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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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Simon, Robert L. "Tyagaraja and the South Indian Bhajana Sampradaya." Asian Music 20, no. 1 (1988): 114. http://dx.doi.org/10.2307/833857.
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Ali, Agha Shahid. "Film Bhajan Found on a 78 rpm." Rethinking Marxism 12, no. 3 (September 2000): 81–82. http://dx.doi.org/10.1080/08935690009359012.
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Khalsa, Shanti Kaur. "YOGI BHAJAN AND THE EMERGENCE OF SIKH DHARMA INTERNATIONAL." Sikh Formations 8, no. 3 (December 2012): 389–401. http://dx.doi.org/10.1080/17448727.2012.752652.
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Venkanah, Srutee, and Ambarin Mooznah Auleear Owodally. "Keertanam and Bhajanam: The Faith (Literacy) Practices of the Telugu Community in Plural Mauritius." Heritage Language Journal 20, no. 1 (June 21, 2023): 1–35. http://dx.doi.org/10.1163/15507076-bja10015.
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Abstract The Telugu community, an ethno-religious minority community in Mauritius, uses and teaches Keertanam and Bhajanam (devotional songs in Telugu, an imagined ancestral language) as part of its faith practices. The present exploratory study, focusing on Keertanam and Bhajanam classes in one village temple, investigates the connection between faith practices, faith literacy practices, ancestral languages, and identities in that setting. Data were collected through participant observation, informal conversations with members of the community, and artifacts. The data indicate that the members of the observed Telugu community are endeavoring to revivify and reinvigorate an (imagined) ancestral language (in its oral and written forms) by using a faith practice that has been passed down generations and by drawing on the scriptal resources at their disposal. We argue that members of the observed Telugu community use these strategies to maintain, articulate, and publicly display their ethno-religio-linguistic identity and distinctiveness within the larger Hindu community in Mauritius.
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Luthy, Tamara. "Bhajan on the Banks of the Ganga: Increasing Environmental Awareness via Devotional Practice." Journal of Dharma Studies 1, no. 2 (February 19, 2019): 229–40. http://dx.doi.org/10.1007/s42240-019-00026-1.
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S. T. Patil, Et al. "Classification of Classical Indian Music Tabla Taals using Deep Learning." International Journal on Recent and Innovation Trends in Computing and Communication 11, no. 9 (January 2, 2024): 3227–32. http://dx.doi.org/10.17762/ijritcc.v11i9.9513.
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In the research that we are bringing to light, we profoundly explore the categorization of Classical Indian Music Tabla Taals. This emphasizes widely recognized taals such as Addhatrital, Ektal, Rupak, Dadra, Deepchandi, Jhaptal, Trital, and Bhajani. To push the boundaries of our understanding, we implement a mixed-methods approach tethering both Feedforward Neural Networks (FNN) and Convolutional Neural Networks (CNN). These state-of-the-art technologies enable us to dissect and categorize tabla taals efficiently. In essence, the hallmark of Classical Indian music is its complex and multifaceted rhythms brought to life by the primal percussive instrument - the tabla. The conception and reproduction of these nuanced taals require technical finesse. Thus, accompanying the digital revolution and the eclectic musical preferences, it becomes essential for advanced methodologies to pinpoint and classify tabla taals. The hardcover of our research opens up to the magnificent crafting of an unmatched model employing both FNN and CNN. This blend enables us to recognize diverse features unique to tabla taals like Addhatrital, Ektal, Rupak, Dadra, Deepchandi, Jhaptal, Trital, and Bhajani. The model obtained its bosom knowledge during training from an assortment of Classical Indian music recordings showcasing these invigorating taals. This fosters a broader understanding regarding the array of minute differences brimming within each rhythmic inheritance. To bring user interaction to life, we have embedded a Graphical User Interface (GUI). This empowers users to introduce an audio file filled with table music from the taals listed and receive on-the-spot recognition. refining their connection and knowledge of the taal in question. Our research findings procure paramount importance in the scape of music analysis, especially framed within the heart of Classical Indian Music. We propose a system that would serve as a tool for amateur table players to learn the skill well and master their art. Instructors could also utilize it for training purposes. It opens a new window of possibilities providing an advanced model for intuitive, swift, and accurate automated identification of tabla taals.
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Suharyanto, Agung, Onggal Sihite, Wiflihani Wiflihani, Citra Girsang, Firza Ramadhan, OK Dedy Arwansyah, Satrina Titania Siahaan, Rentha Bitha Eunike, and Tedi Tri Wibowo. "FUNGSI DAN MAKNA BHAJAN PADA UPACARA AGAMA HINDU DI KUIL SHRI MARIAMMAN KOTA MEDAN." Jurnal Sitakara 5, no. 2 (September 10, 2020): 1. http://dx.doi.org/10.31851/sitakara.v5i2.4776.
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Zeller, Benjamin E. "New Religious Movements and Food." Nova Religio 23, no. 1 (August 1, 2019): 5–13. http://dx.doi.org/10.1525/nr.2019.23.1.5.
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This special issue of Nova Religio brings together four articles that examine particular intersections of new religious movements and food. Dan McKanan examines spiritual food practices within the loose network of spiritual movements associated with Anthroposophy, the turn of the century “spiritual science” developed by Rudolf Steiner (1861–1925) that continues to have resonance today. Susannah Crockford contributes an article on fasting traditions in the contemporary New Age movement, based on her ethnographic fieldwork in Sedona, Arizona. Dusty Hoesly writes on the countercultural California group the Brotherhood of the Sun, which operated a series of highly successful food businesses in the 1970s and 1980s, and which he situates within a tradition of mindful food production and consumption. Constance Elsberg’s study of food practices and food entrepreneurship in Yogi Bhajan’s (1929–2004) Healthy, Happy, Holy Organization (3HO) movement uses the lens of food to examine the group’s growth, institutionalization, and subsequent struggles. This introduction contextualizes these four movements, and other new religious movements, in terms of their engagement with food, using the lenses of social, cultural, economic, and structural factors.
