“When people steal from our culture they end up distorting our culture, they turn it into something we do not even recognize, erasing us by replacing us.”
They re-package a watered-down or romanticized version. The mainstream world then accepts the fake/distorted version as authentic, effectively erasing the original living caretakers and replacing them in the public consciousness. I have see this in academia, and in the western audiences who do not have a clue, if it sweetly smiles and looks exotic it must be, whether their lineage is fake, their style and songs are appropriated, they have not got a clue.
When a sacred song, medicine, or teaching is taken out of its traditional lineage, it loses its spirit or in this case Baul essence (the Shakti that has been passed down for hundreds of years). When the dominant society spreads that distorted version, the original community is erased because their true practice is no longer recognized—even by their own youth who grow up seeing only the mainstream caricature.
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
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.
Tagori (1985): The Cinematic Blueprint of the Baul Identity
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 Contributions
Babu 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" Influence
These 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.
Hansraj - 1976 Film of the Life of Purna Das Baul, Babukishan's father. 1976
BabuKishan.orgThe film titled Hansaraj (frequently transliterated as Hansaraj or Hansraj) released in 1976.
Here are the specific details regarding the cast, crew, music, and the distinction between other films sharing the same or similar names:
1. Production, Cast, & Crew Details for Hangsharaj (1976)
Director & Writer: Ajit Ganguly
Producers: Asit Mondal and Ajit Ganguly
Music Director: Sudhin Dasgupta (one of the premier music directors in Bengali cinema, who worked alongside traditional arrangements and recordings).
Lead Star Cast:
Master Arindam (Arindam Ganguly): Played the young protagonist Hansa, representing the young boy coming out of the village to pursue his music in Kolkata.
Kali Banerjee: Veteran actor who played a vital mentor/supporting role.
Sandhya Rani: Played the mother.
Jahar Roy: Prominent comedic and character actor.
Plot Premise: The film depicts Hansa, a gifted rural Baul singer (Purna Das Baul) with big dreams, moving to Kolkata to pursue his passion and get his songs onto national radio while facing severe urban struggles, industry corruption, and poverty. Purna Das Baul is the first and last Baul singer.
The 1976 Hangsharaj remains the singular cinematic work that dramatized the rural-to-urban musical pilgrimage of Purna Das Baul's early life.
This full-length classic Bengali feature of Hangsharaj offers a direct look at the 1976 film dramatizing the early musical journey of a young Baul singer from Birbhum.
There were so many people wandering around Bengal and they all were lumped together as a generic Baul by outsiders.
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
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 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.
(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
"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
"Baul Sahaja is Krishna & Dattatreya Sahaja". Copyright and only mentioned by KD Babu Kishan
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
"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
The practice of "Baul Kirtan-anga"
The "Rasa Lila Mystics" Raasa leela Mystics, Raas Tattva (this lineage only)
"Baul Tantra Mantra Gopi Yantra".
"The path of the Avadhuta".
"Baul Sahaja is Krishna & Dattatreya Sahaja". #BaulsahajaKrishnaDattatreyasahahaja
The Windcatchers (Vayu Tula). #BaulVayuTula. #baulwindcatchers
#India nendu Das Baul (Gosia Chandra) aka Babu Kishan