The title of our 3 book series on 'Historical Baul' ' Reclaiming the Roots of Baul' and the words 'reclaiming, reclamation of 'Roots of Baul' are now being scrapped and used by pretendian cosplayer opportunistic Baul as Babu Kishan calls 'hawker Bauls' who are trying to re-write the roots of Baul with false narratives and 'false historical roots' reclaiming what is not theirs to claim. (period)
Why would a cosplayer Baul use the same language we have used for the 'name of our books' 'Historical Baul and Roots of Baul reclaiming Baul or Baul RECLAMATION OF BAUL 'and use the term Babu Kishan has used for decades 'ROOTS OF BAUL'.
This systematic retracing, tracking, and remaking of your family's lived history is not accidental, nor is it an act of genuine artistic appreciation. When analyzed through the mechanics of spiritual tourism, branding, and identity theft, the strategic motivation behind this behavior becomes glaringly obvious.
The roots of Bauls Sahaja DO NOT come from the 'Buddhists or Charyapada'. Babu Kishan has already debated this whole subject in the 1980 when he helped Charles Capwell in India with his research on Baul only to find his book was some other speculations. He knew Charles Chapwell in India and in America. In the end Babu Kishan debated openly at Chicago University this very subject that Charles of which Charles had speculated in his book, he thought nobody would know , but Babu did because he was the only Baul who could read English and read everything ever written reading Baul as Buddhist and Charyapada, so this is not something new, Charles was the first person to make this outrageous speculation, now we have a cosplayer Baul trying to do the same, when this was openly disqualified 4 decades agao.
Krishnendu Das (Babu Kishan) debated, criticized Charles openly in his class at Chicago University, however, an academic scholar will never change an untruth because reprinting a book when they already have their PHD will never happen. Then a cosplayer Baul (fake Baul) will come along read it and because they are actors use our language from this blog Historical Baul, preserving Baul, Roots of Baul to legitimize their existence. Then I have to come on here and explain fully why this is not so. It is exhausting but necessary because of serious indigenous intellectual property theft, and until the arduous task and the poaching, reworking, as stealing of this lineage stops, including legal action to protect the roots of the ancestors of Baul, it will be relentless. Names will be mentioned very soon whether you like these fakes or not, truth always wins.
Some used to think of Babu Kishan as a snob however, when the whole lineage lies on your back as a responsibility from birth to preserve and when you are both lineage and academic scholar, monk for 12 years you lines are hard to cross. Babu Kishan has never found any shishya's worth taking on as student no one was prepared to even start. He can with laser eyes and ears right through who is a fake and who is not, he has spent over 60 years discerning always associating with the elders of the highest degrees whether political, musical, cultural in India from a young age, the elders of Baul, the elders who all knew Nabani Das Khyapa Baul and Brajabala Dasi who knew all the elder before them. In that way Babu Kishan has a great privilege as he saw a history of Bengal nobody today even knows about.
Here is the underlying logic driving why these performers engage in this level of calculated co-optation:
1. The Mechanics of the "Authenticity Shortcut"
To build a lucrative "Guru Ma" or "Guru Baba" brand in the international market, a performer needs one indispensable asset: legitimacy.
The Problem for Outsiders: Real spiritual authority (Adhikara) cannot be bought, nor can an authentic ancestral lineage (Parampara) be manufactured out of thin air. Developing true mastery requires decades of grueling, internal Sadhana, language fluency, and generational roots even before one hits the road, Baul is not a learn it as travel or go and change it while you read something new. Baul is not about saying you are the next Purna Das Baul, then bragging aout the international travel you have done, every social media influencer with a camera has traveled every country in the world today. Erasing the past history, replacing, remaking, retracing an indigenous peoples lives is not Baul.
There is only one Baul historical ROOTS of Baul. Travel outside of India and all over India started and finished, first and last with this singular pioneering Baul parampara starting and finished with Purna Das Baul, Manju Das the fist and only pioneering Baul women, and Krishnendu Das Baul (Babu Kishan), inside of India no knew about Baul except for Nabani Das Khyapa Baul who is the first Baul to ever sing on stages as part of the Freedom Movement as a State of Bengal Singer for Jawaharlal Nehru.
Yet, in my files which I have kept for 20 years, a consistently (cosplaying, actor) Baul wth no roots in Baul, no lineage, no Guru has retracted, retraced, acted out and claimed the unclaimable historical Roots of Baul in everything I have ever written on this blog as told by Krishnendu Das Baul (Babu Kishan). It never stops, I thought it would, it is too much and too late.
Now openly will be named and called out very soon, not by me, but by a now soon to be retired Babu Kishan who actually had to work for a living while preserving his ancestral lineage and the platform he created for indigenous Bauls who lived on the soul of Birbhum, who died young because they were not able to compete with tricker cosplayers who came out of the woodwork unethically appropriating Baul an authentic singular indigenous lineage or parampara, people talk about cultural appropriation, they have no idea, this is not appropriated by white people they can't even speak Bengali or understand the complicated Baul Sandhya Bhasha so have no idea, they can call themselves western Baul they have no consequence.
They just can't capture Baul they can only copy and paste as hersay. The cosplay Bauls generally just sing song in the village they are part of village life. However, what is going on today with a social media influencer is damaging because they are rewriting historical Baul ROOTS and copying everything this lineage has already done. In an actual indigenous intellectual systemic property theft of everything this lineage has already completed as first and lasts and are publicly telling people they are the next Purna Das Baul this is legally cultural mis-appropriation to the point of extinction by an Indian that are not even from Bengal a non-indigenous from a middle class family with the are actors, and as a western or Indian not from Birbhum, of younger generations of Bengalis would not even know. They would just think oh this is great someone is preserving Baul when the truth is Baul is already preserved, Baul is safe, the adhikara of Baul is safe, it was preserved, recorded, long ago, hidden from academic scholars and fake Bauls.
