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The Bhakti movement is a Hindu religious movement in which the main spiritual practice is loving devotion among the Shaivite and Vaishnava saints. The Bhakti movement originated in ancient Tamil Nadu and began to spread to the north during the late medieval ages when north India was under Islamic rule. The Islamic rulers were pressing public to convert religion from Hindu to Islam. The Bhakti movement had its own importance to save Hinduism. There was no grouping of the mystics into Shaiva and Vaishnava devotees as in the south. The movement was spontaneous and the mystics had their own versions of devotional expression.

Unlike in the south, where devotion was centered on both Shiva and Vishnu (in all his forms), the northern devotional movement was centered on Rama and Krishna, both of whom are considered incarnations of Vishnu. Despite this, the sect of Shiva or of the Devi did not go into decline. In fact for all of its history the Bhakti movement co-existed peacefully with the other movements in Hinduism. It was initially considered unorthodox, as it rebelled against caste distinctions and disregarded Brahmanic rituals, which according to Bhakti saints were not necessary for salvation. In the course of time, however, owing to its immense popularity among the masses (and even royal patronage) it became 'orthodox' and continues to be one of the most important modes of religious expression in modern India.

During the 14th–17th centuries, a great Bhakti movement swept through central and northern India, initiated by a loosely associated group of teachers or sants. Ravidas, Srimanta Sankardeva, Chaitanya Mahaprabhu, Vallabhacharya, Surdas, Meera Bai, Kabir, Tulsidas, Namdev, Dnyaneshwar, Tukaram and other mystics spearheaded the Bhakti movement in the North. They taught that people could cast aside the heavy burdens of ritual and caste, and the subtle complexities of philosophy, and simply express their overwhelming love for God. This period was also characterized by a spate of devotional literature in vernacular prose and poetry in the ethnic languages of the various Indian states or provinces.

While many of the Bhakti mystics focused their attention on Krishna or Rama, it did not necessarily mean that the sect of Shiva was marginalized. In the thirteenth century Basava founded the Vira-Shaiva school or Virashaivism. He rejected the caste system, denied the supremacy of the Brahmins, condemned ritual sacrifice and insisted on Bhakti and the worship of the one God, Shiva. His followers were called Vira-Shaivas, meaning "stalwart Shiva-worshipers".

The Saiva-Siddhanta school is a form of Shaivism found in the south and is of hoary antiquity. It incorporates the teachings of the Shaiva nayanars and espouses the belief that Shiva is Brahman and his infinite love is revealed in the divine acts of the creation, preservation and destruction of the universe, and in the liberation of the soul.

Seminal Bhakti works in Bengali include the many songs of Ramprasad Sen. His pieces are known as Shyama Sangeet. Coming from the 17th century, they cover an astonishing range of emotional responses to Ma Kali, detailing philosophical statements based on Vedanta teachings and more visceral pronouncements of his love of Devi. Using inventive allegory, Ramprasad had 'dialogues' with the Mother Goddess through his poetry, at times chiding her, adoring her, celebrating her as the Divine Mother, reckless consort of Shiva and capricious Shakti, the universal female creative energy, of the cosmos.

Rama Bhakti[link]

Ramananda was the leader of the Bhakti movement focusing on Rama as God. Very little is known about him, but he is believed to have lived in the first half of the 15th century. He taught that Lord Rama is the supreme Lord, and that salvation could be attained only through love for and devotion to him, and through the repetition of his sacred name.

Ramananda's ashram in Varanasi became a powerful center of religious influence, from which his ideas spread far and wide among all classes of Indians. One of the reasons for his great popularity was that he renounced Sanskrit and used the language of the people for the composition of his hymns. This paved the way for the modern tendency in northern India to write literary texts in local languages.

Devotees of Krishna worship him in different mellows, known as rasas. Two major systems of Krishna worship developed, each with its own philosophical system. These two systems are aishwaryamaya Bhakti and madhuryamaya Bhakti. Aishwaryamaya Bhakti is revealed in the abode of queens and kingdom of Krishna in Dwaraka. Madhuryamaya Bhakti is revealed in the abode of braja. Thus Krishna is worshiped according to the development of devotees' taste in worshiping the Supreme Personality of Godhead (Krishna) as father, friend, master or beloved.

