Kirtan Practice & HanumanChalisa Chanting Ceremony

Krishna Das leads a Thursday night satsang gathering centered on collective chanting (kirtan) of the Hanuman Chalisa—a devotional hymn to Hanuman, the central figure of the Ramayana epic. The session begins with Krishna Das explaining the structure and purpose of the morning's practice: listeners are invited to stay with the chant, follow along with English translations if Sanskrit proves difficult, and sing together rather than participate in call-and-response format. He emphasizes that the storyline derives from the Ramayana, an ancient epic in which Hanuman, through divine grace, unifies all elements of existence. The practice encourages participants not to evaluate their experience but to return gently to the sound whenever the mind wanders—a core principle of devotional meditation practice.

How does Krishna Das structure the kirtan session?

Krishna Das opens the gathering by introducing the musicians: Mark Gorman on bass, Brett Stoller on guitar and vocals, Nava Hafi on shalom, and Prakash on shruti (a drone instrument). Twin Kelly Kart accompanies on tala (rhythmic drumming). After acknowledging Ambika and recounting a pilgrimage to Kanchipuram to meet Siddhima for the first time, Krishna Das outlines the session flow. He begins with three collective oms to center the group, then invokes Ganesha (the remover of obstacles) and Saraswati (the goddess of knowledge and clarity) through Vedic verses. These two deities, Krishna Das explains, provide "stamina, clarity, inclination, and will to continue on this path of practice." Only after these preparatory invocations does the group move into the Sri Ram chant and then the Hanuman Chalisa proper.

What is the purpose of invoking Ganesha and Saraswati before chanting?

Krishna Das frames the invocations as a practical necessity rather than a ritual formality. Ganesha represents the removal of obstacles and the integration of all elements; Saraswati embodies the clarity and knowledge required for sustained spiritual practice. By invoking these beings at the outset, the group seeks blessings for mental focus, endurance, and the inclination to stay with the practice. Krishna Das notes that these invocations come from the Vedas, the oldest layer of Hindu scripture, and function as a way of requesting divine support before entering deeper devotional work. The practice reflects a understanding that kirtan is not mere entertainment or performance but a disciplined engagement with sacred sound and its transformative potential.

What is the Hanuman Chalisa and why does it matter in devotional practice?

The Hanuman Chalisa is a 40-verse hymn composed by the saint Tulsidas in the 16th century, each verse celebrating attributes of Hanuman and the benefits of his worship. Hanuman, the monkey deity central to the Ramayana, represents unwavering devotion, courage, humility, and the power to overcome obstacles through surrender to the divine. The Chalisa catalogs Hanuman's deeds—his service to Rama, his ability to change form and cross vast distances, his destruction of demons, and his role as remover of suffering and fear. Krishna Das and his musicians chant the full text, emphasizing that this is not performance art but participatory spiritual practice. The extended chanting sessions that kirtan facilitates allow listeners to internalize the qualities and blessings associated with Hanuman through repeated sound and breath.

How does group chanting differ from individual practice?

Krishna Das distinguishes between solitary practice and the communal dimension of satsang (literally "sitting in truth"). During the session, he repeatedly invites the gathering to "stay with" the chant rather than evaluate or judge their experience. The collective voice creates a shared energetic container—musicians and singers establish a rhythmic and melodic groove that helps participants remain present even when the mind wanders. Krishna Das notes that if thoughts arise, participants should simply "let it go" and return to the chant; this return itself becomes the practice. The presence of skilled musicians (bass, guitar, shruti, tala) creates scaffolding that allows even those unfamiliar with Sanskrit or the melodies to follow and contribute their voice. The satsang thus functions as mutual support for spiritual practice—individual effort amplified and sustained by collective presence.

What role does breath and sound play in Krishna Das's teaching?

Krishna Das emphasizes "listening to the sound, being together, staying with this chant, hearing the music, and breathing." The breath becomes an anchor point when the mind becomes active. Rather than resisting thought through force, Krishna Das teaches that returning to the breath and sound is itself the practice. He repeats the instruction to "just think of that as your practice"—reframing distractions not as failures but as natural moments for renewal of intention. The layers of sound—chanted melody, instrumental accompaniment, individual and collective voices—create a multi-sensory environment that supports sustained attention. This approach draws from classical yoga and Vedantic philosophy, which hold that sound (shabda) is a direct path to consciousness and that proper attention to vibration can catalyze shifts in awareness.

What does the Ramayana epic contribute to understanding Hanuman?