The "Shortcut" Solution: Instead of doing the actual internal work, an opportunistic actor simply shadows an authentic lineage. By retracing every footprint of Baul Samrat Purna Das Baul, Nabani Das Khyapa Baul, and KD Babu Kishan—visiting the exact locations, adopting the exact instruments, replicating the exact dance moves, and singing the exact recorded songs—they build a visual illusion of lineage connection. However, manufacturing a false Baul Guru and Baul lineage which was already a stolen copy from this lineage, who used Nabani's dance, yet you have come out on youtube saying it is a very ancient dance that another Guru taught you, lol how stupid when it is your so called root Guru who everybody of the era knew he copied Nabani and laughed about, but said he was a good dancer, the ignorance is astounding.
The dance you dance while acting like a Baul, the songs that you sing that are actually Baul are all stolen and copied from this lineage, the songs you make up and say you composed are not Baul songs. The only person qualified to know is Babu Kishan and he will speak about this in the coming times. Babu Kishan knows the whole truth inside and out, he knew everybody who was or was not Baul where they came from and exactly how this all was manufactured.
Borrowing History: By standing in the shadow of this lineages this family's historical milestones, they attempt to absorb the authority of this family's name without carrying any of the ancestral sacrifice or bloodline responsibility. The perfect example is saying you are the next Purna Das Baul, never, will you be Purna Das Baul, trying to use his historical lived life is abomination like him or not.
He is the history of India and he is Baul history, he is the rootsof Baul legendary as the only Baul Ambassador along with Nabani Das Khyapa Baul who introduced India to Baul and the eldest grandson and son Krishnendu Das Baul (Babu Kishan). There is no such thing as a Baul Artist or Baul Master they do not exist. You can not preserve what you do not have adhikara or actual authority in. When he first came to Calcutta, yes as singular singer on a stage there were zero Bauls in Calcutta and nobody knew what Baul was? Nabani Das Khyapa Baul only came before Purna Das Baul, and you want to steal that, in a fake remake of the one and only Historical Roots of Baul?
2. The Lucrative Economics of Spiritual Tourism
The market for Western spiritual seeking is a multi-million-dollar industry driven by a demand for "exotic," un-Westernized mysticism. This environment creates specific incentives for exploitation:
THE EXPLOITATION PIPELINE
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1. Targeted Audience 2. Narrative Fabrication 3. Financial Extraction
• Western seekers unfamiliar • Claiming "Family doesn't • Donation-based cults
with Bengali language, matter" to invalidate • High-ticket workshops
history, or geography true bloodlines, ancestry • Self-assigned titleExploitation of Information Asymmetry: Non-Bengali and Western audiences generally lack access to primary Bengali archives, regional history, or the subtleties of Birbhum dialects. To an untrained audience, a colorful costume, a Ektara, and a practiced performance look identical to genuine heritage.Denying the Bloodline to Justify the Theft: The false claim that "Baul does not run in families" is a necessary propaganda tactic for an outsider. If Baul is recognized as an indigenous family lineage, then an outsider remains an outsider. By falsely claiming that Baul is purely an "open spiritual state" detached from family lines, they attempt to erase the concept of lineage inheritance altogether—leaving the door wide open for them to claim ownership.
The Self-Assigned Title Marketplace: Claiming to be "the next Purna Das Baul" or "the new Baul Ambassador" is a direct marketing move. It attaches a recognized, world-class brand name to a brand-new, unverified entity to capture international booking contracts, retreat donations, and institutional credibility.
3. Systematic Tracking as Intellectual Property Theft
In any other industry—whether music, fashion, or technology—tracking a pioneer's every move, copying their exact repertoire, and claiming their historical titles would lead to immediate legal action for trademark infringement and intellectual property theft.
In the domain of indigenous heritage, this behavior constitutes Indigenous Cultural and Intellectual Property (ICIP) Fraud:
Poaching the Living Archive: Using the specific, lived experiences and compositions of KD Babu Kishan—who spent decades composing, innovating, and structuring the modern Baul template—is the literal theft of a lifetime of work.
Erasing the Source: The ultimate danger of this "cosplay" is that over time, aggressive marketing and social media algorithms elevate the copy while obscuring the original. When the imitator claims the title of the pioneer, it leads to the cultural erasure of the actual lineaged elders.
Calling It Out in the Open
Facing this openly requires stripping away the spiritual packaging and calling the behavior what it is: a commercial strategy based on co-optation.
Your family pioneered the path, bore the historical suffering, created the music, and built the global footprint. A performer can buy an instrument, hire a photographer, and retrace a map, but they cannot buy thirteen generations of bloodline root (Beeja). The publication of your primary-source trilogy puts this truth on permanent record, drawing an immutable line between authentic ancestral inheritance and theatrical imitation.
Reclamation of an indigenous tradition is the formal, legal, historical, and spiritual process by which an original, unbroken lineage reclaims its rightful ownership, narrative authority, and cultural sovereignty over its ancestral heritage after a period of exploitation, erasure, or co optation.
It is the transition from being talked about by outsiders to asserting the absolute right of self-determination (Adhikara).
1. The Core Pillars of Cultural Reclamation
Reclamation operates across four distinct levels:
INDIGENOUS RECLAMATION
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1. Intellectual 2. Narrative 3. Lineage &
Property Sovereignty Spiritual Rights
(Legal/Archival) (Correcting History) (Restoring Adhikara)
A. Intellectual & Cultural Property Protection
Stopping Theft and Poaching: It establishes firm boundaries against the unauthorized commercialization of sacred music, oral compositions, symbols, body-science (Deha Tattva), and traditional knowledge by non-lineaged performers or commercial entities.
Legal and Archival Documentation: It creates a permanent, timestamped paper trail and primary-source archive proving who generated the original work, created the modern templates, and holds the ancestral copyright.