Shri Madhvacharya (1238–1317) born at Pajaka near Udupi advocated Dwait philosophy. He defeated many scholars in religious debates identified God with Vishnu. His view of reality is purely dualistic, in that he understood a fundamental differentiation between the ultimate Godhead and the individual soul, and the system is therefore called Dvaita (dualistic) Vedanta. Madhva is considered one of the most influential theologians in Hindu history. His influence was profound, and he is one of the fathers of the Vaishnava Bhakti movement. Great leaders of the Vaishnava Bhakti movement in Karnataka like Purandara Dasa, Kanaka Dasa, Raghavendra Swami and many others were influenced by Dvaita traditions.

Srimanta Sankardeva's (1449–1568) propagated his school of thought, called Ekasarana Dharma, in the greater Assam region. An example of dasya Bhakti, there is no place for Radha in this tradition. The most important symbol of this tradition is the namghar or prayer hall, which dot Assam's landscape. This form of worship is very strong in Assam today, and much of the traditions are maintained by the monasteries (Sattras).

Vallabhacharya (1479–1531) called his school of thought Shuddhadvaita, or pure monism. According to him, it is by God's grace alone that one can obtain release from bondage and attain Krishna's heaven. This heaven is far above the "heavens" of Brahma, Vishnu and Shiva, for Krishna is the eternal Brahman.

Chaitanya Mahaprabhu (1486–1534) defined his system of philosophy as Achintya Bheda Abheda (inconceivable and simultaneous oneness and difference). It synthesizes elements of monism and dualism into a single system. Chaitanya's philosophy is taught by the contemporary International Society for Krishna Consciousness, or Hare Krishna movement.

Vaishnava Bhakti[link]

See also Vaishnavism, Krishnaism, Gaudiya Vaishnavism and Hare Krishna Ekasarana Dharma

Prominent historical personalities include:

• Ramanujacharya
• Madhvacharya
• Nimbarka
• Vallabha
• Srimanta Sankardeva
• Chaitanya Mahaprabhu

Influences[link]

Beyond the confines of such formal schools and movements, however, the development of Bhakti as a major form of Hindu practice has left an indelible stamp on the faith. Philosophical speculation was of concern to the elite, and even the great Advaitist scholar Adi Shankaracharya, when questioned as to the way to God, said that chanting the name of the lord was essential. The philosophical schools changed the way people thought, but Bhakti was immediately accessible to all, calling to the instinctive emotion of love and redirecting it to the highest pursuit of God and self-realization. In general a liberal movement, its denouncement of caste offered recourse for Hindus from the orthodox Brahaminical systems. Of course Bhakti's message of tolerance and love was not often heeded by those ensconced in the societal construct of caste. Altogether, Bhakti resulted in a mass of devotional literature, music and art that has enriched the world and given India renewed spiritual impetus, one eschewing unnecessary ritual and artificial social boundaries.

See also[link]

• Devotional movements
• Nama sankeerthanam

References[link]

1. Schouten, pages 11–26
2. Karavelane Kareikkalammeiyar, oeuvres editees et traduites, Institut francais d'indologie, Pondicherry (1956)
3. Jagadeesan, N., The Life and Mission of Karaikkal Ammaiyar Bhattacharya, N.N. [ed] Medieval Bhakti Movements in India, Munishiram Manoharlal, New Delhi, (1989), pages 149-161

Bibliography[link]

• Schouten, Jan Peter (Dutch) Goddelijke vergezichten - mystiek uit India voor westerse lezers, Ten Have b.v., Baarn, the Netherlands, (1996), www.iloveindia.com, ISBN 90-259-4644-5

External links[link]

• The full text of the Bhagavata Purana (Srimad-Bhagavatam)

Anup Jalota
Anup Jalota at Bhubaneswar, Orissa
Background information
Born	(1953-07-29) 29 July 1953 (age 58)
Origin	Nainital, India
Genres	Bhajan, Ghazal
Occupations	Vocalist
Instruments	Harmonium
Years active	1985–present

Anup Ji with his Fan, Orissa

Anup Jalota (Hindi: अनुप जलोटा}{Urdu: انوپ جلوٹا) (born 29 July 1953) is an Indian singer/musician, best known for his performances in the Indian musical form, the bhajan and the Urdu form of poetry: ghazal.

