Relevant bibliographies by topics / Bhajans

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Bhajans'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Bhajans"

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Abeysekara, G. G. G. L. "The Position of Kabir Bhajans in North Indian Music." Journal of Research in Music 1, no. 2 (October 25, 2023): 35–44. http://dx.doi.org/10.4038/jrm.v1i2.10.

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Kabirdas is a poet who lived in medieval India. He visioned to spread social purity with philosophical thinking through the poems which are termed as Nirgun bhajans. Bhajan is simply known for chanting the qualities and the physical appearance of Hindu deity/deities. The bhajans or poems composed by Kabirdas are not consisting of the latter, but they are also put under the term 'bhajan' in terms of lyrics and their musical presentation. Traditionally, bhajans refer to devotional songs that depict the qualities and physical attributes of various deities. However, Kabirdas' bhajans deviate from this norm by focusing on different themes, while maintaining a certain essence of traditional bhajans. This study investigates how the melodies of Kabir bhajans effects in the absence of chanting the qualities and the physical appearance of a Hindu deity/deities in the lyrics. This study also aims to look at the broader significance of devotional music in promoting social and philosophical ideals in medieval India.
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Puglisi, Rodolfo. "ALIMENTO PARA EL CUERPO Y EL ESPÍRITU: PRÁCTICAS ALIMENTARIAS Y CANTOS RITUALES EN LOS GRUPOS SAI BABA ARGENTINOS." Cultura y Religión 8, no. 2 (December 31, 2014): 129–47. http://dx.doi.org/10.61303/07184727.v8i2.553.

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Este artículo ofrece un acercamiento a la genealogía histórica de los estudios antropológicos que abordaron la temática del cuerpo, especialmente en contextos religiosos. A continuación, en el marco de una tradición científica atenta a la diversidad religiosa en Argentina, examinamos algunas prácticas y representaciones corporales de los grupos devotos de Sai Baba argentinos. En esta dirección, analizamos sus costumbres alimentarias y una de sus actividades rituales más importantes, los cantos devocionales (bhajans) considerados “alimento para el espíritu”. Finalmente, concluimos que las mismas responden a la representación que del cuerpo, la persona y el macrocosmos impera en este movimiento religioso.
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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
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Virani, Vivek. "From Satsaṅg to Stage: Negotiating Aesthetic Theologies and Aspirational Subjectivities in a North Indian Bhajan Competition." Ethnomusicology 66, no. 1 (April 1, 2022): 106–37. http://dx.doi.org/10.5406/21567417.66.1.07.

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Abstract Malvi nirguṇ bhajans, songs once used primarily for spiritual contemplation, are now being performed onstage in a variety of new contexts. I argue that these contexts are more than commercial opportunities and provide performers the opportunity to engage in new processes of self-authorship that I term “aspirational subjectivities.” These subjectivities amalgamate spiritual frameworks of aspiration derived from mystical poetry, socioreligious frameworks of aspiration inspired by lower-caste activist movements, and socioeconomic frameworks of aspiration spurred by India's neoliberal zeitgeist. This article demonstrates how musicians negotiate spiritual, social, and economic aspirational subjectivities through performance practice to overcome long-internalized stigmas of caste discrimination.
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Henry, Edward O. "Jogis and Nirgun Bhajans in Bhojpuri-Speaking India: Intra-Genre Heterogeneity, Adaptation, and Functional Shift." Ethnomusicology 35, no. 2 (1991): 221. http://dx.doi.org/10.2307/924734.

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Varghese, Ritu. "Mirabai in Popular Imagination." Artha Journal of Social Sciences 19, no. 2 (April 1, 2020): 67–81. http://dx.doi.org/10.12724/ajss.53.5.

