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

https://lineagebaul.blogspot.com/2026/08/formal-notice-of-intellectual-property.html

https://lineagebaul.blogspot.com/2026/08/roots-of-vaishnava-baul-sahaja-sahajiya.html 

https://lineagebaul.blogspot.com/2026/08/academia-vaishnava-sahajiya-baul.html 

 

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.

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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.

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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?

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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.

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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.

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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.”

Stalking the Footprint: The Theft of Authentic Baul Historical ROOTS, preserved for over 60 years by KD Babu Kishan

 BabuKishan.org 

https://lineagebaul.blogspot.com/2012/04/kd-babukishan-osho-bauls-of-bengal.html 

https://lineagebaul.blogspot.com/2022/07/kichhu-din-mone-mone-by-nabani-das.html 

 https://lineagebaul.blogspot.com/2021/08/bob-dylan-and-babukishan-why-do-people.html

https://lineagebaul.blogspot.com/2022/04/the-evening-concluded-with-presentation_3.html

 https://lineagebaul.blogspot.com/2011/10/allen-ginsberg-his-baul-guru-nabani-das.html

https://lineagebaul.blogspot.com/2025/06/baul-fusion-creator-kd-babu-kishan-with.html 

The Unsung Success of Babu Kishan's "Hanuman Chalisa"

 Babu Kishan Music has an astounding 3 billion listens on YouTube with T-Series for his iconic "Hanuman Chalisa." This entire Hanuman album was not only produced by Babu Kishan, he also composed the music for it, wrote the lyrics for the other Hanuman Bhajans on the album, and personally funded its recording. This is the first ever Hanuman Chalisa commercialy recorded and it is played in all temples of India. Music Composed, arranged, paid for and concieve by KD Babu Kishan in the early 1980s. 

Tragically, Babu Kishan's master recording of the "Hanuman Chalisa" was stolen from his Juhu studio. This theft has a significant history, leading to millions in profits for record companies, none of which ever reached KD Babu Kishan.

This groundbreaking "Hanuman Chalisa," recorded in the 1980s, was the first ever recorded version and became a staple in temples across India. It features the powerful vocals of the late Hari Om Sharan. Beyond the T-Series numbers, it has accumulated 15 million listens with another company, 20 million on a different site, and millions more across various other platforms, with all these rights sold to different music companies in Bombay.

Babu Kishan's "Hanuman Chalisa" is, in fact, the most listened-to devotional song in Indian history, sung by his dear late friend, Hari Om Sharan. It stands as the first-ever Hanuman Chalisa recording, produced, and music-composed entirely by Babu Kishan.
​
Billions of people have listened to Babu Kishan's music without ever knowing it's his life's work. Even today, 80% of the recorded Baul music attributed to his father, Purna Das Baul, was produced and composed by KD Babu Kishan, also known as Krishnendu Das. 

 Shadow Footprinting: The systematic physical retracing of a primary source's historical footprint to absorb its institutional prestige and obscure the original creator 'first and Lasts' of indigenous Baul."Shadow Footprinting"

Shadow Footprinting & Identity Cannibalization:

The systematic ingestion of a primary lineage holder’s lived experiences, personal relationships, academic breakthroughs, and oral body-science tattva ("that-ness," "truth," "reality," or the "essential nature" of things that are Baul), songs, tune, lyrics Baul Kirtan the 108 tattvas only categorized by KD Babu Kishan. 

 Shadow Footprinting (the method) with Spectral Theft or Archival Squatting (the act) creates an immediate, undeniable diagnosis of Indigenous Cultural and Intellectual Property (ICIP) fraud that cuts straight through marketing spin of 'erasing indigenous Baul by those who are systemically replacing us as cosplyer Baul Artists and self-title Baul Masters'. The indigenous intellectual shadow footprinting of this one and only pioneering indigenous Baul, the shadow footprinting of all their 'firsts and lasts' of historical Baul roots, their songs, dress, style, instruments, where they went, who they met and what they have created as a modern template for the indigenous Bauls to survive the modern world.   

