THE ONLY OFFICIAL 'BAUL ARCHIVE' of INDIGENOUS ANCESTRAL BAUL

THE ONLY OFFICIAL 'BAUL ARCHIVE' of INDIGENOUS ANCESTRAL BAUL
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Thursday, June 29, 2023

Lineage, Sampradaya , Parampara guru-shishya, why there is only one lineage Baul.

Indigenous Fraud, Indigenous Baul identity theft!


https://lineagebaul.blogspot.com/2025/02/indigenous-identity-theft-indigenous.html


https://lineagebaul.blogspot.com/2025/04/fake-pretendian-hawker-baul-critique.html


BabuKishan.org

Indigenous Fraud, Indigenous Baul Identity Theft!

This post addresses the critical issue of indigenous Baul fraud and identity theft, highlighting what is presented as the singular, authentic Baul lineage.

Lineage is a long line of ancestry, this is a long line of Indigenous ancestral Baul as Baul is, and it is the one and only Baul Parampara, or the one and only Guru Shisya Parampara Sampradaya, (Kula or sect).


The Authentic Baul Lineage: Babu Kishan and His Ancestry

Babu Kishan, also known as Krishnendu Das, is presented as the first person to publicly speak of a "Lineage" or "Sampradaya" in relation to Baul, beginning in the 1960s. This lineage is distinct from the "traveling Bauls" commonly seen today or in past decades. If others are using the intellectual property of this lineage, it is asserted they do not have permission.

This lineage is described as separate from what is currently presented as Baul, which includes "fake Baul Gurus and fake Baul lineages." These "fake Bauls" are said to have no relation to the authentic lineage, beyond the alleged intellectual theft. The "new Maa and Baba Bhakti business" is also dissociated from this lineage, with Babu Kishan referring to those involved as "hawker Bauls" who exploit Baul for donations and fundraising.

Babu Kishan's knowledge is stated to originate from his grandfather and Diksha Guru, Nabani Das Khyapa Baul. The Vaishnava Sahajiya Tantric Bauls (Chand Gosia Das Baul and Dasi) are emphasized as being based on ancestry and indigenous to Ekachakra, Birbhum, West Bengal.

It's contended that the world would not know about Baul if not for this specific lineage. Others who followed are described as not having been initiated into Baul but simply adopting their songs, dress, and movements, even following them internationally. The term "pretendian Bauls" is used to describe those who allegedly fabricated "fake lineages."


The History of Online Presence and Alleged Appropriation

The blog post points to Babu Kishan's first Baul website in the 1990s (Babukishan.com, defunct since 2006) as a source from which millions of people copied information, regardless of accuracy. Since 2009, with the creation of Lineagebaul.blogspot.com, a new group of "Pretendian Bauls" are accused of copying everything from this lineage. They are alleged to have created "fake Baul Gurus and Fake lineages," taken songs, styles, dances, instruments, and even claimed to be indigenous to Baul. This is characterized as indigenous identity theft.

Such individuals are accused of falsely claiming qualifications to teach at universities or associations with figures like Anandaymayi Ma or the Ramakrishna Mission. They are also said to gaslight people into providing donations or fundraising for "preserving Baul," despite Babu Kishan having allegedly preserved it for over 60 years.


Motives and Misrepresentations

The reasons for this alleged fraud are attributed to a desire for fame (like Purna Das Baul), recording contracts, and social media recognition as a "Baba" or "Ma Baul Master." The post asserts there is no such thing as a "Baul Master" in the authentic tradition, and those claiming the title are committing indigenous identity theft.

Accusations include:

  • Stealing songs, style, dance, and instruments from the lineage.

  • Receiving "indigenous Baul awards" despite not being authentic.

  • Creating foundations for fundraising.

  • Bragging about performing on major stages, a distinction previously reserved for Nabani Das Khyapa Baul (who performed as part of the freedom movement and at India's inauguration) and Purna Das Baul.

Purna Das Baul is highlighted as one of the first Baul singers and Indian vocalists to represent India globally, receiving numerous awards. The post asserts that "pretendian Bauls" should not receive awards as they are not initiated into Baul and are "liars."

The theft of songs from Babu Kishan's YouTube channel is mentioned, with analytics as proof. It's emphasized that the first tenet of Baul is to "tell the truth." Babu Kishan is stated to have recorded over 80% of his father's music decades before these "fake pretendian Bauls" were born. These individuals are accused of stealing songs and misattributing poets. The proliferation of "Baul lineages" after Babu Kishan named his blog "Lineage Baul" is also noted as suspicious.


The Peril of "Extinction" and False Lineages

The post argues that as Baul faces "extinction," "fake" artists are creating new, false "LINEAGES, Sampradayas and Parampara" based on individuals who were not Bauls. This is facilitated by the general public's lack of understanding of the language. These individuals are accused of copying the authentic lineage's songs, dress, and activities, including teaching at universities and recording songs. One "pretendian Baul" is said to falsely claim to have created Baul fusion in the late 1990s, when Babu Kishan allegedly did so two decades earlier. They are also accused of making false associations and spreading incorrect teachings.

The post firmly states there is "100% certainty there is no such thing as a 'Western Baul' or even a Western Baul lineage." The Sanskrit word Vamsa is provided as meaning "family lineage" and emphasizes that lineage is based on ancestry. It argues against creating a Sampradaya based on a few generations of a poet who never claimed to be a Baul. This is deemed "100% appropriation," especially as Baul is indigenous to Birbhum. Fundraising for "fake lineages" whose "Baul Guru is not even from Bengal" and did not call himself a Baul is questioned.


The True Meaning of Lineage and Sampradaya

The post aims to clarify the terms "lineage" and "sampradaya." It asserts that scholars, writers, journalists, and "fake Bauls" are misusing these terms, especially since the rise of social media. The post strongly claims there is "only one lineage and Sampradaya of Baul." This clarification is deemed necessary due to the "copycat nature" of what Baul has become.

What is the Definition of Lineage?

  • "Lineage" is not an Indian term, derived from Old French and Latin, meaning "descent, extraction, race" or "line of descent."

  • From Cambridge University, it refers to "the members of a person's family who are directly related to that person and who lived a long time before him or her."

  • It signifies "lineal descent from an ancestor; ancestry or pedigree."

Babu Kishan used "lineage" in relation to his ancestry because he assumed others would not understand "Sampradaya."

