BAUL ARCHIVE -Oldest only Lineage (Parampara) of Vaishnava Sahajiya Tantric Baul, Das Baul (Gosai)

Babu Kishan's aka Krishnendu Das Baul 4th Book 2025, a tell all 'HISTORICAL LINEAGE BAUL' will be released soon. Vaishnava Shahjiya Tantric Baul (Gosia Chand) are the only Baul lineage of Bhakti Tantric Yoga, the lineage of Kirtan. Babu Kishan has 'ARCHIVED and PRESERVED' this ONE and ONLY LINEAGE of Baul history and herstoryfor over 60 years, as indigenous people they have a right to their self-determination. This lineage does not follow others, others follow them.

Sunday, May 11, 2025

Critique: Nabani Das Khyapa Baul Sculpture by Ramkinkar Baij. Comments by Moushumi Bhowmik a myth maker on a feild trip?

Setting the Record Straight: Nabani Das Khyapa Baul's Passing

You unequivocally state that Nabani Das Khyapa Baul did not pass away in 1962 or 1964, as speculated by Allen Ginsberg (who later admitted his error to Babu Kishan) and Moushumi Bhowmik, respectively. According to Krishnendu Das Baul, who lived with Nabani until his passing, Nabani Das Khyapa Baul died in 1969. Babu Kishan, as Nabani's eldest grandchild, was raised by him and his initiating Guru, Brajabala Dasi. This intimate bond and direct experience make Babu Kishan the authoritative source on Nabani's life and the traditions of this specific Baul lineage.

You highlight that Purna Das Baul's Guru was Omkar Sitaram Das, not Nabani. Furthermore, you mention that Babu Kishan was named Krishnendu by Nabani at birth and lived the story from his birth until Nabani's passing in 1969. While Purna Das Baul was in Calcutta with his other two sons, Babu Kishan was left with Nabani. This personal history underscores your assertion that no one would know more about Nabani Das Khyapa Baul than Babu Kishan. You critique any "speculation with inaccuracies" as "myth-making."

The Negligence of the Nabani Das Khyapa Baul Statue

You express strong disapproval of the art historian's role in the neglected state of the statue of Nabani Das Khyapa Baul at Visva-Bharati University. You argue that any competent art historian would recognize Ramkinkar Baij's unmistakable style by comparing it to his other sculptures. You question why the art historian hasn't consulted Ramkinkar Baij's family for verification.

You convey Babu Kishan's sentiment that this art historian is likely a "typical communist know-it-all" who doesn't even understand who Nabani Das Khyapa Baul was. You lament that there's no one left at Visva-Bharati who knew Nabani, or even Purna Das Baul anymore, attributing this to a history of communism destroying culture in Bengal. You acknowledge efforts to revive Hindu culture but note a frequent lack of nuanced understanding.

You powerfully assert that Babu Kishan, who was with Nabani at the moment of his passing, and whose profound shock led to a week-long samadhi, carries Nabani's essence within him. This deep, lifelong connection has never been fully revealed.

Debunking "Mirror of the Sky" and Academic Misinterpretations

You point out that while Deben Bhattacharya's book, "Mirror of the Sky," features pictures and some stories about Nabani Das Khyapa Baul and this lineage, it contains inaccuracies and misses crucial details. You affirm that "Mirror of the Sky" was indeed the name Tagore gave Nabani, but you highlight that many of Nabani's own poems in Bhattacharya's book are erroneously attributed as "anonymous," particularly Nabani's song "Mirror of Sky." You criticize academics, journalists, and "fake Bauls" for accepting Bhattacharya's potentially incorrect information. You also mention that Deben's translations of short poems from this lineage are reduced in meaning, and his explanations of Gosai names (which refer to this lineage) are inadequate, indicating a lack of true understanding of Baul.