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The immense popularity of Mirabai, the sixteenth-century bhakti poet-saint, transcends time and space. Beliefs have it that she renounced her kshatriya and royal identity for spiritual pursuits in the public domain. She was challenged, critiqued, ostracised, and castigated within her community and was labelled as a woman of questionable character. Mirabai wandered to various places, singing and dancing to bhajans negotiating the public and the private while becoming both virtuous and promiscuous in multiple narratives. Mirabai has been accommodated within the marginalised and subaltern communities and gradually, a community of destitute women has formed around her. With the revival of Mirabai during the Indian ‘nationalist’ period by popular spokespersons such as Swami Vivekananda and Mahatma Gandhi as an ‘ideal’ and ‘chaste’ historical character in their public speeches and private letters, the promiscuous image of Mirabai, perpetuated through centuries, witnessed transgressions and she was eventually elevated to the status of a saint. This paper with literary, biographical and hagiographical representations explores the mechanism of the paradoxical plane that allowed the promiscuous image of Mirabai to achieve sainthood and become a cult name in the bhakti tradition.
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DeNapoli, Antoinette Elizabeth. ""Write the Text Letter-by-Letter in the Heart"." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 4, no. 1 (June 5, 2010): 3–40. http://dx.doi.org/10.1558/post.v4i1.3.

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The performance of the Rāmāyan, a popular, medieval Hindi text composed by the Indian poet/saint Tulsidas, constitutes an important genre in the “rhetoric of renunciation” for female Hindu ascetics (sādhus) in Rajasthan. It is used by them, along with the singing of devotional songs (bhajans) and the telling of religious stories (kahānī), as integral to their daily practice of asceticism. This essay examines the performance and textual strategies by which non- and semi-literate female sādhus create themselves as “scriptural”—how they perform a relationship with the literate textual tradition of the Tulsi Rāmāyan—and thus engender female religious authority in the male-dominated institution of renunciation, in which men are often considered by Indian society as “the” experts in sacred texts. For these female sādhus, Rāmāyan performance functions as a rhetorical strategy with which they construct their tradition of devotional asceticism as a non-orthodox and vernacular alternative to the dominant (and orthodox) Sanskritic textual model of Brahmanical asceticism. The sādhus’ identification of Rāmāyan expressive traditions with Tulsidas’ written text contributes a new perspective on the concept of scripture, and their textual practices provide an alternative model of scripturality to current analytical models which equate it with individuals’ engagement with the written sacred text.
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Sharma, Dr Shreeja Tripathi. "Tagore’s Gitanjali: A Note on Publics of Performance." IJOHMN (International Journal online of Humanities) 4, no. 4 (August 4, 2018): 42–50. http://dx.doi.org/10.24113/ijohmn.v4i4.56.

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Tagore’s Gitanjali has been written seeking inspiration from the bhakti tradition. The nuances of performance and reception of the tradition essentially involve two aspects- public and private. Bhakti as an act of personal devotion of an individual forms its ‘private’ character.The sonic performance of bhakti in forms such as bhajans addressed to Gods, accompanied by musical instruments and joyful cries of ecstasy, encompass the ‘public’ character. Both the ‘private’ and the ‘public’ are the modes of transcendental God realisation. While the ‘private’ is individual-centric, the ‘public’ can be understood in the sense of the integration of the individual with the Universal or the finite with the Infinite. The modes of publics of performance rely on transcendental collective shared experience as a catalyst of self-transformation and as an agent fostering national and universal brotherhood. This paper presents the case for incorporating publics of performance in the pedagogy for the study of Gitanjali, as a text of bhakti tradition. This would involve techniques like theinclusion of a CD demonstrating the rhythmic flow of reading, providing guidance on pronunciation, intonation, emphasis, punctuation and groupings of words and phrases. The trainers, on a more dedicated note can evolve innovative teaching techniques such as a ‘literary jagran’ and perform a collective public reading accompanied by traditional musical instruments of the bhakti tradition such as cymbals and dholaks.
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Baruah, Sudarshana. "Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography." BL College Journal 4, no. 2 (December 1, 2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.