Sampradaya

  • Sampradaya is the actual Sanskrit term. In Hinduism, it refers to "a traditional school of religious teaching, transmitted from one teacher to another."

  • It also means "a school of thought or philosophical conclusion or siddhanta, embodied by a community of orthodox practitioners."

  • Parampara means "one after the other"—an "historical chain of spiritual preceptors."

While this lineage of Vaishnava Tantric Sahajiya Bauls is not orthodox, it is presented as a living lineage that has evolved. However, current practices by "fakes" are described as having "nothing to do with Baul." Baul is said not to "collect people," preach, or take donations for themselves (their system of donations is called Dakshina, which was shared with villagers).

The family ancestry of this lineage is traced back to the 14th century through Nityanada (Gosia Chand Das Baul) of Ekachakra Birbhum, West Bengal, as a "Sanskrit living lineage" and "Sampradaya based on being indigenous (Gosai Chand)." The distinction is made that Bauls are Tantric indigenous to Vaishnava Baul and existed before Gaudiya Vaishnavism.


The Role of Babu Kishan in Preserving Baul

Babu Kishan is credited as the first person to organize tours throughout India and the world for his family lineage since the 1970s. This lineage is said to have "pioneered" bringing Baul to India and the world. Others who followed are accused of claiming legendary status and fabricating lineages.

It is asserted that no one would know about Baul without Nabani Das Khyapa Baul, his son Purna Das Baul, and Nabani's first grandson, Babu Kishan (Krishnendu Das). This family is credited with being the pioneers, providing the foundation for any current study or discussion of Baul.

The post explicitly states, "This is the only Lineage of Baul and the only Sampradya of Vaishnava Tantric Sahaja Baul (Gosia Chand) Das Baul and Dasi." Anyone else claiming such is labeled a "liar."


Warning Against Deception

A warning is issued about "unethical individuals" in India and the West making up lineages, collecting people, and lying. The post advises caution, as what "looks cute and exotic is not." It emphasizes that a true lineage requires a "long line of ancestors," which other "Bauls" allegedly lack, resorting to false associations.

The post also anticipates that those misusing "lineage" might switch to using "Sampradaya" next.


The Absence of Authentic Baul Gurus in Fabricated Lineages

The importance of a true Baul Guru for the transmission of Baul is stressed. It's claimed that those asserting lineage "do not even have a Baul Guru." Nabani Das Khyapa Baul is identified as the "last Baul Guru" who only passed it on to a few individuals. None of the people claiming a Baul Lineage or Sampradaya are associated with this "one and only lineage sampradya." Their only association is described as stealing intellectual property (poems, songs) and dress.

While inspiring others is encouraged, the act of not giving credit is labeled as "cheating and lying," violating the first tenet of Baul: "tell the truth." The preservation of Baul by this lineage, especially through Sri Nityananda of Ekachakra Birbhum, West Bengal, is highlighted, with the assertion that Baul is now "extinct."

The post also refutes the idea that Nityananda's lineage ended with Bhaktivindo Thakur, citing a lack of ancestral blood relation and Bhaktivindo Thakur's alleged dislike for indigenous peoples.


The Misappropriation of Poets and Performances

A key point is made regarding "Western Bauls" and other "actor Bauls" falsely claiming lineage. Their "Gurus" are stated as not being Baul and never calling themselves Baul. The claim is that they adopted the term "Lineage" after Babu Kishan used it, and list "Gurus" who had nothing to do with Baul.

Poets like Bhaba Pagla, Monohar Khepa, and Lalon Fakir are explicitly stated as not being Baul, despite their love for Baul and Nabani Das Khyapa Baul and Purna Das Baul's music. The post clarifies that followers of Monohar Khepa who stayed at his ashram in Kenduli are not Baul. While Purna Das Baul called Monohar Khepa a guru, it's clarified that he was not a Baul Guru, and Purna Das Baul often used the term "Guru" broadly.

Babu Kishan produced music for the poetry of these individuals and recorded them for his father, Purna Das Baul, to sing. The post stresses that just because Purna Das Baul sang their songs does not make them "Baul songs." This distinction is crucial, as scholars are accused of making claims without understanding this history.

Bhaba Pagla's association with Purna Das Baul is attributed to Babu Kishan potentially producing music for his poetry, leading to wider recognition.


Distinctions, Deception, and Academic Qualifications

The importance of distinctions is emphasized, as many are seen as "cheaters" seeking fame and donations, which does not make them Baul. They are accused of using, distorting, lying, and cheating with Baul for their own gain. This "watering down and reductionism" and "false teachings" can be proven. "Fakes" are challenged to prove their lineage is longer than 3 or 4 generations and consists of "actual Bauls." The post concludes that Baul is "extinct," and current practices are "cheating and lying."

It's reiterated that no one outside Bengal would know about Baul without this specific lineage.

Babu Kishan is presented as the only Baul educated in both the oral and academic traditions of Baul, Indian Philosophy, and Music. He is stated to be the only qualified Baul who has taught at universities worldwide since the 1970s. This is now being copied by outsiders who teach "false narratives" and "water down and reduce Baul." The act of posting pictures of "Gurus" is not seen as certification to teach.


Misappropriation of Instruments and Vaishnava Practices

The post mentions that "fakes" don't even know the correct names of the instruments they copied from Nabani Das Khyapa Baul. It describes how they adopt practices and stories after Babu Kishan or his family reveal them (e.g., associating with Nabani and Tarapith).

"Random Bauls" are now accused of posing as Vaishnava, altering their websites and stories to attract social media views. Babu Kishan's association with Indian Cinema and Bollywood is highlighted as unique.

Scholars are also criticized for speculating and misinterpreting Baul due to their inability to fully grasp it, leading to misinformation.


Babu Kishan's Background and Authenticity

Babu Kishan's academic qualifications include a Master's MA in Indian Music and Philosophy from Calcutta University. He was born into a Baul family in Birbhum, with his Baul Gurus being Nabani Das Khyapa Baul and Brajabala Dasi. He also spent 12 years as a monk in the Ramakrishna Mission.

His authenticity is rooted in being born into Baul and preserving the lineage since the 1960s. Westerners are seen as lacking discernment due to not understanding the vernacular Birbhum Bengali, oral Sanskrit, or Classical Sanskrit, or indigenous peoples. The rigorous process of becoming a music composer in the past (requiring numerous successful works and approval from established composers) is contrasted with today's ease of self-proclamation for a fee.