You emphasize the right of this Baul lineage to self-determination, asserting that unless one has conducted rigorous research on Baul, they cannot label Babu Kishan a "myth-maker," especially when journalists and "outsider pretendian fake Bauls" are not authentic Bauls themselves. You concede that past inaccuracies weren't entirely the fault of others, but rather due to Babu Kishan not speaking up. However, you immediately clarify that Babu Kishan has been actively qualifying what is real and fake in Baul since the 1970s, standing up to prominent academics worldwide who often dismissed his voice. You find it "insulting and demeaning" for an indigenous person's voice to be dismissed and replaced by "colonial academic scholars" and "fake pretendian shilpi nakal Bauls" who are "riding on the coattails" of this lineage, creating a "random and generic Baul."

You assert that the authority of any indigenous lineage, based on Guru-Shishya (Parampara), lies within that lineage. This is why the creation of fake lineages and fake Baul Gurus must be exposed. You state that people need to know the questions to ask to discern who is real and who is a fake Baul, particularly those using Baul for personal gain.

The True Meaning of Baul and Its Indigenous Identity

You stress the urgency of revealing the truth about Baul, as there's "no time left." You declare that Baul can only be qualified and self-determined by an indigenous lineage, a 'Guru shishya parampara sampradya' of Baul.

You clarify that there is only one lineage of Vaishnava Sahajiya Tantric Baul, which is 'Vayu Tula'. You dismiss "Vatula" as an incorrect description, stating that Baul is not an Ayurvedic Vata derangement or "afflicted by the wind," as is commonly repeated. You explain that Baul is derived from two Sanskrit words, a nuance only a Sanskritist would know. Baul, you reiterate, comes from a long lineage of ancestors, making it their birthright to self-determine who they are, though they too must be "qualified in every which way." Baul is never from a random Guru or a one- or two-lineage based on a poet.

You outline key qualifications for an authentic Baul: being indigenous to the soil and soul of Birbhum, knowing the music and history of the Bauls, understanding oral Sanskrit and vernacular Birbhum, and possessing knowledge of their secret coded language (sandhya Bhasha) of allegory, metaphor, paradox, and riddle, as well as Braja Bhasha. You emphasize the significant difference between oral Sanskrit and classical Sanskrit, noting that Babu Kishan, who knows both, can instantly discern who is genuinely a Baul. You criticize the superficial, one-word paragraph definitions of Vaishnava Sahajiya Bauls of Birbhum, highlighting that one must know it from birth, not just be "learning."

You accuse the art historian of missing the nuances and distinctions of Baul and question whether he even understands who Nabani is or compared his sculpture to Ramkinkar Baij's other works. You assert that regardless of the art historian's knowledge, the statue is in the custody of Visva-Bharati University, and its deterioration due to negligence is shameful.

You fiercely condemn the "fake new age mishmash of patchwork" where individuals steal intellectual property from this lineage and use it for entertainment and to "collect people." You lament that many people today are drawn to fakes, irrational in their choices, and uninterested in researching what Baul truly is. You reject the reduction of Baul to a "hugging saint thing" where one touches their feet, reiterating that Baul teaches others to touch their own feet.

You re-emphasize that Baul means 'Vayu Tula,' not the Ayurvedic term 'vatula' ("afflicted by the wind"), which you deem insulting to indigenous Baul people and a "virus" of misrepresentation. You challenge individuals to research the Sanskrit meanings of 'Vayu' and 'Tula,' stressing that true Bauls are oral Sanskritists from birth. You state that Babu Kishan can immediately tell what kind of Sanskrit knowledge someone possesses, and that there are specific questions to discern lies, fakes, and those using an indigenous ancestral tradition for personal gain.

Babu Kishan: Reclaiming the Narrative and Exposing Fraudulent Fundraising

You reiterate that Babu Kishan, as a Birbhum-born indigenous Baul, is reclaiming the narrative of his one and only lineage of Baul, vowing to call out even single historical inaccuracies. You firmly state that Baul is preserved due to his over 60 years of work, and therefore, anyone fundraising in the name of Baul is a "cheater and a liar." You assert that Baul is not and never was Muslim, accusing those who use this association for fundraising of criminal behavior. This will be further explained in Babu Kishan's fourth book.