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Singh, Monika. "CHANGING PICTURE OF KATHAK DANCE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3423.
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What was yesterday becomes old today and what is to come tomorrow also remains a saga of the past for a few days. With the speed at which time is moving, the wave of change is moving at the same speed.At present, the field of dance is also not untouched by it. Changes and innovation in the region have demonstrated this in many ways. Kathak dance existing since ancient times was a dance form full of religion and spirituality. Kathak dance is considered to have originated by the narrators having narrated the acting by the storytellers during the Bhajan-Kirtan in the temples.
जो कल था, वह आज पुराना हो गया और जो कल आनेवाला है वह भी कुछ ही दिनों से अतीत की गाथा बनकर रह जाता है। समय जिस गति से आगे बढ़ रहा है, उसके साथ परिवर्तन की लहर भी उतनी ही गति से प्रवहमान है।वर्तमान समय में नृत्यकला का क्षेत्र भी इससे अछूता नहीं है। इस क्षेत्र में परिवर्तन और नवाचार ने इसे कई रूपों में प्रदर्शित किया है। प्राचीनकाल से विद्यमान कत्थक नृत्य धर्म-अध्यात्म से परिपूर्ण नृत्य शैली थी। मंदिरों में भजन-कीर्तन के समय कथावाचकों के द्वारा अभिनय युक्त कथा कहने से कत्थक नृत्य की उत्पत्ति मानी जाती है।
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Gupta, Ashima, and Mini Sheth. "Chemical stability of cottonseed and groundnut oil used for frying bhajias and its sensory qualities." Journal of Microbiology, Biotechnology and Food Sciences 04, no. 03 (February 2015): 198–202. http://dx.doi.org/10.15414/jmbfs.20114-15.4.3.198-202.
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Ojha, BR. "On-farm evaluation of upland rice genotypes at Bajhang district, mid western hills of Nepal." Agronomy Journal of Nepal 2 (February 3, 2013): 102–10. http://dx.doi.org/10.3126/ajn.v2i0.7525.
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A set of eight rice (Oryza sativa L.) genotypes in upland condition were evaluated in Bhajhang district. They were compared with popular local and standard check varieties of upland rice with an objective of selecting them to be suited to Bhajhang and similar agro-ecological domains. The genotypes included were; Tauliya, Chhomroung, Kalo Nathre, Rato Ghaiya, Pakhe Jhinuwa, Radha- 32, IR78877-208-B-1-2, and CT- 65110-24-1-1. They were evaluated in a Randomised Complete Block Design (RCBD) with four replication at Rayal VDC-3, Deura, Bajhang, Nepal during 2010 upland paddy growing season. Highly significant variation was observed for traits recorded. Grain yield ranged from 2.1 kg/plot (Radha- 32 and Rato Ghaiya) to 0.52 kg/plot (Pakhe Jhinuwa). Radha- 32 and Rato Ghaiya were found superior to Local checks. Likewise, significant variation was also observed in the morpho-physiological traits such as days to anthesis and days to maturity which varied from 100 days (Tauliya) to 114 days (CT 65110-24-1-1) and 126 days (Tauliya) to 148 days (CT 65110-24-1-1), respectively. Genotype Tauliya was early maturing while CT 65110-24-1-1 was late maturing one. There was a variation in grain filling period which ranged from 24 days (Pakhe Jhinuwa) to 36 days (Chhomroung and IR 78877-208-B-1-2) after anthesis to physiological maturity. Similarly, significant variation was also recorded for plant height, panicle length, and peduncle length. Highly significant positive correlation (r = 0.85, 0.69, 0.54 and 0.83) was found for panicle length, peduncle length, grain filling period and numbers of grains/panicle with grain yield. Likewise, significant positive correlation was found between days to maturity and grain filling duration (0.81), numbers of grains/panicle and panicle length (0.81), 1000 seeds weight, and grain filling duration (0.53). The result of the study revealed that Radha- 32 and Rato Ghaiya were found as the best genotypes so far as farmers and breeders are concerned in the tested site of Bajhang.DOI: http://dx.doi.org/10.3126/ajn.v2i0.7525 Agronomy Journal of Nepal (Agron JN) Vol. 2: 2011 pp.102-110
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Hoban, Nong, Kanisius Rambut, and Bonaventura R. Seto Se. "The roles of the Reba Ceremony." International journal of social sciences and humanities 7, no. 2 (June 13, 2023): 105–17. http://dx.doi.org/10.53730/ijssh.v7n2.14365.
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This article conveys the significant issue entitled: “The Roles of Reba Ceremony: A Review of Cultural Anthropology”. This title was raised from the study conducted by Hoban as a team leader, in 2018 which was carried out in Bajawa district, Central Flores. However, the title was inspired by an assumption that the Reba ceremony contains a set of roles that it plays, among others as an instrument to create a harmonious relationship with the Almighty and the Ancestors. This is an important and interesting issue to be discussed in this scientific paper. Then, it aims to examine more deeply the role of the Reba traditional ceremony. Moreover, the problems as stated above can be analyzed that based on the structural functionalism theory was introduced by Talcott Parson (in Pell, 1994:60). He argues that every element in society has a function, which is contributed to maintain a system as a whole. Related to this theory, the Reba ceremony is an element of the Bhajawa Society of their life system. Based on that theory, the ceremony attached to it an important role in the life of its people.