The Mystic Drums and Lineage Terms

The Ananda Lahari is identified as a mystic drum named only by Nabani Das Khyapa Baul. The Dotara was first used in Baul in the 1940s by Gopal Das Baul, Nabani's daughter Radharani Dasi's husband, who was the son of the Pujari at the Nityananda Temple in Ekachakra, Birbhum, India.


The Core Argument: A Single Lineage

The central argument is that there is only one lineage and Sampradaya of Baul, which is the ancestry of Babu Kishan, rooted in the true meaning of these terms. Anyone else claiming such is deemed a "liar," especially if they use the term "Das Baul," which is said to be copied from this lineage. The post calls for proving ancestry and the authenticity of "Baul Gurus" in any claimed lineage.


Conclusion: Cultural Genocide and Misrepresentation

The post concludes that the misuse of Baul by "unethical individuals" for income and fame constitutes "cultural genocide." It asserts that lying and cheating negate one's status as a Baul. Baul is not an "umbrella name," and there is no such thing as a "Fakir Baul."

The adoption of "lineage" by others is seen as an attempt to copy this specific lineage, even omitting names or creating "false narratives" that lead to the "cultural genocide of Baul." It criticizes the rapid self-certification as a Baul after short periods of study. The author claims to have documented all false teachings and will release them in a book.

The post expresses frustration that "fakes" are providing too much material that needs to be qualified, hindering the book's completion. It reiterates that "random Bauls" are posing as Vaishnava and even involved in Bollywood, which Babu Kishan is stated to be the only Baul authentically associated with.

Finally, it emphasizes that scholars' speculations contribute to misinformation about Baul.


The blog post consistently asserts the uniqueness and authenticity of Babu Kishan's Baul lineage. Do you have any specific sections you'd like to refine further, or perhaps new information you'd like to incorporate?

Clarifying "Lineage" and "Sampradaya" in the Context of Baul Tradition

The terms "lineage" and "sampradaya" are frequently misused in contemporary discussions surrounding Baul, particularly by scholars, writers, journalists, and individuals described as "fake Bauls" who have emerged with the rise of social media over the past decade. It is crucial to clarify these terms as, from this perspective, there is only one true lineage and Sampradaya of Baul. This clarification is essential to counter the "copycat nature" that has diluted the authentic Baul tradition since its decline in the late 1960s.

1. What is the Definition of Lineage?

It is important to note that "lineage" is not an Indian term. Its etymology traces back to Old French "lignage" ("descent, extraction, race") and Latin "linea" ("line of descent," literally "string").

According to Cambridge University, "lineage" refers to:

  • "The members of a person's family who are directly related to that person and who lived a long time before him or her."

  • This encompasses concepts like "ancestor (DNA)," "ancestral," "ancestry," "genealogy," and "family tree."

  • More broadly, it means "lineal descent from an ancestor; ancestry or pedigree."

  • It also refers to "the line of descendants of a particular ancestor; family; race."

Babu Kishan utilized the term "lineage" to describe his ancestral connection to Baul because he anticipated that "Sampradaya" might not be widely understood. His use of "lineage" is rooted in this direct, ancestral meaning.

2. What is Sampradaya?

"Sampradaya" is the authentic Sanskrit term, distinct from the Western concept of "lineage" but related in its implication of tradition. In Hinduism, "sampradaya" is defined as "a traditional school of religious teaching, transmitted from one teacher to another." Historically, various sects, particularly within Vaishnavism, have emerged as sampradayas since the 11th century.

More formally, "Sampradaya means a school of thought or philosophical conclusion or siddhanta, embodied by a community of orthodox practitioners." However, it is crucial to understand that this definition can be nuanced.

A closely related term is Parampara, which literally means "'one after the other' – an historical chain of spiritual preceptors, each of whom was a legacy-holder for the same path and practice."

While the Vaishnava Tantric Sahajiya Bauls of this specific lineage are not considered "orthodox" in the mainstream sense, they represent a living tradition that has evolved. The key distinction highlighted is that authentic Bauls do not "collect people," preach, or amass donations for personal gain. Their system of giving, known as Dakshina, was historically shared with villagers, leaving no personal trace.

The Singular Baul Lineage and Sampradaya:

This particular family ancestry, described as a "Lineage," can be directly traced to the 14th century through Nityanada (Gosia Chand Das Baul) of Ekachakra, Birbhum, West Bengal. This represents a Sanskrit living lineage, extending back thousands of years.

This lineage is presented as the sole Sampradaya based on being indigenous (Gosai Chand), embodying both the definition of lineage (ancestry) and sampradaya (a traditional, continuous school of teaching). The crucial difference between this Baul lineage and other Gosia (or Gosain, Goswami) traditions is that Bauls are Tantric and indigenous to Vaishnava Baul, predating Gaudiya Vaishnavism. Their Sahajiya Tantric nature means they are inherently not orthodox, yet this does not invalidate their status as a genuine lineage.

For a true "Parampara" to exist, there must be an uninterrupted succession of genuine Baul Gurus. It is asserted that those falsely claiming lineage today do not possess a true Baul Guru. Nabani Das Khyapa Baul is stated to have been the last Baul Guru, who transmitted the tradition to only a select few. No individual or group currently claiming a "Baul Lineage" or "Sampradaya" is associated with this sole authentic lineage. Their only connection is through the alleged theft of intellectual property (poems, songs) and traditional dress.

The existence of Baul today is attributed solely to the preservation efforts of this lineage, stemming from their direct blood ancestor Sri Nityananda of Ekachakra, Birbhum, West Bengal, and sustained through centuries of oral tradition. From this perspective, Baul is now extinct outside of this genuine transmission.

It is warned that individuals, particularly in the West, claiming a "Western Baul lineage," have no basis for such claims. Their "Gurus" are reportedly not Baul and never identified as such. The widespread adoption of the term "lineage" by these individuals is seen as a direct imitation of Babu Kishan's terminology. Furthermore, many poets commonly associated with Baul, such as Bhaba Pagla, Monohar Khepa, and Lalon Fakir, are emphasized as not being Baul themselves. While they may have shared associations or their poetry was sung by authentic Bauls like Purna Das Baul (with music produced by Babu Kishan), this does not categorize them or their followers as Baul.