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Religion is the driving force behind the evolution of society. Human religious believers have interpreted music as the utterances of gods and lauded it as the purest expression of spirituality. Throughout the majority of human history, religious texts have been sung rather than written, and religious behavior has been expressed through prayer or devotional melodies or music in almost all religious traditions. The values, functions, and genres of religious music are culturally diverse and varied. Religious musical forms can transcend cultural barriers. Some religions, such as Buddhism, use music to prepare the mind for meditation by calming and focusing it. In India, kirtan, also known as Shikh religious music, facilitates connection with one another and with God. Similarly, Vedic hymns in Hinduism were musical. By performing bhajans, devotional songs, Sanskrit mantras, etc. Hindus offer prayers to God. Sufi music, Qawalli, etc., are chanted during prayers in the Muslim faith. In addition, it teaches religious teachings. Religious songs of any faith are characterized as a source of strength and a means of relieving pain, thereby improving one’s mood. The iconography of Indian music contains numerous elements that represent the human religion, culture, traditions, and way of life, thinking, values, customs, costumes, rituals, and behavior throughout the centuries through visual art and symbolism like sculpture, architecture, idol of god etc. Therefore, iconography is a specialized discipline of study that examines images of gods. Indian music and dance are the culmination of one of the world’s finest civilizations’ evolution. The Iconography of Indian music entails the study of figures, images, deities, and pictorial representations of the devotional music’s most prominent deities of music.
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Verma, Vinita. "'NEW EXPERIMENTS IN CLASSICAL DANCE': KATHAK AND HAVELI MUSIC TERMS." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3430.

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Music, that is, singing, playing and dancing, is supernatural and supernatural because of its nature. Spiritual music is the path leading to salvation through self-promotion by making life sacred. The dance has originated from the core of religion. Mystics have defined it as the basis of ecstasy.Dance and singing are said to be the best means of attaining salvation here. The Kathak dance, which is otherwise called 'Natvari dance', implies that Kathak dance relies mostly on Krishnacharitra for its expression. Uto Kathak has traditionally been exhibited on many verses, thumri, bhajans, etc. But for some years, a unique adornment of its own art is being done by art seekers through innovative experimentation in every field of art which is known as art (fans ) Is also well appreciated and accepted. Kathak dance, while staying within the limits of scripture, has always made new experiments in the field of emotion display. संगीत ंअर्थात् गायन, वादन और नृत्य अतिप्राचीन और ब्रह्मस्वरूप होने के कारण अलौकिक है । आद्यात्मिक संगीत जीवन को पवित्र बनाकर आत्मोन्नति द्वारा मोक्ष की ओर ले जानेवाला मार्ग है । नृत्य का आरंभ धर्म के मूल भाव से हुआ है । मनीषियों ने इसे परमानंद का आधार निरूपित किया है ।नृत्य और गान को हमारे यहांॅं, मोक्ष प्राप्ति का श्रेष्ठतम साधन बताया गया है । कथक नृत्य जिसका अन्य नाम ही ‘नटवरी नृत्य’ है, इसका द्योतक है कि कथक नृत्य अपनी अभिव्यक्ति के लिए अधिकांशतः कृष्णचरित्र पर ही निर्भर है । यू ंतो कथक में परंपरागत अनेकों पद, ठुमरी, भजन इत्यादि पर भाव प्रदर्शन किया ही जाता रहा है किंतु कुछ वर्षो से कला के हर क्षेत्र में नवीन प्रयोग द्वारा अपनी अपनी कला का एक अपूर्व श्रृंगार कला साधकोें द्वारा किया जा रहा है जिसे कला (प्रशंसकों) द्वारा भी सहर्ष सराहा एवं स्वीकारा जा रहा है । कथक नृत्य ने भी शास्त्र की सीमा में रहते हुए भाव प्रदर्शन के क्षेत्र में नित नवीन प्रयोग किये है ।
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Dissertations / Theses on the topic "Bhajans"

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Boonsermsuwong, Praphai. "A Contextual Approach to Multi-dimensional Analyses of Sai Bhajan: A Vocal Genre from South India." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398093465.

