```json
{
    "title": "In Memory of Sripad Aindra Prabhu",
    "url": "https://wavesofdevotion.com/2010/07/21/in-memory-of-sripad-aindra-prabhu-2/",
    "datePublished": "2010-07-21",
    "dateModified": "2010-07-21",
    "language": "en-US",
    "description": "In Memory of Sripad Aindra Prabhu (The following is an interview with Sripad Aindra dasa done last year for the forthcoming book Kirtan Meditations The Mood and Technique of Bhakti…",
    "author": "Dhanurdhara Swami",
    "publisher": "Waves of Devotion"
}
```

# In Memory of Sripad Aindra Prabhu

**In Memory of Sripad Aindra Prabhu**

(*The following is an interview with Sripad Aindra dasa done last year for the forthcoming book  **Kirtan Meditations The Mood and Technique of Bhakti Kirtan** compiled by Dhanurdhara Swami and Akincana Krishna dasa.  Due to the unexpected loss of this great soul I decided to release his interview quite before the editing has been finished. I hope it gives some pleasure and solace to the congregation of the devotees feeling the loss of this great soul*.)

**AINDRA DASA**

**Doing *kirtan* for Srila Prabhupada**

When Srila Prabhupada came to Washington in 1976, we would all briefly stop at his quarters before going to the temple to greet the Deities. One morning, somehow or other, the *mrdanga* was pushed into my hands and I was told to lead the *kirtan*. I guess there was nobody else to do it so I was trying to play as best as I could in a very simple way.  I was walking right by Srila Prabhupada's side when he suddenly turns to me, lifts his head in his typical, regal way, and says with a very positive glance of approval “*Jaya!*” And that's the only word he said to me in my whole *Krishna* conscious life.

But that one word carried so much inspiration and potency.  How did I get a “*jaya*!” out of Srila Prabhupada? It was simple--I was performing *harinam** sankirtan*. I thus thought “why not continue to perform *harinam-sankirtan*, as at the least that simple service got a ‘*jaya*!’ out of Srila Prabhupada.” And that's been my whole idea ever since.

**Chanting with purity**

*Harinam-sankirtan* means to loudly chant the holy name for the benefit of others**.  **We should seriously consider to what extent we are benefiting others, and also to what extent we are benefiting ourselves. There is apparent *kirtan* and real *kirtan*. Only *sankirtan* where the pure name is chanted is real *sankirtan*.  If someone is making offenses to the name, simply articulating the syllables “Hare Krishna,” that is not real *sankirtan*.  One must thus carefully consider the offenses to be avoided in the matter of chanting.

*Can you talk about the different types of chanting?*

There is *bhukti-nama*, offensive chanting, which results in material gain; there is *mukti-nama*, shadow chanting, which results in liberation, and there is *prema-nama*, pure chanting, which results in *prema-bhakti*, pure love of Godhead.   

*Bhukti-nama* means offensive chanting. By chanting offensively, you can benefit others only by increasing their material piety.  Bhaktivinoda Thakura therefore states that a pure devotee should not participate in *kirtan* led by offenders to the holy name.  Who are those offenders?  Those who do *kirtan* for ulterior motives--who chant for money, or to augment their sex appeal, or do it for name and fame.  Such chanting can at best result in material gratification.

Then there is *mukti-nama* or *namabhasa*. By such chanting one not only gradually becomes freed from all material contamination, but also liberates others from material existence. In other words, by hearing someone's loud chanting of *namabhasa*, one can attain liberation from material existence. Sounds good, right? It's certainly better than staying bound in the material world. But by such *kirtan* alone you cannot inculcate *bhakti* into the hearts of those who hear that *kirtan*, because *namabhasa** kirtan* is only a resemblance of the holy name and not the pure name.

Lord Caitanya's movement is the *prema-nam-sankirtan* movement. Its purpose is to give the highest benefit, pure love of Godhead.  Therefore if one actually wants to give oneself and others the highest benefit, one must awaken pure devotion to Radha and Krishna and for Sri Caitanya.  To achieve that purpose we have to chant purely.

Jagadananda Pandit in *Prema** Vivarta* thus recommends that if one wants to elevate their chanting to the platform of the pure name, one should perform *sankirtan* (as well as *japa*) in the association of those who are chanting the pure name. Only then can *sankirtan* can give the highest benefit.

**Purity is the main thing – musical style is secondary**

The most important ingredient in *kirtan* is the mood in which it is done. If one is either chanting the name with offenses, or chanting for liberation, one will not get *bhakti*, nor will one be able to offer it to anyone else.  