The insistence on these precise definitions and distinctions serves to expose what is seen as widespread "cheating" and "lying" within the Baul tradition, driven by desires for fame and financial gain. This "watering down" and "reductionism" are viewed as direct threats to the integrity of Baul.

 Lineagebaul.blogspot.com 



 BabuKishan.org


The Mytic Drum called Ananda Lahari only by Nabani Das Khyapa Baul.
The Dotara first used in Baul in the 1940's by Gopal Das Baul who was Nabani's daugher Radharani Dasi's husband. Gopal Das Baul was the son of the Pujari who ran the Nityananda Temple in Ekachakra Birbhum India. 



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RASALILAMYSTICS

Tuesday, June 6, 2023

There is no such thing as Baul Fakir! Baul is not an umbrella name !

BabuKishan.org

No poaching, name dropping, or copying anything on this page or blog. Copyright all rights reserved by Babu Kishan aka Krishnendu Das. please talk to Babukishanproductions@gmail.com


Indigenous Baul Fraud, Indigenous identity theft!

https://lineagebaul.blogspot.com/2025/02/indigenous-identity-theft-indigenous.html


https://lineagebaul.blogspot.com/2025/04/fake-pretendian-hawker-baul-critique.html



Baul is not a free for all, it is a indigenous lineage, that is extinct and was preserved by Babu Kishan since the 1960's, his research, songs, lineage should only be self-determined by a indigenous Baul. Not by western scholars, not by fake Bauls who use Baul, not by outsiders.



The True Voice of Baul: Reclaiming Indigenous Self-Determination

Wikipedia and all scholarly definitions of Baul are fundamentally flawed. They represent a "white-washed" narrative, created by academics who have "copied and pasted" misinformation from one book to another, perpetuating inaccurate descriptions of who the Bauls truly are. Scholars are, in effect, co-opting the self-determination of an indigenous, ancient ancestry. Only a Baul from an authentic, indigenous lineage possesses the right to define what Baul is. They are the rightful owners of this tradition, having preserved it for thousands of years.

The notion that "Baul is an umbrella term" is a colonial construct, not an authentic Baul concept. Baul, as a distinct category, requires protection from outsiders who fabricate stories about it. Scholars are never the ultimate authority on any indigenous people; they take from a culture and then presume to define it.

Only someone who has actively preserved the entirety of Baul for six decades has the right to speak about their indigenous tradition. This certainly does not include "fake Bauls" or their social media marketers who "cherry-pick and steal information" from our lineage Baul blog and websites. We are aware of who accesses our material. Stop using our intellectual property, name-dropping as if you have legitimate knowledge. Cease fabricating stories, such as the claim that "20,000 Bauls" remain; Baul is extinct, and its essence has been diluted enough. Do not name-drop or recount our stories, or use our written content without explicit permission. Everything has been copyrighted. This has been an ongoing issue since BabuKishan.com, the very first Baul website, was launched in the 1990s, with content consistently "poached, copied, with no credit given, names taken off, and stories reworked as if they were the originals."

Consider how you, as a scholar, would feel if a Baul presumed to define your identity and future. We intend to do just that, without offense, as we are simply exercising self-determination regarding your academic future. Bauls are not "monkeys in your zoo to be scientifically examined." They are a marginalized people, and you should not exploit them or the name "Baul." We will openly address the damage and karmic repercussions of your "scientific false narratives" through our forthcoming book, echoing the stance on lineagebaul.blogspot.com.

The authentic voice of Baul must originate solely from Bauls themselves, not from outsiders who base their research on ethnographic experimentation.


Redefining Baul: No "Umbrella Term" for Fakir or Muslim Traditions

The self-determining indigenous people of Baul unequivocally state: Fakir, Sai, Dervish, or Muslims are 100% NOT BAUL. To continue using this association or term is to propagate a "fake, false narrative."

As highlighted by Trevor Reed's work on cultural appropriation: "Something is common to all forms of cultural appropriation: all involve outsiders taking something from a culture other than their own... The differences between types of appropriation are, however, crucial in determining whether and how an instance of appropriation is objectionable." Copyright law, though imperfect, offers some protection against the appropriation of indigenous culture, including "copyrightable songs, dances, oral histories, and other forms of Indigenous cultural creativity."

This raises the critical question of how Baul can protect its millennia-old preservation. It is unacceptable for individuals to use Nabani Das Khyapa Baul's poetry, brazenly copying from Babu Kishan's YouTube videos, and then re-recording the songs as if they were the originators. Such actions may warrant legal qualification in court. If you are unaware of a poet's identity, do not assume there is no poet simply because you are "using Baul." Being a scholar does not grant you the right to appropriate Baul. The time for such practices has passed. Laws are needed in India to halt intellectual property theft. Bangladesh, in particular, is noted for its "masters at the intellectual property theft of Baul."

Baul is never an "umbrella name" for Fakir or anyone else!

Bauls originate exclusively in Birbhum, West Bengal, and are Vaishnava Tantric Sahajiya Vaishnava Bauls. They follow the path of the Avadhut, Vishnu, Shiva, Brahma, and Shakti Sadhana.

Baul and Fakir are two completely different sects.

  • Baul can never be Fakir, and Fakir can never be Baul.

Do not attempt to "self-determine" our identity; you, as a scholar, have no right to do so. Making false associations simply because some Fakirs claimed to be Baul is unacceptable. Concrete proof is required, not anecdotal accounts or personal notes. You are not the authority on Baul, and Baul does not require further "social engineering." Bangladeshis have exploited Baul for an extended period, and this must cease. The last authentic Baul is believed to have left this earth in 1969.

It is a known strategy: being a Fakir attracts little attention or funding, but adding "Baul" garners significant interest due to its enduring popularity. Bengalis held an emotional connection to Bauls as a national image, which has been appropriated by Bangladeshis for fundraising. While Fakirs receive minimal attention, associating with Baul often leads to substantial funding. Anyone who has genuinely studied Baul over time would discern this fact, rendering notes from individuals like Carol Solomon insubstantial compared to the words of an indigenous Baul. You are simply mistaken.

Baul is extinct. Do not dilute or reduce it further. Fakir is a living tradition, and you should study Fakir, but do not place them under a "fake Baul umbrella." Those propagating such claims have no genuine relationship with Baul.

