Are the cultural forms that Śrīla Prabhupāda brought from India essential to the cultivation of krishna-bhakti? Or can we separate bhakti from the culture in which it has traditionally been expressed and simply translate its essential principles into whatever cultural forms are most familiar to us?
Before answering that question, we need to clarify what we mean by “Indian culture.”
Some use the term to refer simply to the behaviors and customs that developed in India over the course of history. From this perspective, Indian culture is essentially historical: it is the way a particular people, in a particular place, have organized and expressed their lives.
But there is another way to understand it. Śrīla Prabhupāda taught that genuine spiritual knowledge is not an evolutionary product of a particular society. It is veda — eternal knowledge that becomes manifest in the world at creation. In this sense, what we call “Indian culture” — at least some of the things Śrīla Prabhupāda emphasized — can be understood as an expression of eternal spiritual principles.
I think this distinction is crucial.
When Śrīla Prabhupāda spoke of “Indian culture,” he was not simply referring to the culture in which he happened to be raised. He was also presenting something deeper: cultural principles rooted in an eternal spiritual reality.
The real question, therefore, is not simply whether we should preserve “Indian culture” or replace it with “Western culture.” The more important question is:
Which aspects of the culture Śrīla Prabhupāda brought to the West express eternal principles of bhakti, and which are historical forms that can legitimately be adjusted — or even set aside?
In answering this question, we should avoid two extremes. One is to assume that every cultural form is essential and must therefore be reproduced exactly as it was practiced in India. The other is to regard all cultural forms as merely superficial, with no meaningful connection to spiritual life.
I believe Śrīla Prabhupāda’s teachings point toward a position between these extremes.
Bhakti Is Personal
We worship Krishna, who is a person. And because Krishna is a person, He has His own nature, tastes, and preferences. Those preferences include how He dresses, how He is worshiped, and the kinds of music through which His devotees express their love for Him.
The devotional culture Śrīla Prabhupāda brought, therefore, is not simply an arbitrary collection of historical customs. These forms have a spiritual history and have been adopted because they are suited to expressing and cultivating devotion to Krishna. There are enduring principles within devotional culture.
At the same time, theological discernment requires us to distinguish among three things: cultural forms that embody principles essential to the tradition and therefore should be preserved even when the tradition is transplanted outside India; principles that can be expressed equally well, or perhaps even more effectively, through another cultural form; and practices that are primarily historical or geographical customs rather than expressions of eternal principles. Making these distinctions is essential if we are to determine which forms Śrīla Prabhupāda brought with him are intrinsic to the tradition and which may legitimately be adapted or left aside in a particular cultural context.
To examine this question more concretely, let us consider two of the most visible cultural forms Śrīla Prabhupāda brought to the West: music and dress.
The Music of Bhakti
First, I want to be clear: I am not suggesting that other musical expressions cannot beautifully convey devotion. Rather, I am arguing that certain traditional forms have qualities that are integral to the musical legacy Śrīla Prabhupāda brought and should not be casually discarded.
To better understand this principle, I will again relate a discussion I had with Dr. Eben Graves, program director at the Yale Insitute of Sacred Music. Dr. Graves earned his PhD in ethnomusicology studying the history and contemporary forms of Bengali kirtan. He is also a percussionist and teaches mṛdaṅga, or śrī khol.
I asked him specifically about the role of the mṛdaṅga within the Gauḍīya Vaiṣṇava musical tradition. His response helped clarify the distinction between the spiritual principle and the cultural form through which that principle is expressed — and, importantly, when a traditional form should be preserved as far as possible, even when Krishna consciousness is transplanted into another culture. I think his research is particularly relevant to this discussion.
Traditional South Asian and Gauḍīya Vaiṣṇava music is centered on the voice. The purpose of the accompanying instruments is to support the essential devotional practice expressed through nama-kirtan and līlā-kirtan.
The original instruments associated with Krishna’s pastimes — such as the vīṇā, bamboo flute, and mṛdaṅga (śrī khol) — are particularly suited to this purpose. Although these are premodern instruments, they possess musical qualities that support the expression of Radha-Krishna devotion in ways that are not easily duplicated by instruments introduced to India later.
In padavali kirtan and other traditional Bengali forms, for example, the mṛdaṅga, together with kartālas, supports the singing of devotional lyrics, which remains at the heart of the performance.
Other percussion instruments can keep time, but they do not necessarily have the particular timbre of the clay mṛdaṅga, nor can they necessarily produce the same intricate rhythmic patterns that facilitate the emotional expression of krishna-bhakti. These techniques have been revealed, refined, and developed by generations of practitioners of bhakti over hundreds of years.
Dr. Graves therefore considers the mṛdaṅga essential to traditional forms of Gauḍīya kirtan, while instruments adopted later — such as the harmonium, despite its widespread acceptance and appreciation — remain optional.
What I took from this discussion is significant.
The principle is not simply, “Use Indian instruments.” The principle is to support the expression of devotion in a way that is faithful to the tradition.
Traditional instruments have particular qualities that serve this purpose. Modern instruments can also be used when they are appropriate and genuinely enhance the expression of krishna-bhakti. The harmonium, for example, has clearly found a legitimate place in Gauḍīya devotional music, even though it was first invented and named in eighteenth-century France and was not adopted into the form commonly used in kirtan until the early twentieth century in India. Its acceptance, especially by Śrīla Prabhupāda, demonstrates that a devotional instrument need not originate in India to become part of the tradition. At the same time, we should recognize that some traditional instruments used in the expression of vraja-bhakti possess distinctive qualities that cannot be fully duplicated by modern substitutes.
