The region of Vrindavan and Mathura known as Vraja bhumi is a major focus of study under the Kshetra Sampada programme in IGNCA, which examines the holistic impact of Kshetra on the culture of the local people.

Vraja’s development as a cultural centre is evident in epics and myths built around the divine couple Radha-Krishna. Historical evidence of Vraja becoming a sacred centre can be traced back to the 16th century when Vrindaban was still a forest and the Bengali mystic Chaitanya identified it among many other sites as Krishna’s playground. When he left, he made his six principle followers – six Goswamis – from south and east India to settle there, notable among them being Valabhacharya. Vrindavan became a pilgrimage centre colonised by a variety of religious sects and Vraja gradually developed into a vibrant centre of political and cultural activity from the sixteenth and seventeenth centuries.

The impetus of Vaishnava Bhakti led to multiple channels of cultural expressions such as the poetry of Ashtachapas, devotional theatre, Raslila, Ramlila, Nautanki and Samaj, the art of Sanjhi, Phula-bangala paintings, devotional music such as Dhrupada, bhajans, kirtanas, folk forms as Rasiya. All these arts flourished along with culinary arts emploiyed in Nitya seva (daily services of the deity) and the celebration of the seasonal utsavas (festivals) and melas that mark the religious calendar. Contemporary Vraja is a living continuity of the glorious past.

It is in this context that an international conference on “The Continuing Creation of Vraja” was organised by Sri Caitanya Prema Samasthana in Vrindavan, in collaboration with Indira Gandhi National Centre for the Arts. The inaugural session on 4th January began with mangalacarana and blessings of Jagadguru Shri Purusottama Goswamiji while Shri Srivastsa Goswami welcomed the participants. Opening remarks were made by Sh. M.C. Joshi, Member Secretary, IGNCA. There were thirty-three participants, both Indian and foreign, who discussed the phenomenon of Vraja under four themes. The first theme, ‘Roots of Vraja’ discussed the Vraja identity in visual and architectural arts, and in Sanskrit and Prakrit literature. The next theme, ‘Classical Creation’ was ons s’Vraja Rasa Srsti’, Vraja as adored by Pilgrims – belonging to Chaitanya sect, Creation of Vraja in Poetry of Surdas and the lesser known poets of Vraja. The theme Other Vrajas – explored ‘Vraja’ in Jaipur and Manipur, Vaishnava Akhadas, Imagining Ayodhya, Ayodhya and Vraja of Rama.

The last session titled ‘Continuing Creation’, was devoted to discussion on ‘Grouse in Context’, ‘Nineteenth and Twentieth Century Representations of Krishna of Vraja’, ‘Creation of a Vraja Musical Style’, ‘Dhrupad as a Tradition’, ‘Tradition and Modernity in Vraja commercial folk song’, ‘Devotional Elements in Biharisatsai’. There was also a talk on Sanjhi with slide illustrations. The role of research institutions in the continuing creation of Vraja, and Vraja heritage as a world concern were also debated. In the evenings programmes were orgranised – on the first day Vidur Maluk demonstrated Dhrupad singing. Next day traditional Rasalila was performed by Svamisrirama Fatehkrsna Rasamandali and on the last day there was a performance of Samaja at Bhramaraghat.

During the Seminar, it wsa decided that more meetings and deliberations were necessary to get a holistic perspective on Vraja. As a beginning, the environment of Vraja should be improved, with emphasis on sanitation and ecology. A coordinated effort from different institutions engaged in research on Vraja culture would be necessary. An inventory of institutions and persons working on Vraja culture, as well as data bank and encyclopaedia on Vraja culture would be made.

— Krishna Dutt

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