Babu Kishan has recorded, preserved the entire lineage there is no new things to preserve no new "firsts and lasts" especially as claimed by the cosplayer fake Bauls who are busy shadow printing and exagerating their who fake lineage. Babu Kishan has written about Baul since the 1970's and is the author 3 previous books, the last one sponsored by George Harrison who had a book release party for Krishnendu Das "Babu Kishan' in LA California in 1985 or 1986 it is written her in this blog, however, after decades I can't remember the exact date. 

The lived lives of (Purna Das Baul, Nabani Das Khyapa Baul, Manju Das, Brajabala Dasi, Radharani Dasi and Krishnendu Das Baul (Babu Kishan's) have been copied and 'shadow footprinted' a  remaking, of their actual identity, their 'lived lives' have been retraced, tracked and re-acted out in a 'replacing them by erasing them'. They either were stupid or thought they were clever and nobody would every know, let alone say a word? I have all the reciepts.

They have been shadow footprined and turned into a 'commercial Baul brand' that feeds off the original creator or lineage of indigenous Baul, while attempting to erase their existence, and now represented as a social media influencer, cosplayer Baul. 

For decades this has been going on, the cosplayer's have made a career of pretending to be Baul, by stripping the roots of this lineage, purposely erasing us by replacing us, through shadow footprinting this one and only lineage? Now they say they are the replacement for Purna Das Baul a new Purna Das Baul so that they can steal his huge irreplaceable legacy. Impossible and now that we have caught on we will not tolerate this kind of intellectual indigenous fraud.

Shadow Footprinting & Archival Squatting:

The hostile strategy of occupying the exact institutional coordinates, university archives, sacred ashrams, and international performance venues where the true lineage made history—effectively "squatting" on established cultural authority to deceive audiences into mistaking a modern re-enactment for legitimate heritage.

Shadow Footprinting & Spectral Theft:

"The deliberate copying of the historical roots, physical locations, and ancestral legacy of a primary source, alongside the philosophical and colonial impact of this deception—rebranding, remaking, tracking all of this lineage, "firsts and lasts" in Baul History, and replacing the authentic roots of Baul with performative cosplay acting. 

 Shadow Footprinting & Chronological Hijacking: 

The exploitation of public memory loss and modern search engine algorithms by flooding the digital landscape with recent, high-volume youtube media that co-opts original terminology (Historical Baul, Roots of Baul)—overwriting older historical records to make the synthetic copy appear as the sole surviving authority.  

Claiming you are the next Purna Das Baul or Baul Ambassador both indigenous one and only in Baul history. Claiming you are Baul, your Guru was Baul and that you actually are a lineage Baul when 100% it can be proven you are not. The indigenous intellectual property theft can be proven.

The modern template of Baul that Babu Kishan created was only for indigenous Bauls, his ancestors who were poor and marginalized, however the tricker random middle class raised  people out of the blue started pretending, cosplaying  they were Baul while looting, poaching this lineage songs, dress, style, dance, insturments, shadow footprinting exactly where they went and then making claims they were the legendary Baul? These were not villagers of Birbhum, they were from someone other place in India and outside of India naming themselves Western Bauls? 

Reclaiming the Historical Roots of Mystic Baul: A Declaration Against Cultural Fraud

For over two decades, we have documented a systematic pattern of cultural theft and historical revisionism directed against the hereditary lineage of Purna Das Baul. External performers with no legitimate initiation (diksha) have copied this family’s music, attire, instrumentation, dance, and lived biographies—shadowing their footprints to fabricate false lineages and profit from the "Guru business."

The True Lineage (Parampara)

• 13 Generations of Preservation: This lineage represents over thirteen generations of unbroken hereditary transmission, preserving Baul tradition through periods of war, famine, and religious persecution by orthodox authorities who burned their sacred texts and decried their Tantric roots.

