(This is an excerpt from the book "Appreciating Navadvipa Dhama" by HH Mahanidhi Swami)
Most of the information in this section is from authorized Sanskrit and Bengali works expertly translated by our (HH Mahanidhi Swami’s) Godbrother Çréman Daçaratha Suta Däsa. The primary instruments used in saìkértana are the khol [mådaìga] and karatäls [hand cymbals]. Sometimes a horn [shingä or viñäna] is also played. Other essential items of kértana are häta-tälé [clapping the hands], nåtya [dancing], and lunthan [rolling on the ground].
Mådaìga: Clay Drum
The khol [mådaìga] is only made of clay, and if a drum is made of any substance other than clay, it cannot be called a khol. Kértana is not completely pure [viçuddha] without being accompanied by the khol. The mrdanga speaks the syllables “dhik tän, dhik tän, dhigetän.” Paëòitas of ancient times have indicated that when the mådaìga makes this bol it is condemning the material world by saying:
“To those people who have no devotion for the lotus feet of the son of Yaçodä; To those whose tongues are not lovingly attached to speaking of the transcendental qualities of the beloved of the cowherd girls; To those whose ears are not fond of hearing the kathä of the charming qualities of Çré Kåñëa’s divine pastimes, ‘Fie unto them! Fie unto them!! Fie unto them!!!’ Thus speaks the mådaìga during kértana.”
It is understood that during kértana, when this bol is heard being spoken by the mådaìga, such persons [as mentioned above] are being condemned, whereas others are being auspiciously engaged in hari-näma-saìkértana. By the use of the mådaìga, this benefit is achieved.
Traditionally, in kértana, only the khol and karatäls are used because they are easily available. Playing these common instruments, all classes of people, even the most destitute, can enjoy the bliss of bhägavat-saìgéta. When music is made with the khol and karatäls combined, a mohiné çakti [potency of enchantment] is produced that is naturally able to intoxicate the mind. The sound of the khol creates auspiciousness exactly like the sound of the conch shell. Inauspiciousness cannot remain wherever the khol and karatäls resound.
In Kåñëa-lélä the gopés play a drum similar to the mådaìga but it is called a mådaìgum. This drum is the same shape as a mådaìga, but it is made of wood, and the small head is slightly larger in diameter. The mådaìgum is a very popular drum in temples throughout South India such as Tirüpati Balaji. Dukhini Däsa, a disciple of Çréniväsa Äcärya, wrote a wonderful bhajana wherein he mentions the instruments played by Çrématé Rädhikä’s añöa-sakhés:
- Viçäkhä plays the mådaìgum
- Lalitä- véëä
- Tungavidya- véëä/ pinak/ saptasara
- Indulekha- esaräj/ maìjérä [finger cymbals]
- Citrä- sitär-like véëä /Kasa gong
- Campakalatä- säraìgi/ taàboura
- Räìgadevé- bell/ ghaëöä
- Sudevé- karatäls
The following popular story explains the appearance of the mådaìga in Gaura-lélä: Before coming to this world as the Golden Avatära, Lord Kåñëa said to His flute, “My dear flute, I am descending again to the material world but not in this form. You should stay here with Rädhäräëé to pacify Her. I promised Rädhä that I would not take you with Me.”
On hearing this, the flute began to cry and said, “My dear Lord Kåñëa, how can You leave me here alone. I have always been by Your side, but now You are neglecting me. What have I done to deserve this?”
Kåñëa replied compassionately that He would bring him along but in a different form. The flute did not mind changing his form, as long as he could remain engaged in Kåñëa’s personal service. In this way the flute transformed into a mådaìga, and descended to this world with Çré Caitanya Mahäprabhu.
The mådaìga is not an ordinary musical instrument. Being the incarnation of Kåñëa’s flute, it is very dear to Lord Kåñëa. The mådaìga, like all of the Lord’s paraphernalia, is also completely spiritual since it is an expansion of Lord Baladeva. Äcäryas, therefore, consider it offensive to play speculated [free-lance] beats on the mådaìga.
There is a story in this connection relating the disastrous effect of singing incorrectly. This can also apply to playing the wrong or speculated beats on the mådaìga. Once, before Närada Muni had learned the art of singing, he went to the heavenly planets and began singing. The words were good, but the tune and melody were incorrect.