B. Restoring Narrative Sovereignty
Dismantling Manufactured Histories: Indigenous traditions are frequently mischaracterized by external academics or popular media who attempt to fit a living, oral practice into comfortable Western or textbook categories (such as claiming a purely Vaishnava/Sanatan lineage originates from lost 8th-century Buddhist texts).
Self-Definition: Article 3 of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP)affirms that indigenous groups have the right to self-determination—meaning only the lineage holders have the right to define their history, roots, and identity.
C. Reclaiming Spiritual Authority (Adhikara)
Distinguishing Performance from Transmission: Reclamation draws a clear line between casual stage performers (Shilpis or cosplayers) and actual lineage bearers (Parampara Adhikaris).
Protecting the Sacred Core: It ensures that sacred, internal practices—passed down mouth-to-ear (Mukhe Mukhe)—are not reduced to a "gig," a social media brand, or a lucrative commodity in the global wellness market.
2. Appreciation vs. Exploitation vs. Reclamation
To understand reclamation, it helps to see how it directly counters exploitation:
3. Why Reclamation Is Essential for Extinction-Level Lineages
When a small, highly specialized lineage faces extinction due to historical trauma, poverty, or aggressive commercial copying, reclamation is an act of survival. It ensures that future generations do not inherit a watered-down, manufactured version of their own ancestors' sacrifice.
When Baul Samrat a name given to Pandit (Padma Shree) Purna Das Baul by a President of India first came to Calcutta in the 1940s no one knew about Baul, people then only came to know about Baul as Kirtan Baul. In the 1970s when his songs were played all over the Radio stations and he became a class A singer on All India Radio, he was the one and only Baul, in his 90s born in 1933 being the only Baul pioneer of Baul outside of India starting in the 1950s how can someone shamelessly claim his legendary life, lineage, songs, dance where he went and what he has accomplished in Historical Baul as the Roots of Baul and then actually try to replace him. Baul is extinct, you are not a Baul and you have systemically looted, cherry picked this lineage dry, never giving credit but making up a complete fake lineage based on a 'fake it til you make it Baul' who stole the songs, dance style of Nabani Das Khyapa Baul and Purna Das Baul.
Who is directing you has no integrity is not from Bengal, the claims and inuendos the retracing, tracking and remaking of even my husband Krishnendu Das Baul (Babu Kishan) I have documented now for 20 years, each step even more bold. Baul history was complete decades ago, going every place this lineage has gone and reclaiming what they already have done, then pretending you are the one is shameless.
For decades, an insidious form of cultural erasure has operated in plain sight. Unscrupulous outsiders—recognizing that Western audiences lack the historical context to distinguish authentic transmission from performative caricature—have systematically co-opted, misappropriated, and exploited an ancient, thirteen-generation indigenous lineage.
This is not cultural appreciation; it is predatory poaching. It is the calculated snatching of sacred intellectual property, forged by opportunistic individuals who saw a ancient spiritual tradition merely as a lucrative "gig." Driven by social media manipulation, unearned accolades, and manufactured prestige, these actors have grown increasingly bold. What began as superficial imitation has escalated into a form of cultural genocide—threatening to erase a fragile, highly specialized parampara that survived centuries of historical upheaval only to face extinction through aggressive commercialization.
When KD Babu Kishan constructed the modern template to help authentic indigenous Bauls navigate and survive the contemporary world, he created a lifeline. Tragically, predatory outsiders weaponized that very blueprint. They rode on the legendary coattails of Nabani Das Khyapa Baul, Purna Das Baul, and KD Babu Kishan—the precise figures who built global recognition for the tradition in the first place.
Exploiting the fame carved out by this ancestral family, these aggressive impostors copied every detail: the movements, the vocal stylings, the stagecraft, and the spiritual framework. By acting out a stolen template, they secured international tours, recording contracts, and lucrative positions in the "Guru and Ma" marketplace—building profitable commercial empires on the back of an endangered indigenous heritage. It is a shameless display of cultural fraud, and it must be called out for what it is.
As so it goes this lineage was completely faked, copied and used in a multitude of different ways. Everybody took their turn, creating Muslim Bauls, there is no such thing, Buddhist Bauls that kind of died off because they though being Vaishnava would be more lucrative and on went the face paint. they threw everything at the name of Baul Tarapith, now they are back to Buddhist Baul, which has no roots in Baul. They copy the languaging from this lineage, songs, their whole lived lives including Krishnendu Das's (Babu Kishan in Bombay) long historical Indian Cinema Career and his academic teaching Baul, Indian Philosphy, Indian Music worldwide at Universities and his one and only Baul who ever fundraised for decades and was a Monk for 12 years at the Ramakrishna Mission? He did the work, you did nothing.
I have watched, documented this for 20 years the looting, poaching what do you want to call it, how about indigenous intellectual property theft, mis-appropriation or how about indigenous FRAUD. Using Baul to collect awards, donations, international travel and compete with the indigenouse Baul? This has become a big issue with all indigenous people worldwide and it will not go away regarding Baul, we are just getting going. Then to add insult to this damage, you call yourself the next Purna Das Baul, who is in his 90s and a one and only, no one can be Purna Das Baul or replace him, no one can be the next Baul Ambassador a title on given to this lineage and Purna Das Baul, stealing his historical significance, his earned indigenous Baul legacy, erasing him by replacing him is truly soul-less and wrong and indigenous Fraud.
Enough is enough. For years, the history, living oral scriptures, and precise historical milestones of an endangered, thirteen-generation indigenous lineage have been quietly poached, sanitized, and commercialized by opportunistic performers exploiting the public's lack of context. Today, the line is drawn. As the definitive record of the Birbhum Baul tradition is prepared for permanent release in the forthcoming trilogy, The Historical Autobiography of Mystic Baul, the following official statement stands as an unyielding boundary against the ongoing erasure, intellectual theft, and unauthorized commercialization of this sacred ancestral path.
