Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Kinds of Kirtan |
| Kinds of Kirtan There are different kinds of kirtan depending on the prominence given to one or the other aspect of kirtan. The following kinds are current: (1) Music-oriented Kirtan: In this kirtan, prominence is given to raga and tal and the technical perfection of music. Gurbani is subordinated to the pure art of music. There is great stress on alaapand tan, while wroding and meaning of hymn are subordinated to the requirements of the permu tations and combinations of notes and display of the graces of classical music. (2) Instrument-oriented kirtan: Prominence is given to the skill and display of instrumental music. The sound of the instruments dominates and almost drowns the intonation of the hymn. It is very difficult to make out the wording of the hymn. In such kirtan little attention is generally paid to the purity of raga in which the hymn is composed. This is the least satisfactory kind of Gurmat-sangeet. (3) Hymn-oriented kirtan: The hymn is all-important. Raga and tal are subordinated to the correct wording and intonation so that is may be intelligible to the audience. The singer is able to convey the rasa and meaning of the hymn to the liteners. This kind of kirtan is highly valued by appreciative congregations, because the wording is more important than the tune. (4) Discourse-oriented kirtan: In this kirtan prominence is given to the expositiion of the hymn. The raga and tal are not as important as the message of the Gurus, explained by the musicians through lecture or commentary. More time is devoted to discourse (viyakhia) than to siniging. Though some people like this kind of kirtan, it is not generally rated high by true lovers of kirtan. (5) Demand-oriented kirtan: Here the musicians sing the songs which are very popular or for which a demand or requisition is made by the listeners. Some musicians are well known for singing certain hymns in popular tunes and styles, and their listeners coax the singers to sing their favourite hymns. The idea behind such kirtan is simple as the law of demand and supply. It is just meant for the delight of the listeners-kan-rasa. The musicians make a lot of money by complying with the wishes of members of the audience. Applause of kirtan is not done by clapping or the exclamation of wah-wah (well done). The appreciation is expressed generally at the end of the performance of kirtan by Granthi (reader of the scripture) or some office-bearer of the Gurdwara or the President of the function by a shout of Bolay so Nihal (whoever shouts shall be happy), which is followed and supported by loud shout of Sat Sri Akal (Timeless God is true) by the congregation. However, in case of high appreciation, the leader of the ragi-party may be given a Saropa (robe or cloth of honour) by the President or Secretary of Gurdwara or the Management. (6) Congregational Singing: Many poeple do not realise the value and significance of congregational singing, perhaps on account of the average level of its musical quality. Community singing is the simplest way of worship by the laity and saves them from the monopoly of professionals and the performance of religious aulsterities. Jotiyande-Shabad (singing in chorus) is quite popular with the Sikhs, particularly during Nagar-kirtan (singing in ceremonial procession) and prabhat-pheri (dawn rally sacred music). The devotees sing popular shabads to the accompaniment of indigenous instruments like Dholak, khartal or chimta (tongs). Moreover group-singing helps the devotee to purge himself of his caste-consciousness or professional status and thus deflates his ego. He realises he presence of the One within and each member of the congregation. This gradually strengthens the personal relationship between the members of the group and creates lasting and intimate bonds of friendship between the members of the sangat. Sometimes congregational singing is led by a ragi-party. Though it is not possible to secure modulation or uniformity of voices when so many people sing together, the general effect is one of devotion and sincere response. This kind of ragi oriented chorus-singing may take one of the following forms: (1) The ragi-party sings line by line, alternately repeated by all, or the ragi-party sings ‘odd’ lines and the congregation sings ‘even’ lines. (2) The ragi-party sings the line, then the ladies sing the same line and finally the men sing the same line in chorus. (3) The ragi-party sings the line and the congregation repeats the refrain. (4) Akhand/NIrban kirtan: Akhand or Nirban kirtan (uninterrupted session) which is done without any desire or motive, and purely out of the devotion is commended in the Scripture. It does not require the practice of the grammar of raga or the technique or classical performane. Its object is to purify the mind and the soul by singing the glories of God and perhpas to have a vision of the Divine Essence. By constant singing of the qualities of God, one ultimately merges in Him. Bhai Randhir Singh and his groups used to be so absorbed in hymn singing and the drinking of the Nectar-Name that they lost all sense of time and even the desire for food. They often found themselves in a condition similar to the one mentioned by Guru Arjan in the Scripture: “There the peace-giving nectar is distributed to all; They are not put on the path of death and die not again; They who enjoy the Lord’s love realise its bliss; The pious persons utter the hymnal words like the flowing of the nectar spring”[4]. |