Sura, the demigod of melody, was present in that celestial assembly. He actually became physically deformed from hearing Närada’s singing out of tune, and others felt pain in their hearts. Someone told Närada, “My friend, your improper singing has caused Sura and all of the beautiful singers present here to become ugly and deformed. You should immediately go and learn the art of singing correctly.”
Närada learned how to sing the appropriate melodies from Sarasvaté. Returning to the heavenly planets, Närada sang again, and then all the residents regained their original forms. After this Närada became the world’s foremost preacher of beautiful devotional songs.
närada muni, bäjäya véëä,
‘rädhikä-ramaëa’ näme
näma amani, udita hoya,
bhakata-géta-säme
“When the great soul Närada Muni plays his stringed véëä, the holy name of Rädhikä-Ramaëa descends, and immediately appears amidst the kértana of the Lord’s devotees.” (Gétävalé)
Kértana leaders should understand that it is inauspicious and disturbing to the heart if the correct melody is not sung at the appropriate time in kértana. A particular melody is sung in the morning, and a different one is sung in the evening. At least once Çréla Prabhupäda stopped a devotee from singing the wrong tune during maìgala ärati and said, “Sing the morning tune.” The following quote explains how different melodies are to be sung at different times:
“It has already been explained by the Lord that amongst all the Vedas, He is the Säma Veda. The Säma Veda is rich with beautiful songs played by the various demigods. One of these songs is the Båhat-säma, which has an exquisite melody and is sung at midnight.” (Bg.10.35 pur.)
Although one can appreciate the need for proper singing, the main point in kértana is pure devotion. Purity is the force, not muscial expertise. Kértana singing is not a show of our ego or musical talents, but an expression of our heart’s desire to please Kåñëa. “Çré Caitanya Mahäprabhu has not asked us to become proficient in high class music, and become well-practiced in the arts of expert musicians. He told us to constantly chant Hari-kértana. Hari-kértana does not consist in gratifying our own mundane senses, but in the gratification of Çré Kåñëa’s transcendental senses.” (SCT)
mådaìga-vadya, çunite mana,
abasara sadä yäce.
gaura-vihita, kértana çuné,
änande hådoya näce
“My mind ever longs for the opportunity to hear the music of the mådaìga. Upon hearing the kind of kértana ordained by Lord Gauracandra, my heart dances in ecstasy.” (Çaraëägati)
Before playing the khol, one must offer obeisances to the demigod of the instrument [yanträdhiñöita devatä]. Then one should practice the varëas, or specific letters of the alphabet that correspond to particular hand and finger strokes upon the heads of the drum. The musical sounds articulating ‘ka’ ‘ga’ ‘gha’ and so on with the voice, while hitting the corresponding sounds on the drum should be exercised before playing anything else.
Just as a singer has to regularly practice singing the scale “sä ri ga,” similarly it is necessary for a mådaìga player to regularly practice the vaånas. With much practice in this system and by guru-kåpä one can learn to produce very sweet music. Then devotees will declare, “It is just like the khol is talking!”
Çré Khol-Praëäms:
mådaìga brahmä-rüpäya
lävaëyaà rasa-mädhuré
sahasra-guëa-saàyuktaà
mådaìgäya namo nämaù
“Unto the supreme brahma formed as the clay drum infused with the mellow sweetness of graceful enchantment, and endowed with thousands of transcendental qualities, I bow down again and again to the mådaìga.”
namo jagannätha sütäya
namo mådaìga nämaù
lävaëyaà rasa mädhuré
sahasra guëa saàyuktaà
namo mådaìgäya namo nämaù
namo baladevayo namo nämaù
“I offer my respectful obeisances unto the son of Çré Jagannätha Miçra [Çré Caitanya Mahäprabhu]. I offer my obeisances unto the mådaìga, from which sweet and nectarean sound emanates. I offer my obeisances again and again unto the mådaìga which has thousands of good qualities. And I offer my obeisances unto Lord Baladeva, who assumes the form of the mådaìga to serve Lord Caitanya.”
The Caitanya-caritämåta explains how Lord Baladeva expands into Änanta Çeña: “Lord Balaräma is thus called Lord Çeña, for He has attained the ultimate end of servitude to Kåñëa. He takes many forms for the service of Kåñëa, and thus He serves the Lord. He serves Lord Kåñëa, assuming all the following forms: umbrella, slippers, bedding, pillow, garments, resting chair, residence, sacred thread and throne.” (Cc. Ädi 4.123,4)