It doesn't matter whether one is accompanying the *kirtan* with *kartalas*, *mrdangas* and harmonium, using a drum set, electric keyboard and bass guitar, decorating the *kirtan* with flute and violin, or even just clapping one's hands. One can chant with very melodious classical ragas, or one can sing raucous, hellacious, heavy metal chanting to attract certain people.  One can sing ten tunes an hour or sing one tune every ten hours, sing in complex rhythmic patterns or simple rhythmic one. One can have jumping dancing *kirtan* or a very slow, contemplative *kirtan*. No matter what you do, no matter how you decorate the *kirtan*, if such chanting is not done with pure devotion, it will never ever inculcate *bhakti* into the heart of anyone.

**The real question is: Are you chanting *suddha-nama*?**

On the other hand, if you are chanting *suddha-nama*, you will get *prema*, the greatest need of the soul.  Such chanting is real *kirtan* and it gives authentic, eternal benefit, by elevating ones soul as well the souls of others.  It is real welfare work, not simply material altruism or liberation from repeated birth and death.  It is thus the work meant to help others reconstitute their original dormant love of Godhead and uplift their soul to the platform of real satisfaction based on unalloyed pure devotion.

If one has the power, by the grace of *suddha-nama*, to do that kind of good to others, then it doesn't matter how you decorate the kirtan with accompaniment and skill.

The real question is then, are you doing real good for others by chanting *suddha-nama*?

*If we are only chanting a lower stage we shouldn't perform sankirtan?*

No, I'm not saying that.  But we should know that we are not actually manifesting the real form of *kirtan* unless we are chanting without motive where *suddha-nama*, manifests.

***Raga kirtan***

It is also important to know the meaning of *raga kirtan*. In a musical sense *raga* refers to appropriate melodies. The classical Indian system of *ragas* are thus certainly useful in *kirtan*, but real *raga kirtan*, goes beyond  just musical consideration  It is *kirtan* on the platform of *bhava*, devotion with spontaneous feeling.

*Raga* literally means attraction or affectionate attachment. In *kirtan* it refers to melodies that create an attractive atmosphere to affect the heart and increase affection.  This doesn't mean that *raga* is just meant for making the music attractive for us and others.  It means to perform *kirtan* in such a way that Krishna becomes attracted to our *kirtan*. It is *kirtan* where Krishna is attracted to the expression of our love expressed by the atmosphere we have generated for His pleasure.

And that principle of attraction is expansive.  When you satisfy Krishna you satisfy the whole creation. Thus everyone is automatically pleased and attracted by performing *sankirtan* solely for the pleasure of Krishna.

Instrumentation in *kirtan* can thus be likened to so many zeros.  Zeros, even many zeros, have value only if one is added before them. You then get ten, a hundred, a thousand, or even a million. Similarly musical talent in *kirtan* has no value within
 itself, but expands exponentially in value when one, when *suddha-nama*, is added before it.  And without the one of *suddha-nama*, the mood of offering the *kirtan* for the pleasure of Krishna, all the best music and instrumentation, is simply zero.

We should note, however, that we don't see in *Govinda Lilamrta* the *gopis* concerned about Krishna not accepting their hundreds and millions of zeros, their unlimited musical talent in the performance of *kirtan*.  That is because their *kirtan* is solely for his pleasure. They never thought, “Oh we better not make the musical instrumentation too nice because we may get trapped by our own desires to enjoy the musical vibration and then Krishna won't accept our *kirtan*.”  Rather the *gopis*' used  whatever complex musical and rhythmical arrangements found in the music of Lord Brahma and the residents of the higher planetary systems and beyond that the even more difficult musical arrangements performed
 by Laksmi Narayana and the residents of Vaikuntha.  But whatever musical embellishments they used were all simply done without any tinge of ulterior motive.

It is said in *sastra* that when Krishna plays his flute it is so complex and astounding that demigods like Lord Brahma become bewildered  and Lord Siva  falls off Nandi the bull, unconscious.  So we can't insist that only simple tunes and melody satisfy Krishna.  Krishna enjoys a variety of flavors, many of which are intricate.  If Krishna only enjoys simple presentations then why do we change the dress of the Deities' dress twice a day? It is the same Krishna, but the new dress allows us to appreciate him in a fresh way.  Similarly when we see Krishna decorated in a different *ragas* or tunes, the attractive atmosphere created enhances our appreciation of the beauty of Krishna In the form of his name.  Instead of decorating him in only one dress, a red dress all the time, we decorate him sometimes in a blue dress, or yellow dress, that contrasts so stunningly against Krishna's black body.  But then sometimes we dress Him in a pink dress which brings out Krishna's beauty in a slightly different way.  Sometimes He is dressed with simple ornamentation, and sometimes with very complex ornamentation. The simple ornamentation makes Krishna's bodily form look a little more complex, whereas the complex ornamentation brings out the simple beauty and sweetness of *Krishna* in another way. In the exact same way we can bring out the unique beauty of the holy name with various decorations of ragas.

