsaduta dasa and Himavati dasi, March 3, 1968

Jhaija (“whompers”) and gongs are not mentioned in Caitanya-caritamrta, but have become accepted in the Bengali kirtana tradition. They were widely used in ISKCON in Srila Prabhupada’s personal presence. Srila Prabhupada often played a gong while chanting Jaya Radha Madhava before class.

* Bhakti Vikasa Swami, Kirtana

Blowing of the conch shell and horns is very nice.

* letter to Hamsaduta dasa and Himavati dasi, March 3, 1968

You can sing also very nicely, sing also, like songs, with tamboura. It is very nice. (sings:) Cintamani-prakara-sadmasu kalpa, like that, it is very nice. In every temple there should be, one man should play on tamboura and chant. It requires nice pronunciation, and with the sound of tamboura it will be (indistinct). People are coming, offering darsana, and the singing is going on. That is the system in Indian temples. It immediately vibrates.

* Srila Prabhupada, >>> Ref. VedaBase => Charles Darwin

In the early days of ISKCON, Srila Prabhupada allowed all kinds of instruments in kirtana. In the first temple at 26 2nd Avenue, guests even played on the innards of an old upright piano There was no mrdanga, so Srila Prabhupada played a bongo drum. This was in accordance with Bhaktivinoda Thakura’s advice: any instrument according to local use. At the Honolulu temple, Srila Prabhupada also participated in kirtanas where the devotees played electric guitars and bass guitars. Even later on, Srila Prabhupada allowed the use of tamboura and other instruments — not in the regular temple kirtanas, but in preaching programs, festivals, etc., as an attraction for the public: “Sometimes we do use [other instruments] to attract, but it is not required.”

* Bhakti Vikasa Swami, Kirtana / Srila Prabhupada Lilamrta II. 146 / 761226rc.bom

Harmonium

The harmonium may be played during bhajan if there is someone who can play melodiously. But it is not for kirtana and arati.

* letter to Bahudak, 11 January 76

When such [public] kirtana will be demonstrated, only the harmonium player may sit, and all the others may stand up and join the kirtana and dancing properly dressed.

* letter to Hamsaduta dasa, February 4, 1968

Mrdanga playing

With regard to your question about Bengali style kirtana and mrdanga playing, one or two styles is best. To introduce more styles is not good. It will become an encumbrance. Who is that Krsna das Babaji who is teaching? If we introduce so much emphasis on style of kirtana, then simply imitation will go on. Devotional emotion is the main thing. If we give stress to instrument and style then attention will be diverted to the style. That will be spiritual loss.

* letter to Satvarupa, 30 June 1976

He said that rhythm instruments are good for kirtana because they make one more inclined to dance, and dancing, in turn, unlocks devotion…

* interview with Revati-nandana dasa, Memories, Vol. 1

…Now, here, the bhakti-yoga system is that if you stick to the hearing of Hare Krsna and the music, melodious music of kohl, karatala, then naturally you become detest full for hearing other songs…

* BG 4.1 — Montreal, August 24, 1968

Bhaktivinoda Thakura sings, mrdanga vadya, sunite mana/ abasara sada yace: “I always desire to hear the sound of the mrdanga.” Srila Prabhupada also advised his disciples to hold mrdanga concerts.

* Bhakti Vikasa Swami, Kirtana / refering to Letter to: Dvarakesa, 29 September, 1976

Karatala and others

Srila Prabhupada taught and usually played a simple 1-2-3, although he did sometimes play a slightly more complex rhythm.

* Bhakti Vikasa Swami, Kirtana

Memories from Prabhupada’s times

We had a kirtana at the Rama-lila grounds, 1976 March, and Dinanatha was leading, and tens of thousands were attending and chanting. After the program Srila Prabhupada and I were alone in the back tent waiting for his servant and the car. As you know, he would often ask rhetorical questions, and he asked me, “So, what did you think of the kirtana?” Understanding this was just a lead-in to his giving me an instruction, I answered with a bland “It was OK.” Srila Prabhupada’s definition to me then was as follows: “No, it was not nice. It was clanging and banging. Kirtana should be sweet and melodious. Come let us go to the ashram and have kirtana.”