Your descriptions of Baul are inaccurate, watered-down "copy and paste" jobs. What gives you the right to comment on any indigenous culture? How would you like me to define a scholar? As "a synergistic group, a mixture of English, European cultural twisters and appropriators who create careers off of copy and paste of what other scholars have written, as if it is the truth, defining and repeating over and over what does not belong to them." This is merely a starting point.

You are never the authority on other indigenous peoples' ancestry, and you should not speak of Bauls as if they are random, generic individuals. This is "social engineering," as people uncritically adopt your written words as truth. In North America, particularly Canada, such external representation of indigenous peoples would be shut down. The continued allowance of this in India is baffling, reflecting extensive cultural appropriation of yoga and tantra. Textbooks predominantly authored by Europeans and Muslims still omit genuine Hindu narratives.

Which Fakirs were interviewed by you? Are they using "Fakir Baul," or is this a construct inherited and promoted by you from Carol Solomon? What are these Fakirs' qualifications regarding Baul? A fabricated story is not proof. They may be legitimate Fakirs, but if you are making this connection to Baul, it originates from Carol Solomon, and she is wrong.

You seek to make "Baul an umbrella name"; it is not. Stop using this term; it reduces and degrades who Baul is.Perhaps you use "Baul" because "Fakir" alone lacks popularity, and using the name Baul garners more attention.


The Fabricated "Baul Fakir" Narrative and Its Roots

Babu Kishan was aware of scholars' trips over four decades ago, having known and tested many of them, most of whom failed. Now, there's another "reworking" for someone's career. Only an authentic Baul can "self-determine" who is an authentic Baul. You will likely find limited engagement from genuine Bauls due to the historical damage inflicted by scholars, sensationalized media, and "fake famed social media Bauls." Baul is extinct and does not need further fabricated "Fakir Baul tags."

There is no such thing as "Baul Fakir" or "Fakir Baul." The rationale behind this will be extensively explained in the forthcoming book.

Some Baul singers attempt to legitimize themselves by displaying pictures of a "fake Baul Guru," claiming brief associations that conveniently lengthen over time. We meticulously document these discrepancies, as the first tenet of Baul is truthfulness. The "tricks" of social media personalities are extensive.

Keith Cantu's attempts to "sway Baul culture" by writing about "Baul Fakirs" will unfortunately be welcomed by Bangladeshis, who have long sought to appropriate Baul and this lineage's stories, even using images of Nabani for fundraising.

The term "'Baul Fakir' was promoted by Carol Solomon," a construct allegedly "engineered for funding." Without Babu Kishan, Carol and others would have had no knowledge of Baul. He instructed her, and she allegedly "twisted Baul to obtain grants," as grants were harder to secure for subjects already extensively covered by Western scholars like Edward Dimock, Charles Capwell, and Glen Hayes, who had previously written on this lineage. Cantu's claim of introducing a "new perspective" is dismissed.

Baul is an ancient lineage; it does not require a "new perspective" or further rearrangement with "false narratives." It demands accurate preservation by someone capable of discerning the distinctions between Bengalis and Bangladeshis, and between Baul and Fakir.

Cantu writes: "I introduce a new perspective on ethnography for the study of Bengali Fakirs (male) and Fakirānis (female) with regard to Yoga and Tantra, as well as their participation in the broader umbrella of the Bauls of Bengal." This "umbrella term" is degrading and reduces Baul, stripping it of its indigenous self-determination.

Babu Kishan has been teaching Ethnomusicology across India since the 1970s. Ethnomusicology, "the study of music from the cultural and social aspects of the people who make it," is a field where many contemporary practitioners were taught by Babu Kishan. He also categorized "all the Folk music of India" for major Indian music companies at a young age. As a linguist with an astute ear, he can distinguish Baul from other traditions by vernacular dialect, song origins, and authenticity. He is the expert, and he unequivocally states there is NO UMBRELLA, and Fakir is not Baul.

How can one study Baul or Fakir without understanding the languages and music? Any research must be validated by a true expert. The reliability of newspaper articles is questionable, and personal notes are insufficient. You seek to define Baul based on your word alone.

You must qualify yourself. You are attempting to usurp the self-determination rights of indigenous Baul, which are protected by the United Nations.

Lalon Fakir was a great poet but not a Baul; he did not practice Baul sadhana. Fakirs do not practice Baul sadhana. While they may engage in some yoga or tantra, that does not make them Baul. One must truly understand who and what Baul is, rather than selectively interpreting and self-determining its identity. Baul sadhana is highly specific to Baul.

Baul is not merely Birbhum vernacular Bengali; it encompasses oral Sanskrit and Sandhya Bhasa. Do these Fakirs speak these languages? Are you proficient in them?


The "Bauls of Bengal" and The Problem of Funding

The name "Bauls of Bengal" emerged because Purna Das Baul and Laxshman Das Baul came to America in 1967 and were featured on Bob Dylan’s album, John Wesley Harding. Purna Das Baul officially registered "The Bauls of Bengal" as his singing group's name in India in the 1960s; no one used this name before this lineage. The first official Baul album worldwide, also titled The Bauls of Bengal, was released by Elektra New York in 1968. Therefore, when you refer to "the Bauls of Bengal," you are referring to this specific, sole lineage, and we unequivocally reject the term "Fakir Baul," as we know they are not Baul.

A "new perspective" on Baul is unnecessary; scholars have already caused sufficient harm through false speculation. Baul is not an "umbrella name" for Fakir, Aul, Sai, Dervish, or Shah; it is not an umbrella term for any group of wandering people. While Bauls accepted Fakirs as they did all people, Baul did not become Fakir. This persistent need to correct false narratives is tiresome. Mixing Baul with Fakir is a propaganda gimmick for money collection and fundraising, a practice rampant in Bangladesh since the 1972 War.

The fundraisers organized by The Beatles and Rolling Stones for Bangladesh after 1972 (attended by Babu Kishan, part of the Indian contingent with Ravi Shankar, Ali Akbar Khan, and Purna Das Baul) demonstrate how many attached themselves to fundraising efforts in Bangladesh, becoming "masters of fundraising."

While individuals like Nusratrani Fakrini or Alam Fakir were largely unknown, Purna Das Baul was a superstar in Bangladesh from the 1970s to 2000. Many capitalized on Baul's popularity during this time to fabricate the "Baul Fakir" identity. Understanding this history is crucial to grasping how this false narrative originated.

