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Dave Stringer is a Grammy®-nominated producer, singer, and songwriter celebrated for his innovative fusion of traditional Indian mysticism with the vibrant rhythms of American Gospel and the soulful harmonies of Appalachia. Renowned worldwide for his modern approach to Kirtan, Stringer’s musical journey began after a transformative encounter with an ashram in India in 1990, redirecting his focus from visual arts and jazz to the spiritual realm of music.

Stringer’s profound experiences, including teaching meditation to prison inmates and delving into neuroscience, have deeply influenced his artistic expression and philosophy. 

A captivating public speaker, he navigates the complexities of the human spirit with wit and insight, aiming to create inclusive and interactive experiences rooted in the ancient traditions of Kirtan and yoga. His contributions to the music world extend beyond performance, with Grammy nominations for his production and collaboration on albums like “Bhakti Without Borders” and “Mantra Americana.” Currently, Stringer continues to captivate audiences worldwide through his dynamic performances, workshops, and retreats, exemplifying the enduring power of music to transcend cultural boundaries and unite souls in collective harmony.

POH – FRANK 

Hi Dave thank you for your time – let’s start right away with the question: What is the origin of Kirtan – and where does it come from – is it still practiced today – and where?

DAVE

Kirtan, a call-and-response mantra singing practice, predates the physical asana practice of yoga in the West. Rooted in the ancient tradition of contemplating the relationship between heart, mind, and the universe, yoga addresses fundamental questions about existence.

Originating around 500-600 years ago during the Bhakti movement in India, Kirtan emerged as a form of devotion, that challenged the hierarchical structure of a society upheld by the caste system. While society adhered to a rigid caste hierarchy, yoga emphasized the equality of all beings. The Bhakti practitioners, many of them female, were not as invested in traditional authority structures and brought the practices of yoga, particularly mantra chanting, out of the temples and into the streets.

Despite the popular misconception of Hinduism as polytheistic, it fundamentally acknowledges a singular divine source, Brahman, which the human mind struggles to comprehend. Names of gods like Krishna, Shiva, or Kali, each represent different aspects of the divine unity underlying Hinduism. The philosophies they represent are quite complex, but chanting the names could lead practitioners to embodied experiences of those ideas.

Therefore, Hinduism employs various metaphors and myths to interpret experiences as divine manifestations. This inclusive perspective invites individuals to perceive everything as an expression of the divine, encompassing both love and fear.

Singing together in Kirtan serves as a universal and accessible means of spiritual connection, particularly effective for those with limited formal education or literacy. Modern scientific understanding recognizes the neurological benefits of communal singing, enhancing the overall satisfaction and sense of connection experienced during Kirtan sessions.

POH-FRANK

So obviously you are not from an Indian caste system you come from a western background – Can you share with us your journey into the world of Kirtan and what you discovered?

DAVE

It’s crucial to acknowledge, especially as a Westerner not bound by the caste system, the evolution of Kirtan from its traditional roots to a widespread phenomenon. Initially, practitioners condensed complex mantras into catchy melodies, making them accessible even to the illiterate. This musical approach sparked a cultural revolution, challenging the caste system’s restrictions and democratizing spiritual practice.

Yoga, at its core, emphasizes experiential understanding over mere belief systems. It elevates orthopraxy over orthodoxy. Its important to note here that Classical yoga was developed for renunciates, suggesting a path of liberation from the body. Bhakti and Tantric yoga, on the other hand, are focused on a path of liberation in the body. Chanting mantras collectively induces a profound experience, transcending intellectual comprehension. This experiential aspect attracts multitudes, fostering a mass movement that defies societal norms.

The expansion of Kirtan was not confined to geographical or cultural boundaries. It incorporated diverse musical influences, from primitive instruments to those imported from various regions, including the Muslim and Western worlds. This amalgamation transformed Kirtan into a globally accessible form of pop music, resonating with audiences worldwide.

Although prevalent in Indian ashrams, Kirtan transcends specific settings, appealing to seekers and non-seekers alike. Personal encounters with the tradition often yield profound transformations, as seen in my journey from a Los Angeles video editor to a participant in the Sanskrit singing tradition to becoming an innovator in that tradition. Despite linguistic and cultural disparities, the essence of Kirtan transcends boundaries, resonating with individuals on a deeply personal level.

POH- FRANK

How did your perception of chanting evolve from initially not understanding the Sanskrit to eventually incorporating it into your musical expression?

DAVE

As you delve into Sanskrit, you realize it’s a language that articulates a range of emotional states. What’s intriguing is how some sounds resonate universally across cultures. 