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Lazarus, Alison. "Unlit clay lamps, unsung bhajans : a cultural studies perspective on the experience of South African Catholics of Indian descent." Thesis, 1995. http://hdl.handle.net/10413/7286.

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This study is an exploratory study of the identity formation of South African Catholics of Indian Descent (SACIDs). It seeks to describe the construction of their identity and experience of otherness and difference. It asks two main questions: Firstly how relevant are the categories of culture, ethnicity, ideology ,race and religion in the construction of identity and the self understanding of members of this community? This study is concerned with discovering whether these categories are operative and relevant to the experiences of the youth in this community. Therefore the first objective of the study is to discover how do the youth amongst SACID identify themselves? This forms the one focus of the study. Secondly it examines the role of organic intellectuals of this community with specific reference to what they perceive as the identity of SACIDs. The study examines what they are saying and doing regarding the categories of culture, ethnicity, ideology and race vis a vis the transformation of the Catholic Church in South Africa. It is important to examine what is being done by such intellectuals as they are in a position to influence the way SACIDs identify and construct themselves. This constitutes the second focus of the study. Both foci are related to the research objective which is to explore the self identity and identity construction of SACIDs. It attempts to analyse the feelings of otherness in the experience of SACIDs. The objective is to understand how SAC IDs "see and feel themselves" in a context of change within country and church. A Cultural Studies perspective is employed in the interpretation and analysis of identity formation. Central to this perspective are the key categories of culture, ethnicity, ideology, race and religion. The literature in this field provide the theoretical framework for interpretation. The study utilizes a qualitative methodological approach, specifically the participatory action research approach. The study finds that SACIDs define themselves as a racial and religious minority. They perceive their identity as multi-layered. However, race is still a dominant and determining factor in their self-understanding and construction of identity. They collapse the categories of religion and culture resulting in confusion and a hesitancy to embrace ethnic references in their identity formation and religious practice. It is this hesitancy and confusion regarding their cultural identity that the title Unlit Clay Lamps, Unsung Bhajans refers.
Thesis (M.A.)-University of Natal, Durban, 1995.
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Roxo, Pedro Miguel Meio-Tostão. "Bollywood, Bhajan e Garba: práticas expressivas e representações identitárias na Diáspora Hindu-Gujarati em Moçambique, Portugal e Inglaterra." Doctoral thesis, 2016. http://hdl.handle.net/10362/19538.