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.
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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.
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KUMAR, SANJAY. "Religious Practices among Indian Hindus: Does that Influence Their Political Choices?" Japanese Journal of Political Science 10, no. 3 (October 30, 2009): 313–32. http://dx.doi.org/10.1017/s1468109909990090.
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AbstractThe article focuses on the issue of patterns of religious engagement among Indian Hindus during last decade. It tries to look at both the issue of private religion practiced in the form of offering puja at home and public religion seen in terms of participation in Katha, Satsang, Bhajan-Kirtan etc. by Indian Hindus. Sizeable numbers of Indian Hindus offer puja every day; sizeable numbers of them are also engaged in public religious activities. This is more prevalent among the urban, educated, upper-caste, upper-class Hindus compared to their counterpart. Along with factors, which influence religious practices, is gender. Hindu women are more religious compared to the Hindu men. Similarly, upper-caste Hindus practice religious activities more regularly compared to other Hindus. There is hardly any change in patterns of engagement in religious activities among Hindus over the last five years. The levels of engagement in religious activities also have an impact on voting behavior. The higher the engagement in religious activities, the greater is the support for the BJP and vice versa. Between the 2004 and 2009 Lok Sabha elections, there had been a decline in the vote share of BJP due to its declining popularity amongst all the Hindu voters, but the decline in the support for the BJP is much sharper amongst highly religious Hindus compared to those who are not so religious. Along with other factors, this may be one of the important factors that led to the defeat of BJP in the 2009 Lok Sabha elections. The article draws evidence from the National Election Study 2004 and 2009 conducted by the Centre for the Study of Developing Societies during these two elections.
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Roxo, Pedro. "Hindu Jati (Castes) from Diu Island and the Reproduction of Religious Expressive Culture in the Hindu-Gujarati Diaspora in Mozambique and in Portugal: The Kathiyawadi Bhajan." South Asian Studies 34, no. 1 (January 2, 2018): 57–69. http://dx.doi.org/10.1080/02666030.2018.1440061.
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ZUKAS, Kulamitra David. "Early Indian Buddhist Monasteries: Bhaja, Bedsa, and Karla from 200 BCE to 700 CE." International Journal of Buddhist Thought and Culture 33, no. 1 (June 30, 2023): 61–92. http://dx.doi.org/10.16893/ijbtc.2023.06.33.1.61.
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Iwan Muraman Ibnu. "KAJIAN GEOMETRI HUNIAN MASA LAMPAU." Jurnal Koridor 9, no. 2 (July 15, 2018): 271–79. http://dx.doi.org/10.32734/koridor.v9i2.1368.
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Hunian masa lampau adalah salah satu produk budaya bangsa Indonesia, Lamban Pesagi merupakan hunian masa lampau yang terletak di Pekon Kenali Kabupaten Lampung. Kajian geometri yang akan dilakukan dengan memakai teori dari Francis D.K. Ching, dengan melakukan analisa olah bangun dasar, proporsi dimensi bangun dan elemen pembentuk wajah (artikulasi) bangun. Hasil kajian menunjukan Lamban Pesagi terdiri dari 3 (tiga) lapis bangun dengan bangun dasar yang dipakai adalah silinder, kubus dan piramid dan teknik olah bangun perubahan dimensi, pengurangan dan penambahan. Proporsi dimensi vertikal dan horisontal di Lamban Pesagi untuk setiap lapisnya berkisar antara 1:2 sampai 1:6, hal ini menunjukan proporsi bangun dari Lamban Pesagi adalah bangun horisontal. Elemen artikulasi sebagai pembentuk wajah menunjukan dominasi elemen vertikal di lapis bawah dan tengah hal ini menjadi penyeimbang dari proporsi bangun yang horisontal. Hasil kajian ini akan disandingkan dengan kajian geometri dari Rumah Potong Ulu di Desa Minangga OKU Timur, Rumah Baghi di Desa Pulau Panggung Muara Enim , Rumah Pasemah di desa Plang Kenidai Pagar alam, Rumah Lamban Bhajak di Pekon Hujung dan Rumah Bathin di Desa Gedung Batin Way Kanan, guna mendapatkan tipologi geometri hunian masa lampau di dataran tinggi Bukit Barisan sisi barat Sumatera.
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Dighe, B., M. R. Singh, and Anil K. Pokharia. "Ancient Indian techniques for sustainable and environmentally friendly decorative earthen plasters of Karla and Bhaja Caves, India." Materials Today: Proceedings 32 (2020): 536–43. http://dx.doi.org/10.1016/j.matpr.2020.02.040.
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Dhungel, Rudra Prasad. "Demographic Change and Border Security Governance of Nepal: An Analysis of Perceptions." Journal of APF Command and Staff College 6, no. 01 (August 15, 2023): 53–74. http://dx.doi.org/10.3126/japfcsc.v6i01.57585.