Parenthetically, Sanskrit is a primary linguistic root of most modern Indo-European languages, sharing structural similarities with German, for instance, including its grammatical structure and verb placement.

This linguistic connection extends beyond Europe; Sanskrit influences emotions globally. Encountering mantras like “Om,” for instance, experientially reveals its universal expression of openness, wonder, and comfort. Having performed in numerous countries, I’ve observed how this sound transcends linguistic barriers, evoking a sense of introspection and maternal warmth evident across diverse languages.

POH FRANK

So you learned Sanskrit as well ? Could it be that your connection to Sanskrit has influenced your ability to speak German as well?

DAVE

Yeah, as a teenager, I sang in various languages while studying European classical music, including German, French, Italian, Hebrew, and Spanish. So singing in Sanskrit or Hindi wasn’t unusual for me, even though I didn’t necessarily speak those languages. Singing in different languages from a young age likely made it easier for me to learn new languages as an adult. Besides being beneficial for my brain, learning languages enhances social connections and is enjoyable. While not everyone may have the same inclination, the mantras themselves convey distinct feeling states through sound. 

For instance, “Ah” signifies satisfaction and release, “Shh” implies quietness universally, “Eee” evokes a sense of freedom and release, and “Vvv” creates a feeling of energy and excitement. These sounds profoundly impact us emotionally and neurologically. Some may wonder why Sanskrit specifically, but for me, it’s because it works and transcends mere intellectual meaning, allowing for a state beyond thought.

POH-FRANK

You mentioned singing sounds that evoke a state beyond intellectual meaning. Can you elaborate what the sounds are actually doing with your nervous system, how you can you explain the effects of the mantras to the listeners state of mind.

DAVE

I think that’s one reason why people find chanting so exhilarating and ultimately calming. The methodology starts slowly and gradually accelerates with each repetition, leading to a crescendo of ecstatic energy. Similar to gospel music, it builds towards a wave of ecstasy and then transitions seamlessly into a deeply meditative state. 

Even without understanding the underlying philosophy, people can participate and have profound experiences. It’s not about subscribing to a belief system; it’s about coming together to experience ecstatic unity and then embracing the profound silence that follows. This aspect is truly remarkable and not often encountered elsewhere.

POH- FRANK 

So, is there a typical timeframe, keeping in mind individual differences, when one might start feeling this sense of relaxation in the nervous system? Does it typically occur after an hour of chanting, or does it often happen sooner? 

DAVE

Initially, in the tradition, they would chant a single chant for 45 minutes, or in the case of specific religious celebrations like Shivaratri or Diwali, a particular mantra would be chanted for days. Teams of musicians would rotate shifts, building up to ecstasy and then winding it back down. 

However, practically speaking, in the course of a program, I’ve found that the first chant typically lasts around 10-15 minutes, serving as a warm-up and easing people into the practice. By the end of the second chant, which also lasts around 15 minutes, people have usually already deeply immersed themselves. So, the process of dropping into a meditative state doesn’t take long at all.

POH-FRANK

How long was your longest concert before you were relieved by another musician?

DAVE

I’ll often myself go play for two or three hours straight. And, we may only play like,  five or six pieces of music in that entire time. It really depends on the crowd.

POH- FRANK

Similar to a DJ, you aim to establish a connection and read the crowd. I assume you as a performer are experiencing the same emotions as the audience?

DAVE

Oh, there’s definitely a connection. It’s an interesting question because I’ve had to work on it. There were times I’d struggle through a chant, battling my own thoughts. Especially during the early Kirtan tours, driving through rain for hours, getting lost, hungry, and then facing a crowd while feeling like a mess inside.

I’ve never aimed to be anyone’s guru or pretended to be in some elevated state. I use Kirtan to shift my vibe. Often, I start by internally syncing with the chant for 10 or 15 minutes until I felt better. Eventually, I extend my awareness until I become the focal point connecting everyone in the room. I’m keenly aware of the audience and their energy.

If I’m not in bliss, I can usually find someone in the crowd who is, as bliss is contagious. It creates a reflective atmosphere where one person’s joy ignites others. Over time, I’ve learned to keep my eyes open, unlike some chanters who close their eyes in bliss. It’s important for me to connect with the audience and direct the band. We’re constantly adjusting musically, serving the chant’s flow, similar to the way jazz musicians interact. The goal is for the audience to be carried along without noticing technical changes, maintaining their immersion.

The band connects deeply, making choices to enhance the collective experience, guided by the crowd’s energy. Sometimes, the audience is deeply meditative, so we adjust accordingly.