• The Root in Birbhum: Authentic Baul is rooted in the soil of Birbhum, West Bengal. Historically, there were no "Bauls" in Bangladesh, nor was the tradition historically synonymous with regional Fakir or Sufi sects until Purna Das Baul popularized the art form globally in the 1960s and 1970s.

• The Legacy of Nabani Das Khyapa Baul: Displaced refugees who arrived in West Bengal during Partition and the 1971 war frequently imitated the style, instruments, and presence of Nabani Das Khyapa Baul—the sole Baul practitioner initiated by Bamakhepa at the Tarapith cremation grounds.

Indigenous Rights and the Mechanics of Misappropriation There is a fundamental difference between cultural appreciation and cultural misappropriation. According to United Nations standards on indigenous rights, the systematic poaching, falsification, and commercial exploitation of an indigenous group's heritage constitutes indigenous fraud and erodes the right to self-determination.

The core teachings of this lineage were historically protected through Sandhya Bhasha—an esoteric twilight language blending oral Sanskrit, Braja Bhasha, and Birbhum Bengali. Commercialization and academic reductionism have severely distorted these teachings, misinterpreting concepts like Vayu Tula and incorrectly labeling Baul as an illiterate, Buddhist Sahajiya, or purely syncretic movement.

Baul is fundamentally Atma Tattva (knowledge of the Self) and Atma Lila (the divine expression of the Soul). The upcoming three-volume trilogy stands as a formal reclamation of the authentic, pioneering, and singular historical roots of Mystic Baul.

https://lineagebaul.blogspot.com/2026/08/formal-notice-of-intellectual-property.html

https://lineagebaul.blogspot.com/2026/08/roots-of-vaishnava-baul-sahaja-sahajiya.html 

https://lineagebaul.blogspot.com/2026/08/academia-vaishnava-sahajiya-baul.html 

https://lineagebaul.blogspot.com/2026/09/you-can-not-reclaim-what-you-do-not-own.html 

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

A True Pioneer of World Music and Cultural Diplomacy

• Early Global Footprint: Babu Kishan was representing Indian culture across the US and Europe as far back as 1971, long before the modern diaspora arrived abroad.

• Pioneering Fusion: He created the first authentic Indian Fusion and Baul Fusion music. He toured the US playing 40 concerts with Bob Dylan & the Band, jamming with The Rolling Stones, Tom Petty, George Harrison, Brian Wilson of The Beach Boys, and Miles Davis and many others.

• Bollywood Legend: He served as an assistant to his Bollywood Music Guru, R.D. Burman, for 13 years. He helped establish major record labels in Mumbai, categorized India's vast folk music catalog for industry producers, and was among the original architects who helped coin and shape "Bollywood."

  He is not a self-titled Baul he is the Roots of Historical Baul and he is not a self-titled music composer, he is educated in Indian Music since birth and has been qualified both academically and through the highest Music Composers in Indian History who all signed for him and let him compose Music for them, RD Burman, Ravindra Jain,  Naushad Ali, Laxmikant Pyrelal and Bapi Lahari. In Babu Kishans music compositions he has employed the top of Indian's talent as musicians.

• Linguistic & Classical Mastery: A high-level oral and classical Sanskritist, he speaks and has recorded in an extraordinary range of Indian languages. He was the first artist to record the Hanuman Chalisa for modern commercial releases.

• Official State Representation: For over 40 years, he served as an official Cultural Representative of India globally under the Sangeet Natak Akademi (Indian National Academy of Music, Dance and Drama) and the ICCR (Indian Council for Cultural Relations).

The Composer Behind the Legend

Beyond his work as an independent artist, (Babu Kishan tknown professionally in Bombay) and Krishnendu Das in Calcutta film and Music Industry )composed over 80% of the music for his father, Baul Samrat Purna Das Baul. Those recordings became the most critically and commercially successful albums of Purna Das Baul's career and they were copied and re-recorded with no credit by pretenian, cosplayers, called the fake it til you make it Bauls that arrived as refugees from Bangladesh. This is part of the reclamation of Baul, correcting these wrongs that haved done with the looting, poaching of Baul and who really is Baul.