He is popularly known as the Bhajan Samraat (Emperor of Bhajans).^[1] Padmashree for 2012 has been conferred upon him in the field of Art-Indian Classical Music- Vocal

Early life[link]

Anup Jalota was born in Nainital, Uttarakhand to Purushottam Das Jalota, a renowned exponent of bhajan and hails from the Sham Chowrasi Gharana of Punjab. He was educated in Lucknow, Uttar Pradesh. Anup's brother, Ajay Jalota, currently lives in California. He has one older brother Anil Jalota and two sisters Anjali Dhir and Anita Mehra.

Career[link]

Jalota started his musical career as a chorus singer in All India Radio. He is usually backed by a santoor player, a dholak player, a sarod player, a sarangi player, a violinist, a sitar player, a tabla player and a guitarist. Some of his popular bhajans include: Aisi Lagi Lagan, Main Nahi Makhan Khayo, Rang De Chunariya, Jag Me Sundar Hai Do Naam, and Chadariya Jhini Re Jhini.

He met Jagadguru Shree Kripaluji Maharaj in Mumbai and agreed to release several CDs of his compositions.^[2]

Personal life[link]

For Anup the first two marriages ended in divorce. Currently, Anup Jalota is married to Medha, niece of former Indian Prime Minister, Inder Kumar Gujral.^{[citation needed]} They have a 14 year old son, Aryaman, studying in Mumbai, India.^{[citation needed]}

Recognition[link]

Anup Jalota earned a record number of 100 certified gold, platinum and muti-platinum discs.

Discography[link]

The popular Bhajans and ghazals for which he is credited the most are given below

• Aisi Lagi Lagan
• Chaand Angdaiyaan Le Raha Hai
• Tumhare Shahar Ka Mausam
• Main Nazar Se Pee Raha Hoon
• Hum Se Achi to Kahin Aaine ki Khismat Hogi
• Rukh Se Parda Hata De
• La Pila De Saqiya
• Shree Hanuman Chalisa
• Mere Kabr Par Pate Huye
• Tum Kya Samjho Tum Kya Jano
• Kategi Ye Zindagi Ab Rote Rote
• Laga Chunari Mein Daag^[1]
• Rang De Chunariya
• Prabhuji Tum Chandan Hum Pani

References[link]

External links[link]

• Virtual Fan Club of Anupji… Devotional Harmony
• Anup Jalota Bay Area USA Live Concert 28th Aug 2009
• Listen Anup Jalota Online
• Anup Jalota - Official website
• Anup Jalota @ Last.fm (Listening examples)
• http://mysticamusic.com/anup-jalota.php

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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2011)

Kumar Gandharva
Gandharva and his wife Bhanumati in 1947
Background information
Birth name	Shivaputra Siddramayya Komkalimath
Born	(1924-04-08)April 8, 1924 Sulebhavi, Erstwhile Bombay Presidency, India
Died	January 12, 1992(1992-01-12) (aged 67) Dewas, India
Genres	Hindustani classical music
Occupations	singer

Kumar Gandharva or Shivaputra Siddharamayya Komkalimath (8 April 1924 - 12 January 1992) was a Hindustani classical singer, famous for his unique vocal style, refusal to be bound by the tradition of any gharana, and his innovative genius. The name Kumar Gandharva is a title given to him when he was a child prodigy; a Gandharva is a musical spirit in Hindu mythology.^[1]

Early life and education[link]

Gandharva was born in Sulebhavi near Belgaum, Karnataka, India. He studied music under the well-known Prof B R Deodhar.

