Relevant bibliographies by topics / Devotional songs, Hindu

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Academic literature on the topic 'Devotional songs, Hindu'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Devotional songs, Hindu"

1

Barua, Ankur. "The Agonistic Poetics of Dāsya-bhāva: the Soteriological Confrontation Between Deity and Devotee." Journal of Dharma Studies 3, no. 1 (December 9, 2019): 155–74. http://dx.doi.org/10.1007/s42240-019-00062-x.

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AbstractThe devotional literatures across the Hindu bhakti traditions of medieval India are shaped by distinctive styles of affective responses to the divine reality. A theme which recurs in several layers of their songs is a theological dialectic between divine majesty and divine accessibility; the divine is not only simply transcendent in the sense of being a distant deity but is also immanently present in and through a range of human sensitivities, emotions, and affectivities. We will highlight the dialectic in the devotional songs of three medieval figures, Tulsīdās (c. 1600), Sūrdās (c. 1600), and Mādhavadeva (1489–1596), which are structured primarily by the devotional attitude of a servant (dāsa) towards the Lord. As we will see, this theological servitude is not to be understood as a form of abject servility, for the three poets, in their somewhat distinctive ways, can not only speak of the Lord as a friend and as a lover, but can even level various kinds of complaints, challenges, and accusations at the Lord. Thus, if the Lord’s transcendental sovereignty is emphasised by the devotee through the modes of self-censure, the Lord’s immanent availability is also highlighted through the protests that the devotee fervently makes to the seemingly uncaring Lord.
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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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Llewellyn, J. "Saints, Hagiographers, and Religious Experience: The Case of Tukaram and Mahipati." Religions 10, no. 2 (February 15, 2019): 110. http://dx.doi.org/10.3390/rel10020110.

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One of the most important developments in Hinduism in the Common Era has been the rise of devotionalism or bhakti. Though theologians and others have contributed to this development, the primary motive force behind it has been poets, who have composed songs celebrating their love for God, and sometimes lamenting their distance from Her. From early in their history, bhakti traditions have praised not only the various gods, but also the devotional poets as well. And so hagiographies have been written about the lives of those exceptional devotees. It could be argued that we find the religious experience of these devotees in their own compositions and in these hagiographies. This article will raise questions about the reliability of our access to the poets’ religious experience through these sources, taking as a test case the seventeenth century devotional poet Tukaram and the hagiographer Mahipati. Tukaram is a particularly apt case for a study of devotional poetry and hagiography as the means to access the religious experience of a Hindu saint, since scholars have argued that his works are unusual in the degree to which he reflects on his own life. We will see why, for reasons of textual history, and for more theoretical reasons, the experience of saints such as Tukaram must remain elusive.
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4

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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GUPTA, CHARU. "‘Innocent’ Victims/‘Guilty’ Migrants: Hindi public sphere, caste and indentured women in colonial North India." Modern Asian Studies 49, no. 5 (August 4, 2015): 1674. http://dx.doi.org/10.1017/s0026749x15000153.

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In this article footnote 70 on page 20 should include the following: ‘Quoted in Ashutosh Kumar, “Anti-Indenture Bhojpuri Folk Songs and Poems from North India”, Man in India, 93 (4), 2013, p. 512 [509–19].’On the same page, after the line ‘The victimized woman was glorified and acquired subjecthood only when she emulated the virtues and ideals of upper-caste Indian womanhood and wifely devotion, thereby overcoming the perceived stereotypes of Dalit woman’ the following footnote should have appeared: ‘Kumar, “Anti-Indenture Bhojpuri Folk Songs”, p. 513’.The author regrets the error.
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DeNapoli, Antoinette. "Earning God through the “One-Hundred Rupee Note”: Nirguṇa Bhakti and Religious Experience among Hindu Renouncers in North India." Religions 9, no. 12 (December 11, 2018): 408. http://dx.doi.org/10.3390/rel9120408.

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This article examines the everyday religious phenomenon of nirguṇa bhakti as it is experienced by Hindu renouncers (sādhus) in North India. As an Indian language concept, nirguṇa bhakti characterizes a type of devotion (bhakti) that is expressed in relation to a divinity who is said to be without (nir) the worldly characteristics and attributes of sex and gender, name and form, race and ethnicity, class and caste. Although bhakti requires a relationship between the devotee and the deity, the nirguṇa kind transcends the boundaries of relational experience, dissolving concepts of “self” and “other”, and, in effect, accentuating the experience of union in the divine absolute. In comparison to saguṇa bhakti (devotion to a deity with attributes), nirguṇa bhakti is considered to be difficult to realize in human birth. Yet, the poetry, songs, and practices of uncommon humans who have not only left behind social norms, but also, devoting their lives to the worship of the divine, achieved forms of divine realization, people like the mystics, saints and sādhus of Hindu traditions, laud the liberating power and insights of nirguṇa bhakti. The Hindu sādhus featured in this article describe their experiences of nirguṇa bhakti through the use of the idiom of a “one-hundred rupee note” to distinguish its superior value and, as significantly, to indicate that humans “earn” God (Brahman) through the practice of nirguṇa devotion. As a “precious” spiritual asset on the path of liberation, nirguṇa bhakti establishes the religious authority and authenticity of sādhus, while setting them apart from other sādhus and holy figures in a vibrant North Indian religious landscape.
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Prokofieva, I. T. "The Young Goddess in the Ancient Pantheon of India." Concept: philosophy, religion, culture, no. 3 (November 17, 2019): 88–100. http://dx.doi.org/10.24833/2541-8831-2019-3-11-88-100.

