Rarhi Kiirtan and its Significance

In this article on kiirtan, I shall explore some of the writings of P.R. Sarkar on kiirtan and its place of origin. If one was asked how long do you think that kiirtan has been popular, most people probably say fairly recently, perhaps since George Harrison’s recordings of the Hare Krishna mantra in the early 70’s. But is this actually so?

Kiirtan comes from the Sanskrit word kirt meaning ‘loud’ praises of the divine, or in simple terms as ‘hymn singing’. Therefore, it follows that kiirtan has been prevalent, in a Christian sense, for at least 2000 years with the repetitive singing of Hallelujah for example through the centuries in various styles, such as Gregorian chant, Gospel and contemporary choral singing to name a few.

So it is actually Indian kiirtan in the west that is contemporary, rather than kiirtan itself, for if we view kiirtan it in its broader context, it is apparent that kiirtan has existed in various forms from ancient times due to the mystical nature of humanity’s quest for the infinite, and the diversity of human expression on its spiritual quest. As P.R. Sarkar states  I have already said that kiirtan is prevalent in various places and various forms (2004:95)

In terms of the significance of Rarhi kiirtan, what does P.R. Sarkar say?

Rāṛhii sure Rāṛhii bole

Rāṛhii akhare kiirtana kariba

To the tunes of Rāṛh, and in the speech of Rāṛh,

And with the words of Rāṛh, I shall sing Kiirtana

(Sarkar, 2004, Rarh, pg.49)

P.R. Sarkar is quoting Sri Caitanya Mahaprabhu, the Vaisnava mystic who transformed the lives of people in eastern India in the 15^th century, through the bhakti ‘devotion’ movement, whose main strategy was to bring unity and socio/spiritual regeneration in society was through the practice of kiirtan. On his frequent travels from Mayapur to Puri, Caitanya would pass through Rāṛh. Guided by his companion, Nityananda Thakur who was from Birbhum in Rāṛh the homeland of the Baul and kiirtan traditions, he had the opportunity to listen to Rāṛhi kiirtan and evaluate its tremendous significance. Even today, from observations and interviews, the kiirtan tradition of Rāṛh is considered to be more highly developed than any other region nearby¹ according to Jagaran Mahato, kiirtan expert (2007, personal communication).

Why it is more developed? Because Rāṛh is a Shiva drenched region where every village has a Shiva temple, and a village without a Shiva temple is considered to be unholy². The representatives of Shiva Tantra are the Baul ‘mystic’ singers, who are indigenous to Rāṛh. “If Shiva is the life and soul not only of Rarh, but also of the world, we can say that Baul is the worldly reverberation of the Shaeva ideals” (Sarkar, 2004, 94). The word Baul comes from the Sanskrit word batul meaning ‘mad’ in the sense of ‘mad for god’, as seen through their song lyrics, full of double entendre or ‘double meanings’ that camoflague the Tantric sadhana ‘spiritual practice’ references, that they must keep hidden from the uninitiated.

The Bauls of Rāṛh, are the predecessors of Rāṛhi kiirtan and have infused Rāṛhi kiirtan with an unparalleled mystical quality.

Kiirtane ar Bauler gane amra diyechi khuli

Maner gopane nibhrta bhuvane dvar chila yataguli

‘Through kiirtan and Baul songs we have opened up, opened up all the doors hidden in our minds and in our solitary worlds’ Satyendra Dutta³

“…the distinguishing features of the kiirtana of Rarh is that, it is chiefly, if not entirely based on Baul. It more concerns sweet ideation on Parama Purusa, than descriptions” — P.R. Sarkar

In terms of the origins of kiirtana, Sarkar states “Later, it was in this Rarh that kiirtana came into being. Though kiirtana is prevalent in India and many other countries, the distinguishing features of the kiirtana of Rarh is that, it is chiefly, if not entirely based on Baul. It more concerns sweet ideation on Parama Purusa, than descriptions”

Therefore, P.R Sarkar is saying that the origins of kiirtana is in Rarh, and that it was inspired by the Baul ideology, the indigenous Baul singers who play the ektara, the single stringed instrument symbolising their ideation on the Supreme.