You provide links to reinforce your claims:

You directly critique journalist and field researcher Moushumi Bhowmik of the "travelling archives", specifically regarding her statements implying Babu Kishan is a "myth-maker" about his own lived life. You highlight that she has never spoken to or met Babu Kishan. While acknowledging some good research, you point out key mistakes and assumptions. Babu Kishan's stance, as you convey, is: "don't write about him, if you do not know him." You contend that Bhowmik is criticizing him as if he's a child making up stories, while her own project is a "myth" that can be disproven.

You also assert that the picture of Nabani used in her research was taken by Babu Kishan himself, and both the picture and story are his intellectual property. You question whether Bhowmik obtained permission to use them.

You re-emphasize the negligence regarding Nabani's statue, stating that if the art historian had done proper research, they would know that Nabani's unique style (Ektara, Baya, Nupoor) was later copied by all fake Bauls. You criticize Bhowmik's "mishmash" project for making assumptions about Babu Kishan's residence (he does not live in the USA) and for not recognizing his legitimate voice as the only indigenous ancestral Baul who preserved Baul over six decades. You also mention that Purna Das Baul's youngest brother had no interest in Baul, and it was Babu Kishan who handled all documentation, recording, contacts, and speaking for his father (who didn't speak English).

Countering False Claims and Asserting Authority

You break down and refute a paragraph from Bhowmik's research:

Bhowmik's statement: "Within the Nabani Das family, there are all sorts of myths which do the rounds. Over the years, Nabani Das , Purna Das and Lakshman (also spelt Laxman and Luxman) Das became part of something big, a kind of establishment, studied by scholars and the latter two recorded by major international labels, performing in music concerts around the world, especially Purna Das Baul."

Your Answer/Critique: You clarify that Purna Das Baul's major label recordings were solely facilitated by Babu Kishan, who worked for all major record labels in Mumbai as a Music Composer. You confirm that academic scholars knew Babu Kishan because he would critique and correct their work, and that this global recognition happened because this one and only pioneering Guru-Shishya Parampara Sampradaya brought Baul to fame. You link this fame to the rise of "fake Bauls" who "rode on the coattails" by copying songs, style, dance, dress, instruments, travels, and actions. This cultural shift, you argue, led to the "demise of the indigenous Bauls," as their traditional lifestyle became unsustainable.

You state that Babu Kishan created a new template for indigenous Bauls to survive through worldwide cultural programs, but this template was then "usurped by the trickster pretendian actor Bauls," leading to Baul's near extinction. You question how indigenous Bauls can survive if their intellectual property is stolen and turned into a deceptive "show," especially when audiences don't understand the language or history.

You assert that Purna Das Baul was a highly awarded representative of Indian Culture through ICCR and Sangeet Natak Akademi, singing across India, even for Indira Gandhi and Rajiv Gandhi, with Babu Kishan and Manju Das by his side. You connect this to Nabani Das Khyapa Baul, who was the first Baul to sing on stages for the Freedom Movement, and for Nehru at the inauguration of India. You criticize "fake actor Bauls" for spreading false narratives due to their ignorance of this history.

You demand that before anyone makes random claims about this lineage or labels them "myth-makers," they must understand that this is an indigenous people with the right to self-determination, who have been exploited, copied, and reduced to a group of "illiterates." You highlight their mastery of oral Sanskrit, vernacular Bengali, sandhya Bhasha, and Braja Bhasha, contrasting it with the academic assumption of illiteracy. You dismiss academic scholars as the final word on Baul, stating that Babu Kishan is both an indigenous Baul and an academic scholar with extensive qualifications and a successful career as a Music Composer and poet. You contrast him with his brothers and father, and mention his 12 years as a monk in the Ramakrishna Mission, his degrees from Calcutta University, and his global teaching experience in Indian Philosophy, Baul, Tantra, and Indian Music. He also categorized all the folk music of India for major recording companies in Bombay. You conclude that Bhowmik "picked on the wrong guy to call a myth maker."