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Partindo de uma Etnografia multi-situada e de propostas analíticas no âmbito da Etnomusicologia e da Antropologia centradas no estudo da ‘identidade’ e nos processos identitários de populações migrantes, esta dissertação problematiza o uso da cultura expressiva nos trajectos migratórios da população hindu-gujarati de genealogia indiana historicamente associada aos processos coloniais e pós-coloniais que marcaram Portugal. O consumo e a prática ubíqua de música Bollywood (associada à indústria cinematográfica indiana centrada na área de Bombaim), bhajan (canção devocional hindu) e garba (prática musical-coreográfica de índole tradicional e religiosa) ao longo das décadas e das trajectórias que marcaram este segmento populacional nas redes conectando o Gujarat, Diu, Moçambique, Portugal e Inglaterra, contribuíram para a contínua provisão de representações partilhadas sob a forma de sons, símbolos, rituais, narrativas e códigos identitários que foram modelares no fortalecimento da identidade e do ethos do grupo. Esta disposição foi particularmente manifesta em momentos de apreensão identitária (p.ex.: a crise de Goa em 1961, o processo pós-colonial em Moçambique após 1975, os processos de fixação em Portugal nas décadas de 1970 e 1980 e de remigração para Inglaterra a partir da década de 1990) nos quais estas práticas expressivas contribuíram para articular a negociação de posicionamentos sociais, étnicos e políticos, da relação do grupo com os grupos e as estruturas dominantes no âmbito de cada contexto histórico, mas também com outros grupos minoritários ou subalternizados. Concomitantemente, a análise das práticas expressivas dos hindu-gujarati permite igualmente diagnosticar a heterogeneidade interna do próprio grupo, expondo conflitualidades manifestas por exemplo nas tensões de casta, em práticas de desafio da autoridade patriarcal, ou em antagonismos entre grupos fixados em diversos espaços pós-coloniais da diáspora exibindo padrões de identificação com ex-colonizadores.
This dissertation problematizes the use of expressive culture in the migratory trajectories of the Hindu-Guajarati population of Indian genealogy historically associated with the colonial and postcolonial processes that marked Portugal. It is anchored on a multi-situated ethnography and a theoretical framework deriving from Anthropological and Ethnomusicological literature on identity and identity building in migrant populations. The ubiquitous consumption of Bollywood music (produced by the Indian film industry based in Bombay), bhajan (a hindu devotional song) and garba (a traditional religious music and dance practice) through the trajectories that marked this population and the networks that connect Gujurat, Diu, Mozambique, Portugal and England, contributed to the constant provision of shared identity representations through sounds, symbols, narratives and codes that reinforced the group’s identity and ethos. This disposition was articulated clearly in moments in which identity was apprehended such as the Goa crisis in 1961, the post-colonial process in Mozambique following 1975, the establishment of residence in Portugal during the 1970s and 1980s and the migration to England starting in the 1990. In these moments, the above mentioned expressive practices contributed to the articulation and negotiation of social, ethnic and political positions with respect to the dominant groups and structures within each historical context, but also with respect to other minority and subaltern groups. The analysis of the expressive practices of the hindu-gujarati also allows us to diagnose the internal heterogeneity of the group, exposing conflicts that are manifested in the tensions between casts, in challenges to patriarchal authority, and in antagonisms between groups who reside in different post colonial spaces in the diaspora, exhibiting patterns of identification with the former colonizers.
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Books on the topic "Bhajans"

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Kumar, Rajendra. Bhajan mala: A garland of bhajans : a golden treasury of popular bhajans with English translation. Hollis, NY: R. Kumar, 2000.

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Catechetical and Liturgical Centre (India) National Biblical. Ātmarāgam: Bhajans. Bangalore, India: NBCLC, 2005.

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Śimpī, Śakuntalā Muralīdhara. Bhaktīcā sohaḷā. Puṇe: Snehavardhana Pabliśiṅga Hāūsa, 2007.

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Śimpī, Śakuntalā Muralīdhara. Bhaktīcā sohaḷā. Puṇe: Snehavardhana Pabliśiṅga Hāūsa, 2007.

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Pārekha, Nāradī Jagadīśacandra. Adhika ne śrāvaṇa no bhajanotsava / Nāradī Jagadīśacandra Pārekha 'Nandī'. Mumbaī: Sumana Buka Senṭara, 2004.

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Kabir. Santa-bhajanāvalī. Gorakhapura, U. Pra: Santa Kabīra Sevā Saṃsthāna (Raji.), 2000.

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Sumiraṇa. Sumirarāā [i.e. Sumiraṇa] kī racanāyeṃ =: The creations of Sumiran. Daly City, CA: Balram Kuver, 2007.

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Peḍaṇekara, Bhikājī Rāmacandra. Vīcara vikāsa bhajana mālā. Bānde, Tā. Sāvantavāḍī: Bhi. Rā. Peḍaṇekara, 1990.

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Kabir. The thirsty fish: Kabir bhajans. Forest Hills, NY: Hrdaipress, 2000.

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Baḍigēra, Vīrēśa. Bhakti: Bhajane mattu keḷavarga. Kamalāpura: Maya Prakāśana, 2001.