You cannot replace a lifetime of primary achievement by creating a fake IMDb profile, posing as an academic, or teaching distorted fabrications about a sacred indigenous science. The historical record is permanent, verifiable, and absolute.

Archival Summary & Credentials

• Titles & Honors: Pandit, Master of Indian Music, Award-Winning Music Composer & Producer.

• Early Recognition: Awarded "Youngest Music and Film Director in Bengal" at age 11 (1978); widely decorated across Bengal through the 1980s; received the Bollywood Buddy Lifetime Achievement Award (2007) for his contributions to Indian Cinema.

• Instrumental & Vocal Mastery: Multi-instrumentalist playing over 15 traditional and modern instruments; Master of Indian Classical, Baul, Bhajan, Kirtan, Baul-Kirtan, and East-West Fusion.

• Discography & Filmography: Released over 1,000 albums, produced over 60 albums, and composed more than 150 film scores for Indian Cinema.

 Saying you are the next 'Purna Das Baul' is Shadow foot printing and indigenous theft. Baul Samrat Pandit (Padma Shree) Purna Chandra Das Baul is one of the most highly awarded Singers of India he is a Baul pioneer, nobody in this world would know about Baul without Nabani Das Khyapa Baul, Purna Das Baul and their eldest Krishnendu Das Baul (Babu Kishan) this one and only indigenous pioneering with all the 'first and last' regarding  Baul can not be claimed or replaced, Baul was complete decades ago. 

Purna Das Baul was awarded a Padma Shree and many other awards historically winning awards from a list of Presidents and PM, Minister over a lifetime. He is the first and last only Legendary Baul along with Nabani Das Khyapa Baul, and regarding Baul women only Braja Dasi, Radharani Dasi, and Manju Das- the wife of Purna Das Baul who is he ONLY Baul women ever to travel the world since the late 1960s to 2010 when she passed away. 

Making, stealing these women's place in Baul History is 'shadow FOOT-printing' this lineage, using Legendary Women is a gross injustice and lie to this indigenous roots of Baul. Purna Das Baul is 93 years old a historical figure on all levels within India. His ancestors the ones who preserved, held, giving up their lives life and life to do seva, social work, teaching, feeding, healin the villagers of Birbhum West Bengal the birth place soil and soul of Baul (The Vaishnava Sahajiya (Gosia Chandra) Das Baul and Dasi. will be rolling in the soil if we do not tell the truth. Truth is the first tenant of Baul.

Self-titling that you are now the Baul Ambassador, when this title is a first and last only known and copied from Babu Kishan's writings by stalking all the wording that belong only to this singular Baul pioneering parampara is Shadow Footprinting & Identity Cannibalization along with Archival Squatting. A title given only to Purna Das Baul, Manju Das and KD Babu Kishan who were the only Baul representatives of India through the ICCR. Babu Kishan had all the contacts for decades. This may not mean anything to anybody, however, it is a serious insideous shadow printing & Archival Squatting

It should be know that the song (poetry) & tune for #KichhuDinMoneMone is a song from this lineage, it is the Poetry of Nabani Das Khyapa Baul. It was recorded first by Purna Das Baul at one of India's first record companies Hindustan Records under Pankaj Mallick and Rai Chand Boral. It was copied right off of Babu Kishan's youtube channel and re-recored without permission by a female cosplaying Baul who created a fake lineage and fake Baul Guru. I won't use any names until the books are released, however, these people are shadow footprinting this lineage from day one in every way. They will be exposed, you in the west think they are authentic Baul Artists and a Baul Master, they are self-titled Baul Masters who have poached the life out of Lineage Baul. We are exploring legal action. 