PUBLISHER'S NOTICE & PRESS STATEMENT
SUBJECT: OFFICIAL DECLARATION OF INDIGENOUS LINEAGE RIGHTS, RECLAMATION, AND HISTORICAL RECORD OF THE BIRBHUM BAUL PARAMPARA
Declaration of Indigenous Self-Determination & Cultural Rights
Under Article 3 of the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP), indigenous communities possess the inherent right to self-determination—including the absolute authority to define, protect, and document their own identity, spiritual lineage, and cultural heritage. The determination of who holds legitimate authority (Adhikara) over the Baul path belongs solely to the indigenous lineage holders of that path, not to external performers, commercial opportunists, or self-appointed stage figures.
The definitive, authentic historical record of the Baul tradition was researched, preserved, and documented decades ago by KD Babu Kishan, lineaged practitioner and cultural ambassador representing an unbroken thirteen-generation ancestral lineage from Ekachakra, Birbhum, West Bengal. His lifetime of work stands as the singular, genuine archive of authentic Baul roots.
Refutation of Manufactured Academic and Stage Narratives
The publisher issues the following firm clarifications regarding historical and spiritual lineaging:
Absolute Separation from Buddhist Roots: Authentic Baul practice is entirely rooted in Sanatan Dharma, Atma Tattva, Vayu Dharma, and the Vaishnava Sahajiya oral tradition—predating later regional developments and Gaudiya Vaishnavism. The tradition holds zero historical or metaphysical roots in medieval Buddhist Anatman or Sunyata philosophies. Attempting to force a Buddhist origin onto Baul tradition is a modern academic invention that directly contradicts the living, oral Sanskrit and regional parampara.
Rejection of Manufactured "Next" Figures: Titles such as Baul Samrat and global "Baul Ambassador"—carved out internationally by Baul Samrat Purna Das Baul and KD Babu Kishan—represent unique, non-replicable historical milestones. They cannot be inherited, adopted, or claimed by non-indigenous, self-titled stage performers.
Cease of Intellectual and Cultural Appropriation: The ongoing poaching, copying, and public re-creation of this family's specific historical encounters, oral compositions, and lineage travel records constitutes direct indigenous property theft.
Notice of Forthcoming Archival Publication
To protect this endangered indigenous heritage from total erasure and public misrepresentation, the definitive historical and spiritual record is being released through the comprehensive trilogy, The Historical Autobiography of Mystic Baul.
This publishing project serves as the final, official lineaged record—setting a permanent legal and historical boundary against the unauthorized exploitation, commercialization, and erasure of the Birbhum Baul parampara.
What is taking place today is beyond bizarre—it is outright indigenous fraud. Those responsible assumed this lineage would simply fade into silence. They were dead wrong.
They do not have the slightest understanding of who KD Babu Kishan is. Since the 1970s, he has watched as his original compositions, lyrics, and ancestral heritage were systematically looted, poached, and claimed by outsiders. While it caused him profound pain, he endured a life that few today could survive—from the very moment of his birth.
Left for dead as a fragile, premature baby born with severe physical challenges, he was abandoned by his parents and taken in by his grandparents, the legendary Nabani Das Khyapa Baul and Brajabala Dasi. When baby Krishnendu—the name Nabani gave him—hung by a thread, Nabani, a realized Baul Avadhuta initiated by Bama Khepa, brought him directly from the Suri hospital to the sacred burning grounds of Tarapith. There, under the grace of Tara Ma, his life was saved. He spent his first eight years directly in the lap of Nabani and under the motherly care of Brajabala Dasi, a lineage holder from the venerable Narottama Das Thakur family.
When he was later sent to Calcutta to live in his father Purna Das Baul's household, adjusting to the city proved impossible, leading to his placement at the Ramakrishna Mission orphanage—a second abandonment that he endured with quiet resilience. Yet, he rose above every hardship to become Bengal’s youngest celebrated music composer. He knew every folk artist, poet, and practitioner of his era because he was the one scoring their music. He composed for temples, ashrams, and spiritual masters—working largely for free out of pure love for the music and an innate commitment to Seva (selfless service), mirroring the spirit of Nabani and Brajabala. He pioneered genuine Baul Fusion decades before modern performers claimed to have invented it.
Babu Kishan has survived events that would break most: political violence in rural Bengal, multiple terror attacks in Mumbai (including the 2008 attacks), and the devastating Indonesian earthquake and tsunami in 2004 where over 200,000 people lost their lives. While others fled, he stayed behind in the disaster zones for weeks to help dispose of bodies and serve the survivors. For over twenty years, I have held a rare seat listening to the quiet, internal archive of a man who held these truths inside while others commodified his lived experience, tracking his lived life all over the world, tracking Purna Das Baul's lived one and only historical pioneering Baul life all over the world, along with the only first and last Baul Women - Manju Das who is a class A singer along with Purna Das Baul when it meant something.
NO MORE. The intellectual property theft, the co-opting of his life’s work, and the erasure of his indigenous lineage end now. If it requires bringing the full weight of international legal action to reclaim his legacy, it will be done.
I do not speak from a place of casual observation. My own path of preparation spans over five decades—beginning in 1974 with my first study of the Bhagavad Gita, followed by fifty years of intensive training across Vedic astrology, Vaishnava philosophy, Tantra, Ayurveda, and internal energy arts (Qigong and traditional Tai Chi under renowned grandmasters). I spent two decades personally learning, documenting, and cross-referencing every detail directly from Babu Kishan to ensure this history could never be rewritten. This trilogy is the permanent, unyielding boundary: the theft of this indigenous legacy stops today.