In Bangladesh, associating with Baul is common due to its funding potential. If they identify as Fakir, they receive no funding; if a Fakir associates with Yoga or Tantra, funding remains scarce. However, associating with Baul significantly increases funding opportunities—a "jackpot" for many. It's important to remember that Baul was largely unknown in Bangladesh before Purna Das Baul, and in the 1970s, "Muslim Baul" or Lalon Fakir (whom Rabindranath Tagore recognized only as a poet, not a Baul) were unheard of. It was Nabani Das Khyapa Baul, Babu Kishan's grandfather, who initiated Tagore into Baul.

When Bengalis heard Babu Kishan's Lalon Fakir music on the radio, Lalon Fakir gained popularity, even in Bangladesh, inspiring other music composers to set his poetry to music. Baul poetry naturally has an inherent tune. Babu Kishan was among the first to compose music for Lalon poetry. In the late 1970s, he brought renowned Bangladeshi singers to Calcutta, producing and recording an album of Lalon Fakir poetry, sung by his father, Purna Das Baul. This is the origin of "Baul Fakir." Just because a Baul sings other songs or the songs of other poets does not transform that poet into a Baul. Other poets, like Monohar Kepa and Baba Pagla, approached Babu Kishan to produce music for their poetry, associating with his family to raise their profiles. They were Baul enthusiasts and great poets, but not Bauls themselves.

Lalon Fakir's poetry had no inherent tune or music because he was not a Baul; he was solely a poet. If Lalon Fakir were a Baul, his poetry would have possessed a Baul tune and music. A Bengali film depicting Lalon Fakir as a Baul illustrates how false narratives perpetuate.

This was the first music ever composed for Lalon Fakir poetry, done by Babu Kishan. As an inborn music composer, he was awarded "youngest Indian composer" at age 11. It is not his fault that others exploited this to construct false narratives, which continue into 2023.


A Call to Action for Scholars and Protecting Indigenous Rights

Seriously, stop fabricating these narratives. When you suggest "more research is needed to focus only on Fakir Baul," remove "Baul." Tell your story with Fakirs, but do not use Baul as an umbrella. Research Fakir, by all means, but leave Baul alone; it has endured lifetimes of false narratives.

No more research is needed on Baul. All necessary research has been conducted by Babu Kishan through his lived experience, his extensive research, the recording and translation of thousands of Baul songs, and his 60 years of preserving Baul.

While we acknowledge Carol Solomon's notes, who was a dear friend of Babu Kishan's for decades, the truth must be spoken. Babu Kishan constantly corrected Carol's Bengali and provided her with immense assistance and information on Baul. He even signed for her funding, believing she would focus on authentic Baul. Many in Bangladesh then created the new narrative of identifying as Baul due to Purna Das Baul's popularity, followed by Lalon Fakir being labeled the "most famous Baul," leading to their opportunistic attachment to the Baul name. Carol Solomon's knowledge of Baul songs stemmed directly from this lineage; her Lalon Fakir songs are not Baul songs, as will be explained later in the book.

Your reliance on newspaper articles is flawed, as they are often inaccurate. Keith Cantu, you are not indigenous to Bengal, nor was Carol Solomon. While her notes are appreciated, your claims are wild. You are studying Fakir, not Baul, and your assertion of being "immersed in Baul Fakir" demonstrates a profound misunderstanding of immersion in true Baul.

Fakirs from Bangladesh use Baul and attach themselves to it because this family popularized Baul. Baul became a lucrative fundraising tool in Bangladesh, with one Bangladeshi official allegedly absconding with $9 million meant to "preserve Baul as being from Persia." Bangladeshis are adept at creating false narratives. They seek the "jackpot" of United Nations funding by blurring the lines between Fakir and Baul, creating absolute lies like "Baul is from Persia." Observing these patterns over time reveals their true nature.

How can you distinguish a Baul song from a Fakir song, a Bangladeshi Folk song, or a water song? How do you know what Baul is versus a folk song, based on an "11-year phone call," a newspaper article, or a performance? How do we know they, or you, are telling the truth? You must qualify yourself. You are attempting to strip Indigenous Baul of their self-determining rights as recognized by the United Nations.

Lalon Fakir was a great poet, but he was not a Baul; he did not practice Baul sadhana. Fakirs do not practice Baul sadhana. While they might practice some yoga or tantra, that doesn't make them Baul. You must first truly understand who and what Baul is; you cannot simply "cherry-pick and self-determine" who is Baul. Baul sadhana is very specific to Baul.

Did you know that Baul is not solely Birbhum vernacular Bengali? That Bangladeshi Bengali is different? That Baul is oral Sanskrit and Sandhya Bhasa? What language and vernacular Bengali do these Fakirs speak? Are they oral Sanskrit? Are you?

As per the United Nations, "Indigenous peoples and individuals are free and equal to all other peoples and individuals and have the right to be free from any kind of discrimination, in the exercise of their rights, in particular that based on their indigenous origin or identity. Indigenous peoples have the right to self-determination."

The Fabricated "Baul Fakir" Narrative: A Challenge to Authenticity

The promotion of "'Baul Fakir' was orchestrated by Carol Solomon primarily for funding. It's imperative to understand that no one, not even Carol Solomon, would have known about Baul without Babu Kishan. He was her teacher on Baul, and she allegedly distorted its essence to secure grants. Western scholars like Edward Dimock, Charles Capwell, and Glen Hayes had already extensively documented aspects of this lineage, making it difficult to obtain new funding for the same subject.

When Cantu states he is "introducing a new perspective" on Baul, it fundamentally misunderstands Baul. Baul is an ancient lineage; it does not require a new perspective or rearrangement with more false narratives. Its sole need is accurate preservation by someone who can discern the intricate differences between Bengalis and Bangladeshis, and crucially, between Baul and Fakir.

Cantu's assertion that he introduces "a new perspective on ethnography for the study of Bengali Fakirs (male) and Fakirānis (female) with regard to Yoga and Tantra, as well as their participation in the broader umbrella of the Bauls of Bengal" is a misrepresentation. There is no "umbrella." This "umbrella term" is degrading, waters down Baul's unique identity, and strips Bauls of their indigenous right to self-determination.