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Demographic changes in Nepal have significant implications for national security, particularly border security. The shifting populations, internal migration from rural to urban areas, and cross-border movements have given rise to various challenges like illegal border crossings, human trafficking, smuggling, and other activities that jeopardize security and stability. Despite several efforts, border security continues to be a pressing issue, and there is a lack of understanding of how locallevel elected representatives perceive the implications of demographic change on border security. This research primarily aims to analyze the perception of threat among locally elected representatives concerning the root causes of demographic change at their respective local levels. It also seeks to examine their perception of how demographic change affects border security governance and identify the security threats perceived due to such changes. Moreover, the study aims to determine the perceived role of responsible authorities or agencies in mitigating the security risks associated with demographic change. To achieve these objectives, the research follows an analytical approach, gathering perceptions from elected representatives of various local governments. It uses a combination of qualitative and quantitative methods to analyze their views on border security issues arising from changing demographics in Nepal. The focus areas are the Nepalese territories connected to neighboring countries China and India. The primary data source for the research is local-level government representatives, and the analysis involves thematic exploration of qualitative interviews and quantitative examination of population trends. However, it's important to note that the findings may have limited generalizability, as they are based solely on the perceptions of elected representatives. The study does not include perspectives from security forces or other agencies. The selected areas for the study include regions in Nepal experiencing frequent population decrease, such as Bhotekoshi rural municipality and Jugal rural municipality of Sindhupalchowk district, as well as areas with frequent population increase, including Rajdevi Municipality and Gaur Municipality of Rautahat, Nepalgunj Sub-Metropolitan City of Banke, and Bhajani Municipality and Dhangadhi Sub-Metropolitan City of Kailali District. The study sheds light on the main drivers of demographic change, such as the pursuit of better health, education, employment, and quality of life, and their long-term impact on national and border security. By engaging local-level elected representatives and employing an analytical approach, this research aims to fill the existing research gap and provide valuable information to policymakers for effectively addressing border security challenges arising from demographic change in Nepal.
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Lowe, Scott. "Review: Premka: White Bird in a Golden Cage. My Life with Yogi Bhajan, by Pamela Saharah Dyson; The Inner Circle—Book One: My Seventeen Years in the Cult of the American Sikhs, by Peter Macdonald Blachly." Nova Religio 26, no. 2 (November 1, 2022): 102–5. http://dx.doi.org/10.1525/nr.2022.26.2.102.
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Sarkar, P. K., and S. N. Mude. "Remnants of vertical and lateral migration of the entrapped volatiles and gases in the Deccan Trap basalts at Bhaja, Maval Taluka of Pune district, Maharashtra." Journal of the Geological Society of India 75, no. 3 (March 2010): 560–62. http://dx.doi.org/10.1007/s12594-010-0041-9.
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महरा, वीरेन्द्र. "नेपालका वृद्धवृद्धामा खुसीका स्रोत." Haimaprabha 23, no. 1 (June 17, 2024): 159–71. http://dx.doi.org/10.3126/haimaprabha.v23i1.66739.
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प्रस्तुत अध्ययन नेपाली वृद्ध व्यक्तिहरूको खुसीका स्रोतहरूको पहिचान गर्नमा केन्द्रित छ । यस लेखको मुख्य उद्देश्य नेपाली वृद्धवृद्धाहरूको खुसीका स्रोतहरूको पहिचान गर्ने र ती स्रोतहरूमा सुधार ल्याउन सम्बन्धित पक्षहरूको ध्यानाकार्षण गराउने रहेको छ । नेपाली समाजका असी वर्षभन्दा माथिका वृद्धवृद्धामा हुने सुखीका स्रोत कस्ता रहेका छन् भन्ने मूल समस्याको समाधानमा यो लेख केन्द्रित रहेको छ । सम्भावना रहित नमुना छनोट पद्धतिमा आधारित भई स्थलगत सर्वेक्षणबाट तथ्य सङ्कलन गरिएको छ । यसका लागि विभिन्न दश वटा शीर्षकहरूमा सहभागीहरूलाई प्रश्नको सूची दिई उत्तर लेख्न लगाई त्यसबाट प्राप्त तथ्यहरूलाई विश्लेषण गरेर निष्कर्ष निकालिएको छ । यस क्रममा खुसी प्राप्तिमा व्यक्तिहरूको प्रभाव, खुसी प्राप्तिमा चाडपर्वको भूमिका, खुसी प्राप्तिमा वस्तु प्राप्तको प्रभाव, खुसी प्राप्तिमा आफ्नो व्यवहारहरूको प्रभाव, खुसी प्राप्तिमा विगतका घटनाहरूको प्रभाव, खुसी प्राप्तिमा खेल, गीत‚ सङ्गीत र भजनको प्रभाव, खुसी प्राप्तिमा खानेकुराको प्रभाव, भविष्यमा खुसी प्राप्तिका लागि कार्य, खुसी प्राप्तिमा वातावरण वा अवस्थाको प्रभाव र खुसी प्राप्तिमा अभिभावक वा सन्तानको प्रभाव जस्ता दश वटा एकाइका आधारमा वृद्धहरूको खुसीको विश्लेषण गरिएको छ । यी तथ्यहरूको विश्लेषणका आधारमा नेपाली समाजका वृद्धहरू भौतिक उपलब्धिले मात्र खुसी हुँदैनन् । उनीहरूले वास्तविक खुसी प्राप्त गर्नका लागि सम्मानपूर्ण तरिकाले परिवार सँग सँगै बस्ने, वर्तमान परिस्थिति अनुकूल आफू समाहित हुने, धार्मिक तथा आध्यात्मिक कार्य गर्ने, साथीभाइ र इष्टमित्रहरूसँग कुराकानी गर्ने, परिवार र समाजमा आफ्नो अस्तित्व कायम राख्ने तथा शरीर स्वस्थ र ध्यान योग गर्न पाएमा जस्ता सूचकहरू सकारात्मक भएमा खुसी प्राप्त हुने देखिएको छ । हाम्रो देशमा पारिवारिक, आर्थिक, सामाजिक, राजनीतिक तथा रोजगारी जस्ता महत्त्वपूर्ण पक्षहरूको कमजोरी र स्वयम् वृद्धहरू पनि परिवर्तित वातावरण अनुसार समायोजित हुन नसक्दा अधिकांश वृद्धहरू आफ्ना सन्ततिहरूबाट टाढा रहेको र पर्याप्त खुसी नपाएको अवस्था देखिन्छ । [This study attempts to identify the exact sources of happiness among the old Nepalese people . The main purpose of the article is to draw the attention of the related agencies by identifying and improving the various aspects of the sources of happiness among the Nepalese elder. This article focuses to resolve the problems of obtaining happiness by pointing out the sources of happiness of the old people above the age of 80 years in Nepalese society. Based on field survey, Random sampling methodology has been used to collect the data. For this,the participants have been provided with a list of questions in ten different titles with the hope of getting their answer and the conclusion has been deduced with the analysis of the obtained data. In This process, the happiness of the elderly people, based on ten different units like: the influence of an individual for gaining happiness , role of festive time, influence of commodities for getting happiness, influence of one's own behavior in gaining happiness, influence of past event for getting happiness, influence of sports, songs , bhajanas and music for getting happiness, influence of food for getting happiness, work for gaining happiness in future, influence of environment or situation for getting happiness and influence of guardians / offspring for getting happiness has been analyzed . According to the analysis of the obtained data, the elderly people of the Nepalese society cannot be happy with material achievement alone. In order to gain the real happiness, the indicators of happiness like: living a respectful life with family, assimilating oneself with the present situation, participating into religious activities, chit chat with family and friends, maintaining self existence among family and social circle and personal hygiene together with meditation should be, positive. Majority of the elderly people in the Nepalese society are found to have been living away from their offspring due to the weaknesses of some of the important factors like: familial, economic, social, political and employment . As a result, they have not got sufficient happiness.]
