Taraka and Aca’rya Acyuta’nanda Avadhuta
KIIRTANA
The word bábá comes from the Sanskrit bapra. It means “loved”, “beloved”.
As He is the Supreme Father, the Parama Puruṣa, He is Bábá of the entire creation; and because you are the created beings, you are His loving children, you are also His bábá — because bábá means “nearest and dearest one”. As He is your only object of ideation, as His name is the only projection of your microcosmic entity, only thought-projection, only introversal projection — intro-cum-extroversial projection — so His name should be always with you — in your mind, in your tongue, in your vocal cord, everywhere. . . when His devotees, His children, sing Bábá nám kevalam, He also sings Bábá nám kevalam.
You should remember that if you always sing Bábá nám kevalam, you have a family relationship with Him. More than that, you have a relationship of love with Him.
What you love most in the world is Bábá for you. For me, you little boys and girls are bábá.
Bábá has said (in “Mohana Vijñána”, Ānanda Vacanāmrtam Part 15):
“… among all forms of saḿgiita, kiirtana is the best; and saḿgiita means dance, song and instrumental music — all three. So kiirtana is not just song. Dance is also a part of it, and instrumental music is also a part of it. This combination of dance, song and instrumental music creates such a pure and heavenly atmosphere that what happens to a person? A person will forget himself or herself.”
DANCE
Bábá has also said: “Now, regarding dance: dance expresses inner psychic feelings through chanda [rhythm] and mudrá [specialized gestures], without the help of language or words.”
Lalita mármika is the Sanskrit name given to the spiritual dance invented for kiirtana by Párvatii (Shiva’s wife). It can maintain adjustment with kiirtana without causing fatigue.
The word mármika means “that which touches the core of the heart (marma)”.
The effect of lalita is to evoke soft feelings. Such feelings arise in the mind due to the way lalita’s soft vibrations contract the lymphatic glands. Lalita is derived from the word lasya, “lymph”. (Lalita mármika can also be translated “voice of the inner spirit”.)
Furthermore, the touching of the big toe on the ground in lalita stimulates the pineal gland. Lalita expresses the sentiment “I am in a happy mood. I am enjoying the bliss of Parama Puruśa.” Combined with song and musical instruments, the lalita dance creates a powerful devotional vibration which quickly arouses an intense spiritual feeling in the mind.
Kiirtana was created so as to occupy and purify the sensory organs and motor organs. The vocal cord, ears, hand and feet are all kept engaged in the same activity. “. . . if the sensory and motor organs are not kept engaged in the attainment of the divine, they may lead one astray.”
The arms should be held high with the palms open. The elbows should not go below the shoulders. “This mudrá means, ‘O Supreme Creator, Thou art mine and I am Yours. I am Thine.’” “The upraised hands indicate the spirit of surrender.”
Start with the namaskára gesture and then raise the arms. If the arms become tired, again do the namaskára gesture, and keep the hands in the namaskára position at the anahata cakra. (If out of feeling one is prompted to clap the hands, one may do so.) Finish kiirtana also by doing namaskára.
The feet should move alternately, placing the big toe behind the heel of the other foot. When doing this step, be sure to bend the supporting knee. By touching the earth with the toe tip (dhae) one gives minimal pressure to the earth. In our lives we must do all our worldly, psychic and spiritual duties, but our pressure on the earth should be minimal.
Collective kiirtana, when done in a group, can optionally be done in rows and columns, with participants moving in step.
SONG
Bábá náma kevalam is a general, or publicly-given, mantra. It is the first siddha mantra (A mantra “perfected” by the guru. See “Mantra Caetanya” in Ananda Marga Ideology and Way of Life in a Nutshell, Part 11 or Discourses on Tantra, Vol. 1.) to have been given for kiirtana.
Bábá means “loved,” “beloved,” or “nearest and dearest one” — referring to the Supreme Father, who is our nearest one, our own inner “I”. Náma means “name”. Kevalam means “only”.
While touring Europe in May-June 1979, Bábá gave four English translations for Bábá náma kevalam:
“I am taking the name of that Singular Entity.” (Berlin)
“Only the name of that Noumenal Entity.” (Berlin)
“Only the name of the dearest One, only the name of Parama Puruśa.” (Stockholm)
“O Father, I am to take your name and your name only.” (Lyon)
Bábá has said in “Bio-Psycho-Spiritual System of Kiirtana” (Ánanda Vacanámrtam Part 30):
“When the first syllable bá is uttered, the feeling should be, ‘I am crossing the threshold and entering the new world;’ and when the last syllable ma is uttered, the feeling should be, ‘I have accomplished my duty.’”