Babu Kishan has been teaching Ethnomusicology throughout India since the 1970s. As defined, "Ethnomusicology is the study of music from the cultural and social aspects of the people who make it." Many contemporary ethnomusicologists were, at some point, taught by Babu Kishan in Baul and Indian Philosophy. He categorized all the folk music of India for major music companies at a young age. As a linguist with a discerning ear, he can precisely identify who is Baul and who is not, based on vernacular dialect, song origins, and authenticity. He is the undisputed expert, and he unequivocally states: there is NO UMBRELLA, and Fakir is NOT Baul. Fakirs are Fakirs, and there is nothing inherently wrong with that identity.

How can one conduct any study of Baul or Fakir without a profound understanding of the languages and the music? All research must be qualified by someone with true knowledge. The reliability of anecdotal accounts, newspaper articles, or personal notes is questionable. For outsiders to claim to determine who Baul is, relying solely on their word, is unacceptable.

Do you, as a scholar, genuinely know the difference between authentic Baul music and folk music? Do you possess the necessary linguistic proficiency? To use "ethnography"—the "scientific description of the customs of individual peoples and cultures"—and place Baul "under a microscope" by an outsider who does not truly know Baul, then categorize it under an "umbrella term," is ridiculous.

Baul does not need to be compared to Fakir or have Fakir attached to its name. If a Fakir copies Baul, it bears no relation to the genuine Baul tradition. They are distinct subjects, with different attire, customs, and foundational philosophies: one is rooted in Islam, the other in Sanatan Dharma. A genuine study of individual peoples and cultures would prevent the creation of such "social engineering projects," new speculations, or the repetition of previously erroneous descriptions perpetuated by scholars, journalists, and Bangladeshis.


The Genesis of "The Bauls of Bengal" and The Funding Agenda

The name "‘Bauls of Bengal’ originated solely when Purna Das Baul and Laxshman Das Baul came to America in 1967 and were featured on Bob Dylan’s album, John Wesley Harding. Purna Das Baul officially registered "The Bauls of Bengal" as their group name in India. No one used this name before this lineage began in the 1960s. The first official Baul album worldwide, also titled ‘The Bauls of Bengal’, was released by Electra in New York in 1968. Therefore, any discussion of "the Bauls of Bengal" refers specifically to this one and only lineage, which emphatically disagrees with the term "Fakir Baul" because this lineage knows who is genuinely Baul and who is not.

Seriously, a "new perspective" is not what Baul needs. Scholars have inflicted enough damage on this indigenous tradition through false speculation. Baul is not an umbrella name for Fakir, Aul, Sai, Dervish, or Shah; it is not an umbrella term for any individual or group of wandering people.

While Bauls accepted Fakirs, as they did all people, Baul did not become Fakir. This constant need to rectify false narratives is exhausting. Mixing the name "Baul" with "Fakir" is a calculated propaganda gimmick for soliciting money and fundraising, a practice rampant in Bangladesh for decades, especially since the 1972 War which created Bangladesh.

Many still recall the fundraisers organized in London by The Beatles and Rolling Stones for Bangladesh. Babu Kishan himself attended four of them since 1972 at Hyde Park; this lineage was part of the Indian contingent, alongside Ravi Shankar, Ali Akbar Khan, and Purna Das Baul. This is how many attached themselves to fundraising efforts in Bangladesh; they are masters at leveraging causes for financial gain.

Individuals like Nusratrani Fakrini or Alam Fakir were unheard of. However, Purna Das Baul was a superstar in Bangladesh from the 1970s through 2000. Many people capitalized on Baul's popularity during this period and invented the "Baul Fakir" identity. Understanding this history is crucial to dismantling the fabricated narrative.

It is common in Bangladesh for individuals to associate with Baul because it is a source of funding. If they identify as Fakir, they receive minimal funding. Even if a Fakir associates with Yoga or Tantra, it rarely attracts significant funds. However, associating with Baul makes it far easier to obtain funding; this is an undeniable fact and has been a "jackpot" for many.

It is crucial to acknowledge that no one in Bangladesh knew about Baul before Purna Das Baul, and in the 1970s, "Muslim Baul" or Lalon Fakir (whom Rabindranath Tagore recognized solely as a poet, never a Baul) were virtually unknown. It was Nabani Das Khyapa Baul, Babu Kishan's grandfather, who initiated Tagore into Baul.

Babu Kishan, who deeply admired Lalon Fakir (Shah)'s poetry, recognized its "Baul-like" quality, but affirmed it was not Baul. When Bengalis heard Babu Kishan's Lalon Fakir music on the radio, Lalon Fakir gained widespread popularity, including in Bangladesh, inspiring other music composers to set his poetry to music. Authentic Baul poetry inherently carries its own tune.

It was Babu Kishan who was among the first to compose music for Lalon poetry. In the late 1970s, he brought a group of renowned Bangladeshi singers to Calcutta, producing and recording an album of Lalon Fakir poetry, which his father, Purna Das Baul, sang. This is the origin of "Baul Fakir." The mere act of a Baul singing other songs or the works of other poets does not transform that poet into a Baul. Other poets, such as Monohar Kepa and Baba Pagla, sought out Babu Kishan to produce music for their poetry and associated with his family to elevate their public profile. They were passionate admirers of Baul and exceptional poets, but they were not Baul.

Lalon Fakir's poetry, recorded, produced, and set to music by Babu Kishan out of his own pocket, became a tremendous hit. It introduced Lalon Fakir's poetry to West Bengal on a massive scale because Purna Das Baul sang the songs composed by Babu Kishan. No one had recorded Lalon Fakir's poetry to music before this. Lalon did not have a tune or music for his poetry because he was not a Baul; he was solely a poet. If Lalon Fakir were a Baul, his poetry would have possessed a Baul tune and music. The existence of a Bengali movie portraying Lalon Fakir as a Baul exemplifies how "fake narratives just go on and on," which is precisely the point: a few individuals can destroy an indigenous tradition by creating and perpetuating false narratives.

This was the first music ever used for Lalon Fakir poetry, created by Babu Kishan. As an inborn music composer, he was recognized at 11 as the youngest Indian composer. It is not his fault that others exploited his work to construct false narratives, a practice that continues into 2025.