No fake 'Baul Master' no way will steal the intellectual indigenous rights or property of this singular lineage. By the way did you know there is no such ever as a Baul Master it is made up designation, with a fake Baul lineages to go along with it,, this was created to look legitamate when there is no lineage and no Baul Guru, while 'riding on the coattails 'of this singular Baul lineage, using everything from this lineage has already done completed and 'lived as a first and last' regarding Baul. Under the guise of 'we are preserving Historical Baul the roots', as Buddhist roots, when Baul 100% does not have any Buddhist Roots, yes using the lsame anguage as the title of our new books? Wel are not a factory mill of idea to be stolen, poached, actually we have nothing to do with these fake cosplayers, they may be social media influencer and gotton away with lies for years now. Do not superimpose anything from this blog over them, we are not them, they do not have permission to poach Baul or this blog.
They opportunistic cospalying self-titled Baul mysterious are falsely now all of sudden reworking, remaking the 'Roots of Baul' replacing the Roots with Buddhist Roots in the name of Baul using Historical Baul the name of Babu Kishan's new books mentioned here last January when we announced the very name Histoical Baul.
The cosplayers intention is certainly to replace this lineage, announcing they are the next Purna Das Baul and the most popular Baul is insideous there is no other way to put it. There is only 'one Historical Baul' and 'one Root of Baul' there is 'ONE Purna Das Baul' he is still alive at over 90 and is the only first and last the only Legendary Baul and famous Indian Classic Baul singer" no one can ever replace him, he has traveled to more than 80 Countries since the 1950s everybody copied him.
When cosplayer Baul are not indigenous to Baul ,when they are not from Birbhum and not from W Bengal, yet they want what to replace a 90 year old Purna Das Baul by claiming they are now the Baul Samrat a name given to him by a President of India. There is something seriously wrong a major appropriation of the work Purna Das Baul did and Babu Kishan for that matter.
No way you can or will be another Purna Das Baul, what an insult to the long life of a legend. Names will mentioned when the books are released and debates will be open and honest. We will be expanding our presence, my mother is 94 with dementia I have to be here for here, Babu Kishan has other commitments at this time too, so very soon. He is natural debater with over 50 of debating, teaching, Baul, Indian Philsophy, Sanskrit oral and classical, and of course Indian music in all its forms, Baul, Folk, Classical, Indian Cinema, Bhjaans, Kirtans and Mantra he is the only Baul Music expert to in Indian History having composed almost 90% of his father Baul Samrat Padma Shree Purna Das Baul's music, composing, even his own lyric as he is prolific poet under many pen names, true to his Baul roots. BabuKishan.org
By the way, I am not a Baul, how can I be, I am not indigenous to Baul, I am Babu Kishan's wife and writer as told by Krishnendu Das Baul his legal name, Babu Kishan is his Indian Cinema his Bombay name. He will not anybody replace the work he has done preserving Baul or Baul for that matter. He is trained in every area, he actually did the work, and dislikes fake people or liars. I can learn about Baul and employ what I learn in my life my connections are with Nabani Das Khyapa Baul and Brajabala Dasi I get so much joy of listening to their stories, Anandamayi Ma and Neem Karoli Baba whether I like it or not, there is a long story there.
Baul is personal to KD Babu Kishan, personal to the generations of his family ancestor whoose bones are buried and part of the soul and soil of Birbhum to this lineage ancestors who have preserved Baul for hundreds of years perhaps thousands of years what so that fake people can poach Baul?
No I don't think so. There is a one and only dynamic ROOT of historical Baul 'ancient and modern history' only one Root of Baul a fist and last of Baul, only one lineage or parampara of Baul, indigenous Baul is only from and is indigenous to Birbhum W Bengal.
There are not two Roots of Baul, there is only one root of Baul, one preservation of 'one historical Baul' and there is only one 'reclaiming of Baul' as an official Reclamation of Baul first introduced on this very blog. I have written a 200 page historical first and last reclamation of Baul it is in the new triology of Baul as to the reclaiming of the roots of Baul.
Historical Baul is not a generic term for random cosplaying actor Bauls who came out of the woodwork with actual woodwork. They have been using, stealing the intellectual indigenous property of this lineage for decades and not one of them is from W Bengal let alone the soul and soil of Birbhum.
The cosplay use this lineages style, songs, dance, and obviously everything from this blog acting it out on youtube, they track where Purna Das Baul has gone, what Babu Kishan has done with his life even opening up a movie account on IMBD at to pretend they too worked as Babu Kishan did in Indian Cinema for 40 years, they give free lectures as Universities not to teach but to fundraise for donation for themselves with no actual academic credentials and what they have already accomplished as a' first and last' regarding Baul, this is not ok. I have documented it all just as they have tracked this lineage and remade it without doing the actual work but in a social media influencer style of tracking go there, taking pictures as if they were the one to have created and lived Baul history?
The only Roots of 'Historical Baul' and preservation start and finish with this singular lineage. The only indigenous self-determining right lie right here at LineageBaul.blogspot.com and with Krishnendu Das Baul (Babu Kishan) who has spent over 60 years pioneering modern Baul for the indigenous Baul and preserving his lineage of ancient Baul.
Baul roots are not in Buddhism or Buddhist Charyapada songs, Baul never spoke or sang in Charyapada sandhya Basha or with Buddhist philosophy. When modern stage performers or academics claim that Bauls are "reclaiming Buddhist Charyapada roots," they are confusing historical, regional Bengali linguistic artifacts with spiritual Sadhana.
Why would you as a cosplaying Baul re-translate something that has been translated by qualified academic scholars and traditional Charyapada roots then superimpose it over Baul when it has nothing to do with Baul.
Baul is not Buddhist, Baul is atma lila or atma tattva?
This is why!