Why is it that we offer Krishna a feast and not just khichari.  Of course Krishna was satisfied to eat Sanatana Gosvami's wheat balls without any salt, because it was offered with devotion, but that is all he had. Do you think that the *gopis* only offer khichari to Krishna every day?  Why is it that Radharani never cooks the same milk preparation twice?   To entice Krishna, to add his appetite, to enchant him, to make him think that Radharani really loves him.  So in the same way, when we make a nice feast for Krishna we offer Him so many different varieties.

So there is scope in Krishna consciousness for making everything first-class, better than first-class, and offering all these hundreds and thousands of zeros of first-class arrangements for the pleasure of Krishna. Therefore if the *kirtan* arrangements are all first-class and done simply for Krishna's pleasure without any other consideration involved, that is *raga kirtan*.

*Does Krishna like Indian classical music the most?*

Yes, why not, but the over riding principle is Krishna's pleasure? *Govinda Lilamrta* describes that the *gopis* were using hundreds of *ragas* and they weren't even performing the *ragas* according to the strict rules of time consideration. They were performing all varieties of *ragas*, daytime *ragas*, seasonal *ragas*, any type of *ragas*, within the course of one night's *rasa lila*.  Not only did they relish varieties of previously established *ragas*, but they mixed ragas and they created new *ragas*, combined with extremely complex *mrdanga* playing and extremely complex dancing. It describes how one *gopi* came out into the middle of the arena and she tapped her feet once, then twice, then thrice, to prove to the audience that her ankle bells were working, and then began to dance in such an unprecedented way that in spite of all of her intricate footwork, her ankle bells did not sound.  Krishna and Radharani and all the *sakhis* exclaimed bravo, bravo, well done! She had such so much talent, but it was for the pleasure of Krishna and all the devotees.

At the same time, however, when Srila Prabhupada asked a *pujari* to identify a carob-peanut butter sweet on the Deity plate that he was not familiar with he disapproved.  “Do not offer it to the Deities. I have given you so many varieties of sweets that Krishna likes to eat.”  So there are things that Krishna prefers. The Indian classical *raga* system is something like that--a musical system that Krishna appreciates, but that doesn't mean that Krishna cannot appreciate new *ragas* beyond the old established *ragas* that are created for His pleasure.

**Personal Meditations**

In both my *japa* meditation, and in my performance of *sankirtan*, I begin by meditating on and worshiping Sri Sri Gauranga and Nityandana in Navadvipa. Then I gradually enter through the mood and *bhava* of Sri Caitanya into the chanting of the *madhurya** nama* *hare krishna* *maha**-mantra* and meditation on Radha and Krishna. *Gaura-nama* is *audharya-nama*, the name of compassion, and Radha-Krishna *nama* is *madhurya-nama*, sweetness personified. The *audharya-nama-sankirtan* can very quickly elevate the devotees to the platform of *suddha-nama**- sankirtan*. And *suddha-nama-sankirtan*, as we have discussed before, has the power to inculcate *bhakti-sakti* into the heart of the people associated with the *kirtan*.

Krishna says in *Bhagavad-gita* “first surrender, then *bhakti*, or *prema*, comes later.”   Gaura is so merciful, however, that he says without considering who is fit and who is not fit, “Just take love of Godhead.”  Surrender comes later. But how can one just take love of godhead if one doesn't take *gaura-nama* first?

**What is the difference between *japa* and *kirtan*?**

There are two prominent ways that the *gopis* are absorbed in the services of Radha and Krishna.  One is in *nikunja** seva*, where one serves Radha-Krishna alone. The other is *rasa-lila*- dancing and singing and serving Krishna with all the *gopis*.

Similarly as all the *gopis* have their individual kunjas for individual personal service, we chant *nama** japa* in the mood of *nama** seva*, to assist in personal intimate service.  *Nama** japa* is thus like facilitating the meeting of Radha and Krishna alone.

So *nama** japa* is a more secluded, personal affair. You may even pull your chaddar over your face so that no one can see your emotions. *Japa* is your own relationship to Radha and Krishna without the consideration that your feelings are shared with others. One is thus free to allow the heart to flow and express one's desperation for the eternal loving service to the holy name in a way that one can't do in public assembly.