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Talesara, Priyank, and Aniruddh Bahuguna. "Decoding of the Story Superimposed of Buddhist Sculpture unearth from Bharja and testifying its relation to this Silk-route area of Sirohi District, India." Technium Social Sciences Journal 7 (April 25, 2020): 302–11. http://dx.doi.org/10.47577/tssj.v7i1.410.
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Rohida police station recovered an old sculpture, accidentally discovered from the cemetery of Bharja/Bhaja village. It is a broken bronze Buddhist Idol and very rare sculpture. It has exquisite Antique beauty with rust in red and corrosion in green. Sculpture of Buddha seated in Padma Asana (lotus posture) and his hand in Dhyan Mudra (meditation posture). Buddha is wearing the robe; the robe is decorated with the scene of Buddhacharita story, superimposed on the visible crust. This Sirohi district has the history of Jainism and Hinduism only, till the date there is no evidence regarding Buddhism practices in Sirohi district of Rajasthan. Sirohi is famous from its silk route in the valley, ancient Chandrawati city and Mount Abu, where thousands of temples of Jainism and Shivanism were built. Objective: what were the technique and technology used to manufacture sculpture? Where this artefact came from? What are the main characteristics & features of this sculpture? What carving scene depicted in this sculpture? Research analysis: For analysis of this sculpture we carefully look sculpture and magnify scene to compare with the stories of Buddhacharita. Moreover, check out that this sculpture is indigenous work of ancestral craftsmen or not. Also compare superimposed stories of Buddha and his life. Scientific method: Buddha sculpture is hollow in nature but very heavy in weight; Craftsman used the lost wax method to manufacture it. In ancient time the science behind manufacturing sculpture is very time consuming, first sculptors need to imagine about the subject, draft and then mould through melting, condensing, chiselling, hammering and exquisite carving. One of the oldest methods of metal casting according to Archaeo-metallurgy is bee wax method; this technique is now termed as the lost wax method. Conclusion: In the end, we like to conclude that in the history of Sirohi exploration, first time unearths the Buddhist sculpture but we have certain doubts that it mustn’t belong to Sirohi district. This idol is required for further critical research like dating and detailed mould-casting technique used in the manufacturing of this sculpture.
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"SHARNAGATI (COMPLETE SURRENDER TO GOD)- A‘NIYAMA’ IN BHAJANS OF A SEEKER -GANGASATI." GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES, September 10, 2021. http://dx.doi.org/10.47968/gapgyan.4312.
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Sharnagati is mentioned many times in the scriptures and by the devotees in their hymns. This Sharnagati is to be taken by the Tattvanist Guru or God. The devotee accepts surrender and becomes relaxed. The devotee does as his Guru or Lord says. This is what Lord Krishna explains to Arjuna in the Gita. The Guru-Shishya tradition of Sharnagati has been going on for ages. Maharshi Patanjali has mentioned inYogasutrathat Ishwarpranidhan comes under the Major Niyam of Ashtanga Yoga and that is known as Sharnagati. Swami Kripalvanandji and Swami Rajarshi Muni have achieved this through their yoga practice. When the seeker begins the sadhana and the devotee begins the bhakti, the mantra japa also begins withSharnagati. Sharnagati is what makes a devotee attain God and a devotee achieves Moksha.
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Varghese, Ritu, and Akshaya K. Rath. "Mirabai and the Ethic of Universal Suffering: Reading Bhajans in Indian Pedagogy." Explicator, March 10, 2022, 1–5. http://dx.doi.org/10.1080/00144940.2022.2048780.
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SHIRODKAR, Preeti. "THE ‘CAST’ING CONVENTION: IMPACT OF INDIAN FILM MUSIC ON REINFORCING GENDER STEREOTYPES." SYNERGY 1, no. 19 (May 25, 2023). http://dx.doi.org/10.24818//syn/2023/19/1.07.
