CHAPTER FOUR Findings: Part One
4.5 Conclusion
external requirements of the institution, if applied seriously, produces a change in the devotee consciousness, which produces in him a "realization" of his position as a
devotee. Devotees describe this as manifesting as a certain serious contemplation about life, which expresses itself as internal mood of dependence, meditative consciousness, and desire to engage in devotional service, and happiness.
provide a compelling environment which shapes the devotee identity. The chanting of the maha-mantra, and surrender to a guru in disciplic succession forms the basis of the devotee's philosophical understanding that he is a "servant", of a personal God called Krishna, to whom worship and personal service is to be directed in all activities, frames the devotee's identity. Such an intense arena of interlocking factors produces in the practitioner a tangible change of habit, lifestyle, values and consciousness, towards concretizing the devotee's "enduring" sense of self.
In the next chapter, deriving from current theorizing about how Truth gets generated in the academic arena, and the emphasis of the ISKCON devotees on spiritual Truths as understood from their the scriptures of their tradition, I firstly examine the elite informers perceptions of Truth and objectivity. I also motivate that there is intersection between what is understood by Truth and the notions of identity. In the second part I respond to the data generated about the sense of self and how it is experienced by the ISKCON devotees with a view to examining the presence of the enduring sense of self in spiritual identity construction.
End Notes
' There is phenomenal detail about the symbolism of the architecture of the Hare Krishna Temple, which is found in An Expression of Transcendence: Symbolism in Temple Architecture in Sri-Sri- Radha-
Radhanath Temple of Understanding: Grand Opening Brochure. Rajaram das (1985) explains that besides the vasta purusa, other aspects important in Temple design for a brahminical architect is the consideration of one's spiritual master, and the donor or person who has arranged the Temple construction, to be
symbolized in the structure. In this case it was Bhaktivedanta Swami, so Rajaram das had to symbolize the Temple design in the following ways: the dimensions of the Temple had to in some way reflect figures which are drawn from the name of the spiritual master, his birthday, or the name of the deity;
measurements of the length and width of the Temple had to be drawn proportionately to the body of the spiritual master; the mood of ISKCON, which he regarded as being traditional, contemporary and futuristic, had to be captured in the design.
" Based on the devotee's stage of devotional progress, one may also distinguish amongst three levels of devotees, viz. kanistha-adhikari, madhyama-adhikari and uttama-adhikari. The kanistha-adhikari is a neophyte and considered to be on the lowest platform of devotional service. His faith is pliable and although practicing he is without sufficient knowledge in the theological science and unfamiliar with the conclusions of the scriptures. His main focus is worshipping in the temple but does not know how to behave toward devotees or people in general. The madhyama-adhikari is on the intermediate level, has firm faith and is convinced, well-versed in scripture, is able to preach effectively. He is also able to relate appropriately to different kinds of people, discriminating amongst favourable and unfavourable persons, events and things. The uttama-adhikari is considered the most advanced, pure of heart and manifesting
only good qualities and having achieved the highest stage of devotional life, which is the liberated state of unalloyed Krishna consciousness. (Purport, SB 4.22.16; Nectar of Instruction, 5).
'" The ten offences against the Holy Name which will prevent a devotee from deriving the ultimate spiritual benefit of chanting these names (that is successive levels of purification leading to love of God) are listed as follows:
(1) to blaspheme a devotee of the Lord, (2) to consider the Lord and the demigods to be on the same level or to think that there are many gods, (3) to neglect the orders of the spiritual master, (4) to minimize the authority of scriptures (Vedas), (5) to consider the glories of chanting to be imagination (6) to interpret the holy name of God, (7) to commit sins on the strength of chanting, (8) to compare the chanting of the holy name with material piety, (9) to instruct the glories of the Lord's name to the unfaithful, and (10) to be attached to material things in spite of chanting the holy name. A further offence is to be inattentive while chanting the holy name.