However, *nama** japa* is not simply a matter of only one's personal relationship with Radha and Krishna. We also perform *nama** japa* to become inspired to share our devotion to Radha and Krishna with others in the form of nama* sankirtan*. In that way *japa* is never a selfish affair. So *japa* can either be chanted for the satisfaction of Radha and Krishna or chanted to attain the spiritual experience necessary to have real compassion on others.  In either case, the aim is never selfish or self aggrandizing.

As practicing devotees, it's powerful to chant *nama** japa* in the mood of separation – especially a type of separation called *purva** raga*, which means the intense, desperate anticipation to meet Radha and Krishna.  The idea is that you meditate on the types of services that you would like to do for Radha and Krishna and pray, “When, oh, when will that day be mine?” That is *purva**-raga*.

*Sankirtan*, on the other hand, can be performed in the spirit of Krishna's *rasa lila*. The *rasa lila* acts as an appetizer to wet Krishna's appetite for more intimate reciprocation with his *gopis*. In *Ujjvala nilamani*, however, there is a description that says that the *rasa lila* generates in Krishna a happiness that far surpasses even the experience of His complete intimate union with Srimati Radharani and the *gopis*. One may ask “How is it possible for *rasa-lila* to be the highest when the culmination of all pastimes is Radha-Krishna enjoying alone in the forests of Vrindavana? “The answer is *vipralambha*; it is the mood of separation. In the *rasa lila* Krishna although so close is so far away as well. He is dancing with the *gopis*, but not yet in his most intimate association with them.  The *rasa lila* is thus like the hors d'oeuvres that are served before the meal. The meal is the real objective, but hors d'oeuvres can often be more tantalizing, more piquant and full of *rasa* than the feast itself.  In the same way the most exuberant expression of *nama-bhajana* is not being alone with Krishna in *japa*, but in the performance of *nama-sankirtan* with others.

By *nama-kirtan* Krishna also sees that you are serious about sacrificing your egocentricity for the purpose of helping others to gain access to the holy name. An attraction thus naturally awakens within Krishna to the soul who is performing that *yajna*. It induces him to relish deeper with that devotee even more intimate, loving reciprocation in the form of *nama** japa* In that way, *nama-sankirtan* and *nama** japa* are always inter-supportive

Nowhere, however, it is said that *nama** japa* is the *yuga**-dharma*, the specific spiritual practice for this age. The *yuga**-dharma* is *nama-sankirtan*, loud chanting for the benefit of others. And that's what brings *nama** seva* to the highest level.

The *yuga**-dharma* facilitates the proper result from the performance of all other practices of devotional service. Therefore without performing *sankirtan*, one cannot gain the highest benefit and deepest realization of the purpose of hearing the *Bhagavata*, chanting *nama** japa*, taking *first-class* *sadhu-sanga*, worshipping the Deity, or of residing in the holy *dhama*.  In other words, one cannot gain the highest result from engaging in any other practice of devotional service without spending sufficient time in the direct performance of *nama-sankirtan*.

How does one achieve the highest benefit in all devotional practices by *nama-sankirtan*? When Krishna sees that someone is helping others by giving them the opportunity to hear the holy name, then Krishna from within and from without lifts the curtain of *yogamaya* from that person.  He thus allows them to see the actual nature of the Deity and to penetrate and realize the deepest imports of the *Bhagavata*, the path of spontaneous devotion.  And by serving  guru and Krishna on the path of *raga*, or at least by practicing serving them on that path, ones  understanding of *Bhagavata* and ones relish of the Deity becomes even further enhanced. Then all one's practices enter the *raga* dimension and helps one evolve to the plane of *raganuga** bhava*, *vraja** bhava*. That is real *sankirtan*. That is the *sankirtan* of Lord Caitanya and his associates – the relish of *vraja** bhava* in the course of performing *sankirtan-yajna*.

It is essential that devotees who are actually very serious about advancing in Krishna consciousness, advancing to the perfectional stage, to come to this position of performing *raga-mayi-sankirtan*, *kirtan* laden with spiritual emotion. Only then can one help others awaken their deepest appreciation of the *Bhagavata* and their deepest appreciation of all gifts that Srila Prabhupada and all the *acaryas* have left.

**Aindra's**** style**

I have more or less coined the name for my style of *kirtan* as progressive *kirtan*. Just like there is progressive rock, so I have more or less named my way of doing *kirtan* as progressive *kirtan*. The kind of *kirtan* that I have been influenced by is a northern Indian classical style called *kayal*.  *Kayal*, as far as I understand, means fantasy. I haven't gotten deeply into that style, but I have incorporated elements of that style in my humble attempt.