You also provide a direct rebuttal to another of Bhowmik's statements:

Bhowmik's statement: "Which is why family members are careful to mark their individual place within that lineage. For example, one of Purna Das’ sons who lives in the USA now, Krishnendu Das Baul aka Babu Kishan Das, makes many claims about Nabani Das ’ associations with Santiniketan, particularly with Tagore."

Your Answer/Critique: You find it "insulting" to suggest that family members are "marking their territory," emphasizing that it's about the marginalization of the only Baul lineage by "fake pretendian nakal shilpi Baul" and false narratives. You directly state that Babu Kishan doesn't make claims; he provides the truth. You confirm his birth in Birbhum, his instrumental role in taking Baul worldwide, and his association with and teaching at universities globally. You reiterate that he does not live in the USA and is Nabani Das Khyapa Baul's eldest grandchild and Purna Das Baul's eldest son.

You clarify that the sculpture on the outskirts of Santiniketan is indeed of Nabani Das Khyapa Baul, Tagore's Baul, a fact known by those familiar with the history. You express shame that Visva-Bharati University and its art historian expert are unaware of this or that Ramkinkar Baij sculpted the statue as commissioned by Tagore, and that the sculpture is deteriorating due to negligence. You question the qualifications of the journalist and art historian for questioning Babu Kishan, emphasizing his age and his 60 years of Baul preservation, contrasting it with his father and brothers' lack of interest.

You unequivocally state that the claim that the statue was inspired by Nabani is not a "claim" at all. You challenge the art historian's sources and right to label Babu Kishan a "liar" or "myth maker" without knowing him. You insist that Ramkinkar Baij was not merely "inspired" but commissioned by Tagore to create the statue.

You reiterate that Visva-Bharati University should be ashamed of the statue's neglect and their ignorance of its history. You dismiss the art historian's (Susobhan Adhikary's) dispute, stating he is "wrong" and knows nothing about Baul, Tagore, or Ramkinkar Baij's family. You then list a formidable array of individuals—Shanti Dev Ghosh, Prabhat Mukherjee, Lila Roy, Nimai Sadhan Bose, Kriti Mohan Sen Shastri, Amrytn Sen (grandfather), the Birbhum District Magistrate, Birbhum's Minister, West Bengal's Minister, and Pranab Mukherjee and his father—all of whom, you assert, confirmed to Babu Kishan that the statue was of Nabani Das Khyapa Baul, commissioned by Tagore and created by Ramkinkar Baij. You challenge the art historian to confirm if he spoke to these individuals.

You assert that Babu Kishan's grandmother Brajabala Dasi and Nabani Das Khyapa Baul also confirmed this to him. You conclude by asserting that Babu Kishan is the authority on Baul as the eldest of his generation, the only grandchild raised by Nabani, and the only one in his family to have preserved Baul for over 60 years. You reiterate your displeasure at him being disparaged and called a "myth maker."

Finally, you reaffirm that all the listed individuals confirmed the statue was of Nabani Das Khyapa Baul, known as "Mirror of the Sky," Khyapa Baba, or Khyapa Baul, who inspired and initiated Tagore into Baul. You challenge the art historian Susobhan Adhikary's knowledge of Baul and Babu Kishan, directing readers to BabuKishan.org for further information. You also emphasize the importance of Lila Roy, who edited Babu Kishan's fourth book.

https://lineagebaul.blogspot.com/2018/09/lila-roy-rabindranath-tagores-personal.html

KD Babu Kishan, Krishnendu was only 22 years of age in this picture.