Krishna Das acknowledges that listeners need not be versed in the Ramayana to participate in the Hanuman Chalisa, yet the epic provides essential context. The Ramayana tells the story of Rama (an incarnation of Vishnu) and his exile, as well as the abduction of his wife Sita. Hanuman, devoted entirely to Rama's cause, becomes the agent through whom Rama's will is executed across vast cosmic distances and multiple realms. The epic portrays Hanuman as a figure who transcends ordinary limitations—he can alter his form, leap across oceans, infiltrate fortified cities, and triumph over demonic forces. His power derives not from ego but from complete surrender to Rama's purpose. Krishna Das describes this as "the play of the gods for our benefit"—suggesting that the mythological narrative encodes spiritual truths about devotion, surrender, and the transcendence of individual will through alignment with a higher power.

How does Krishna Das guide practitioners in managing a wandering mind during chanting?

Krishna Das explicitly teaches that a wandering mind is not a problem to be solved but a natural part of practice. He instructs: "Don't evaluate it, but if you find yourself thinking, it's OK. Let it go, come back to the chant, and just think of that as your practice." This permission to have thoughts without judgment represents a shift from perfectionist approaches to spiritual practice. Rather than demanding unwavering concentration, Krishna Das frames the repeated return to sound as the actual work. Each moment of noticing the mind has drifted and gently redirecting attention to the chant constitutes the practice itself. This teaching aligns with classical meditation instruction and reflects compassion toward human limitation. The communal setting amplifies this approach—when one person's attention lapses, the surrounding voices and instruments provide a safety net that allows easy re-engagement without shame or effort.

What is the relationship between devotion and spiritual transformation in Krishna Das's framing?

Krishna Das teaches that devotion (bhakti) is not sentimental emotion but a systematic engagement with the divine through sound, breath, and collective practice. By repeatedly invoking Hanuman's qualities and blessings through chant, practitioners are not petitioning an external force but aligning their own awareness with archetypal principles—courage, integrity, humility, the power to serve a purpose beyond oneself. The Hanuman Chalisa contains verses that promise specific results: relief from suffering, removal of obstacles, freedom from fear, liberation from bondage. Krishna Das does not explain these as magical guarantees but as natural consequences of sustained devotional practice—a redirecting of attention and energy that transforms the inner landscape. The repetition of sacred sound (mantra) is presented as a direct technology, neither requiring faith nor demanding intellectual belief, but inviting experiential engagement.

How does Krishna Das acknowledge the role of his musical ensemble in the satsang?

Krishna Das introduces each musician by name and role, creating a circle of inclusion. He notes that Mark Gorman "has actually played on many of our CDs," anchoring the bass line that grounds the chant. Brett Stoller and Nava Hafi provide harmonic and melodic texture. Prakash on shruti creates the underlying drone—a constant reference pitch against which all other sounds are held. Twin Kelly Kart marks the rhythmic pulse with tala, making the invisible structure of time audible and palpable. Krishna Das also mentions previous musicians and acknowledges Sarena's preparation of Hanuman prasad (blessed food offerings) for participants to take home. This transparent honoring of the ensemble reflects Krishna Das's teaching that spiritual practice is not a solo endeavor but an interdependent community activity. The musicians function not as performers seeking applause but as servants of the practice itself, creating sonic conditions within which others can more easily access their own devotion.

What is the significance of ending the session with reflections on the Hanuman Chalisa?

As the chanting concludes, Krishna Das returns to the poet Tulsidas, who composed the Hanuman Chalisa in the 16th century. Tulsidas framed his offering as a gift: "If someone reads or sings this Chalisa with sincere devotion, they will be freed from bondage, experience great joy, and ultimately reach the temple of Raghuvirji [Rama] after fulfilling their life's tasks." The session ends not with analysis but with the living echo of the chant and the reassurance that repeated engagement with this sacred text yields spiritual fruit. This closing honors both the ancient lineage of the practice and its continued relevance for contemporary seekers. Krishna Das emphasizes that the Hanuman Chalisa is not a historical curiosity but an active spiritual technology—one that continues to transmit blessings through sound to anyone who participates with sincere attention.

Where to go from here

Listeners interested in deepening this practice can explore Krishna Das's extensive kirtan catalog, available through the Heart Space Digital Library (a free personal account platform for music, webinars, and workshops). Krishna Das's recommended reading list, accessible at krishnadas.com, includes translations of the Ramayana and scholarly texts on bhakti practice. Attending live satsang gatherings—whether through upcoming events listed at krishnadas.com/events or through virtual options—provides the direct transmission and energetic support that group chanting cultivates. For those drawn to the specific text, reading Tulsidas's full Hanuman Chalisa (available in numerous English translations) allows engagement with the philosophy and narrative detail that the chant abbreviates. The practices taught in this satsang—returning gently to breath and sound, invoking support from higher principles, and singing together in community—translate readily to any form of sustained spiritual practice, whether through kirtan, meditation, prayer, or contemplative study.