What I see about the *kayal* style is that it leaves room for improvisation more so than the dhrupad style. Dhrupad style is more rigid. Dhrupad style is more concerned with the letter of the law of musical *ragas*, whereas the *kayal* style more or less accentuates the spirit of the law of musical *ragas*.  In the *kayal* style you may add a note to a *raga*, for example, for the purpose of inspiration or generating a *bhava*. That kind of reflects the *gopis*' mixing of *ragas* or creating new *ragas*.  The basic principles of the *raga* remain intact, but some extra note may be added just to enhance the flavor.  In that way it tends to enhance the beauty of a *raga* in some ways.

**Getting devotees to chant**

When you're leading *kirtan* we not only benefit people by giving them a chance to hear, but benefit them a hundred times over by giving them a chance to chant. In the *Hari-bhakti-vilasa* it said that one who is hearing is benefitted, but one who chants is benefitted a hundred times more.

Some devotees complain about the complexity in my style, but I think that if you actually listen to the vast majority of my *kirtan*, it is quite simple if one just pays attention. One thing I try to do is keep people on their toes, forcing devotees who participate with me in *kirtan* to tune in and listen more attentively, instead of just putting their mind on automatic.

In the kind of *kirtan* that I prefer, there are many varieties of tastes being generated, along with progressive rhythmic patterns. We'll use the *mrdanga* and *kartalas* to change up, change over, shift gears, and bring the *kirtan* into new dimensions. I try to use a variety of technical musical embellishments which I feel enhance the attractiveness of the *kirtan*.  My practical experience is that putting the *kirtan* through changes helps to keep the devotees who are participating in the *kirtan* alert. It gets them out of the automatic mode and gets them into the thinking mode. From the thinking mode you can come to the conscious mode. Conscious of what you are doing, conscious of how the *kirtan* is developing, conscious of the mood that the *kirtan* leader is trying to inspire in the hearts of the other participants, whether it is direct inner circle participants, or outer circle public. From what I gather, many devotees take inspiration from the style of *kirtan* that I have developed.

No one said that leading a *kirtan* is meant to be a cakewalk. It is a sacrifice, an austerity. It is not easy. It is difficult to have the necessary clout, purity of purpose and intension in chanting to inspire people from within to come forward to help. Personally I don't claim to be so powerful, or so expert, so I have to struggle sometimes just to wake people up to get them to chant. It's not that the tune is too complicated; it is that people are not attentive. So sometimes you have to remind those people again and again “Prabhu, *haribol*! Chant!” because they are going to get much more benefit by participating in the responsive chanting.

**Breaking down false ego**

In the *Caitanya-caritamrta* in the chapter called the *bheda** kirtans* we see a description of how Lord Caitanya divided the devotees into various *kirtan* groups. There were four *kirtan* groups each having two *mrdanga* players, and eight *kartal* players, That's sixteen *kartala* players and six lead singers, simultaneously singing the lead with six lead responders simultaneously responding.

I have incorporated that standard to a large extent in my own endeavors to perform *kirtan*, largely because my voice has been destroyed due to so many years of very intense *kirtan*.  My voice has its limitations, but I see that as Krishna's mercy in a few different ways.

I can't be falsely proud about how beautiful my voice is, because it is not anymore.  I ask for others to help me sing the lead when I perform *kirtan*, which helps to generate enthusiasm and bring more devotees on board. Devotees are naturally eager to help when they see someone needs help, and they become enthusiastic when they are part of the leadership. I may still give the impetus to the progressive direction of the *kirtan*, but for the most part it is other people who are singing more than me. So when we go up to the high parts to, as Jayadvaita Swami would say, “kill my voice,” then other devotees come and kill their voices too. I reason that the louder the voice the more Lord Caitanya will acknowledge our attempt to selflessly cooperate for his pleasure and bestow his mercy on us.

So when I do *kirtan*, it's not a one-man show. That checks the tendency for one person to exploit the *kirtan* for personal self aggrandizement.  Then even if it is not the pure name, it helps us come a lot closer to the offenseless platform. And others become inspired that the *kirtan* is selfless.

When Lord Caitanya organized the *bheda** kirtans* not only did he have six *kirtan* leaders singing, but he had six lead *kirtan* responders.  There is a very good reason for that.  The mass of people are not going to be so expert at picking up what tune was just sung, but if there are expert *kirtan* responders singing the correct tune, the rest of devotees will more likely be able to follow.  This is very useful.

