Hindu Nationalism, Music, and Embodiment in Marathi Rashtriya Kirtan

Schultz, Anna

doi:10.2307/852784

Cited by 9 publications

(3 citation statements)

References 2 publications

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“…He also remarked that all abhaṅgas and bhajans critical of the ritualistic Vedic tradition are filtered out of their repertoire, and only those addressing spiritual and mythical topics are used in their performances. For a reinterpretation of the sants poetry for nationalistic purposes, see : Schultz 2002 and 86 See also the next section.…”

Section: Bhakti and Orthodox Brāhmaṇismmentioning

confidence: 99%

Embodying the Vedas

Larios¹

2017

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Introduction 1 1.1 Locating the Vedapāṭhaśālās 9 1.2 The Indian in a Foreign Body: Ethnography and Participant Observation 12 1.3 The Indologist without a Text 16 1.4 The Oral Transmission of the Veda 19 1.5 Manuscript Culture and the Use of a Text 30 2 Framing the Veda: General Contexts 37 2.1 Brāhmaṇas in Maharashtra 37 2.2 The Brāhmaṇa in Modern and Globalized India 45 2.3 Bhakti and Orthodox Brāhmaṇism 50 2.4 Modern Hinduism and the Religious Market in India 56 3 The Vedic Schools in Contemporary Maharashtra 64 3.1 Governmental Regulations 64 3.2 "Money Matters": The Economy of Vedic Schools 68 3.3 New Patrons of the Veda 75 3.4 Today's Vedic Schools in Maharashtra: a Typology 77 3.4.1 The 'Gurukula Type' 79 3.4.2 The 'Vedapāṭhaśālā Type' 82 3.4.3 The 'Vedavidyālaya Type' 84 3.4.4 Concluding Remarks on the Use of a Typology 85 3.5 Curricula of the Vedapāṭhaśālās in Maharashtra 86 3.6 Styles of Vedic Recitation 100 3.7 Modalities of Teaching and Studying the Veda 102 3.7.1 Spaces and Seating Arrangements for the Veda Instruction 103 3.7.2 Introductory Lesson (Santhā) 105 3.7.3 Revision Class (Guṇḍikā) 110Despite the most rigorous adherence to "the old ways," they are refracted by the prism of history. To adapt an adage: tradizione tradimento.

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Section: Bhakti and Orthodox Brāhmaṇismmentioning

confidence: 99%

Embodying the Vedas

Larios¹

2017

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“…In the wake of Benedict Anderson's “imagined communities” (1983) and Eric Hobsbawm and Terence Ranger's “invented traditions” (1992), the majority of these studies have borne the mark of influential postcolonial scholarship that views the processes of modernity through the prism of nationalism and nation-building (e.g., Chakrabarty 2000; Chatterjee 1993a, 1993b). Indeed, from dance studies (e.g., Banerji 2010; Chakravoty 2008; Meduri 1996; O'Shea 2007; Sikand 2010; Walker 2004) to South Asian studies (e.g., Bakhle 2005; Blackburn 1998; de Bruin 1998; Frasca 1990; Kersenboom-Story 1995; Peterson and Soneji 2008; Soneji 2012; Srinivasan 1985; Zarilli 2000) to ethnomusicology (e.g., Allen 1997; Qureshi 1990, 2001; Schultz 2002, 2008; Subramanian 2011; Wade 1979; Weidman 2006), it is by now a well-documented truism that “the reconstitution of particular forms of indigenous music and dance as ‘classical’ traditions formed a salient part of South Asian negotiations with modernity in the late nineteenth and early twentieth century” (Peterson and Soneji 2008, 2).…”

Section: Kuchipudi As Dance | Kuchipudi As Placementioning

confidence: 99%

Between History and Historiography: The Origins of Classical Kuchipudi Dance

Putcha¹

2013

Dance Res. J.

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“…In the meantime, ethnomusicologists and researchers in related fields have provided a body of excellent scholarship on Vaishnava kirtans as they are performed in different regions of India (see Singer 1966;Henry 1998;Slawek 1988;Schultz 2002;Ho 2013), including research focused specifically on differing musical approaches to Gaudiya Vaishnava kirtan in Bengal (Sarbadhikary 2015). My research focuses on Vaishnava musical practices as they are manifested outside of India, among American Krishna devotees who have developed practices that build on traditions from India while adapting them to contemporary American contexts.…”

Section: Introductionmentioning

confidence: 99%

From Meditation to Bliss: Achieving the Heights of Progressive Spiritual Energy through Kirtan Singing in American Gaudiya Vaishnava Hinduism

Brown

2021

Religions

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Kirtan is a musical worship practice from India that involves the congregational performance of sacred chants and mantras in call-and-response format. The style of kirtan performed within Gaudiya Vaishnava Hinduism is an expression of Bhakti Yoga, “the yoga of love and devotion”, and focuses on creating a personal, playful, and emotionally intense connection between the worshipper and their god—specifically, through words and sounds whose vibration is believed to carry the literal presence of Krishna. Kirtan is one of many Indian genres that uses musical techniques to move participants through a progression of spiritual states from meditation to ecstasy. Kirtan-singing has become internationally popular in recent decades, largely thanks to the efforts of the Hare Krishna movement, which has led to extensive hybridization of musical styles and cultural approaches to kirtan adapted to the needs of a diasporic, globalized community of worshippers. This essay explores the practice of kirtan in the United States through interviews, fieldwork, and analysis of recordings made at several Krishna temples and festivals that demonstrate the musical techniques that can be spontaneously deployed in acts of collective worship in order to create intense feelings of deep, focused meditation and uninhibited, expressive bliss.

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Hindu Nationalism, Music, and Embodiment in Marathi Rashtriya Kirtan

Cited by 9 publications

References 2 publications

Embodying the Vedas

Embodying the Vedas

Between History and Historiography: The Origins of Classical Kuchipudi Dance

From Meditation to Bliss: Achieving the Heights of Progressive Spiritual Energy through Kirtan Singing in American Gaudiya Vaishnava Hinduism

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