Keertan Sastras

The word keertan has been derived from Sanskrit (kat-lyut) meaning “thereby generally telling, praising, celebrating” etc. There are usual discussions in seminars about the issue, whether keertan is an Art or a Science. The general trend of the discussions shows that it’s an instrument of social education of a common man especially in the rural world. The words Art and Science are so much interrelated that it becomes very difficult to define keertan either as an Art or as a Science. But at the same time, if we try to define the said words in its proper perspective, it will give us the nature of the concept of keertan as an Art or a Science or both.

Keertan is included as one of the ‘Navavidha Bhakti’ (Nine types of devotion) and hence, it is a kind of Bhakti.

sravanam keertanam vishnoho smaranam paadasevanam |
archanam vandanam daasyam sakhyam aatmanivedanam || (Srimad Bhagavatam)

Meaning, just listening to keertans takes one towards good and prevents him from going towards the evil.

pravruttischa nivruttischa pumsaam yenopadisyate |
taddharmaaschopadisyante saastram saastravido viduhu ||

Meaning, whatever is of utmost interest, stable, eternal, non-corrupt, unaffected by the passage of time, and is the eternal truth, is described as a Science. Science is generally inviolable but the skillful application of the same is an Art.

Keertan is both a Science and an Art

To take the society towards the good and to give proper expression to it is the basis of the keertan. Taking into consideration these factors, among others, it can be said that keertan is based on scientific or educational principles but the skillful application of those principles is an Art. Therefore keertan is both a Science and an Art.

The following books can be cited as the literature of the keertan:

• Keertana Tarangini
• Keertana Sumanahaara
• Keertana Kumudini
• Keertana Muktahara
• Keertana Chintamani
• Poorvaranga Taranga
• Poorvaranga Tarangini
• Keertana Kala Aani Sastra
• Naachu Keertanaache Rangi
• Keertana Prayoga Prakriya

There is some discussion about the principles of the keertan in the form of introduction in these books. The keertan is divided into two sections, namely, Poorvaranga and Uttaranga (story-telling).

One of the well-known keertankars (practitioner of keertan), Vinayak Ganesh Bhagwat of Benaras has published, in 1926, a book on keertan Sastra entitled “Keertanaacharyakam”. This book deals with the scientific and educational principles of the keertan. This book denotes, among other things, two conventional systems of keertan, Vaiyasik (of Vyasa) and Naradiya (of Narada). In both these systems he mentions the beginning with Naman (praise) of Rukmini-Pandurang (Lord Krishna), Narada, Santa Eknath (saint Eknath), Mata-pita (parents) and thereafter the prayers of Vyasa, Valmiki, Lava-Kusa, who are the founders of the keertan system. This book further elucidates as to who can be considered the master of the keertan system and ultimately its utility. Then he describes the general and special features of keertan, the keertankar, his way of expression, the eight different constituent factors and six sub factors, the instruments used (Phakwaj, Tal and Vina) and how they are to be arranged and used etc. Besides, he has analysed the system in to four parts, Dosha, Guna, Vidhaan and Charitrarachana and each part has been discussed as to its qualities, showing that sometimes Dosha can be converted or utilized as a necessary quality too. He has shown and discussed the methodology of the performance of keertan. In the end he has also touched the aspect of economics of keertan.

The Keertan Procedure

The book further continues with the keertan procedure. It begins with praises for Narada, Vyasa, Valmiki, Suka and Lava-Kusa, the original proponents of the keertan system, which is encapsulated in the following sloka:

devarishivyasavalmikisukaan lavakushaavubhaa |
vaadyasankeertakaan natvaa granthaha prarabhyate mayaa ||

The author of the book submits with humility that the writing of this book is not for one’s self-assertion but for self-purification.

Vaiyasik and Naradiya are two basic systems of keertan as mentioned above. Out of these, Naradiya is the older one. Whatever we observe today as the Naradiya keertan was performed by Sukacharya. We can find such references in Srimad Bhagavata mahatmya included in Padmapuran.

prahladastaaladhaari taralagatitayaa choddhavaha kamsyadhaari |
veenadhaari surarshihi swarakusalataya ragakartaarjunoabhooth ||
indroavaadeenmridangaha jayajayasuvachaha pravadamste kumaraaha |
sadbhaavasya pravaktaa niratisayaguno vyasaputro babhoova ||

The keertankar was Suka. He was accompanied by Prahlada, Uddhava, Narada, Gandharva, Arjuna and Indra, who played on various instruments i.e. Tala, Jhanj, Vina, Mridanga etc. That Naradeeya system is the oldest one can be evidenced by the words of Narada himself.

Bramhadattaamimaam veenaam swarabrahmavibhooshitaam |
Moorchyayithwa harikathaam gaayamaanascharaamyaham || (Srimad Bhagavatam)

References are available to the effect that Narada to Vyasa to Suka was the chain of directions for the singing of Bhagvat Katha. Since then Keertan Bhakti was included in Navavidha Bhakti and sage Suka became the founder proponent of this system.