**“We're all in it together”**

If the *kirtan* leader is singing without playing an instrument, or if he's playing the harmonium, which is not a rhythmic instrument, then the *mrdanga* player must tune in and pick up on where the *kirtan* leader wants to go with the *kirtan*. The idea for the *mrdanga* player is to serve and enhance the mood of the *kirtan* leader. Then *kartals* should follow the *mrdanga*. The *mrdanga* player should not be so self centered that his *mrdanga* playing becomes more important to him then the *kirtan* forcing the *kirtan* leader to surrender to whatever he is doing.  

I have experienced that with a few different *mrdanga* players. They are neither interested in, nor capable of, understanding my mood or musical preferences.  They just can't pick on what I am doing to effectively inspire and engage others. When the *mrdanga* or *kartal* player is insensitive to what the *kirtan* leader needs, then the *kirtan* loses direction and the leader becomes very frustrated.

That doesn't mean, however, that there is no room for self-expression, for innovativeness, or for artistic finesse on the part of the different instrument players, because after all, even though the *kirtan* leader is the person in charge, it is not his performance alone.  *Sankirtan* is a congregational effort. Everyone is in it together.

Love is always a two-way street. In real *kirtan* there is thus a give and take among the performers.  Sometimes the *mrdanga* player has a good idea, or the *kartal* player has a good idea. And if it is good idea, the *kirtan* leader benefits by surrendering to what the *mrdanga* player has to offer. There is natural reciprocation between good *kirtan* performers.  That's called jamming.  It's sharing inspiration with each other.  That sharing brings *kirtan* to another dimension of spontaneous dynamism which increases the inspiration, enthusiasm and appreciation of each other as cooperative constituents in Lord Caitanya's *lila*.

**Playing with expertise and playing in tune**

There is place for expertise. Prabhupada expressed great pleasure with Acyutananda's *mrdanga* playing. At that time Acyutananda was pretty expert compared to most of the rest of us. Prabhupada complemented him, telling him “You are playing just like a professional.” That wasn't a criticism, “what the hell are you doing trying to play like a professional!”  He was complimenting him that “you're playing just like a professional.” He was exhibiting a certain level of competence and Prabhupada appreciated it.  Not that professionalism supersedes the principle of purity, but there is need to understand the instrument that you are playing.

There is also a need to tune the instrument that you are playing.   I personally demand that devotees who are playing the *mrdangas* understand that the first lesson in playing any instrument is how to tune it.  Just like if you are going to play a guitar, or a sitar, the first thing you have to do before you start playing it, is you have to tune the instrument.  Similarly a *mrdanga* needs to be tuned properly to have the proper vibration.

In any musical performance you'll have soprano instruments, mid range instruments and base instruments. The *mrdanga* is supposed to be a bass instrument. That is *madhura** mrdanga bhaje*, very low and sweet – very moving to the heart.  The professional *kirtan* players, *sahajiya* as they may be, they know how to tune their instruments. You'll hear them playing very low, very sweet, deep resounding *mrdangas*.  Mrdangas constitute the bottom of the *kirtan*.

Similarly, it is important to understand what it is to have a tuned pair of *kartalas*. If one *kartal* is lower in pitch than the other *kartal*, if they are not the same pitch, then it can create an awfully discordant vibration that breaks the ear. And rather than attracting people to the *kirtan*, it drives them away.  *Kartals* constitute the high end.

So you have bottom and high end complementing the mid range, which is the voice. If the mrdanga is not tuned low, then the mrdanga intrudes upon the mid range, where the voices are singing.  Rather than enhancing the *kirtan* of the holy name, an un-tuned mrdanga intrudes on the chanting and spoils the *kirtan*.

Just like when you are coming down the street and hear a *hari** nama* party, what is the first thing you hear?  *Kartals* because it has the highest range and is automatically louder. The last thing you hear is the mrdanga. You hear *kartals* the voice and finally the mrdanga.

According to Prabhupada the *mrdanga* should be half the volume of the voice, and the *kartals* should be half the volume of the *mrdanga*. So if you are going to have four *mrdanga* players, you should have six men leading the *kirtan*. It is not that there should be four *mrdangas* playing competing on the mid range, frequencies with a single voice making it difficult for the leader to sing.  So *mrdanga* must be tuned very low. It then not only creates the bass frequencies on the bottom of the *kirtan* and allows the mid range vocals to shine through, but it is *madhurya*, very sweet and moves the heart.  Most important it t allows the holy name to shine through, which is the whole purpose of the *kirtan*.

