Srita Kamala Chicago Bhajan Class 1976
Life at the Chicago temple was widely regarded by devotees as a unique and pinnacle experience within ISKCON during the 1970s. Unlike the "us and them" hierarchical mentality reported in some other locations, the Chicago temple operated as a large, cohesive family. Devotees felt a sense of camaraderie and abundance, as their lives were fully integrated with spiritual practice. Leaders focused on ensuring devotees were well cared for, emphasizing that spiritual life thrived when mundane needs, such as high-quality prasadam and organized management, were consistently met.
The Temple Program
The temple program in Chicago was intentionally designed to keep devotees surcharged and enlivened through a variety of spiritual activities.
Constant Kirtan: Kirtans were a cornerstone of daily life, occurring multiple times every day and night. Devotees described the morning Mangal arati as a necessary "blast" to start the day, with the evening Sundara-arati serving as a "kirtan sandwich" that devotees eagerly anticipated after a day of service.
Focus on Quality: Management prioritized first-class deity worship and prasadam, ensuring that even simple preparations like dal were exceptional.
Balance of Service: While the temple was highly successful in book distribution—often outperforming others—this austerity was counterbalanced by the "higher taste" found in the temple's music and food.
Bhajan Classes
To further enrich the spiritual culture, Uttamasloka held bhajan classes three nights a week. These sessions were described as a "Bengali hootenanny" where devotees gathered to sit and sing together.
Teaching Melodies: The classes allowed devotees to learn the complex melodies and lyrics of the songbooks, which many otherwise found difficult to master on their own.
Collaborative Spirit: During these classes, Uttamasloka would lead the singing while Vishnudatta, noted for his exceptional talent, played the mridanga.
Community Building: These informal sessions were a vital part of the "family" experience, offering a variegated and joyful alternative to more austere practices and helping devotees feel more personally connected to the culture.
Why Chicago Stood Out
Chicago became the recognized center for a more refined, musical, and Bengali-influenced style of kirtan in ISKCON.
Accessibility: Unlike L.A. or New York, where kirtan leading was restricted by a list, Chicago had no such barriers, allowing the style to develop organically through daily practice.
Inclusive Orchestration: Kirtans were treated as collaborative productions similar to an orchestra; every devotee had a specific role and instrument, such as gongs or various sizes of kartals.
Atmosphere of Ecstasy: Visitors often compared the intensity of the Chicago kirtans to a "nuclear reactor". This reputation was bolstered when Srila Prabhupada reportedly observed a recording of the Chicago group and remarked, "Just see, this is ecstasy. This is real ecstasy".
"Srita Kamala" (Gita Govinda Ashtapadi 1) is a famous hymn by the 12th-century poet Jayadeva Goswami. It celebrates the glories of Lord Vishnu (Krishna), specifically his ten incarnations (Dashavatara) and his role as the beloved of Lakshmi (Kamala).
Below are the lyrics and their English translation.
Srita Kamala Kuca Mandala
1. Srita-kamalā-kuca-maṇḍala dhṛta-kuṇḍala e
Kalita-lalita-vana-māla jaya jaya deva hare
Translation: You who rest on the bosom of Kamala (Lakshmi), adorned with swinging earrings and wearing a beautiful garland of forest flowers. Victory, victory to You, O Lord Hari!
2. Dinamaṇi-maṇḍala-maṇḍana bhava-khaṇḍana e
Munijana-mānasa-haṁsa jaya jaya deva hare
Translation: You are the ornament of the sun’s orb and the destroyer of the cycle of birth and death. You are the swan that swims in the minds of the sages. Victory to You, Lord Hari!
3. Kāliyaviṣadhara-gañjana janarañjana e
Yadu-kula-nalina-dineśa jaya jaya deva hare
Translation: You are the subduer of the venomous Kaliya serpent and the source of joy for all people. You are the sun that blooms the lotus of the Yadu dynasty. Victory to You, Lord Hari!
4. Madhu-mura-naraka-vināśana garuḍāsana e
Sura-kula-keli-nidāna jaya jaya deva hare
Translation: You are the slayer of the demons Madhu, Mura, and Naraka, and You ride upon the mighty Garuda. You are the cause of the divine play of the demigods. Victory to You, Lord Hari!
5. Amala-kamala-dala-locana bhava-mocana e
Tribhuvana-bhuvana-nidhāna jaya jaya deva hare
Translation: Your eyes are like the petals of a spotless lotus, and You deliver us from material existence. You are the treasure of the three worlds. Victory to You, Lord Hari!
6. Janaka-sutā-kṛta-bhūṣaṇa jita-dūṣaṇa e
Samara-śamita-daśakaṇṭha jaya jaya deva hare
Translation: You were adorned by Janaka’s daughter (Sita), You defeated the demon Dushana, and You quelled the ten-headed Ravana in battle. Victory to You, Lord Hari!
7. Abhinava-jaladhara-sundara dhṛta-mandara e
Śrī-mukha-candra-cakora jaya jaya deva hare
Translation: You are as beautiful as a fresh rain cloud, and You held up Mount Mandara. You are the Cakora bird that drinks the nectar of Radha’s moon-like face. Victory to You, Lord Hari!
8. Tava caraṇe praṇatā vayam iti bhāvaya e
Kuru kuśalaṁ praṇateṣu jaya jaya deva hare
Translation: We bow down at Your lotus feet; please consider this. Grant auspiciousness and well-being to those who surrender to You. Victory to You, Lord Hari!
9. Śrī-jayadeva-kever idaṁ kurute mudam e
Maṅgalam ujjvala-gītaṁ jaya jaya deva hare
Translation: This auspicious and brilliant song composed by Jayadeva brings great delight. Victory, victory to You, O Lord Hari!
Context in the Gita Govinda
The Gita Govinda is divided into twelve chapters and further subdivided into twenty-four ashtapadis (hymns consisting of eight stanzas). "Srita Kamala" is the first ashtapadi, setting a devotional tone by establishing the supreme divinity of Krishna before diving into the intimate pastimes (lila) between Radha and Krishna that form the core of the text.
Srita Kamala sung by Uttamasloka dasa (ACBSP)
Mridanga by Vishnudatt dasa (ACBSP)
Photos of Sri Sri Kishora Kishori taken in 1976 by Gopati dasa (ACBSP)
Audio recorded 1976 by Gopati dasa (ACBSP)
Audio remastered 2024 by Uttamasloka dasa (ACBSP)