He married Bhanumati Kans in April 1947 and moved to Dewas, Madhya Pradesh. Soon after moving there, he was stricken with tuberculosis. Luckily, the wonder drugs which cure TB had only recently been discovered. Gradually, helped by excellent medical support and care from wife Bhanumati, Kumar Gandharva recovered and began singing again. However, his wonderful voice and singing style would always bear the scars of his surgery, which are evident to any person who listens to his songs such as 'Runanubandhachya" from the drama "Dev Dina Ghari Dhavla".

Career[link]

Bhanumati Kans, who was learning music first under Deodhar and later under Kumar Gandharva himself, nursed him through his illness. His first mehfil after recovery from illness took place in 1953. The illness greatly affected Kumar's singing in later years – he was to be known for powerful short phrases and his very high voice. He may not have reached the same heights of popularity as contemporaries like Bhimsen Joshi, but he always enjoyed the love and support of dedicated and connoisseur enthusiasts. His singing was also true to the Indian classical music tradition of dialogue with the listeners, of impromptu creation and interactivity.

Kumarji also experimented with other forms of singing such as Nirguni bhajans (Devotional songs), folk songs, and with both ragas and presentation, often going from fast to slow compositions in the same raga. He is remembered for his great legacy of innovation, questioning tradition without rejecting it wholesale, resulting in music in touch with the roots of Indian culture, especially the folk music of Madhya Pradesh. His innovative approach towards music led to the creation of new ragas from combinations of older ragas.

His style of singing attracted considerable controversy. Veteran singer Mogubai Kurdikar did not consider his vilambit (slow tempo) singing interesting and his own teacher Deodhar criticised some aspects of Kumar's singing but their relationship was strained from 1940s when Kumar Gandharva married Bhanumati. According to Pandharinath Kolhapure's book on Kumar Gandharva, Deodhar was against the match. But the criticism mostly centred around his vilambit gayaki. His singing in faster tempos, particularly his mastery over madhya-laya, was very widely revered.

Kumar Gandharva's first son, Mukul Shivputra, was born around 1955. After Bhanumati's death in 1961 during childbirth, Kumar married Vasundhara Shrikhande, another of his fellow-students at Deodhar School. Vasundhara Komkalimath formed a memorable duo with him in bhajan singing. She also provided vocal support to his classical renditions quite often. Their daughter Kalapini Komkalimath would later accompany both her parents on tanpura.

Some of Kumar Gandharva's ideology is carried forward by his son and daughter, as well as students such as Madhup Mudgal, Shubha Mudgal, Vijay Sardeshmukh and Satyasheel Deshpande. Kumarji's grandson Bhuvanesh (Mukul Shivaputra's son) has also made a name for himself as classical singer.

For a long spell, Kumar Gandharva's activities as a musician were managed by his friend and tabla accompanist Vasant Acharekar. Acharekar was Vasant Desai's assistant in the 1950s but later devoted himself fully to his role as an accompanist to classical singing until his death in late 1970s. His son Suresh Acharekar is also a tabla player, and has accompanied Kumar Gandharva and other artists.Kumarji had a long time friendly relations with noted Marathi literary couple Pu La Deshpande and Sunita Deshpande.

Kumar Gandharva was awarded the Padma Vibhushan award in 1990.

References[link]

An Appreciation of Kumar Gandharva

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Hemant Chauhan is a Gujarati writer and singer. He specializes in Bhajan, religious and Garba songs and other folk genres.^[1]

Selected works[link]

• Pankhida O Pankhida
• Om Namah Shivay-shiv Dhun
• Om Sai Mangalam mp3
• Shriman Narayana
• Laher Lagi Bhajan Ni.mp3
• dham Dham Nagara Re...
• Live In Leicester- Tu Rangai Jane Rang Ma
• chotile Dakla Vagya
• bhajan-krishna-devotional
• Shiv Tandav
• he Jagjanani He Jagdamba Hd Version
• Hemant Chauhan- Tare Rahevu Bhada Na Makan Ma...
• Shrinathaji and bhajan
• Pankhida Ne Aa Pinjaru

References[link]

External links[link]

• Interview of Hemant Chauhan by Devang Vibhakar on speakbindas
• Short Introduction of Hemant Chauhan on planetradiocity