RabindraNath Tagore started the first Baul archive all based on Nabani Das Khyapa Baul and
 Babu Kishan is the only Baul to 'Preserve and ARCHIVE' Baul in a big way and that was done decades ago. 

Documenting Indigenous Theft: The Systemic Erasure of the Baul Samrat Lineage

1. Institutional Recognition & Historical Firsts

• State Honors: Purna Das Baul was conferred the title Baul Samrat by the President of India and honored with the title Nada Brahma.

• Cultural Ambassadors: Purna Das Baul, Manju Das, and KD Babu Kishan were named official Baul Ambassadors by the ICCR in the 1970s—a historic "first and last" designation.

• National Heritage: Nabani Das Khyapa Baul, the last Baul Avadhut, served as the sole Baul Guru to Rabindranath Tagore and performed across India during the Independence Movement at the invitation of Jawaharlal Nehru.

2. Mechanics of "Shadow-Footprinting" and Intellectual Fraud Over the past thirty years, digital platforms, university lecture circuits, and social media have enabled the systematic copying of this single family’s heritage:

• Digital Scraping: Content, terminology, and oral histories first published on BabuKishan.com (1990s–2006) were plagiarized to build fraudulent social media followings and commercial workshops.

• Music & Composition Piracy: KD Babu Kishan composed over 80% of the arrangements and tunes made famous by his father, Purna Das Baul. These compositions continue to be re-recorded and distributed without credit or permission.

• Historical Revisionism: The groundbreaking achievements of Manju Das (the first traditional Baul woman to tour internationally), KD Babu Kishan’s 12-year monastic service with the Ramakrishna Mission, and the family's historical ties to the Gaudiya Math are now routinely co-opted by uninitiated performers.

3. Preserving the True Roots Commercial opportunists have watered down the tradition, co-opting terms and claiming ownership of sacred history—even attempting to appropriate the title of our upcoming trilogy, Historical Baul and the Roots of Baul.

Authentic Baul is not a commercial brand or an exotic costume. It is a sacred, indigenous heritage preserved through the lived sacrifices of Krishnendu Das Baul (KD Babu Kishan), the eldest lineage holder of Nabani Das Khyapa Baul and Purna Das Baul.

Key Revisions & Terminology Standardized

• Nada Brahma: Standardized spelling for the Sanskrit concept of "Divine Sound / Sound as God."

• Baul Samrat: Corrected spelling for the title "Emperor of Bauls."

• ICCR: Maintained as the Indian Council for Cultural Relations.

• Charyapada: Standardized spelling for the ancient 8th–12th century Vajrayana/Sahajiya mystical songs often debated in Bengali literary history.

• Shadow-Footprinting: Preserved as your key defined term for the systematic tracking, copying, and appropriating of a family's lived history and intellectual property.

Title: Reclaiming the Historical Roots of Mystic Baul: A Statement on Indigenous Intellectual Property & Heritage Preservation

Documentation Archive: 20+ Years (2006–2026)

Primary Lineage: Lineage of Nabani Das Khyapa Baul, Baul Samrat Padma Shri Pandit Purna Chandra Das Baul, Manju Das, and Krishnendu Das Baul (KD Babu Kishan)

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.

#Baul #Fakir 

The below are only exclusive to this one and only singular Baul Parampara or lineage, all the terms and associations, for too long Baul has been mis-appropriated by inauthentic opportunistic fake Bauls and written about with false narratives by the Colonial Academicholarly institutions.