POH FRANK

So practically speaking, considering our busy schedules and the illusion of time scarcity, is there a way for someone with limited time to experience Kirtan without dedicating hours to listening, and on top we didn’t grow up in this tradition ?

Additionally, I’m interested in exploring the integration of electronic music or nontraditional instruments into Kirtan. 

DAVE

You don’t have to commit hours to listening to Kirtan. Some find it helps with road rage, singing along in their cars. Groups worldwide are embracing Kirtan on a grassroots level. Many Kirtan singers, including myself, have taught people to engage with it using just a few guitar chords.

There’s a spectrum of complexity in Kirtan, mirroring the evolution of Eastern philosophy and yoga in the West. Indians brought Kirtan and yoga to the West, partly to spread ideas and escape the caste system. Westerners interpreted and adapted these practices, reshaping them and influencing Indian perspectives on them. For instance, younger Indians now find Kirtan exciting again after witnessing Westerners’ interpretations. Similarly, modern yoga studios in India owe their existence to Western influence.

Regarding cultural appropriation, yoga wasn’t stolen from India but brought to the West by Indians. Cultural exchange and adaptation are integral to art and music. I’ve heard this quote variously attributed to Picasso, Miles Davis and Robert Frost – it might be apocryphal, but it is nonetheless a true statement about how art is made: “It’s not what you steal, it’s how far you run with it”. Indians have a history of adapting instruments for Kirtan. Initially, the music was singing simply accompanied by percussion instruments. Then instruments like the sarangi were incorporated to provide melodic accompaniment, over objections that this instrument was most often used to provide music in brothels. Later, the harmonium, introduced by the British, became a staple in Kirtan despite objections to its colonial origins. Additionally, instruments from Muslim cultures have found their way into Kirtan, sparking controversy.

POH FRANK

Essentially it is bringing people together and experiencing its profoundly positive effects. Regardless of the instrument used, the tradition of Kirtan has always stirred controversy, challenging societal norms and conventions. Whether it’s opposing the class system or embracing instruments with unconventional origins . 

DAVE

Initially many people didn’t consider Kirtan to be serious music, and in some circles, that sentiment still exists. Some view Kirtan as a grassroots call-and-response tradition, but it’s also a realm of significant sophistication and cultural fusion. My bands and I have often leaned towards innovation in our approach. While some artists prefer simplicity, which undeniably has broad appeal, I have sometimes had to restrict my full vocal range to ensure songs are in keys accessible to the audience.

Despite the deep-rooted tradition of these melodies, they remain adaptable and open to evolution. The essence lies in their memorability and effectiveness. I’ve even experienced instances where I introduced a new Kirtan, only to have the audience sing it back with variations, reminding me of the dynamic nature of this tradition.

POH FRANK

That’s amusing, for instance, when you’re listening to lyrics in a language that isn’t your own. I recall being in Germany, where despite not fully understanding English, we’d enthusiastically sing along to English songs, often substituting our own invented words. It prompted some to question what we were actually singing. Which Western countries do you think currently embrace Kirtan the most?

DAVE

Looking at Spotify streams,  The United States and Canada are first, Brazil is second, and Germany is third. 

POH FRANK

Coming back to Germany, I was going over your calendar, and we briefly discussed it earlier. Could you share a bit about your touring experiences and your upcoming tour?

DAVE

Well, I toured extensively before the pandemic. I spent nearly 20 years on the road. From my perspective, the Western Kirtan scene had its roots in the 1960s and 1970s, with notable figures like George Harrison introducing mantras in singing to the West. However, the modern yoga movement, as we understand it today, gained momentum in the late 1990s.

Yoga studios started doubling as performance venues, integrating Kirtan singing with Asana practices. For those unfamiliar, Asana, the physical aspect of yoga, was largely developed in the early 20th century. This integration spurred the opening of numerous yoga studios worldwide, teaching yoga teachers and enthusiasts alike.

Initially, the explosion of Kirtan was prominent in major cities like Los Angeles, New York, and Chicago. However, it quickly spread to unexpected places. The trend then expanded into Europe, with Germany and other German-speaking regions becoming hubs for yoga and Kirtan. 

Spain also emerged as a notable center for Kirtan in Europe. Apparently a home- grown Kirtan was also simultaneously developing in Brazil. Additionally, Kirtan gained popularity in countries like Australia, New Zealand, and even China, where I participated in significant festivals before the pandemic.

