Bhajan clubbing: spiritual journey or entertainment disguised as devotion?

As bhajan clubbing emerges as a modern spiritual phenomenon globally, Pandit Lokesh Maharajh explores its legitimacy through the timeless wisdom of the Bhagavad Gita. Bhajan clubbing is a lively fusion of traditional devotional singing and modern nightlife. Maharaj examines how this contemporary practice aligns with the sattvik, rajasic, and tamasic qualities of worship, we consider whether bhajan clubbing serves as a genuine spiritual pathway or merely entertainment wrapped in devotional packaging.

IN DISCUSSING the emerging phenomenon of bhajan clubbing, it is essential to situate the debate within the broader philosophical framework of Sanatana Dharma. At its core, Hindu philosophy holds that the ultimate purpose of human life is moksha (liberation). The Bhagavad Gita affirms that there are multiple legitimate paths toward this goal: karma, bhakti, jnana, and raja yoga chosen according to one’s temperament, context, and stage of life.

While these paths differ, what remains constant across them all is bhakti: sincerity, humility, devotion, and inner orientation toward the Divine. Sanatana Dharma also recognises that spiritual practice is not uniform.

Chapter 17 of the Bhagavad Gita distinguishes between sattvik, rajasic and tamasic forms of faith, worship, discipline and sacrifice. Shri Krishna opens the chapter by noting that faith itself arises from one’s inner nature (svabhav) and dominant guna (17.2).

This distinction is not about external forms alone, but about the consciousness and intention animating a practice. This insight provides the most appropriate lens through which bhajan clubbing should be evaluated.

Sattvik worship is grounded in shastra, performed without desire for personal gain, and undertaken as a sense of duty. It is marked by reverence, restraint, and inner purity. When Shri Krishna states that worship, charity and discipline are purifying when done rightly (17.14), the implication is clear: Bhajan clubbing can be sattvik if its centre remains nama-smarana, if music and movement function as vehicles for devotion rather than ends in themselves, and if the atmosphere fosters humility, collective devotion and inner upliftment. In such cases, contemporary aesthetics do not negate sattva, because sattva resides in the orientation of consciousness, not in outward form.

Historically, this resonates with traditions such as nama-sankirtana, Chaitanya bhakti, garbha and rasa, where rhythm, movement and devotion were inseparable, yet deeply disciplined.

However, the Gita also cautions against rajasic worship practice driven by expectation of reward, display or ego gratification (17.12). Bhajan clubbing tends toward rajas when emphasis shifts to spectacle, emotional stimulation, crowd energy or social-media visibility.

When devotion becomes secondary to novelty and performance, the divine name risks becoming a soundtrack rather than the focal point. This does not render the practice adharmic, but it does mean that the mind is stimulated rather than stilled, and devotion becomes experience-driven rather than surrender-oriented. Importantly, the Gita does not condemn rajas; it recognises it as a transitional mode, particularly relevant for youth or those newly re-engaging with religious life.

Shri Krishna is unequivocal, however, about tamasic practice worship performed without reverence, meaning, discipline or scriptural grounding (17.13).

Bhajan clubbing becomes tamasic only when sacred names are trivialised, lyrics emptied of meaning, or the space encourages sensory excess, loss of discrimination, or mockery of the sacred. Volume, rhythm or movement alone do not constitute tamas; tamas arises from disconnection from purpose and reverence. Ultimately, the Gita offers a profound evaluative framework: Om (anchoring practice in remembrance of the Absolute), Tat (offering it without ego or personal claim), and Sat (sustaining truth, goodness, and inner steadiness over time).

If bhajan clubbing embodies these qualities, it tends toward sattva regardless of its contemporary format. If they are absent, the dominant guna descends accordingly. Bhajan clubbing, therefore, is not inherently sattvik, rajasic or tamasic. It is a guna-sliding practice, sattvik when devotion governs form, rajasic when performance and stimulation dominate, and tamasic only when reverence and meaning collapse.

Chapter 17 reminds us that Sanatana Dharma evaluates practices not by novelty or tradition alone, but by the quality of consciousness they cultivate. The central question is not whether bhajan clubbing is “allowed”, but whether it refines shraddha and elevates guna.

This raises deeper concerns. In what ways does bhajan clubbing genuinely prepare individuals for nishkama bhakti, selfless devotion without expectation of reward? How does it cultivate inner discipline, detachment and orientation toward moksha? While bhajan and nama-smarana are undeniably powerful practices, the form and context in which they are presented do matter.

A further issue is the depth of understanding. Will participants, particularly Gen Z, acquire sufficient grounding in Hindu philosophy, scripture, ritual and ethics to develop a stable Hindu identity? When and where will they encounter the Itihasas and Puranas, the Upaniṣads, the Dharma Shastras, and the lived disciplines of Hindu life? Without such engagement, discernment weakens, leaving individuals vulnerable to dilution, misinterpretation or proselytisation.

Bhajan clubbing may serve as an entry point, especially for those alienated from conventional religious spaces. Its value lies in whether it leads participants toward deeper enquiry, disciplined practice, and conscious living.

The absence of alcohol, while positive, does not in itself guarantee spiritual integrity; other materialistic and performative distractions can equally undermine intention if vigilance is lacking. In conclusion, bhajan clubbing should neither be uncritically embraced nor summarily rejected. It calls for discernment.

If it remains sattvik in intention, disciplined in conduct, and aligned with the deeper aims of Sanatana Dharma, and if it functions as a bridge to sustained spiritual growth, it may play a constructive role. If not, it risks becoming another cultural trend that entertains without transforming.

Dr Lokesh Ramnath Maharajh is the chairperson of the South African Hindu Maha Sabha Priest’s Council. 

** The views expressed do not necessarily reflect the views of IOL or Independent Media. 

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