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The impact of Bollywood (the Indian Hindi film industry) on the national psyche as well as its international popularity cannot be overrated. So is the music that is an integral part of it. It outlives the movie and then becomes a part of the everyday life of people, being played in public places, at religious festivals, in personal and professional functions and interestingly being even adapted to other forms of expression (like bhajans/devotional music). At a more dangerous level, it surreptitiously births, embeds and reinforces stereotypes becoming the palimpsest that serves to define standards expected and exacted from women. This not only thus shapes the approach towards women but also significantly impacts women’s approach towards themselves. By referring to some of the popular and oft recalled Bollywood Hindi songs across the decades, this researcher would like to unearth the palimpsest and decode how it results in the ‘cast’ing convention and becomes the kaleidoscope through which Indian womanhood is viewed.
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Kapoor, Vikram, Russell Belk, and Christina Goulding. "Ritual Revision During a Crisis: The Case of Indian Religious Rituals During the COVID-19 Pandemic." Journal of Public Policy & Marketing, April 7, 2022, 074391562210814. http://dx.doi.org/10.1177/07439156221081485.
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Rituals, particularly religious rituals, may play a significant role in times of crises. Often, these rituals undergo revision to adapt to the changing needs of the time. This article investigates recent unofficially revised Hindu religious rituals as performed during the COVID-19 pandemic. The multifarious creative interplay between Hindu tradition and change is illustrated through four cases: the religious festival of Durga Puja, the devotional songs or bhajans, the ritual of lighting lamps or diyas, and the fire rituals or havans. The authors offer a systematic discourse analysis of online news articles and YouTube posts that illuminate several aspects of ritual revision during unsettled times. They focus on the changes that were made to ritual elements: who controlled these alterations, how these modifications were made, and what potential benefits these revisions offered to the community of ritual participants. The authors highlight public policy implications regarding the involvement of diverse social actors, the creation of faith in science, the creation of feelings of unity and agency, and the amplification of local ritual modifications on a national scale.
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Ghosh, Manali, and Manasi Majumdar. "A CONCEPTUAL STUDY ON BHAJAN INTERPRETATION BASED ON ‘BHAJAN SAMRAT’ PADMASHREE DR. ANUP JALOTA’S POINT OF VIEW." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (December 26, 2022). http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.260.
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‘Bhajan’ is a Devotional Music genre in India. It is in practice as rituals in India for worshipping God or for God Realization or self-realization. Apart from that, Bhajan is extensively found to be sung in different way, different styles by different singers. Some general concepts are there in the society about the interpretation of Bhajan. This study aims to bring and highlight the details of the interpretational style of Bhajan singing of Bhajan Maestro Anup Jalota who is often addressed as the ‘Bhajan Samrat’. In this article, after the introductory part, I have discussed the reviews of Anup Jalota’s interviews where he had talked about the Bhajan interpretational style, his views and other knowledge about Bhajan and a little bit about how he maintains it musically. The interpretation of the existing data rose up a number of questions those where supposed to be answered. Then those questions have been answered by the legend himself in an interview taken by myself, the author. The overall concept about his views has been found at the conclusion. Since, gaining knowledge about the style of Bhajan interpretation has been the ‘aim’ of my doctoral thesis paper, this study is done in order to bring a strong boost to my thesis topic, as well as it’s inspired by my thesis.
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Pooja Vashist and Mahesh Vyas. "Bhajana Samskara: A Unique Method of Drug Fortification with Essential Metals." International Journal of Ayurveda and Pharma Research, June 8, 2023, 51–55. http://dx.doi.org/10.47070/ijapr.v11i5.2793.
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Samskara is a key drug formulation technique in which a formulation is altered based on the Prakriti of the person and disease. Many types of Samskara have been mentioned among them Bhajana samsakara the unique one where container plays an important role in drug formulation. Different types of Bhajana techniques include cooking, resting, and storing. resting is a process in which Kalaka/Kwatha of pharmaceuticals is leaved or applied to various metal surfaces in order to fortified the properties of that metal into that formulation. A review of Bhajana samskara, specifically using the Lepana or resting technique, has been completed, and the possible role of different metals on different formulations has been examined. For this, various Samhitas, ancient books and an online search for the Lepana technique have been reviewed. This is a unique formulation approach that should be standardized, and study should also be conducted with other specific metals that have health benefits.
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Deslippe, Philip. "Reappraising the construction of Yogi Bhajan’s Kundalini Yoga." Sikh Formations, March 7, 2024, 1–8. http://dx.doi.org/10.1080/17448727.2024.2320015.
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Stewart, Dominique. "Krishna kee bansi bhajay." Journal of Indentureship and Its Legacies 2, no. 2 (2022). http://dx.doi.org/10.13169/jofstudindentleg.2.2.0033.
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Nachania (नचंनिया), translated as ‘female dancer’, refers to both a traditional Indo-Jamaican folk dance that has local origins in indentureship, and to those who perform it. The dance is characterized by flamboyant flailing hands, counterbalanced by acrobatic feats and yogic moments synchronous with beat drops. Its unbound choreography salvages important religio-cultural and historical narratives through ecstatic paroxysmal dance often with sexual overtones. This performance is important in ritualized and celebratory spaces to entertain crowds. While performing, Nachanias would have money launched at them, and they would sometimes engage men in dance. The performers were, and still are, frequently men who assume a different gendered role garbed in conscious ‘feminizing’ technologies such as make-up, jewellery and a frock. Especially during indentureship and the period immediately after, it was ‘vulgar’ for women to dance publicly or perform at religious ceremonies. Early women Nachanias were read as tainted spectacles, some of whom the archives record as professional ‘entertainers’. Inspired by the author’s curiosity, Indo-Jamaican identity, observations of Nachania and discourses with Ghanesh Maragh (one of the few contemporary performers of this artform), this article casts Indo-Jamaicans into the unbound erotic gendered tradition of Jamaica and indentureship by (a) tracing the (inter)religious, gendered, and historical anatomy of the lauded folk performance from the period of indentureship to the present in Jamaica and the Indo-Jamaican diaspora; (b) exploring themes of bidesia; and (c) examining possible problems with situating Nachania within categories of queer.