Key Baul Figures & Lineage

#NabaniDasKhyapaBaul #PurnaDasBaul #BabuKishan #KrishnenduDasBaul #lineagebaul #baullineage #NabaniDasBaul #dasbaul #NityanandaofEkachakra #ChandiDas #Joydev #GosaiVaishnavaDasBaul ##NeemKaroliBaba #baulparampara

---

Core Baul Concepts & Philosophy

#Baultantra #GaudiyaVaishnavaandBaul #Baulphilosophy #VaishnavaSahajiya #VaishnavaSahajiyaTantricBauls #KrishnaKaliunity #Krishnakali #RaaiRajaLila #Baulsadhana #BaulAvadhut #BaulAvadhuta #BaulthepathoftheAvadhuta #BaulsahajaKrishnaDattatreyasahahaja #Baultantramantragopiyantra #BaulKirtan #BaultheRasaLilaMystics #BaulVayuTula #Baulwindcatchers #mirrorofthesky

---

Geographic & Cultural Context

#BirbhumBaul #Birbhum #EkachakraBirbhum #Tarapith #TarapithandBaul #TaraMa&Baul #Kolkata #Shantiniketan #shantiniketanbirbum #Bengal #baulofbengal #baulofbirbhum #India #IncredibleIndia #indianmusic #sangeetnatakakademi

---

Critique & Preservation

#Baultruth #Baulculturalappropriation #Baulrealhistory #EndangeredBaullineage #Baulendangeredlineageparampara #Baulhistory #baularchive #archivedbaul

---

Baul Music

#baulmusic #baulgaan #Bauldocumentary #baulsangeet #baulkirtan #ektara #gopiyantra

---

Related Figures & Movements

#RabindranathTagore #BaulTagore #osho #VaishnavaBaul #TantricBaul #vaishnavaaghori #Ramakrishna #BaulandRamakrishna

---

General & Other

#baul #historicalBaul #pioneeringBaul #baulwomen #baulsaint #legendarybaul #baulartist #BaulGuruShishyaParampara #Baulparampara

"Authentic Baul" #AuthenticBaul

"Vaishnava Sahajiya Tantric Bauls" #VaishnavaSahajiyaTantricBauls

"Birbhum Baul" #BirbhumBaul

"Nabani Das Khyapa Baul" #NabaniDasKhyapaBaul 

"Babu Kishan Baul" / "Krishnendu Das Baul" #KrishnenduDasBaul

"Baul Guru Shishya Parampara" #BaulGuruShishyaParampara #Baulparampara

"Baul philosophy" #Baulphilosophy

"Krishna Kali unity" #Krishnakali

"Raai Raja lila" #RaaiRajaLila

"Real Baul history" #Baulrealhistory

"Baul cultural appropriation" #baulculturalappropriation

"Endangered Baul lineage" #Baulendangeredlineageparampara

#BaulandRamakrishna

Baul and Ramakrishna is only associated with KD Babu Kishan as he is the only Baul to be a monk in the Ramakrishna Mission for 12 years, this is a first and last in Baul. 

#Baul&Tantra 

Baul and Tantra is only associated with Nabani Das Khyapa Baul and KD Babu Kishan, Baul and Tarapith is only associated with them both too. Those others are not Baul as Baul Artist of an non-indigenous Baul is not a Baul but a users, poser, actor trying to remake the already lived lives of this parampara, do you speak the language, do you know what they are singing or who is the owner of the songs, or even if the songs are Baul songs, no you do not, so don't make emotional promotional comments when you do not even understand. You are cheering for a fake Baul and have no clue.

• The practice of "Baul Kirtan-anga" Copyright, all songs will be reclaimed that belong to this lineages.  

  #BaulKirtan 

  (only this lineage, parampara, no one used Baul kirtan until they read it on this blog, this is downright appropriation and false advertising by fake opportunistic self-titled so-called Bauls for marketing purposes, they have appropriated this lineages intellectual property, it can be proven and must be brought to the attention of the public because they are asking for donations and fundraising for jackpots, awards, grants and are not Baul, their Guru is a fake Baul Guru.