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The paper covers the origin and functioning of ‘Mother India’ (Bharat Mata) – the goddess, who joined the ancient and vast Hindu pantheon only in the beginning of the XX century. ‘Mother India’ emerged as the embodiment of national territory, and the universal symbol of the country’s diverse communities. Paraded in various media, the new goddess swiftly changed her names (from the Spirit of Motherland through Banga Mata on to Bharat Mata) and appearances, incorporating the map shape of the subcontinent into the portrait of the original four-handed young woman.The new image reflected the nation’s patriotic trend of collective self-identification with Indian territory and the desire to surrender lives for its freedom. Exploiting the mutual entanglement of the cartographic and anthropomorphic images, Mother India is distinguished from from the other members of Hindu pantheon, which guarantees her unique status as the only embodiment and symbol of the national territory. The graphic integration of the woman and the map brought into existence the new phenomenon of ‘Geo-body’ to become yet another symbol of the Indian struggle for independence together with the saffron-white-green flag and ‘VandeMataram’ song. In addition to the traditional forms of devotion (statues and temples) across India, the image of Bharat Mata spread through mass media and became the first envoy of Hindu gods abroad.
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Entwistle, Alan W., Winand M. Callewaert, Bart Op de Beeck, Dādū, Kabīr, Nāmdev, Raidās, et al. "Devotional Hindī Literature: A Critical Edition of the Pañc-Vāṇī or Five Works of Dādū, Kabīr, Nāmdev, Raidās, Hardās with the Hindī Songs of Gorakhnāth and Sundardās, and a Complete Word-Index." Journal of the American Oriental Society 113, no. 4 (October 1993): 609. http://dx.doi.org/10.2307/605800.

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McGregor, R. S. "Nirgun-bhakti-sakar. Devotional Hindi literature: A critical edition of the Pañc-vāṇī or five works of Dādū, Kabī, Nāmdev, Raidās, Hardās with the Hindi songs of Gorakhnāth and Sundardās and a complete word index. 2 vols. By Winand M. Callewaert and Bart Op de Beeck. (South Asia Institute, New Delhi Branch, Heidelberg University, South Asian Studies XXV.) pp. 1076. New Delhi, Manohar, 1991. Rs. 1000. Distributed by Franz Steiner Verlag, Stuttgartt. DM 288." Journal of the Royal Asiatic Society 3, no. 3 (November 1993): 469–70. http://dx.doi.org/10.1017/s1356186300014401.

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10

Glushkova, Irina. "Janabai and Gangakhed of Das Ganu: Towards ethnic unity and religious cohesion in a time of transition." Indian Economic & Social History Review, September 8, 2021, 001946462110411. http://dx.doi.org/10.1177/00194646211041156.

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The Varkari tradition of the Marathi-language area of Western India is characterised by devotion to the god Vitthal of Pandharpur as well as the medieval saint-poets who praised him in songs and longed for his company. Modern narratives present Janabai, a poetess who lived presumably during the thirteenth to fourteenth centuries, as one of the Varkari saint-poets. Her rise to fame started in the last decade of the nineteenth century, and by the 1920s, although of obscure origin, she had been geographically pinned to Gangakhed on the Godavari River. The association with this tiny settlement in Marathwada was established by the famous Das Ganu, an itinerant minstrel and preacher. Janabai’s own celebrity reached its peak by the 1960s, when a sign of sanctity in the form of symbolic sandals was installed at the site which went on to become her temple in Gangakhed. In 1975 a new procession, that of Saint Janabai, was added to the list of more than 100 processions travelling at the same time each year to Pandharpur. This article looks into the process of nationalist ‘awakening’ and the manner in which fostering bonds of ethnic unity and religious cohesion have been essential for shaping shared identity. The Varkari tradition and its poets, including Janabai, became the main tools for the creation of a Marathi-language cultural environment and for the domestication of the terrain by and through the power of comprehensible Hindu symbols.
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Books on the topic "Devotional songs, Hindu"

1

Schultz, Anna C. Singing a Hindu nation: Marathi devotional performance and nationalism. New York: Oxford University Press, 2012.

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Singing a Hindu nation: Marathi devotional performance and nationalism. New York: Oxford University Press, 2012.

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3

Rhodes, Bailly Constantina, ed. Shaiva devotional songs of Kashmir: A translation and study of Utpaladeva's Shivastotravali. Albany: State University of New York Press, 1987.

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Devarasa, Ma Da. Ūttukkāṭu Veṅkaṭa Cuppaiyar aruḷiya kurukīrttanaikaḷ saptaratn̲am mar̲r̲um Āñcan̲eya pañcaratn̲am. Cen̲n̲ai: K. Rājammāḷ, 2000.

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Rosenstein, Ludmila L. The devotional poetry of Svāmī Haridās: A study of early Braj Bhāṣā verse. Groningen: Egbert Forsten, 1997.

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Invoking Lakshmi: The goddess of wealth in song and ceremony. Albany: State University of New York Press, 2010.

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Annamācārya. Annamayya saṅkīrtana ratnāvaḷi: Svarasahitaṃ. Tirupati: Annamācārya Prājekṭu, Tirumala Tirupati Dēvasthānamulu, 2001.

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Kogaṭā, Rāma. Pita =: Father. New Delhi: D.K. Printworld, 2009.

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Cā, Lōccan̲ Po. Tirunāvukkaracar Tēvārap pāṭalkaḷil icai. Tañcāvūr: Tamil̲p Palkalaikkal̲akam, 2001.

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Kogaṭā, Rāma. Maa =: Mām̐ = Mother. New Delhi: D.K. Printworld, 2009.

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