“If the kiirtana is done with these feelings, within two or three minutes the effect will come into play.”
Kiirtana tunes should preferably be original kiirtana tunes of different gharanás (schools of music), and classical tunes. In Prabháta Saḿgiita also there are many good tunes for kiirtana.
Preferably a kiirtana tune should be such that the mantra is only repeated in its entirety — Bábá náma kevalam — and no fragments are repeated. If one sings Bábá náma Bábá náma kevalam, for instance, then the fragment Bábá náma is repeated — this is preferably avoided. Similarly, the order of the words should not be changed (such as kevalam Bábá náma).
Bábá said in “Krśńa Unparalleled” (Ánanda Vacanámrtam Part 17) —
The first thing is that this kulakuńd́alinii rises slowly from the múládhára cakra to the sahasrára cakra in eight steps, it passes through eight cakras, and the sahasrára cakra is the ninth. Just below the sahasrára cakra is the guru cakra. When one meditates at the guru cakra, the kuńd́alinii takes one jump upwards, and the mind goes to the other side of the cakra [i.e., to the sahasrára]. This is the technique of sádhaná, but it has previously neither been explained nor written in books.
The kulakuńd́alinii rises upward in eight jumps or phases, so with two syllables in a siddha mantra (A mantra “perfected” by the guru. See “Mantra Caetanya” in Ánanda Marga Ideology and Way of Life in a Nutshell Part 11 or Discourses on Tantra Vol. 1. — Trans.), the kuńd́alinii will jump four times. But a general, or publicly-given, siddha mantra will make the kulakuńd́alinii jump eight times or in eight phases. That is why such a siddha mantra has eight syllables. So you should understand that a proper kiirtana must have eight syllables, never seven or nine syllables.
— and said in the above-mentioned “Bio-Psycho-Spiritual System of Kiirtana” —
So there are four stages [yatámána, vyátireka, ekendriya and vashikára] — four stages once at the time of inhalation and four stages again at the time of exhalation.
So in all there are eight facets, and a siddha mantra must necessarily have eight syllables — it must be ast́akśarii (Eight-syllabled), [just as] each and every syllable of an Ist́a mantra has got its own importance. Bábá náma kevalam is a siddha mantra. . . .
The whole siddha mantra should be uttered fully in each phrase of the tune — Bábá náma kevalam — and not a part of it — while doing kiirtana. If this is not done, the kiirtana cannot be said to be a perfect kiirtana. Everything must be done in a methodical way. Then you will enjoy and get the [completion] of kiirtana properly.
The significance of this for kiirtana tunes needs to be researched.
Instrumental Music
However, while doing kiirtana, if one listens to anything else, the mind will be diverted. Suppose, while doing kiirtana, one lady asks another, “Well sister, what did you cook today?” This will also be heard by the practitioners of kiirtana. To prevent these undesirable sounds from being heard, it is advisable to play some instrument during kiirtana. A mrdanga [a kind of drum] or some similar instrument should be used, but one should not play any heavy-sounding instrument like a dhák [a large drum played with sticks], a d́hol [a loud drum] or a gong. The mind prefers to hear a sweet sound, like that of the mrdanga, rather than a harsh sound.
Some time ago I mentioned that one Bhola Mayra said that when the cawing of crows and the beating of [dháks] stops, [people feel happy]. People do not like to hear such harsh, unpleasant sounds. The sound of the mrdanga may not be perfect, but it has one quality: it is very sweet. Thus, whenever a distracted mind hears the sweet music of a mrdanga, it returns to the proper place. A remarkable science lies in kiirtana.
Kiirtana is a panacea for all physical, psychic and spiritual afflictions. (Spiritual afflictions arise because though we know that we are the loving sons and daughters of Parama Puruśa, we don’t always feel Him close and do not always feel ourselves sitting on His lap.) Furthermore, at the time of collective kiirtana, the collective psychic energies start to move in a single flow, which is directed to the Supreme. The impact of so many psychic energies moving thus, with the inspiration of the Supreme, removes accumulated collective miseries. That is why if one starts to think of degenerating things, one should start singing kiirtana in a loud voice, for Bábá says, the repetition of Bábá náma kevalam even once destroys more sins than even the worst of sinners can commit.
Kiirtana, if sung with maximum sincerity, will bring direct relief from natural or man-made calamities, miseries and tortures, and remove collective psychic afflictions both already-existing and impending.
Other music comes within the scope of nandana vijñána (aesthetic science), but kiirtana comes within the scope of mohana vijñána (supra-aesthetic science). Kiirtana is the most essential aid for sádhaná since it gives one a pure and concentrated mind. Through kiirtana we will feel that we are not insignificant creatures, but His affectionate children.