Lila Roy's Testimony and Nabani's Statue

You explicitly state that Lila Roy, a close friend of Babu Kishan since 1985, knew Nabani Das Khyapa Baul and the entire family across generations. You emphasize her as a rare supporter and true connoisseur of this lineage.
Crucially, you assert that Lila Roy herself confirmed that the statue was commissioned by Rabindranath Tagore in honor of Nabani Das Khyapa Baul, his Baul Guru and the only Baul with such a close relationship to Tagore.
You express outrage at anyone calling this a "myth" or even implying it, and issue a direct challenge to the art historian, stating he will "love Babu Kishan's wisdom" in Santiniketan, implying his current lack of knowledge about Baul and Babu Kishan.

Critiquing the Art Historian's Knowledge and Negligence

You question the art historian's knowledge of the prominent individuals previously mentioned who confirmed the statue's identity.
You accuse him of having no right to make such claims and express shame that he has allowed a "historical piece of art to end up in such decline."
You firmly state that the art historian knows "nothing about Nabani Das Khyapa Baul or the history of the Bauls, not a thing." You challenge whether he even bothered to compare the statue's depiction of dance style to Nabani Das Khyapa Baul's unique way of dancing, implying his ignorance of core Baul aesthetics.
You highlight that Babu Kishan, in contrast, "knew all the great artist of the time and he knew the RamKinkar Baij family very well."
You state that all "respected Bengalis" who knew this lineage were aware that the statue was commissioned by Tagore and created by Ramkinkar Baij.

Nabani's Appearance and The Undeniable Identity of the Statue

You note that Nabani's appearance varied (sometimes wearing a turban, sometimes not; beard length fluctuating), but stress that he was the only Baul with "huge jata or dreadlocks," and that no Baul women ever had them, indicating current Baul practices are "all fake today."
You re-emphasize that Nabani Das Khyapa Baul was "the one and only Nabani Khyapa Baul as per just about everybody back in the day."
You declare that the sculpture by Ramkinkar Baij, who was a close friend of Nabani's, is "of Nabani only it is undeniable."
You lament the "generic and random" presentation of Baul today, where "names have been taken off and new lineages and Baul Gurus designed." You vow to "qualify them all one by one."
You stress the importance of reclaiming Baul back to its roots for its correct preservation, and declare, "enough of the myth makers and speculators."

Confirmation of the Photo

You explicitly state that the photo you refer to (presumably presented elsewhere or intended for inclusion) was taken by KD Babu Kishan in the 1980s.
You identify the subject of the photo not as "any Baul," but specifically as "Tagore's Baul Nabani Das Khyapa Baul, aka Mirror of the Sky, aka Khyapa Baba aka Khyapa Baul."

In essence, you are asserting that Babu Kishan is the living embodiment of this authentic Baul lineage, holding direct, verifiable knowledge that refutes external academic or journalistic narratives, particularly concerning the historical details and key figures of the tradition. You are setting a clear boundary against what you perceive as cultural misappropriation and the fabrication of false histories.

Brajabala sang too and we had talked about her on 6 May 2019.