iv The Daily Temple Worship Schedule:
Mangal Arati 4.30am
Tulasi puja'v 4.55
Chanting japa 5.15 Greeting the Deities 7.00 Srila Prabupada's Guru Puja 7.10 Srimad Bhagavatam Class 7.40
Dhupa Arati 8.00 Midday Arati 12.30pm Afternoon Dhupa Arati 4.15
Sandhya Arati 7.00 Sayana dhupa arati 8.30
v Using my participant observer status, and field notes, I provide a description of the mangal-aratik in attempt to capture the ambiance and mood of this feature:
At 4.30 am a conch signals the opening of the altar curtains and the devotees bow down, and then have the first darsana for the day. During the mangal-aratik a senior devotee leads the kirtan, beginning with a traditional hymn in praise of the guru, then the maha-mantra, while the devotees chant responsively. This is accompanied by musical instruments, especially the drum, mridanga, and cymbals, karatalas. The kirtan often builds up in volume and tempo until many devotees chant loudly and dance by either swaying side to side, moving forward and backward, or jumping up and down with arms raised. After the arati which lasts about twenty minutes, devotees bow down while the senior devotee chants prayers in glorification of the disciplic succession, the deities, the holy places and the devotees themselves. Another hymn is chanted in praise of Nrsingadev, an incarnation of Krishna regarded as the protector of the devotees. Thereafter everyone recites the list often offenses against the Holy names in unison. Devotees bow down again and offer invocations to Tulasi, the sacred basil tree. An arati is performed for Tulasi, while someone leads the song in glorification accompanied by musical instruments. As the arati finishes, devotees circumambulate Tulasi, and then queue to offer her a few drops of water. When this is done everyone bows down to Tulasi, and gets ready to chant japa at approximately 5.15 am, the entire early morning worship lasting about forty five minutes.
After the worship the devotees chant japa, i.e. the individual chanting of the maha-mantra on a rosary, either by sitting on the benches or floor or pacing Approximately after one-and-a half hours of japa, the deity greeting is signaled by the blowing of a conch at 7am and the devotees gather in front of the altar to observe the deities worshipped in their new outfits for the day. The curtains open to reveal the deities majestically dressed in opulent clothing and bedecked in ornaments, jewellery and other finery. The altar itself is decorated with flower arrangements. A standard recorded song is played over the loudspeakers while the devotees reverentially meditate upon the deities. After this worship the devotees turn to the vyasasana on which the deity of Bhaktivedanta Swami sits, and special kirtan that glorifies the spiritual master is sung, while devotees queue to offer flower petals to the deity, after which they bow down. As the kirtan progresses, often the tempo increases and devotees break up into smaller groups to dance in circles or in lines. When the kirtan stops, devotees bow down and offer some prayers in response to a senior devotee who leads the prayer. A senior devotee or visiting spiritual master then sits on an elevated seat and devotees sit on the floor facing him to hear the daily lecture based on Srimad Bhagavatam and
Bhaktivedanta Swami's commentaries. The Sanskrit verses are read word by word, then line by line and the devotees repeat responsively. The speaker then beckons for devotees to lead the verse while others respond. In this way the Sanskrit words are learned. The speaker gives the translation, reads
Bhaktivedanta Swami's purport on the verse and thereafter attempts an elucidation of its content. At the end of the class questions are encouraged and the speaker attempts to explain often with other scriptural quotes and anecdotes.
Vl One of the central features of ISKCON is its music. The chanting of the Maha mantra is often conducted in different melodies using traditional drums (mrdanga) and cymbals (kartalas), and sometimes the harmonium (traditional keyboard played with one hand while the other pumps the bellows) and accordion.
These kirtanas are performed by devotees in temples and unabashedly on streets (harinam) in parade. The street chanting is often received with curiosity in new areas, and sometimes amusement, but often
onlookers participate by clapping or even dancing. Kirtan is often an exuberant affair with most of the youth and adults participating. Several local and international devotees have recorded these traditional hymns and chants in a wide variety of musical styles.
™ To facilitate the printing of his books, Bhaktivedanta Swami formed the Bhaktivedanta Book Trust (BBT) in 1972, which has since become the "world's largest publisher of books on Krishna consciousness, and the philosophy, religion and culture of the Vedic tradition of India". The BBT oversees all aspects of publishing, and funds generated support further printing and temple projects, particularly the project in Mayapur which is the headquarters of ISKCON worldwide. A further significant development of BBT was the creation of Bhaktivedanta Archives in 1978, two months after the passing away of Bhaktivedanta Swami which preserves his legacy. The Archives make available digital records of more 40 volumes of translated Vedic scriptures, communication by mail to and from disciples, taped lectures and conversations, film footage and photographs (http://www..com/main.php?id=22, undated, page 2).
v'" Noma Hattas - these are decentralized congregational meetings that are held in residential areas on a weekly basis. Visiting spiritual masters, seniors and temple resident devotees visit in turn to present the lectures. Members invite new people to attend these gatherings. Counselling - a lay service available to anyone who requires help in grief, or emotional difficulties. Devotees are often requested by members of the public to provide such emotional support at home by way of religious services and individualized visits.
New Construction projects - especially the Phoenix Temple project, another large Temple project north of Durban.™