  
  

• The "Rasa Lila Mystics" this is the only lineage parampara that is Vaishnava and Vaishnava Sahajiya Gosia Chandra Das Baul and Dasi, there is not another, never was. #BaultheRasaLilaMystics

  
  

• "Baul Tantra Mantra Gopi Yantra". Copyright, no poaching  

  #Baultantramantragopiyantra

• "The path of the Avadhuta". Copyright there are no other Baul Avadhuta's and that title only belongs to this lineage or singular parampara, there is not another. They make Baul a no name generic Baul while claiming the intellectual property and the already lived firsts and lasts of this lineage. I have documented thousands of misuse of Baul for over 20 years, if you would like to see my research contact KD Babu Kishan, his website is listed throughout this blog and website  

  #BaulthepathoftheAvadhuta

• "Baul Sahaja is Krishna & Dattatreya Sahaja". Copyright and only mentioned by KD Babu Kishan  

  #BaulsahajaKrishnaDattatreyasahahaja

The Windcatchers (Vayu Tula). #BaulVayuTula. #baulwindcatchers

#India #lineagebaul #baultantra #baullineage #baulofbengal #babukishan  #baulwomen #baulavadhuta #baulsaint #legendarybaul  #nabanidasbaul  #mirrorofthesky  #rabindranathtagor  #osho  #vaishnavabaul  #vaishnavaaghori #baul #baulmusic  #tantra  #babukishan  #baulgaan  #nabanidasbaul  #purnadasbaul  #bengal  #india  #indianmusic #shantiniketan  #baullineage #bengalibaul  #baularchive  #archivedbaulbn#Baulhistory #BaulofBengal  #BaulofBirbhum #dasbaul #Kolkata  #Bauldocumentary  #baulkirtan  #Baulsadhana  #ektara  #EkachakraBirbhum  #gopiyantra   #baultantra #NabonidasKhyapabaul  #bauldocumentary  #baulsangeet   #RabindranathTagore  #BaulTagore  #shantiniketanbirbum #jainitai  #jaiguru  #NityanandaofEkachakra  #BaulAvadhut  #Birbhum  #Tarapith  #Kolkata  #IncredibleIndia  #India #VaishnavaBaul  #TantricBaul   #sangeetnatakakademi 

Va

"Authentic Baul" #AuthenticBaul

"Vaishnava Sahajiya Tantric Bauls" #VaishnavaSahajiyaTantricBauls

"Birbhum Baul" #BirbhumBaul

"Nabani Das Khyapa Baul" #NabaniDasKhyapaBaul 

"Babu Kishan Baul" / "Krishnendu Das Baul" #KrishnenduDasBaul

"Baul Guru Shishya Parampara" #BaulGuruShishyaParampara #Baulparampara

"Baul philosophy" #Baulphilosophy

"Krishna Kali unity" #Krishnakali

"Raai Raja lila" #RaaiRajaLila

"Real Baul history" #Baulrealhistory

"Baul cultural appropriation" #baulculturalappropriation

"Endangered Baul lineage" #Baulendangeredlineageparampara

#BaulandRamakrishna

#Baul&Tantra 

• The practice of "Baul Kirtan-anga"  

  #BaulKirtan

• The "Rasa Lila Mystics" Raasa leela Mystics, Raas Tattva (this lineage only)  

  #BaultheRasaLilaMystics

• "Baul Tantra Mantra Gopi Yantra".  

  #Baultantramantragopiyantra

• "The path of the Avadhuta".  

  #BaulthepathoftheAvadhuta

• "Baul Sahaja is Krishna & Dattatreya Sahaja". #BaulsahajaKrishnaDattatreyasahahaja

The Windcatchers (Vayu Tula). #BaulVayuTula. #baulwindcatchers

#lineagebaul

#baultantra

#baullineage

#baulofbengal

#babukishan

#baulwomen

#baulavadhuta

#baulsaint

#legendarybaul

#nabanidasbaul

#mirrorofthesky

#rabindranathtagore

#osho

#vaishnavabaul 

#vaishnavaaghori

#baul 

#baulmusic

 #tantra 

#babukishan

 #baulgaan

 #nabanidasbaul

 #purnadasbaul 

#bengal

 #india 

#indianmusic

 #shantiniketan

 #baullineage

#bengalibaul 

#baularchive

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