-Sahaja is the natural state of mind realized as bliss void by the MahÈsiddhas. Spontaneous songs of enlightenment called DohÈ or CaryÈgÏti and CaryÈpada expressed the Siddhas' realization of bliss void in simple allegories of nature and village life. The lyrics portray erotic mysticism in a twilight language, expressing the innermost experience of Tantrik SÈdhana. In 2008 and 2012 some selected expert scholars/practitioners/initiates on the subject from in and outside of India had gathered in Santiniketan for critical re-evaluations of DohÈ and CaryÈgÏti collections available in Apabram„a used by Indian MahÈsiddhas in India and Nepal, and/or in their Tibetan translations or indigenous writings. Further, in an inter-textual comparative study contemporary Bengali BÈul songs were presented and compared with the Tibetan mgur ma songs of spontaneity. This volume contains selected contributions to the conferences starting with an excursus to the origins of the SahajayÈa by Prof. Pranabananda Jash. This is followed by a series of articles on the Indian MahÈsiddha traditions in Tibetan translation (Mathes, Templeman, Loseries, Pathak), a presentation of the Tibetan Sakyapa tradition on MahÈmudrÈ (Shedup Tenzin) and a Karma Kagyu perspective (Drascczyk). Shanka Tapa introduces the Buddhist Newar tradition from Nepal, while Bimalendra Kumar discusses the Indian NÈthas. Glen Hayes' overview of Vai–ava SahajiyÈs of Bengal gives the frame for some presentations of the SÈdhaka BÈul tradition in the appendix. Its sole purpose is to give a glimpse into this living SahajiyÈ tradition of Bengal for a deeper understanding of the concept of sahaja from a contemporary Indian perspective.