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Pati, George. "Book Review: "The Bhajan: Christian Devotional Music in Indian Diaspora"." Journal of Hindu-Christian Studies 22, no. 1 (January 1, 2009). http://dx.doi.org/10.7825/2164-6279.1441.
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Romero Martinez, Sonia, Andrés Dueñas, and Xavier Ordoñes. "Effects of Brief Daily Kundalini Yoga Meditation on Self-Esteem, Mood and Emotional Self-Efficacy: A Randomized Comparison Study." International Journal of Transpersonal Studies 40, no. 2 (October 31, 2022). http://dx.doi.org/10.24972/ijts.2021.40.2.88.
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This randomized comparison study measured the impact of brief daily use of two types of kundalini yoga meditation from the Yogi Bhajan lineage on self-esteem, regulatory emotional self-efficacy, and positive and negative affect in a non-clinical sample of 46 Spanish-speaking adults residing in Spain. Results of the two meditation types—Kirtan Kriya and Internal Conflict Resolution—are compared. Results showed that both types of meditation had positive impacts on all study variables, though the degree of change and effect size depended on the type of meditation used. Results point to these relevant forms of brief daily meditation as simple and inexpensive tools to improve welfare and support positive personality development in populations without psychological pathologies.
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Skaric, Lazar, Milorad Tomasevic, Dejan Rakovic, Emil Jovanov, Vlada Radivojevic, Predrag Sukovic, Marko Car, and Dejan Radenovic. "Electrocortical (EEG) correlates of music and states of consciousness." Neuropsychological Trends, no. 2 (November 2007). http://dx.doi.org/10.7358/neur-2007-002-skar.
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The study of the perception of music is a paramount example of multidisciplinary research. In spite of a lot of theoretical and experimental efforts to understand musical processing, attempts to localize musical abilities in particular brain regions were largely unsuccessful, save for the difference between musicians and non musicians, especially in hemispheric specialization and in EEG correlational dimensions. Having in mind that human emotional response to music and to art in general is limbic dependent, this motivated us to address our question to a similar possible neurobiological origin of musicogenic altered states of consciousness and its possible EEG correlates, “resonantly” induced by deep spiritual music. For example, as in sound-induced altered states of consciousness cultivated in some Eastern yogic practices. The musicogenic states of consciousness are evaluated within a group of 6 adults, upon the influence of 4 types of spiritual music. The most prominent changes in theta or alpha frequency bands were induced in two subjects, upon the influence of Indian spiritual music, Bhajan.
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-, Himansu Sekhar Swain, and Bibhuti Bhusan Champati -. "A Comparative Study between “Chautishaa" ( चऊतिशा ) and “Chhaanda” ( छान्द ) of Odissi Classical Music." International Journal For Multidisciplinary Research 5, no. 5 (October 21, 2023). http://dx.doi.org/10.36948/ijfmr.2023.v05i05.7762.
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India is a unique land of cultural traditions and raga music. People of different languages, castes, and communities of different states live here so its cultural traditions differ from other countries. "Odishi Classical Music" is the music of a rich tradition of ancient Utkala, Kaling, Odra, and Odisha State. It is one of the classical music of India which the government of its state has declared to reflect the uniqueness of singing based on its script. Odissi music is characterized by "neither fast nor slow" a piece of rhythmic and soulful high-pitched music. In general, Odissi music consists of Odishi-Champu-Chautishaa-Chhaanda-Pallavi-Gitgovinda-Bhajan-Janaana, etc. The lyrical compositions used in the singing of Odissi Classical Music are as highly sophisticated as the vocal compositions based on pure Indian raga and Taal. Chautishaa and Chhanda are the unique Chapter of Odissi Music and their comparative study is the main focus of my research.
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Rajan. "Against Pseudoyogic Cults: A Philosophical Review of Under the Yoga Mat: The Dark History of Yogi Bhajan’s Kundalini Yoga." Journal of Dharma Studies, February 14, 2024. http://dx.doi.org/10.1007/s42240-024-00165-0.
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Bhattacharjee, Suchandra, Priyanka Das, Khanin Pathak, and Tangkeswar Nath. "Phytic Acid and Micronutrient Profiling of a Few Ethnic Rice Products of Assam, India." Asian Journal of Dairy and Food Research, Of (August 2, 2022). http://dx.doi.org/10.18805/ajdfr.dr-1892.
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Background: Different ethnic rice products are obtained from specialty rice varieties of Assam, India. A unique characteristic of these rice products is that the products can be used instantly. Considering lack of study relating to biochemical changes during processing, the present study was conducted. Methods: The specialty rice products (bhaja bora, hurum, sandahguri, Korai, flaked rice and komal chaul including two intermediate forms in preparation of bhaja bora and hurum) prepared through traditional method and their respective raw forms were collected in Jorhat, Assam. The phytic acid, total phenols and a few minerals were estimated with standard methods. Result: Among the products, the phytic acid phosphorus and total phenol content ranged between 92.74-272.65 mg/100 g and 61.67-69.59 mg catechol equivalent/100 g, respectively. The total ash (%) and the minerals (mg/100 g) like sodium, calcium, potassium, phosphorus, zinc and iron ranged between 0.84-1.34, 37.33-56.67, 11.32-20.67, 64.32-134.33, 250.26-333.45, 3.24-4.08 and 2.47- 6.91, respectively. The higher concentration of total ash, iron and zinc were observed in the products than their respective raw forms. However, the observation of decrease in phytic acid content in all these products reveals that the processing may improve availability of certain minerals.