It’s fascinating to witness how Kirtan has evolved into a global phenomenon. Like any cultural practice, it’s interpreted and practiced in various ways, reflecting diverse understandings and applications.

POH FRANK

So, you have your upcoming tour, and I’ll certainly share information about that. I understand you’re heading to Europe next week. But beyond touring and sharing your incredible wisdom and musical talent, is there anything else you’re currently working on? Perhaps a future project that holds special significance for you?

DAVE

Well, there are several things in the pipeline. The tour is just kicking off again after the pandemic hiatus. It’s an interesting paradox because while what we really craved was coming together to sing, it was also the last thing we could safely do due to the risk of spreading disease, especially with choirs facing significant challenges. Online Kirtans just didn’t capture the same essence of being together in a wave of ecstasy. We’re gradually reintroducing live events, although I’m not yet booking extensive tours as before. The support and infrastructure that existed pre-pandemic have been disrupted, so things are still readjusting.

One project that’s remained close to my heart, which I shelved during the pandemic, delves into the mechanics of Kirtan’s effects. I experienced profound moments through singing Kirtan, prompting me to explore why and how it works. This journey led me into a deeper study of the neurological underpinnings, both within my own brain and in the interactions between individuals. It’s fascinating to discover that bliss and joy are not only contagious but also trackable in brain activity.

I’ve pondered questions like whether Sanskrit holds a unique power compared to other languages, whether some ragas or melodic modes are more effective than others and investigated the optimal duration for certain chant patterns. These inquiries aren’t just theoretical; they have practical implications for enhancing the Kirtan experience. Moreover, I’ve explored the possibility of creating art from the neurological shifts induced by Kirtan. With advancements in technology, we can now monitor brainwave changes in real-time and translate them into visual mediums, effectively creating art reflective of ecstatic experiences.

My collaboration with neuroscientist Dr. Andrew Newberg has been instrumental in this endeavor. His research into the neuroscience of religious and spiritual experiences aligns closely with my interests in Kirtan. Together, we’ve discussed how the brain creates and interprets these states, which has informed my approach to Kirtan and its potential applications beyond traditional settings.

Securing funding for this research has been a challenge, especially during the pandemic when in-person collaboration was limited. However, I’m renewing efforts to gather the resources needed to kickstart this study. I believe it’s essential to legitimize Kirtan beyond its association with New Age spirituality and demonstrate its scientific basis and transformative potential. It’s not just about fun and ecstasy; it’s about fostering compassion and understanding among all individuals, regardless of belief systems.

POH FRANK

I find it fascinating how our society tends to embrace technological advancements eagerly, yet there’s often hesitation or reluctance when it comes to practices like Kirtan, which are sometimes associated with spiritual cults. While there’s widespread excitement about innovations like the latest Apple products or AI developments, there seems to be a different attitude toward ancient techniques or practices. How can we effectively highlight the benefits of these ancient practices in today’s world, without necessarily “selling” them but rather showcasing their relevance and value in our modern lives?

DAVE

Yeah, in a sense, Kirtan both utilizes and challenges technology because it’s not something that can be automated. Sure, we employ various tools for editing and recording, and of course, when I organize events where participants wear headsets to sync brainwave changes with visual media, I’m leveraging technology. However, what we’re truly delving into here is something deeply ingrained in the human experience – the power of music, narratives, and transformative rituals that foster connection among individuals and catalyze shifts in consciousness. It’s unrealistic to expect to sustain ecstasy constantly, day in and day out.

POH FRANK

However, I believe we’re currently experiencing a growing disconnect from one another. With the rise of social media and self-isolation tendencies, we seem to be drifting further apart. Are there any methods to reconnect with our shared origins and recognize our fundamental unity as beings originating from the same source?

DAVE

So it’s interesting because yoga, in some ways, originates from Hinduism and Buddhism, but it transcends those boundaries, reaching for something ecstatic, connective, profound, and meaningful in the modern world. It seems to strive beyond the confines of religion and its dogma. Despite criticisms and misconceptions, particularly as it’s often associated with the vague term “New Age,” the fundamental drive of Bhakti yoga is remarkably democratic and inclusive.

It aims to recognize the potential for ecstasy, intelligence, love, and compassion in everyone. While mistakes and delusions may occur along the way, the pursuit of yoga as both an artistic and spiritual endeavor remains worthwhile. With diverse perspectives and approaches, many individuals are engaged in this pursuit, each contributing from their unique experiences and insights.

POH- FRANK

Dave – thank you for your time – I could talk to you for hours – there will be a part two. Good luck on your tour in Europe and thank you for speaking with Placesofhealing.com