Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Kirtan System (Maryada) |
| Kirtan System (Maryada) The traditional kirtan system current during the period of the Gurus and at format functions today is as follows: (1) The musicians play a tune on the instruments as a prelude for a few minutes to create the proper environment and mood for kirtan. This is called Shan. (2) Then comes the invocation or an introductory prayer called Mangla-charan. Generally the verses beginning with “Dandot bandna anak baar, sarab kala samarath”[9] are sung in “dhamar” or “chartal”. It creates the appropriate bent of mind and spirit for the main raga and the Gurbani. (3) The main composition (or hymn) in classical raga generally follows in dhrupad style. As mentioned earlier, dhrupad is sung in four sections with appropriate tala played on the tabla. Sometimes a composition in partal follows the dhrupad. (4) The next piece is a hymn either in bara or chota khayal style. The hymn is substantiated by appropriate lines of Gurbani or parallel quotations (parmans) which are intended to seep through the mind and fill it with great rasa or feeling of peace. (5) The last piece is a small shabad or pauri sung as a finale. This marks the end of the kirtan session. The follows the routine of the Gurdwara. Anand sung if Karah Parsad has been prepared. This is followed by supplication (Ardas) and reading of any hymn (Hukum) from the Scripture, and the distribution of Karah Parsad. |