**Playing and singing**

Prabhupada said that the instruments should not be played in way that one cannot sing along with them at the same time.  That's another problem. Sometimes devotees become so absorbed in trying to play their instruments in complicated way that they can't chant while they play.  That means they haven't learned to play them properly.  If one is not competent, or if one did not learn properly, he may know how to play intricate beats on the *mrdanga*, but not how to sing at the same time -- which is a hundred times the benefit of only hearing.

So if one is playing the *mrdanga* properly by following the *kirtan* leader and serving the holy name and at the same time hearing, that's great. But higher than that, better than that, is being able to play the *mrdanga* and sing at the same time, at least as much as possible.

Sometimes when the *kirtan* gets very heavy and it is really taking off, then the *mrdanga* player may have to back out of chanting to execute the changes the *kirtan* leader is putting the *kirtan* through. But that should be the exception, not the rule. As a general rule, as much as possible, the *mrdanga* players should also respond with chanting.

As far as the *kartal* players are concerned – I have seen people playing the *kartal*, or playing the gong, or playing the whompers, or playing the shakers, or banging on instruments just for their own high, completely oblivious to the fact that they should be chanting.  And honestly speaking – that boils my blood!

**Play it the Vedic way**

If devotees can learn how to play instruments in the Indian classical style, it goes a long way to enhance the transcultural experience of *sankirtan*. If you learn how to play the *mrdanga* nicely, according to a traditional mantra system, that generates the type of vibration which takes the *kirtan* to another cultural dimension.  Similarly with the violin—someone may play the violin in a western classical style, but I think for *kirtan* it is much better to play with an Indian classical style. Have you ever heard ndian classical guitar playing?  It's outrageously good, tremendous.  Have you ever heard Indian classical clarinet? It's tremendous. Have you ever heard classical Indian flute? Compared to the occidental style of flute or violin playing, the Indian classical style is much more appropriate for *kirtan*.  When you play those instruments in *kirtan* in a western style, I think it's not as harmonious. The same can be said for harmonium playing. Srila Prabhupada played harmonium in an Indian classical style.  He didn't use chords.  It's not that the Vedic culture doesn't lend itself to higher cultural expression than other so called cultures of the world. The highest cultural expressions in the world are Vedic cultural expressions. It's not like you are going to lose something by learning how to play the instruments in accordance with the Vedic way.  

**Harmoniums**

I go by Srila Prabhupada's instruction on the matter. First Srila Prabhupada said that the harmonium should not be played in the temple. Why did he say that? I think it was because he didn't like harmoniums being played with western chords.

That becomes evident by the time he wrote the third letter on this point.  First Prabhupada said that harmoniums couldn't be played in temples, only for festival programs. Then he said that harmonium could be played in the temple but not during the *arati*. And then the third and last letter that came out, Prabhupada tells said that harmonium can be played during an *arati*, but melodiously.”  Melodiously means following the melody line, not hanging on chords. Melodiously means following the way Srila Prabhupada taught us to play harmonium.  He recorded the harmonium not just that we can enjoy hearing, but so that we can learn how to play the harmonium.

One time Srila Prabhupada was asked “Srila Prabhupada, what kind of instruments are there in the spiritual world?” and Prabhupada answered, “Well, there is *mrdanga*, there are *kartalas**,*” and then he said, “and there is a little harmonium.” Prabhupada appreciated the harmonium enough to import it to the spiritual world. Prabhupada himself played harmonium.  And even members of the Gaudiya Matha appreciated that Prabhupada's playing of the harmonium was very expert. Prabhupada said that the harmonium creates a nice atmosphere.

Therefore I learned how to play harmonium, and I use the harmonium in temple *kirtans* because Prabhupada said it was okay.  He gave his permission.  I don't feel that it is altogether wrong to play the harmonium.  But I do feel that it is at least somewhat wrong to allow the harmonium to play you.  In other words, if you are going to play the harmonium you should be expert enough to play the harmonium like Srila Prabhupada, or at least according to his instructions.  Not that you can't get around on the keyboard and that forces your tune to conform to whatever chord you find on the harmonium.  Chords destroy the *raga* system, or imprison it, as Vaiyasaki would say.

**Advice to junior *kirtan* leaders**

If someone is not expert in following in a *kirtan* he is actually not an expert leader. An expert leader is expert at both leading and following. It is not that one puts on a big show of being the *kirtan* leader, but when someone else is leading, he is either disinterested in or incapable of following others. Just like someone is expert in harmonium only by reading music, but the real expert is one who can play just by hearing. He is one who also can follow the tune that the other leader is singing. That is actual expertise.