By the way this photo is taken by KD Babu Kishan

THE ONLY OFFICIAL 'BAUL ARCHIVE' of INDIGENOUS ANCESTRAL BAUL

All content on this blog is the sole property of Babu Kishan aka Krishnendu Das. Please ask Babu directly before you name drop from his stories and lineage! Indigenous Baul identity theft is a real thing. No poaching, stealing, hijacking - by taking names off and recreating fake stories or stealing anything from this blog. This Blog is designed and written by Trishula Das who is Babu Kishan's wife of almost 20 years, listening to Baul for 24/7. Please do not copy these stories, rework them and then put your own name the stories or add other Baul names from fake lineages, there are no other lineages of Baul. Do not copy place by place, what he has accomplished reworking, retracing work, such as teaching at Universities when you never went to a University, or pretending you ever had an association with the Ramakrishna Mission when Babu Kishan the first and last Baul to attend the Ramakrishna Mission and fundraise for the Ramakrishna Mission for decades. Oh and worst yet do not make lose associations with Indian Cinema when Babu Kishan is the first and last and only Baul to have actually worked in all levels of Management, Filmaker and Music Composer in Indian Cinema (Bollywood). There is no need for fake PRETENDIAN Bauls called Baul Masters or Baul Artists to fundraise as saviours of Baul when Baul has already been preserved by Babu Kishan decades ago (1960- now) that is over 60 years. Please do not take his name off and tell his stories that can only be known or have only been told by Babu Kishan about his lineage of his Guru Nabani Das Khyapa Baul. Do not reprint and twist, turn, cherry pick, using names from Babu's life with people he knows, then on youtube talk like as if you know when you took it from this blog or his website. Do not make Baul randon or generic, to include yourself, first there is no way you are Baul and your fake Baul Guru and fake lineage are fakes, this is indigenous FRAUD. Nabani Das Style with Baya (hand drum at waist) Ektara and Nupoor style ankle bells, are Nabani Das Khyapa Baul style only, his son Purna Das Baul's style too, cease and desist from using their songs, style, faking this lineage this is indigenous identity theft, it not our fault your fake Baul Guru copied this whole lineage, it is your fault for lying and continuing the indigenous Fraud and even worse now trying to fundraise to preserve Baul when Baul is already preserved, this is indigenous fraud. This is Cultural Mis-Appropriation.

The content of this Blog will be expanded on and included in 'Historical Baul' to be released 2025 this is Babu Kishan's 4th book on Baul, the others are out of print from 1980's. Historical Autobiography of Baul The Rasa Lila Mystics Reclaiming the Indigenous Ancestral Heritage of the Vaishnava Sahajiya Tantric Bauls of Birbhum BAUL TANTRA- MANTRA- GOPI YANTRA, The path of the Avadhuta (Please do not call yourself an Avadhuta now) LOL Baul has been overworked, reworked so many times over, nobody would even know what is real and what is fake.

When anyone cuts the names and stories of this lineage off the stories and then replaces their names on these stories this is wrong. It is a fact that no one in India or around the World only know about Baul because of this family lineage.

This lineage is the first and only Pioneering Lineage to bring Baul out of the village in Birbhum to the World.

Some others were invited to travel with them or followed them, trying to do what they have already done, then Riding on the Coat Tails of this lineage saying they are they are first, they are not, the first Women Baul to travel around the world starting in 1969 was Manju Das before internet.

Copying what Babu Kishan and his family have already done is miseducating the public because many are making astronomical claims that are not true. Yet they are singing the songs of this lineage but adding other peoples names, this is a cultural appropriation. There is a Baul History and Her-story and this story was complete decades ago.

The real Baul is extinct! Babu Kishan has ARCHIVED BAUL decades ago, it has been done, it is complete. This will be presented one by one. This is important because 'Newcomers to BAUL', are watering down, reducing and dumbing down Baul. The speculation on who the Bauls are is mind boggling. Scholars have never got it right, they only speculate or talk to the wrong people. These statements will be qualified one by one.

Babu Kishan has preserved his one and only'Lineage Baul' because he could fore tell the change Baul was even going through back in the 1970's.

No one in this world would know who the Bauls of Bengal are without all the work of this family, this lineage and Babu Kishan. All Bauls follow this lineage, this lineage is ancient and they do not follow anybody.

The new Baul singers, follow this lineage by singing their songs, by dressing as they dress, by following them around the world and by meeting their friends.

Bob Dylan, Allen Ginsberg, Rabindranath Tagore, Osho and many others were only associated with this family and this lineage.

Babu Kishan is the eldest in his generation of Vaishnava Tantric Bauls, he is Nabani Das Khyapa Bauls eldest Grandson and raised by Nabani and Brajabala from Birth til he was 8 years of age, they instilled in him that he preserve his Lineage Baul and this he completed decades ago. It has been done and will only be presented in time.