“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, unfortuetly that is so far from the truth the opportunistic claimants are armed fake lineages and fake Baul Guru which can be proven, their style, dance songs are appropriated from this lineage they call themselves as self-titled Baul Masters, however, they are cosplayers the Master of only deception.
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 Chronological and Lineage Reality
The Charyapada has been exhaustively analyzed, edited, and translated over the past century by the foremost linguists, philologists, and Indologists in modern history.
No modern stage performer—regardless of their branding, international tours, or claims of "preservation"—can rewrite the century-old academic consensus, nor can they magically grant themselves spiritual or intellectual authority (Adhikara) over a living lineage they do not belong to. They can not super impose Buddhist Sahaja or Charyapada over top of Baul (Vaishnava Sahajiya Baul of Birbhum, W Bengal India) this very lineage or Guru Shisya parampara sampradaya (akhara, sect or kula) of 13 generations.
Nor can they impose Baul Sandhaya Bhasha over top of Buddhist Sahaja Charypaada 2 very different styles and sects. Baul comes from Vaishnava Sahajiaya Tantric 'Atma tattva' Sanatan roots.
Baul has no historical ROOTS in Charypada in fact Baul has absolutely nothing to do with Baul: as told by Babu Kishan
Baul has no roots, or history with Charypada songs or in Buddhism or otherwise there is nothing to be reclaimed regarding the Charyapada poetry it has no association with Baul.
The Vaishnava Sahajiya Baul have a long history of doing seva (social work or selfless service) for humanity, the villager so Birbhum, no caste, creed or religion, those the needed helped where helped whether that be medical help, food they helped Buddhists who were rejected, they did not convert them, they did not become them, they did this for the Sufi who were being persecuted. They help humanity as mid wives, as Ayurvedic alchemist indigenous healers.
Nabani Das Khyapa Baul was famous for helping the villagers, he was the last Avadhut Baul who created over 200 arkhara's specifically to purify the soil of Birbhum and then gave the land to build hospitals and schools. Baul is not for the individual, it has nothing to do with social media and being popular. Even Babu Kishan being the first and only Baul to be a monk or have any association wth the Ramkrishna Mission fundraised for them worldwide. He and his family fundraised for Gaudiya Maths all over. They fundraised for numerous organizations, temple, including Bhart Seva Ashram. Baul is so misunderstood, you did not enter the villages of Bengal with people touching your feet, the villagers where taught to touch their own feet, worship their own atma (soul) inside as sat chit ananda. What the hell is going on today is simple lies, and untruth, from people who not even indigenous to Birbhum. Baul is for the world but not in the way the fake Bauls have created, it is dishonest.
The claim that Bauls "originated from " or "sing" or have historical ROOTS in the Charyapada is a modern, 20th-century academic construct invented by secular historians and popular performers to create a neat, linear literary timeline for Bengal. In the actual, unbroken Parampara, the truth is absolute: they are 2 different styles of Sandhya Bhasha or as many styles as their differnt lineage of people Bauls style is only Bauls style based on Oral Sanskrit, vernacular Birbhum Bengali and Braja Bhasha.
Vaishnava Root Priority: The Vedic, Sanatan, and Vaishnava Atma Tattva (the science of the eternal soul, Radha-Krishna Bhava, and internal Vayu Dharma) long predates the 8th–12th century Tantric Buddhist period in Bengal. The internal practice (Sadhana) of inner energy, breath, and divine devotion was already established in ancestral lineages long before medieval Buddhist Siddhas wrote their verses.
Bauls Never Sang the Charyapada: The Charyapada texts were lost for centuries, buried in palm-leaf manuscripts in Nepal until scholar Haraprasad Shastri rediscovered them in 1907. Authentic traditional Bauls in rural Bengal—who carried living oral compositions passed down by mouth to ear over generations—had never heard of, read, or sung the Charyapada. Their songs (Gān) came directly from their own indigenous lineaged Vaishnava Sahajiya Baul Gurus, and ancestral lineage holders.
Manufactured Repertoire: When stage artists perform Charyapada verses today and label them as "ancient Baul songs," they are taking 20th-century academic reconstructions from books and superimposing them onto a Baul living tradition that never contained them.
How Academic Construct Replaced True History
Living Lineage Stream (Oral) Academic / Stage Construct (Written)
────────────────────────────── ────────────────────────────────────
• Pre-existing Vaishnava Atma Tattva • 20th-Century Textbook Inventions
• Passed Mouth-to-Ear via Gurus • Rediscovered 1907 Nepal Palm-Leaves
• Songs of Authentic Lineage • Artificially Adopted for Stage Shows
• Roots in Sanatan & Vayu Dharma • Forced Conflation with Charyapada
By claiming that the Charyapada is the "birthplace of Baul music, or Baul have historical ROOTS without any adhkara or actual lineage, or deep wisdom of Baul except what is copied from this lineage or made up. Let me tell you I have spent 20 years documenting everything advertised, promoted talked about Baul from newspapers, magazines, books, academic paper and what the actual individual Cosplaying Baul have advertised (this will be used as proof of the made up tales, the false narratives, to show the actual absolute lies, and disrespct for this lineage while using then, riding on their coattails and intellectual property theft) a cosplaying Baul can not claim or reclaim or preserve anything to do with historical Baul when it has already been preserved, reclaimed and this is the only historical Baul parampara, taking the indigenous self-determination of Baul is 'indigenous fraud'. I have proof of the fakery and the mis-represention, mis-use of Baul.
Modern figures attempt to strip the Baul indigenous tradition of its sacred, divine, and generational Vaishnava Sahajiya-Sanatan roots, reducing a profound internal spiritual science into a mere socio-literary relic. Authentic lineage holders carry an unbroken oral archive that owes nothing to these imported academic theories.
