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

Babu Kishan's aka Krishnendu Das Baul 4th Book 2026, a tell all 'HISTORICAL LINEAGE BAUL' soon. Vaishnava Shahjiya Tantric Baul (Gosia Chand) are the only Baul lineage of Kirtan, Bhakti Tantric parampara. KD Babu Kishan has 'ARCHIVED and PRESERVED' this ONE and ONLY LINEAGE of Baul history for over 60 years, as indigenous people they have a right to their self-determination. This lineage does not follow others, others follow them.

Friday, August 21, 2026

History of Vaishnava Sahajiya (Gosia Chandra Das Baul & Dasi) based on Purna Das Baul & Radharani Dasi - Baul Movies

Cinematic Memory: based on Purna Das Baul & Radharani Dasi, the only Baul films, both of which Krishnendu Das Baul (Babu Kishan) worked on behind the scenes.

BabuKishan.org

https://lineagebaul.blogspot.com/2026/04/baul-movie-1985-tagori-based-on.html

https://draft.blogger.com/u/1/blog/post/edit/1293378575441444999/838715591565591201

Notice: The historical documentation, biographical details, and lineage archives presented here are the direct intellectual property of KD Babu Kishan. Any reproduction, citation, or adaptation without explicit attribution and authorization is strictly prohibited.

Without the personal archives and lifelong documentation of KD Babu Kishan (Krishnendu Das Baul), the true history of Baul cinema would be entirely forgotten or rewritten by outsiders. As an insider who served for four decades as a music producer, director’s assistant, composer, and actor in Indian Cinema, Babu Kishan preserved the historical record of how his family’s lived experiences were brought to the silver screen.

**1. Hansaraj (1981): The Dramatized Reality of Purna Das Baul**

The film Hansaraj (1981) is a cinematic adaptation inspired directly by the early life, struggles, and artistic triumphs of Baul Samrat Purna Das Baul.

The Narrative Core: The film captures the raw story of Purna Das Baul leaving the rural soil of Birbhum as a child, navigating the fierce social and economic struggles of Kolkata, and ultimately bringing the sacred sound of Baul from village dust to national and global prominence.

Cinematic Styling: While the production team opted for a stylized 1960s aesthetic, the story depicts the gritty realities of the 1940s and 1950s—a crucial era when the Das Baul family was pioneering the public path for Baul music against institutional prejudice.

Babu Kishan’s Role: KD Babu Kishan served directly as an Assistant to the Director on this film, ensuring that the musical authenticity and core spirit of his father’s early journey remained intact.

**2. Tagori (1985): The Legacy of Radharani Dasi**

The 1985 Bengali feature film Tagari dramatizes the life of Babu Kishan’s aunt, Radharani Dasi (Dasi Baul), a formidable female figure within the ancestral lineage.

The 1985 feature film 'Tagori'. Source: Bengal Film Archive

Preserving Women’s Lineage: While modern commentators pretend female Bauls are a recent development, Tagori stands as historical proof of the prominent, powerful role that initiated Dasi Bauls held within this family long before commercial folk pop existed.

Direct Kinship and Production: Babu Kishan worked directly on Tagari as assistant director, ensuring that the portrayal reflected the genuine Adhikara and lived realities of his aunt Radharani Dasi rather than a sensationalized caricature.

3. Lineage Clarification: The Distinction Between Baul, Sufi, and Non-Lineage Traditions

The systematic conflation of all wandering mendicants, Sufi singers, and regional folk performers under the generic label "Baul" has diluted the tradition to the brink of extinction. To protect the integrity of the ancestral record, clear historical boundaries must be established:

┌──────────────────────────────────────────────────────────────────────────┐
│                   LINEAGE AND IDENTITY CLARIFICATIONS                    │
├──────────────────────────────────────────────────────────────────────────┤
│ • THE SOVEREIGN SURNAME: The titles 'Das Baul' and 'Dasi Baul' belong    │
│   exclusively to the initiated practitioners of this singular lineage.   │
│ • SANATAN FOUNDATION: Authentic Baul is rooted in Sanatan Dharma, the    │
│   Bhagavad Gita, Vaishnava Sahajiya, and ancient Indian philosophy.     │
│ • SUFI vs. BAUL: Fakir, Sai, Aula, Shah, and Dervish belong to Sufi      │
│   traditions. They are distinct spiritual paths, not Baul.               │
│ • SYNCRETIC ACCEPTANCE: While Bauls graciously incorporate universal     │
│   truths from Sufism or Christianity, this hospitality does not mean     │
│   external traditions become Bauls.                                      │
└──────────────────────────────────────────────────────────────────────────┘

The Erroneous "Made-Up" Lineages

Modern stage performers frequently dress in the attire of the Das Baul family, perform the stolen songs and arrangements composed by this family, and claim "ancient lineages" that exist only in their imaginations. A performer singing traditional Birbhum songs or Bangladeshi folk music without direct disciplic initiation (Parampara) is simply a folk singer—not an indigenous Baul master.