Musically speaking, kiirtan⁴, is taught through the oral tradition as well as having a long lineage composers and litterateurs to its credit. Kiirtan songs, also called Pada or ‘verse’ kiirtan, describe the divine qualities, and the liila ‘divine play’ between the lover and the Beloved or madhu bhava ‘sweet ideation’. Those kiirtana litterateurs from Rāṛh include: Jaya Deva, (11^th century), the Chandidas’ (three in all, from the 14^th century) and Narottama Das Thakur (16^th century) to name a few. The richness of the Rarhi kiirtan song tradition, is significant to those who aspire to be kiirtaniyas⁵, if they are to be taken seriously. Just as classical musicians are expected to know works of western classical composers so too kiirtaniyas are knowledgeable of the works of Jaya Deva, Chandidas and Narottama Das, who are the Bach’s, Beethoven’s and Chopin’s of the kiirtan tradition.

Though I have been writing and performing kiirtans of my own since I was a teenager I could not understand the depth or scope of the music tradition of which I was a part, until May 2000 when I and saw for the first time a traditional kiirtan group performing in Rāṛh. As all the hair on my body stood on end and tears flowed down my face, I caught a glimpse of the magnificent ‘supra aesthetic science of kiirtan’⁶. This experience simmered, sometimes boiled, inside me till at last I was able to return to Rāṛh and embark upon further research in 2006. I wanted to explore the depths of this ecstatic performance, and find out just how they could create such intensity of emotion and heights of devotional expression. The mechanics and structure of the kiirtan music was, I soon discovered, unknown to anyone outside the region at the time, and I was about to remedy that.

The kiirtan of Rarh not only overwhelms the human mind, it causes a person to become completely lost..it is not merely samgiita [song dance and instrumental music]; it sways the finite humankind with the vibration of the unlimited and infinite.

The primary reasons why Rarh is such a significant area in terms of kiirtan are: it is based on the mystical Baul tradition which is immersed in Shiva tantra, possibly dating back to Shiva’s time; it is the region where the most renowned kiirtan songs poems originate, such as the Gita Govinda of Jaya Deva, the kiirtan love songs of the Chandidas’, two authors who Caitanya is said to take his daily inspiration from⁷; this ancient kiirtan tradition was well established in the 15^th century when Chaitanya was there as stated in the above quotation; it has a traditional infrastructure which is unique and lastly has various gharanas or musical lineages which follow a guru /shish (teacher/disciple) system that passes knowledge down from generation to generation that encourages new kiirtaniyas to learn, master, perform and develop the existing tradition. Hence it is a living tradition which in essence is a contemporary expression of the ancient Tantric cult.

The kiirtan of Rarh not only overwhelms the human mind, it causes a person to become completely lost..it is not merely samgiita [song dance and instrumental music]; it sways the finite humankind with the vibration of the unlimited and infinite (ibid 95)

In my own musical journey to research Rarhi kiirtan and to learn first-hand, under the tuition of kiirtan expert Jagaran Mahato, I have undergone ten years of training (2006-16) learning three primary ragas, Daspera, Pakachuta and Jhorchuta and have just embarked upon two others, Lupha and Teyhot. These ragas are considered to be the mainstay of the Rarhi kiirtan tradition and consist of various melodic parts, talas ‘rhythmic patterns’, compositions and traditional performance structures.

Each year I have trained with Sri Jagaran for between 10 days to two months. Though I have been learning these traditional ragas for many years I am often surprised to realise that I have not fully understood the ragas, there was always something amiss, something more to learn. It has been a very intensive training, each session consisting of approximately two hours of continuous singing per day so that my voice would stretch and my pitch extend to a level I could not have imagined. At the start of each practice, great respect is given to the ancestors of the past and an offering to Guru Brahma, Vishnu and Mahaeshvara. The most essential qualities of a student are surrender and to have an attitude of ‘I know nothing’ for the kiirtan teacher is an avenue of inspiration, a guide and a medium for the Supreme. So far, this period of study and research though gruelling at times, has never felt like hardship, rather it feels like an incredible blessing, that keeps me on the ever unwinding path towards my goal. Besides, when we finish the session, I always feel uplifted, as if I have been scoured inside, and purified by the fire of devotion.

_______________