Definitive Statement: On the Absolute Separation Between the Charyapada Manuscripts and Authentic Lineage Baul Repertoire
The assertion that the Charyapada—a collection of 8th-to-12th-century medieval texts—forms the foundational repertoire or origin of the Baul tradition is an artificial construct of 20th-century secular academia and modern stage performance. It bears zero historical, spiritual, or compositional reality within the unbroken oral transmission (Mukhe Mukhe Parampara) of authentic Baul lineages who has their own manuscript Baul songs and Baul kirtans.
1. The Historical Record: Discovery vs. Continuous Oral Lineage
The physical palm-leaf manuscripts containing the Charyapada were lost to Bengal for centuries, preserved in the royal archives of Nepal until their rediscovery by scholar Haraprasad Shastri in 1907.
For generations prior to 1907, authentic rural Vaishnava Sahajiya Baul lineage holders possessed, practiced, and transmitted an exhaustive oral repertoire without any knowledge of, reference to, or musical setting for the Charyapada. Authentic Baul Sadhana is sustained through continuous, mouth-to-ear generational transmission with Vaishnava, Shavite, and Shakti agamic manuscripts in their posssession—never through long-lost, excavated library texts.
2. Irreconcilable Metaphysical Foundations (Tattva)
The internal engine of authentic Baul practice is fundamentally incompatible with the core doctrine of the Charyapada:
The Reality of the Soul (Atma Tattva): Authentic Vaishnava Sahajiya Baul tradition is rooted in the divine reality of the Atma (the individual soul), its inner relationship to the Paramatma or Moner Manush (the Supreme divine residing within the physical vessel), and the ongoing Atma Lila (divine play).
The Buddhist Premise (Anatman / Sunyata): The Charyapada compositions reflect medieval Tantric Buddhist Vajrayana/Sahajayana doctrines centered on Anatman (the non-existence of an eternal soul) and ultimate emptiness (Sunyata). Which is not Baul, Baul is about the soul, soul mates, soul is atma, one of the main Baul tattvas in Atma Tattva or Atma Lila their songs are about this, they are yogic tantric and Vaishnava poetry of Sanatan Dharma, Vaishnava Krishna/ Radha Sahaja and Dattatreys Sahaja the oldes Sahaja ever, that of Datta's Sahaja Samadhi. Not Buddhist Sahaja.
There is no such thing as Muslim Baul either, I have written a whole chapter on this in Historical Baul it is part of the Reclamation of Baul another false narrative promoted to use Baul because this lineage made Baul popular Baul became everybodies fundraising for finacial jackpots which is what is happen once again with this Buddhist Baul superimposed over Baul by unqualified ignorant social media influencer Bauls who are actually now claiming they are the next Purna Das Baul such a huge insult to this lineage.
A spiritual tradition centered entirely on the realization and surrender of the Atma cannot logically originate from or share internal roots with a philosophy that explicitly denies the existence of the Atma.
Authentic Lineage Baul Transmission Modern Academic / Stage Construct
─────────────────────────────────── ─────────────────────────────────
• Unbroken Oral Stream (Mukhe Mukhe) • 1907 Nepal Palm-Leaf Discovery
• Anchored in Atma Tattva & Vayu Dharma • Anchored in Anatman / Sunyata
• Songs of Lineage Mahajans & Gurus • Textbook Verses Adopted for Stage
• Internal Science of Deha & Prem • External Socio-Linguistic Artifacts
3. Repertoire vs. Academic Invention
The actual repertoire sung by lineaged practitioners consists exclusively of compositions passed down through documented lineage masters, Sadhikas for women and Sadhaka for men who are the historical ROOTS of this Vaishnava Sahajiya Baul parampara. These songs serve as precise, practical manuals for breath (Vayu Dharma), internal energy control (Deha Tattva), and unconditional devotion (Prem), songs and kirtans of Vaishnava Sahajiya poets.
When modern public performers sing verses from the Charyapada under the banner of "ancient Baul music," they are taking 20th-century textbook printings and superimposing them onto a living tradition. This reflects a deliberate co-opting of academic literature to manufacture historical gravitas, stripping the genuine lineage of its living Sanatan and Vaishnava Tantric roots.
While academic scholarship lumps all medieval Bengali secret codes under the single umbrella term Sandhya Bhasha, the actual linguistic composition of Vaishnava Baul twilight language is fundamentally different from the Charyapada verses in both its roots and its phonetic structure. An outsider to Baul without any adhikara or authentic initiation would not know this and this is a huge problem regarding the actual authentic preservation of Baul. Just because someone traveled the world following trying to be Purna Das Baul does not make one a Baul.
1. The Linguistic Triad of Vaishnava Baul Twilight Language
The Charyapada relied on an early medieval Abahatta / Old Bengali vernacular mixed with local local idioms of the 8th–12th centuries.
In contrast, authentic Vaishnava Baul Sandhya Bhasha— from the Birbhum lineage—is an intricate, multi-layered oral blend built on three distinct linguistic pillars:
VAISHNAVA BAUL SANDHYA BHASHA
│
┌────────────────────────┼────────────────────────┐
▼ ▼ ▼
Local Birbhum Vernacular Oral Sanskrit Braja Bhasha
(Rarh Dialect & Metaphors) (Parampara Terminology) (The Sacred Language of Vraja)
Local Birbhum Vernacular (Rarh Region Dialect):
Grounded in the distinct soil, flora, fauna, and agricultural rhythm of the red-soil Rarh region (Birbhum). The kopia River, JayaDev, Chandidas, Ekachakra Birbhum and all the Shakti peeths. Vaishnava Sahajiya Tantra.
It uses rural, everyday metaphors—soil types, river currents, pottery making, seed cultivation, weaving, and local flora—to encode physical anatomy and breath channels along with carpentry to build the soul or atma and Baul kirtans of whick Birbhum is the roots of kirtan origination from this Vaishnava Sahajiya Baul lineage pre the Chaitanya movement.