The Misguided Pursuit of "Fakir Baul": A Call to Cease Fabrication

Seriously, stop fabricating narratives. When you claim more research is needed on "Fakir Baul," remove "Baul" entirely. Tell your story with Fakirs, using two Fakirs if you must, but do not use Baul as an umbrella term. More research on Fakir is indeed welcome, but leave Baul alone; it has suffered lifetimes of false narratives.

No more research is needed on Baul. All necessary research has been thoroughly conducted by Babu Kishan through his lived experience, his extensive scholarly work, the recording and translating of thousands of Baul songs, and his six decades of dedicated preservation. Baul has been preserved since the 1960s by Babu Kishan.

We acknowledge that you inherited the notes of Carol Solomon. Carol was Babu Kishan's dear friend for decades, both in Bengal and in America. Babu Kishan was a constant resource for her from the very beginning of her travels to Bengal and Bangladesh. Yet, did she ever mention his name in her work? No, this is precisely what scholars do. We shared a dinner at Carol's home in Seattle, Washington, in 2008, a year before her passing. Within months of Babu Kishan arriving in Canada, he was incredibly saddened to learn of her death. She was a cherished friend of Babu Kishan's, and we intend no disrespect. However, the truth must be told.

Babu Kishan consistently corrected Carol's Bengali, taught her extensively, and provided endless assistance. She lacked genuine knowledge of Baul beyond her interactions with the new "fake Baul singers" in Bengal, whom Babu actively discouraged her from associating with. He tirelessly worked to ensure her safety in Bengal and Bangladesh, protecting her and her friend on numerous occasions when they encountered difficult situations. She stayed at their home in Calcutta, and he traveled with her to Shantiniketan to introduce her to his Baul family there. Babu Kishan provided an immense amount of information on Baul to Carol over many years.

Babu Kishan 2008 at Carol Solomons home in Seattle Washington. I took the picture, she made super for us.

Exposing the Fabricated Narratives: The Exploitation of Baul for Funding

Despite Babu Kishan's extensive support, Carol Solomon often acquired information and then disappeared. Obtaining funding for Baul research was inherently challenging, as it had already been extensively covered by scholars like Edward Dimock and his students. (It's possible Edward Dimock was Carol's teacher at some point, though this detail is not definitive.)

Carol Solomon then took a "u-turn" for funding purposes and constructed Lalon Fakir as a Baul. Lalon Fakir, however, was not a Baul; he was a poet. She even had Babu Kishan sign for her funding, presumably to legitimize her proposal as focusing on authentic Baul. He genuinely believed she intended to work on authentic Baul.

Meanwhile, many individuals in Bangladesh began crafting this new narrative, claiming to be Baul solely due to the immense popularity of Purna Das Baul's songs. Then came the notion of Lalon Fakir as "the most famous Baul." This is precisely when they opportunistically latched onto the Baul identity.

You can lavish all the accolades you wish upon Carol Solomon, but Babu Kishan knew her far better than you do. If Carol possessed any Baul songs, they originated from this lineage. However, Lalon Fakir's songs are not Baul songs, and this will be comprehensively explained later in our book.

Keith Cantu, you claim to have relied on: "physical attendance, my inheritance of many handwritten papers and manuscripts of Carol Salomon (a prominent scholar of Bengali literature and Bāul songs, who translated over a hundred songs by Lālan Fakir based on her sustained engagement with communities in both Bangladesh and West Bengal), my correspondence and meetings with other scholars who also were immersed in the world of Bāul Fakirs, recorded phone calls, and published newspaper articles, as well as records of participation in multiple events and lectures, ritual festivals, and other events of relevance to Bāul Fakirs.”

From our direct experience, newspaper articles on Baul are consistently inaccurate. Your list of sources is incredibly weak.

Keith Cantu, you are not indigenous to Bengal, nor was Carol Solomon. While we acknowledge your inheritance of Carol Solomon's notes, you are making wild, unsubstantiated claims. You are studying Fakir, not Baul, and your assertion of being "immersed in Baul Fakir" reveals a profound lack of understanding of what genuine immersion in Baul truly entails. What you have constructed is entirely untrue.

Fakirs from Bangladesh exploit the popularity of Baul and attach themselves to it because this family—Babu Kishan's lineage—made Baul famous. Baul became a lucrative fundraising avenue in Bangladesh, evidenced by one Bangladeshi official reportedly receiving 9 million [currency not specified, but likely USD given the UN context] to "preserve Baul as being from Persia," only to abscond with the funds. Bangladeshis are experts at fabricating false narratives.

They likely believe they, too, can secure a "jackpot" from the United Nations, perhaps another 9 million for deliberately blurring the lines between Fakir and Baul. These new narratives are absolute lies, such as the baseless claim that "Baul is from Persia." If one observes long enough, these deceptive patterns become unmistakably clear.

How can you distinguish an authentic Baul song from a Fakir song, a Bangladeshi Folk song, or even a water song? How do you truly know what Baul is and what constitutes a folk song, based on an "11-year phone call," a newspaper or magazine article, or mere performances where everyone claims to be a poet and composer? More critically, how do we know they are telling the truth, and how do we know you are telling the truth?

You must qualify yourself. You are attempting to usurp the self-determining rights of Indigenous Baul, rights explicitly recognized by the United Nations.

Lalon Fakir was undeniably a great poet, but he was not a Baul. He did not practice Baul sadhana. Fakirs do not practice Baul sadhana. While they might engage in some yoga or tantra, that does not transform them into Baul. One must first genuinely know who and what Baul truly is; you cannot simply "cherry-pick and self-determine" who is Baul. Baul sadhana is profoundly specific to Baul.

Furthermore, did you know that Baul is not solely Birbhum vernacular Bengali? Did you know that Bangladeshi Bengali is distinct? And that Baul involves oral Sanskrit and Sandhya Bhasa?

What language and what vernacular Bengali do these Fakirs you interview speak? Are they fluent in oral Sanskrit? Are you?

As enshrined by the United Nations: “Indigenous peoples and individuals are free and equal to all other peoples and individuals and have the right to be free from any kind of discrimination, in the exercise of their rights, in particular that based on their indigenous origin or identity. Indigenous peoples have the right to self-determination.”





Lila Roy was Rabindranath Tagores translator Bengali to English, she was also, the editor of Babu Kishan's 3 rd Book released and sponsored by George Harrison and Ravi Shankar. in this picture Babu Kishan aka Krishnendu Das Baul was only 22.



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