The teaching and learning of Kirtan is a far more sustainable developmental process as compared to any other musical genre. Kirtan, in its flamboyant self, ceases to be a mere lyric-music combination; instead, it stands out uniquely as an inclusive and interdisciplinary context where literary excellence, musical nuances, sociological reforms and above all, a profoundly contemplating spiritual emancipation continually communicates with one another like a seamlessly embroidered tapestry. Therefore, a mere conglomeration of disparate elements shall never address the soul of such a profound, thoroughgoing subject abundantly invested with a holistic and comprehensive enterprise.
While tracing back its etymological meaning, one should find the root word ‘Kirt’ with two inflections ‘Lyut’ and ‘Anat’ corresponding to a sense of ‘Eulogy’ i.e. the singing of praises be it of an earthly mortal or the heavenly Almighty Omniscient Lord. Vis-a-vis Vaishnava texts, historical anthologies also speak at length about these praising hymns or Prashastis. During the ancient era of Charyapada and ‘Gita Govinda’ of Sri Jayadeva, the lyrics were entitled as Prabandhas or fixed compositions exclusively named after Ragas or Talas. Subsequently, they were followed by a series of pastoral elegies and localized indigenous narratives such as Mangalkavya, Maymansingha Gitika or poetic ballads namely Srikrishna Vijaya that resound an inherent spirit of ‘Nibandha’ or storytelling features.
Before the onset of the 15th century, all compositions were acknowledged and bracketed with the common terminology of Prabandhas or fixed formulations except Srikrishna Kirtana of Baru Chandidasa. After the hallowed earthly arrival of Srikrishna Chaitanya Sriman Mahaprabhu, the concept of Kirtana underwent a paradigm shift primarily due to the divine efforts of Mahaprabhu and his luminous associates who took Kirtan beyond the corridors of textbooks and temples. It became the mouthpiece of trodden millions of majoritarian India that had been trampled down through the prolonged passages of centuries under the crushing wheel of the dull, decrepit and divisive casteism. Henceforward, instead of remaining an art form or artistry, Kirtan broke out as the voice of the repressed with Krishna praising exclamations.
The sunny advent of renaissances was set in at the detriment of medieval darkness. A plethora of mystical lyricists tried their devout hands in creating biographical literature, verses and lyrics. The newer aspect of Goura Chandrika was introduced as a noble preface to Krishnalila. Despite the dichotomy of Verse and Lyric, the lyricists and performing artists shared a uniquely orchestrated spiritual oneness reaching out to the domain of psycho-physical and psycho-social liberation. Extent of Ragas & spaces of Talas underwent manifold experimentations. The influences of Raga Music abundantly mingled with Kirtan without affecting the freshness of folklores and its pure pastoral melody. Thus, with perfect coalescence of Prabandha (Classic) and Prakrit (Local), a new classico-folk form tended to shape anew. The ancient musicologists like Sri Sharangadeva determined it Prakirna while typifying the characteristic properties of Kirtan.