Just as the Supreme Father is most dear to us, we are equally cherished by Him. When we sing Bábá náma kevalam, He also sings that we are bábá (dear) to Him. Kiirtana attracts the Nucleus of this Cosmos, so that sincere devotees feel His invisible blissful presence in the form of sweet fragrances and other subtle indications. Though the Supreme Subjectivity is everywhere, He has a nucleus, and He will shift that nucleus to wherever devotees are doing kiirtana.
Kiirtana should always be followed by at least some sádhaná.
At the end of kiirtana, prasáda (food that has been kept on the mándap and has absorbed the vibrations of the kiirtana) may be distributed.
When the devotees sing Bábá náma kevalam, Parama Puruśa also sings Bábá náma kevalam. This means that Parama Puruśa exists because devotees exist, and devotees exist because Parama Puruśa exists. Their relationship is interdependent.
You all know that there is an old conflict between the devotees and the Lord. The devotees say to the Lord, “You are great—You are our life.” To this the Lord replies, “You are great—you are My very life. I exist because you exist.” Who is greater—the devotees or the Lord? Since time immemorial this conflict has been going on, and will continue for eternity. It will never have any satisfactory solution.
Kiirtana can also be done in the forms of ávarta kiirtana, akhanda kiirtana and nagar kiirtana:
Ávarta Kiirtana:
In ávarta kiirtana, one starts singing facing the mándap (table with Bábá’s photo and pratik). Then after doing kiirtana for some time, turn in a clockwise direction and sing a new kiirtana tune. Continue in this manner until reaching one’s original position, whereupon two sets of kiirtana should be sung, the first looking up and the second looking down. The ideation for each direction is as follows:
“I am the embodiment of sincerity.”
“I have innate love for the Supreme.”
“I purify my mind in the fire of devotion.”
“I am overcoming all internal and external obstacles.”
“O Lord, please take me onto Your lap.”
“I surrender everything to You.”
If anyone wishes to do ávarta kiirtana after any discourse or spiritual talk, it would be good to concentrate the mind on the sahasrára cakra; and if one does kiirtana alone, then the mind should be fixed on the trikuti. (Ananda Vacanamrtam Part 22, “Kiirtaner Niyama” [Rules for Kiirtana] ).
Akhanda Kiirtana
This kiirtana is done in a circle around a mandap [altar]. Kiirtana starts after singing Prabháta Saḿgiita. The direction of the kiirtana is counter-clockwise, as this is the direction of the force applied to raise the kuńd́alinii. The kiirtana is done in blocks called praharas, each lasting three hours, up to twenty-four hours.
Nagar kiirtana
This is kiirtana done in large groups throughout a city or town. Its purpose is to inspire people to learn about kiirtana, and to celebrate special events.
Research is going on regarding instructions that Bábá may have given concerning forms of kiirtana, such as “pada kiirtana” and “katha kiirtana”, that do not use the mantra Bábá náma kevalam.
The last of the Sixteen Points is CSDK. “K” stands for “Kiirtana, Tándava and Kaośikii”.
Náham tiśt́hámi vaikuńt́he, yoginám hrdaye na ca;
Madbhaktáh yatra gáyanti tatra tiśt́hámi Nárada.
“I do not reside in heaven, nor in the hearts of yogis; but wherever my devotees sing kiirtana I remain there. For me there is no difference between a literate and illiterate person, between a scholar and a fool.”
NOTES
Sources in the published writings of Shri Shri Ánandamúrti:
Ánanda Vacanámrtam Part 6, “Nityánanda and Lilánanda” —
Here I want to tell you all very clearly that if under any circumstances any such sinful thoughts every enter your mental sphere and have not yet transformed themselves into physical action you should immediately start singing kiirtana at the top of your voice.
I have made a rhyme:
Bábá náma kevalam yatáp páp hare
Pápáider sádhya nei tatáp páp kare.
[The repetition of Bábá náma kevalam even once kills so many sins that the worst sinners could not accumulate them.]
Ánanda Vacanámrtam Part 12, “A Purely Personal Entity” —
You know lalita mármika dance used during kiirtana is a purely spiritual dance, and kaośikii is a psycho-spiritual dance — it starts on the psychic level and culminates on the spiritual level. And tándava is physico-psycho-spiritual.
In lalita mármika, the position of the arms is above 90 degrees. This denotes that it is a mudrá — in Sanskrit it is called a mudrá. This mudrá means, “O Supreme Creator, Thou art mine and I am Yours. I am Thine.”