Sanatan Dharma and Universal Hospitality

Authentic Baul is an ancient, body-centered (Deha Tattva) science deeply intertwined with Sanatan Dharma and the core truths of the Bhagavad Gita.

---------------

Tagori (1985): The Cinematic Blueprint of the Baul Identity, based on Radharani Dasi - Nabani Das Khyapa Baul & Brajabla Dasi's daughter, Purna Das Bauls sister.The film Tagori, directed by the brilliant Ajit Ganguly, stands as a historical pillar in Bengali cinema. Based on the life of Radharani Dasi—the daughter of Nabani Das Khyapa Baul—it served as a definitive record of the family’s legacy. The production featured the authentic lineage, including Brajabala Dasi, Purna Das Baul, Manju Das, and the young Krishnendu Das (Babu Kishan), alongside other family members like Laxman Das and Chakradhar Das.
The Invention of the "Baul Look"One of the most significant, yet uncredited, historical facts regarding this film is that Babu Kishan designed the iconic patchwork dress worn in the movie. This specific aesthetic—the Alkhalla—has since been copied by every "cosplaying" Baul since 1985. After watching Purna Das Baul in Tagori, performers began mimicking this exact design to appear "authentic." Similarly, the specific attire worn by Baul women in the modern era was also a creation of Babu Kishan for this production. What the world now considers "traditional Baul clothing" was, in fact, a deliberate artistic design by Babu Kishan to represent his family on screen.
Musical and Creative ContributionsBabu Kishan’s involvement in Tagori went far beyond costume design. He served as the Assistant Music Director, where he achieved a significant milestone by composing two songs for the film—one performed by his father, Purna Das Baul, and the other by his mother, Manju Das.
His creative influence extended to the very atmosphere of the film:
Location Scouting: He provided the production with the best, most authentic locations to capture the spirit of the Rarh region.
Styling the Stars: He designed the costumes not only for his parents but also for the lead actors Sandhya Roy and Santu Mukherjee, ensuring the visual integrity of the Baul culture was maintained.
Continued Collaboration: Following the success of Tagori, Babu Kishan continued to assist Director Ajit Ganguly on other vital films, such as Hansraj and Srimati Hansraj.
The Legacy of the "Tagori" InfluenceThese films were more than just entertainment; they were a cultural phenomenon that inspired generations of Bengali women. Even today, the figure of Tagori remains a symbol of spiritual and artistic independence.
However, there is a bittersweet reality to this success: the "Pretendian" Bauls of today use the visual language established in Tagori—the patchwork, the styling, and the mannerisms—to market themselves to tourists. They want to be Tagori, but they lack the bloodline, the initiation, and the technical work that Babu Kishan poured into the film's creation. Tagori was a family record; today, it is used as a costume shop for those seeking fame without the sacrifice.

The Sufi Distinction: Sufism is an honorable, distinct Islamic mystic path. A Sufi

The Historical Verdict: You can put on the costume, copy the songs, and play the cinematic roles, but you cannot fabricate an ancestral bloodline. KD Babu Kishan remains the sole, undisputed guardian who was present behind the camera, inside the studio, and on the soil—documenting the true history so that the living library of the ancestors will never be erased.

The only 2 Film about Baul are these 2 first Hansaraj 1976 about Purna Chandra Das Baul Life and the 2nd one is Tagori about his siters life Radharani - Krishnendu Das Baul worked on both films as a consultant and designer. The Film Monar Manush is not a Baul film, it is a Film about the poet Lalon Fakir, who is not a Baul, they used Baul because this lineage made Baul famous to sell their film. Babu Kishan knows everybody involved in all these films.

https://lineagebaul.blogspot.com/2011/08/hansraj-1976-film-of-life-of-purna-das.html

The #Film based on #RadharaniDasi’s life (Daughter of Nabani Das Khyapa Baul: 
#TAGORI 
 
Moner Manush 2010 was not a film on Baul, they used Baul to promote their film. 
 
The film you "Moner Manush" (2010), directed by Goutam Ghose and starring Bengali mainstream actor Prosenjit Chatterjee as Lalon Shah (Lalon Fakir).

This was not a Baul film, Lalon Fakir (Shah) was not a Baul, this historical book will explain why as you journey through these pages. Aul, Sai, Fakir, Dervish, Muslim Sufi are not Baul.
Goutam Ghose's 2010 film 'Moner Manush'. Source: Cinemascope

It was a major India-Bangladesh joint production that went on to win prestigious accolades, including the Golden Peacock for Best Film at the 41st International Film Festival of India (IFFI) and the National Film Award for Best Feature Film on National Integration in India. While the Calcutta people flooded to the theater thinking they were seeing a Film about Baul they were seeing a movie about the great Poet Lalon Fakir. They used Baul only because they knew about Baul from this lineage and they knew Babu Kishan for years from the Calcutta film Industry.

This film highlights a major historical and cultural conflation that occurred when this film was produced and marketed to the masses as a film about Baul.