So, adapting local instruments to express devotion is certainly possible. But such adaptation should be thoughtful.
We should first understand what the traditional form is accomplishing before deciding that another form can accomplish the same thing. Otherwise, in the name of cultural adaptation, we may discard something whose spiritual function we have never taken the time to understand.
The Spiritual Meaning of Dress
Do the same principles apply to devotional dress? In other words, are dhotis and saris spiritually significant, or are they simply historical clothing from the time and place in which Krishna consciousness developed?
Although I don’t believe dress is as essential to the tradition of bhakti as the tradition of music, I believe it is more than an arbitrary cultural artifact.
The word dhoti, the traditional dress Śrīla Prabhupāda introduced to his male disciples, literally means “to cleanse” or “wash,” suggesting a simple, sattvic garment that can easily be washed after each wearing.[1]
There may be variations in how this type of garment has been worn throughout Indian history, as well as in traditional cultures outside India. Nevertheless, clothing resembling the dhoti is mentioned in descriptions of both krishna-līlā and gaura-līlā and depicted in paintings under the direction of self-realized Vaiṣṇavas for generations. In that sense, it is not merely an Indian fashion. It is associated with the devotional world we are trying to enter.
Its simplicity and sattvic nature are favorable to devotional life, and its association with Krishna and Caitanya’s pastimes gives it another important function: it reminds us of who we are trying to become.
The same principle that applies to the music Śrīla Prabhupāda brought also applies to devotional clothing: these forms have a practical utility in spiritual life that does not necessarily disappear when bhakti is transplanted into another culture.
But does this mean that devotees must always or mostly wear traditional Indian clothing?
Absolutely not.
A person can practice bhakti while wearing the clothing customary to his or her own culture. There are also circumstances in which traditional Indian dress may interfere with preaching. If people become preoccupied with the unfamiliar external appearance of devotees, they may have difficulty hearing the eternal message being presented.
We also do not go to work in traditional devotional dress, and we may reasonably adjust our clothing according to the weather, occupation, and social circumstances in which we live.
But acknowledging the legitimacy of adaptation should not lead us to dismiss devotional dress as irrelevant.
What we wear affects how we identify ourselves.
Wearing devotional dress can invoke an identification with krishna-bhakti. It can remind us of our spiritual aspiration and signal to others the tradition to which we belong. The clothing is also naturally modest and easy to clean, qualities that can be favorable to the cultivation of bhakti.
My personal experience in the West is that almost all devotees have made some form of practical cultural adaptation in dress, especially as they no longer live in an ashram. Even preachers in the West may prefer, in many or most circumstances, that devotees do not wear traditional garb, as this can project a sense of wearing vestments and communicate that we are a movement of ministers rather than laypeople. At the same time, there is certainly nothing that is divisive for spiritual leaders to wear traditional garb, since religions in the West often have spiritual leaders who wear vestments, especially monks.
I can also respect those whose vision of preaching involves approaching the public in traditional dress for the purpose of identification, especially when the men are neatly dressed in clean, pressed devotional garb of a uniform color and are properly guided in how to conduct themselves in public. I personally don’t think this should be the primary image we project to the public.
Regarding preaching in devotional garb, a friend just showed me an Instagram post by a devotee influencer representing an ISKCON sustainable eco-village in Tennessee. He is dressed in our devotional garb and produces excellent, high-quality posts, many of which receive close to half a million views and hundreds of favorable comments. In that situation, it would be hard to claim that the way he dressed prevented or made communication difficult.
Ultimately, I don’t think the question is whether bhakti must remain culturally Indian or become culturally Western. The real question is whether we can distinguish the eternal principles of bhakti from the particular cultural forms through which those principles have traditionally been expressed. We shouldn’t preserve traditional forms simply because they are traditional, but neither should we discard them simply because they are unfamiliar to us. We should try to understand what these forms contribute to our devotional life and then, with thoughtful consideration, determine to what extent a tradition should be maintained as it has been received and to what extent it can legitimately be adapted according to where it is transplanted. In this way, we can honor what Śrīla Prabhupāda brought us while allowing krishna-bhakti to take genuine root wherever it is practiced.
[1] I found in Bhanu Swami’s translation of the Bhakti-rasāmṛta-sindhu at least two verses (BRS 2.1.351 and BRS 3.4.31) in which Krishna’s dress is described as dhati and translated as “dhoti.” David Haberman, a noted scholar who translated the Bhakti-rasāmṛta-sindhu, also translates it in this way. Finally, I consulted Nityananda das, one of the editors of a forthcoming Bhaktivedanta Book Trust translation of the Bhakti-rasāmṛta-sindhu. He wrote: “The word dhati literally means loincloth, but in context of those verses it can only refer to something like a dhoti. There is a great chance that the word dhoti came from dhati, as Bengalis pronounce the short ‘a’ as ‘oh.’”
Even if one objects that Krishna’s wearing of a wrapped cloth simply reflects the historical period in which the story is set, there is remarkable consistency in Krishna’s appearance through the ages as represented by devotee artists and approved by what the tradition accepts as realized souls. At the very least, those within the tradition can say with confidence that the eternal Krishna is traditionally understood to wear a dhoti.