Why is it that Lord Caitanya organized so that there were six *kirtan* leaders? First of all there were no microphones, so you need six *kirtan* leaders to be heard. After all you have four *mrdangas* and sixteen pairs of *kartalas* to compete with. And don't think that the *mrdangas* and *kartals* weren't played loudly. They were played very loudly. It is described in the *sastra* how they were played resounding like thunder.  It is not that in Lord Caitanya's time the *kirtan* was only very mellow and contemplative and soft. They didn't have microphones so those who are not so expert can't overkill it with tone deaf singing.  Not that Lord Caitanya had to resort to that in organizing his *kirtans*. Rather he had six expert *kirtan* leaders who were able to understand themselves enough to go in the next phase of the *kirtan*, cooperating together to sing louder enough so that the thousands of people who participated in the *kirtans* could hear.

**Supplementary instruments**

Instruments are important, but we already have all the instruments we need – we have a tongue, and we have ears. So we have to remember that our performance of *nama** sankirtan* is primarily based on those instruments. Everything else should be seen as supplementary, or supportive, a decoration to enhance. So then any other instruments should actually enhance and not detract from the chanting with the tongue and ear.

That's why I don't allow djembes when I perform *sankirtan*.  At one time I allowed it, but after gaining experience as to what happens when I allow it, I decided that definitely I shall not allow djembe to accompany my *kirtan*. The djembe has its appeal perhaps because it is easier to play than a *mrdanga* nicely.  But the djembe is a *tamasic* instrument, which totally overpowers and obliterates the beauty of the *madhurya* *mrdanga* vibration.  Of course someone could argue that Lord Caitanya didn't have a harmonium, but certainly Lord Caitanya didn't have a djembe in his *sankirtan* parties. If the djembe must be used at all, it should be used outside. But even then the tendency is for it to
 overpower the *mrdanga* and to impede the beauty and sweetness of its vibration to move the heart which in and of itself is a transcendental sound which moves the heart toward Krishna.

Personally, I don't prefer to have a bass guitar cranked up so loud that it obliterates everything else, although it doesn't have to be cranked up so loud. I know that when an expert plays the bass guitar it can be a little tasteful if it is not cranked up very loud.  I'm not into enhancing the *kirtan* with bass guitars. In my opinion it doesn't do much for the *kirtan*.

I hate accordions.  The sound is weird and it brings back memories of Russian bar music.  That's why I have developed this other style of small harmoniums, to offer an alternative to the accordion.

**The main mantra**

One thing is, I always emphasize the importance of chanting the Hare Krishna *maha**-mantra*. Although Prabhupada said that the Gosvamis' songs are the extensions of the *maha mantra*, still more important than all of them is the *mukhya mantra*, the chief mantra. So many times devotees become sidetracked because of lack of taste for chanting the *maha**-mantra* due to not chanting enough. They are thinking that the *kirtan* is boring if you don't switch to “*Govinda Jaya Jaya*”, or “*Radhe Radhe*”, or whatever *jaya*, *jaya*, *jaya*. Undoubtedly Srila Prabhupada's instruction is that the main focus of the *kirtan* should be the *maha**-mantra*. Here in Vrindavana for the 24-hour kirtan we exclusively chant the *maha**-mantra*. That is the main and best *sankirtan* mantra for this age. So even though there is *Hari** Haraye Namah Krishna*, another way of chanting the *maha**-mantra* given by Lord Caitanya, still, the 16-syllable *maha**-mantra* mentioned in the *sastra* is the main mantra.

**The 24-hour kirtan**

Why *akhanda-nama*, 24-hour *kirtan*? Why? People are forced to become pious by even entering into an atmosphere where a *kirtan* had been performed as the ethereal atmosphere still remains purifying.  So how much more one is forced to become pious when one walks into a place where the *kirtan* performance is going on and one hears the holy name. And how much even more purifying is the place where the holy name is being heard 24-hours a day, nonstop. When you chant non-stop in a place the power of that place simply increases, increases and, increases, but when the *kirtan* breaks, it loses power.

The *akhanda** kirtan* also forces people to surrender more, because they can't just start talking about something or even stop to eat. One has to sacrifice. There is also a greater degree of responsibility toward the other members of the team as they are working very hard to keep *hari-nama* continuously manifest in the atmosphere.  

If you are doing *akhanda-nama-kirtan* for years and years, the atmosphere that has been generated by the continuous manifestation of *nama* becomes so powerful that it not only purifies one from material contamination, but purifies the egoism of the soul, bringing the soul to its original egoism, the mood of a resident of Vrindavana.