The Origin & Framing of the Film

The movie was not adapted directly from primary historical records or lineage archives. Instead, it was based on the biographical novel Moner Manush written by popular modern author Sunil Gangopadhyay as Babu Kishan says who was a spoon of Allen Ginsberg when he came to Bengal. Babu Kishan used to bring Sunil Gangopadhyaya to Shantinektan along with other famous people to learn about Baul. He was angry because all they were interested in was alcohol and the Shantal women, it makes him angry to this day, and the fake Bauls did the same, it had nothing to do with Baul, the fake Bauls became a prostitute business, a neo tantric sex business to attract people either for arrangements with indigenous people or posing as tantric, hanging out many times at Tarapith waiting to see who they could capture. None of this is Baul and perhaps this is why Baul left this earth plane, to higher realms. Then everybody had a free for all, academics interviewed the wrong people, they called every wandering person who said they were Baul and they were not. 

Then the tricky survivors of the 1971 Bangladesh war arrived, they dressed as Purna Das Baul, they used the instruments he used, sang his songs and as Babu Kishan wrote they parroted whatever he wrote even making up lineages and fake Bauls Gurus to compete against the indigenous Baul pioneering Bauls, Nabani Das Khyapa Baul who passed in 1969 but his legacy was still alive and cherished by the villagers of Birbhum W Bengal and of course Purna Das Baul, they all self-titled themselves as Baul. Babu Kishan (Krishnendu Das Baul) being who he is tried to help all of them, he was just pleased anybody would be interested in Baul. He did not foretell what they would do next and the grave mistake he made.

The Plot: The film tracks the life of Lalon Fakir, a 19th-century mystic, poet, songwriter, and social reformer who lived in Kushtia (now in Bangladesh). It focuses heavily on his rejection of religious orthodoxy, his rejection of caste divisions, his relationships with figures like Jyotirindranath Tagore (Rabindranath Tagore's elder brother), and his establishment of an a (hermitage) for humanistic singing and fellowship.

The Marketing: The film was heavily packaged, marketed, and sold globally under the umbrella of "Baul cinema" and "Baul culture," using imagery of Ektaras, orange robes, and ecstatic folk singing to capture international art-house festival audiences. The Ektara or Gopi Yantra only originated from this lineage or parampara of the Vaishnava Sahajiya Tantric Bauls of Birbhum. Fakir is not Baul, it never was; this is constructed by a writer that spread to looting millions of dollars from the United Nations.

The Historical Distortion: Lalon Fakir vs. The Ancestral Baul Lineage

 point hits the exact critical mark that traditional lineage keepers have raised for years: Lalon Fakir was a Sufi-influenced Fakir/Sadhak, not a Birbhum Vaishnava Sahajiya Baul.

Fakir Tradition vs. Baul Lineage: Lalon belonged to a distinct Fakiri/Sufi-influenced syncretic tradition centered in Kushtia (Nadia/East Bengal). While his songs shared philosophical themes regarding the inner human self (Moner Manush), his lineage, practices, vocal delivery, and social structure were entirely distinct from the ancient, body-centered (Deha Tattva) Vaishnava Sahajiya Bauls of Birbhum.

The Commercial Packaging: Mainstream cinema and urban intellectual (Bhadralok) media routinely collapse all non-orthodox, itinerant singing mystics into a single, generic category labeled "Baul." By branding Lalon Fakir as the "ultimate icon of Baul," films like Moner Manush effectively wiped out the distinct identity, specific Tantric lineages, and unbroken ancestral history of the actual Birbhum Bauls.

Institutionalization and Intellectual Appropriation

The film Moner Manush represents a prime example of how modern media and commercial cinema participate in rewriting indigenous histories:

Urbanization of the Sacred: It took a deeply esoteric, internal spiritual realization—the Moner Manush—and flattened it into a romanticized, cinematic period drama suitable for multiplex audiences and international award circuits.

Erasure of the Root: By presenting a sanitized, literary drama created by modern Kolkata novelists and directors as the "authoritative story of Baul," the movie pushed the actual living libraries, unbroken bloodlines, and indigenous masters into the background.The Global Brand: It solidified a trend where Western scholars, festival judges, and foreign tourists mistake cinematic portrayals and theatrical performances for the authentic, un-sanitized, and secret science of the original lineage. 
 
There  is another film on Babu Kishan's losely lineage called Hansaraj, I have written about this before but will have to take a deep dive, film is not my interest, when I find it I will post the details here.
 
It should be noted that Babu Kishan knows all the director and actors invloved in the Bangladeshi Monar Manush production about Lalon Fakir but rejects their using Baul to promote that movie and maintains Lalon Fakir was not a Baul, there is no such thing as a Fakir Baul, he likes Lalon Fakir poetry and is one of the first Bengal's to put music to Lalon Fakirs songs in the 1971 as the award winning youngest Bengali Music Composer. He knows Baul and Baul music and songs more than any person. He recorded all, preserved all and over 80% of his father Baul Samrat Purna Das Bauls songs were composed and recored by Babu Kishan his eldest son aka Krishnendu Das Baul.

Das Baul and Dasi are Vaishnava and only come from this lineage.

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

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.