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.
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.
-- Krishna Dutt