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Singh, M., S. Vinodh Kumar, and Sujata Waghmare. "Mud Plaster Wall Paintings of Bhaja Caves: Composition and Performance Characteristics." Indian Journal of History of Science 51, no. 3 (September 1, 2016). http://dx.doi.org/10.16943/ijhs/2016/v51i3/48846.
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Cabalion, Joël, and Julien Jugand. "Bhim Geet and the Ambedkarite Movement: The Genesis of a Cultural Field of Protest." Art & Activism in South Asia 31 (2023). http://dx.doi.org/10.4000/11vwt.
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This paper sketches the history of a cultural and artistic music category called Bhim Geet (or Bheem Geet), songs to Bhimrao Ambedkar, principal redactor of the Indian Constitution and political hero of the Dalits. By examining this aesthetic construct and its social milieu, we trace back and uncover through the lens of music and artistic performances some of the tensions and stakes the Dalits were up against in Maharashtra from a cultural point of view. What does it entail to sing caste struggles in contemporary India? What does emancipation mean for Dalits, both culturally and aesthetically? Ambedkar’s caste conversion to Buddhism in Nagpur in 1956 is now a relatively well-known episode of India’s postcolonial history. It is less known how the ex-Mahar caste, alternately called Buddhists, neo-Buddhists or Ambedkarites, have reconstructed themselves from an inseparably aesthetic and social point of view. We intend to address this lack and show how circulating cultural practices have enabled the construction of a subaltern kind of nationalism. These practices have also made possible legalist dissent through musical narratives widely influenced by Muslim poetry and musical forms, such as Qawwali, although Hindu devotional styles more commonly found in bhajan and kirtan, which are widespread musical genres in India and beyond, have also had an impact. A small fieldwork video accompanies this article and begins by proposing a few sonic examples to its readers to illustrate this significant variation and pool of influences within the category of Bhim Geet.
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Halik, Fathol. "ROKAT BHUJU’ VIS-À-VIS KOMPOLAN (Metamorfosis Elit Madura Pasca Keruntuhan Orde Baru)." Karsa: Journal of Social and Islamic Culture, April 28, 2012, 119–31. http://dx.doi.org/10.19105/karsa.v12i2.137.
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Abstrak: Tulisan ini berpijak pada asumsi bahwa perubahan sosial tidak selalu diiringi dengan perubahan pemimpin. Pada komunitas yang telah mapan, perubahan pemimpin bukan merupakan hal yang utama dalam relasi sosial, terutama dalam tradisi masyarakat pedesaan di Madura, seperti fenomena relasi sosial antar elit bhuju’ Juruan di Batuputih Sumenep. Yang menarik dalam tradisi bhuju’ Juruan adalah rokat bhuju’. Sebuah tradisi yang berkenaan dengan aktivitas seni, hiburan, dan sosial-“keagamaan” berupa pembacaan matera, kejungan, ataupun mamaca. Rokat bhuju’ dilakukan oleh masyarakat yang “kurang mengerti agama”, reng ledha’, reng gunung bhato kalettak, tandha’, bhajingan (blater), dan orang awam atau abangan. Tradisi ini dilakukan dengan pemujaan terhadap makam orang sakti dengan mengetengahkan sesaji, buah-buahan ataupun beras yang diletakkan di altar pemakaman sebagai bagian dari ritual sebagian masyarakat Madura. Realitas ini seakan paradoksal dengan masyarakat Madura yang taat beragama. Bagi masyarakat Madura rokat bhuju’ berbeda dengan kompolan. Suatu aktivitas keagamaan yang digelar dengan mengundang orang lain, tetangga, famili ataupun jemaah masjid untuk berdoa, seperti pembacaan tahlil, yasiin, barzanji, al-Qur’an, ataupun ceramah agama. Kompolan bukan ansich spiritual, ada pula kebutuhan psikologis, jaringan sosiologis antar manusia, kebutuhan sosialisasi, aktualisasi dan kebersamaan melalui tradisi keagamaan. Motif sosial dan keagamaan menjadi bagian penting dari tradisi kompolan. Tradisi kompolan juga memunculkan tokoh lokal dan pengikut (follower) dari kalangan santri, keyae, orang haji (agamis). Sehingga media yang digunakan pun berbeda. Hadrah, dhiba’, samroh, Cinta Rasul, tongtong, qasidah digunakan dalam kompolan, sementara lodrok, tandha’, saronen, bhajang oreng, orkes, tayub identik dengan rokat bhuju’. Bagi kalangan agamawan (santri, kyai dan ulama’) rokat bhuju’ harus dirubah. Sebagian tokoh Madura menghendaki pergantian aktivitas-ritual dalam kegiatan tersebut, berupa “budaya tandingan”, budaya yang baru. Rokat bhuju’ yang dilaksanakan untuk memperingati peninggalan, tradisi, serta jasa tokoh/orang sakti yang telah meninggal hendak dirubah menjadi aktivitas keagamaan. Hal itu dimaksudkan supaya pengikut (followers) rokat bhuju’ insyaf, atau kembali kepada jalan Allah. Meskipun tidak terjadi pergantian pemimpin, namun dalam konteks ini telah terjadi proses metamorfosis, dimana tokoh tidak lagi berasal dari kalangan luar rokat bhuju’. Akan tetapi, berasal dari keturunan tokoh perintis rokat bhuju’ sendiri dengan lebih mengedepankan kegiatan keagamaan dan rokat berganti menjadi kompolan. Strategi ini merupakan hasil pendekatan pada tokoh melalui keturunan/anak-anak yang bersekolah di pesantren di Madura. Kata kunci: rokat bhuju’, kompolan, keyae, metamorfosis