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Book chapters on the topic "Bhajans"

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Bhachu, Parminder. "Bhajan Hunjan." In Movers and Makers, 50–66. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003086154-4.

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Limacher, Katharina. "Bhangra, Bhajan, Bollywood – Religious Knowledge among Hindu Youth in Switzerland and Austria." In Prayer, Pop and Politics, 161–78. Göttingen: V&R unipress, 2019. http://dx.doi.org/10.14220/9783737009799.161.

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"Bhajans." In Hinduism and Tribal Religions, 220. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_300078.

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Mirchandani, Raakhee. "Bagels, Bollywood, and Bhajans." In New Jersey Fan Club, 165–68. Rutgers University Press, 2022. http://dx.doi.org/10.36019/9781978825642-025.

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MIRCHANDANI, RAAKHEE. "Bagels, Bollywood, and Bhajans." In New Jersey Fan Club, 165–68. Rutgers University Press, 2022. http://dx.doi.org/10.2307/j.ctv2v55k1f.27.

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"DEVOTIONAL WORSHIP—BHAJANS AND SATSANGS." In A Place for Our Gods, 135–58. Routledge, 2013. http://dx.doi.org/10.4324/9781315026398-12.

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Teelucksingh, Jerome. "Two Popular Bhajans Sung in Presbyterian Churches." In Beyond the Legacy of the Missionaries and East Indians, 192–93. BRILL, 2019. http://dx.doi.org/10.1163/9789004417083_011.

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"Bhajana or Bhajan (“Worship Song”)." In Hinduism and Tribal Religions, 220. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_300077.

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"Bhajans and their Symbols: Religious Hermeneutics of “the Good Life”." In Religion and the Good Life, 153–72. BRILL, 2004. http://dx.doi.org/10.1163/9789004493476_011.

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"BHAJAN INTERLUDE." In Storytime in India, 335–36. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvj7wm64.74.

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Conference papers on the topic "Bhajans"

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Rocoulet, Simon, Rym Khiari, Hani Shobaki, Rudy Arnault, Emerick Labielle, Annie Fidel-Dufour, Nicolas Lesage, and Charlotte Drouilly. "How Anti-Agglomerant Can Replace MEG to Mitigate Hydrate Risk in Mature Gas Field?" In Offshore Technology Conference. OTC, 2024. http://dx.doi.org/10.4043/35138-ms.

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In normal operation, a gas condensate field can be operated in pressure and temperature conditions where hydrates are stable. To mitigate the formation and deposition of hydrates, Mono Ethylene Glycol (MEG) is injected in the subsea flowline at high concentration (30 to 60% vol. versus water) (Yong Bai, 2019). MEG is then separated from water in the MEG Recovery Unit (MRU) and reinjected in the flowline while the water is discharged to environment or reinjected in the reservoir. When wells are aging, the water production is increasing and consequently the MEG flow rate. The increase of the liquid holdup (Water + MEG + condensate) in the production lines leads to a pressure buildup and increases the frequency of pigging outages for liquid removal. Therefore, finding a Low Dosage Hydrate Inhibitor (LDHI) could help to lower the volume of liquid (MEG) and consequently decrease the backpressure. (Bhajan Lal, 2020). This type of additive has shown that they can bring significant benefits in terms of additional production, HSE improvements and OPEX savings. (A. Singh; 2006; Orlin Lavallie, 2009) This study is assessing the feasibility to replace MEG injection in the production lines to prevent hydrates formation by a Low Dosage Hydrate Inhibitor (LDHI), in this study Anti-Agglomerant (AA) because the subcooling is higher than 10°C. AA does not inhibit hydrates formation but prevents their agglomeration in the condensate phase. A viscous slurry, composed of condensate and hydrates will be transported to the surface installation. These last years, chemical suppliers have developed "green" AA to limit environmental impact when discharged to environment. These products efficiency will be evaluated during the study.
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