And so we went — Srila Prabhupada, his servant, Baradraj, and myself. Except for his servant, the three of us sat in his room and Baradraj played harmonium on the request of Srila Prabhupada, and we had a long kirtana… On Srila Prabhupada’s signal, the kirtana ended. He looked at me, smiling, shaking his head a little, and said, “So… sweet and melodious.” And then he moved on with the rest of preaching and hearing. I had heard him say, and heard that he also said, sometimes stopping kirtana, “No screaming and shouting.”

* Tejiyas dasa, remembrance, 12 Nov 2002

Vaisnava songs and mantras other than the maha-mantra

The devotees had seen in second volume of Prabhupada’s Bhagavatam, there was a verse and a purport. In the purport, it was written in verse form, it was names of Krishna. He Krishna Govinda Hari Murari, He Natha Narayana Vasudeva. In the purport, Prabhupada was explaining that Krishna is all of those in one. So we thought this was a mantra of some kind and they were obviously names of Krishna, so we started chanting it. We put it to music, of course, with all the various instruments, and we were singing it… it was kind of like a hootenanny. We were really having a ball chanting this new… because this was at the beginning when there were not very many mantras other than Hare Krishna. So we were singing this and having a great time. When Prabhupada arrived, we all bowed down and paid obeisances and he got on the vyasasana and he spoke to us and said, “Oh, who has given you this mantra?” Somebody said, “Oh, we saw this in your Bhagavatam, Prabhupada.” He said, “This should not be chanted.” He said, “This is not bona fide.” And we were just… talk about thunderstruck! We were so bewildered. He proceeded to explain. He said that “Even they are names of Krishna, unless the mantra is given by the disciplic succession it shouldn’t be chanted, even though they are names of Krishna.” And there’s a verse like that saying that it has to come from the sampradaya. So right after that, then he said, “Oh, so you want another mantra to chant?” And everybody just spontaneously said, “Yes!” and everybody kind of cheered. So he started singing jaya sri-krsna-caitanya prabhu nityananda, sri-advaita gadadhara srivasadi-gaura-bhakta-vrnda, and then he introduced it in kirtan.

Remembering Srila Prabhupada: Madhusudana das

http://www.iskconcinema.com/content/following-srila-prabhupada-dvd-1-remembrances

Yamuna: Mumbai, 1970: One morning soon after arriving at Kailash Seksaria’s home, Śrīla Prabhupāda called on a male devotee to lead kirtana. After two lines of Gurv-aṣṭaka, he asked him to stop and asked another devotee to lead. This same thing happened twice again. Then he asked me to lead and did not stop me. When I asked him later about why he did that, he said: Learn to listen. You cannot follow nicely unless you hear nicely and you cannot lead nicely unless you have learned to follow nicely.

http://wavesofdevotion.com/2017/08/07/yamuna-devi-on-kirtana/

Yamuna: In August 1968 in Montreal, Śrīla Prabhupāda had our London group meet with him in the temple room after breakfast. One occasion when he requested me to lead the Maṅgalācaraṇaṁ prayers he interrupted my singing to correct my pronunciation as I chanted. Another time in Mumbai in 1971 on nagar saṅkīrtana, an Indian man criticized my pronunciation and Śrīla Prabhupāda said, “She is doing to the best of her ability. She is doing it in her own way.”

http://wavesofdevotion.com/2017/08/07/yamuna-devi-on-kirtana/

Yamuna: In London in November of 1969 this was evident especially in store-front temples where our neighbors complained of excessive ‘noise’.

Right from the vyāsāsana, he would quietly instruct: Play them softly, quietly. This proved to be difficult for the mostly passionate 20-something devotees at that time—most who generally felt the louder the better.

http://wavesofdevotion.com/2017/08/07/yamuna-devi-on-kirtana/

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