Sitting on ‘Aasan’ (a yogic posture), with the book of Bhagavaccharitra in front and explaining the content of the same, was the system practiced by Vyasa. Naradeeya Sampradaya has been quoted by the following stanza.

Veenaadivaadya sangeeta sahitya samalankritam |
Sankeertanam samutthaaya naradeeyaha sa keertitaha ||

Normally the person authorized to do such type of keertan is one from a learned group or anybody else who has the religious aptitude or appetite of such activity. The practice of such art gives mental satisfaction and happiness and helps acquire the four-fold objectives of human life – Dharma (charity), Artha (wealth), Kama (love) and Moksha (liberation/salvation).

The speciality of Harikeertan has been well expressed in the following stanza:

vaagvaidagdhyaviraajitham navanavonmesha arthakavyaanvitam |
gitaalapakalaapitam cha bhagavalleelaavilaaseekritam ||
yatsyadyatra kilaavalambya mahataam padyam subodhapradam |
tasminschedupasamhritam bhuvi varam proktam hareh keertanam ||

Meaning: That type of keertan is the best, which includes select words and sentence constructions, newer and modern poetical construction, methodical singing and describing God, taking the advise of saints as the basis.

Saint Ramdaas of Maharashtra has characterized the model of keertan, which is being followed by keertankars. According to him, the components of a good keertan are Tala, Mridanga, Sangeeta, Nritya, Tana, Alapana, praising the Lord, with flavor and while following the tradition.  This has been encapsulated in the following stanza:

His views on keertan has been brought out beautifully in the following stanzas of his work Daasa bodha:

Another popular Maharashtra saint Dhyaneswar has expressed how keertan results in immense happiness, destroying the evil forces (Dyaneshwari IX, 197 to 211). The qualifications of a good keertankar have been expressed in the following stanzas:

Saint Ramdas of Maharashtra has some interesting descriptions of an ideal keertankar too, as has been beautifully brought out in the following verses:

It is through the ladder of keertan that one can reach God. Hence it should not be disturbed by any kind of dust (especially by selfishness). In this regard, another Maharashtra saint, Eknath, makes very valuable suggestions. He says the purity of keertan should be maintained, lives of great and noble persons should be brought out, while at the same time, all the limitations of walk and talk should be strictly observed.
Dhairya, Soora, Tala, Gano, Vaktritwa, Sastra, and Purana are the important components of keertan, while the instruments and its players, the audience, the idol of God, respect for all and candlelights in the temple are the six subcomponents. The correlation, coordination and cooperation of all these components and subcomponents are a must for raising the level, standard, quality and effect of the keertan.

Apart from the positive suggestions above, there are also certain negative aspects, which must necessarily be avoided by the keertankar. The following stanza describes the negative aspects affecting the standard and good quality of the keertan.

nantevaasitaa Hyangabangascha rasahoonyataa |
Swarasiddhihi punaha padye vruta sabdaanuyojanam ||
Sthamabhaayitam paribraantam Broobhango Mukhavaikrutam |
Aamreditam skaladeestwam Bhangascha Padavaakyayoho ||
Taabhyaam Arthaviparyaasaha Pumschalebhaavadarsanam |
Draagvaaktwam Prapadotthaanam Desakaalaanavekshanam ||

Meaning: Lack of the study of the subject matter, deficiency in the coordination of the components and subcomponents, repetition of unwanted words, improper posture, unnecessary circumlocution, stammering, speaking too fast or too slow are some of the deficiencies and disqualifications in the process of keertan. Such things take away the interest of the audience. It remains only an exercise of dry  substance without any desired effect.

Saint Ramdas is also very critical about the likely and avoidable defects while doing keertan. He says:

In substance, the Haridas or keertankar should be gentle, objective, keeping in mind the aims of the keertan, his uniform, language, posture and maintain a voice congenial for the occasion. All other things should be arranged in such a way that there would not be any loss of appreciation and appetite among the audience. The language and its mode of statement are the most important factors throughout this experiment.
There also are some suggestions for story telling (Akhyana). Various metres in poetry like Saki, Dindi, Ovee, Katav, Dhanakshari, Abhang, Anjanigita, Pataka, Lavani etc. from South India, and Choupayee, Sorata, Doha, Champa, Kundaliya etc. from Northern India should be used.

The goal of keertan is to achieve Paramartha (the Supreme). Saint Eknath from Maharashtra says:

Sugunacharitra Paramapavitre Harichi Varnaabhi |
Sajjanavrinde Manobhaave Adi Vandaavi ||
Baktigyaanaavirahita ghoshti itaraa na karakya |
Premabharane Vairagyaachya yukti vivarakya ||
Jenekaruni moorti tasaavi Antari Sriharichi |
Yasi Keertanamaryada he santaanchya dharachi||

Meaning: Narrate the stories of Lord Hari and expand the fame of God. The keertankar must give respect and bow before the audience who are devotees, learned, saints and gentlemen. One must not talk about subjects other than Bhakti, Gyan and Vairagya. In short, the keertankar must observe the limitations of keertan.

To conclude, keertan leads to a spiritual life. One must consider the limitations laid down for keertan. Saint Ramdas says

This article has been composed by Sri B.R. Ghaisas.