Ánanda Vacanámrtam Part 6, “The Cosmic Father Has a Special Responsibility” —
And Párvati, the spouse of Shiva, invented lalita mármika, which means “voice of the inner spirit”. The dance used for kiirtana is lalita mármika. It represents the inner voice of the spiritual aspirant. The main thing in lalita mármika is the expression through mudrá. In tándava there is no mudrá.
Subháśita Saḿgraha Part 19, “The Supreme Aesthetic Science and the Cult of Devotion” —
When rágátmiká bhakti is attained, when one is established in rágátmiká bhakti from rágánugá, one enters the arena of mohana vijñána. At that stage one is fascinated, one is charmed, and in that state, art, architecture, all come to an end; one’s verbosity stops, one becomes mute. This is rágátmiká bhakti.
So long as human beings are in the sphere of rágánugá bhakti they are in domestic life; they create arts, architecture, literature, painting, etc., and get pleasure in them. They are within the scope of aesthetic science (nandana vijñána). And what happens when they are established in supra-aesthetic science (ati nandana vijñána)? All their worldly music is finished. All the rágas and rágiñis and the art of dancing, whatever they be, they come to an end. In that condition, there remains only an ecstatic state (bhávávishora). The music of that state is called kiirtana.
Therefore, it is the scriptural direction not to sing any song after kiirtana, because other music is within the scope of aesthetic science, whereas the kiirtana comes within the scope of mohana vijñána. This mohana vijñána is the supra-aesthetic science. Bhaktitattva is supra-aesthetic. Therefore, kiirtana is, in its essential form, with devotion, it is in the form of ota and prota. So in the life of a spiritual practitioner (sádhaka), in the life of a devotee (bhakta), kiirtana is most essential. . .
That is why Parama Puruśa says, Madbhaktáh yatra gáyanti tatra tiśt́hámi Nárada, that is, “Wherever my devotees perform kiirtana in full swing at once I reach there.” You may say that Parama Puruśa is omnipresent. Now Parama Puruśa is omnipotent, He is also omniscient, it is a fact; but there is a hub of that omniscience, there is a hub of those premonitions and post-monitions of all expressions. A central point is there. Parama Puruśa is omnipresent but He has a nucleus (cakranábhi). Parama Puruśa will place that nucleus wherever He likes. He will take it wherever He likes. Parama Puruśa says, “When my devotees sit single-minded for kiirtana (Ananyamanaśo Viśormamatá) I at once take myself there. This is what I do.”
A Few Problems Solved Part 4, “Supra-Aesthetic Science and Music” —
Now the question may be asked, what is supra-aesthetic science? To put it precisely, it is the endeavour to ensconce the microcosmic entity, the individual entitative rhythm, in the eternal being, the infinite rhythm of Parama Puruśa. So of all the branches of music, Kiirtana is the best. And since music is the composite of song, dance and instrumental music, kiirtana is not only song — it also includes dance and instrumental music. These three aspects of music when combined together create such an unblemished, heavenly environment that people completely forget themselves. This is the charm, the excellence, of kiirtana. So those who are truly intelligent should certainly do kiirtana.
So those who are truly intelligent should certainly do kiirtana either in public, or — if they feel rather shy — in private.
Verbal teachings by Shrii Shrii Anandamurti ji:
A reliable source remembers hearing Bábá say that Bábá náma kevalam is the first siddha mantra to be given for kiirtana. The same source remembers hearing Bábá say that kiirtana tunes should preferably be original kiirtana tunes of different gharánás (schools of music), and classical tunes. (“Original tunes” means tunes originally composed for use in kiirtana.)
Another reliable source remembers hearing Bábá say that kiirtana should always be followed by at least some sádhaná.
In researching the ideations for the different directions of ávarta kiirtana, the editors found a number of variations in the notes of different sádhakas among ideations 3–6. The editors have tried to present here what seemed to be the strongest consensus among the best-informed people.
A reliable source remembers hearing Bábá say that the kiirtana mantra should only be repeated in its entirety, and fragments should not be repeated. Similarly, the order of the words should not be changed.
Details are on file with Translations Section of Publications Dept.
Customary among Margis and presumably prescribed by Bábá:
Margis since Bábá’s time have practised the lalita mármika dance step as described above, and a great many Margis remember performing it in this way in Bábá’s presence. They have also understood that the touching of the big toe on the ground stimulates the pineal gland. They have practised akhanda kiirtana and nagar kiirtana as described above.
Reliable sources remember ávarta kiirtana, as described above, being performed in Bábá’s presence on various occasions after the completion of Bábá’s discourse. On those occasions, as with other kinds of kiirtana, there was instrumental accompaniment.
See also the notes to the “Kiirtana, Tándava and Kaośikii” section of point 16 of the Sixteen Points.
Article shared by Dr. Ashu Didi from her personal library.