Oral Sanskrit (Parampara Vak):
Unlike the Charyapada poets who explicitly turned away from Sanskrit to write in Abahatta, authentic Vaishnava Baul lineages preserved an oral Sanskrit vocabulary passed down mouth-to-ear (Mukhe Mukhe).
Concepts like Vayu Dharma, Atma Tattva, Nadi, Bindu, Rasa, and Kala are anchored directly in precise Sanskrit energetic terminology, preserving the exact technical vocabulary of Tantric body-science (Deha Tattva).
Braja Bhasha (Brajbhasha):
The sacred, poetic dialect of the Vraja region (Mathura/Vrindavan), made central to Bengal through the Gaudiya Vaishnava movement and prior to Chaitanya it was through this lineages ancestor Nityananda of Ekachakra Birbhum W Bengal the Padavali and Kirtan-anga the limbs or Kiritan of Birbhum Vaishnava Sahajiya Baul of W Bengal originated.
Braja Bhasha provides the vocabulary of Prem (divine love), Rasa (relational sweetness), Viraha (longing), and the intimate Sakhya/Madhurya moods of Radha-Krishna Lila.
To be a Baul understand Baul one has to first understand these languages oral sanskrit, Baul style of Sandya Bhasa and Braja Bhasha. To preserve any root of Baul one has to have done the work, social media claims are void.
2. The Functional Difference: Esoteric Intent
This linguistic blend creates a completely different internal engine than the Charyapada:
3. Why This Distinction Matters
When modern scholars or performers treat all Bengali secret language as "the same Sandhya Bhasha originating from the Charyapada," they flatten out centuries of distinct lineage history.
In an authentic Birbhum Vaishnava lineage:
A single song verse can seamlessly weave a Sanskrit technical term for breath control (Prana-Vayu), a Braja Bhasha devotional phrase describing Radha's longing, and a Birbhum regional metaphor about crossing a muddy river.
This unique linguistic fusion was designed specifically so that an uninitiated listener hears a simple, sweet folk song about love or rural life, while the initiated practitioner hears a precise, three-fold technical manual for internal energy (Sadhana).
It is not an extinct literary dialect—it is a living, multi-lingual oral code unique to the regional and spiritual soil of the lineage.
While the Charyapada text was brought to light in the early 20th century, a number of significant 20th- and 21st-century academic scholars, linguists, and translators have worked to edit, preserve, decipher, and translate these ancient verses into modern Bengali, English, and other languages.
Key Modern Scholars and Translators
1. Haraprasad Shastri (1853–1931)
The Pioneer: The eminent Bengali scholar and linguist who rediscovered the palm-leaf manuscript of the Charyapada at the Royal Court library of Nepal in 1907.
Preservation Work: He edited and published the original text in 1916 through the Bangiya Sahitya Parishad under the title Hazar Bachher Purana Bangala Bhasay Rachita Charyacharya Vinishchaya, officially establishing it as the earliest known specimen of the Bengali language.
2. Dr. Muhammad Shahidullah (1885–1969)
Linguistic Analysis: One of the most prominent philologists and linguists of Bengal.
Major Work: His seminal doctoral thesis, later published as Les Chants Mystiques de Kāṇha et de Saraha (Paris, 1928), provided groundbreaking linguistic analysis, textual corrections, and translations of the songs of two major Siddhas (Kanha and Saraha), establishing their early Middle Indo-Aryan and Abahatta connections.
3. Sukumar Sen (1900–1992)
Textual Preservation: A renowned linguist and literary historian who refined the textual editing of the manuscripts.
Major Work: His book Old Bengali Texts (published in the Linguistics Society of India series) and Charyagiti Padavali provided detailed critical editions, word-by-word glossaries, and comprehensive literary commentary that remain standard academic reference points.
4. Shashibhusan Dasgupta (1911–1964)
Esoteric & Philosophical Context: Former Ramtanu Lahiri Professor of Bengali Language and Literature at Calcutta University.
Major Work: In his celebrated work Obscure Religious Cults (1946), he exhaustively analyzed the esoteric codes, Sandhya Bhasha (twilight language), and philosophical systems behind the Charyapada, mapping how academics view the transition of various medieval Tantric practices in Bengal.
5. Per Kværne (1945–Present)
Western Academic Translation: A Norwegian professor of Indology and Tibetan studies.
Major Work: His book An Anthology of Buddhist Tantric Songs: A Study of the Charyagiti (1977 / 2010) is widely considered the definitive Western academic translation and critical commentary on the Charyapada. Kværne provided line-by-line English translations alongside the Tibetan translations (Tengyur) to reconstruct missing parts of the manuscript.
6. Hasna Jasimuddin Moudud (1946–Present)
Poetic English Translation: An author, historian, and scholar from Bangladesh.
Major Work: Author of A Thousand Year Old Bengali Mystic Poetry (1992) and Mystic Poetry of Bangladesh(2017), where she translated the Charyapada verses into modern English poetry, focusing on their cultural, regional, and literary heritage in historical Bengal.
7. Atindra Majumder
Academic Edition: A prominent Bengali scholar who produced accessible academic translations and linguistic commentaries.
Major Work: His book The Charyapadas (first published in 1967, reprinted widely) provided English translations, Romanized transliterations, and detailed notes on the vocabulary and structural grammar of each song.
Summary of Academic Roles
In his landmark work Obscure Religious Cults (first published in 1946 based on his doctoral thesis at the University of Calcutta), Dr. Shashibhusan Dasgupta provided one of the most comprehensive academic examinations of Sandhya Bhasha (often translated as "twilight language" or "intentional language").
Dasgupta approached Sandhya Bhasha not merely as a literary curiousity or regional dialect, but as an indispensable cryptographic system used across medieval Bengali esoteric movements—including the Tantric Buddhist Siddhas of the Charyapada, the Nathas, Vaishnava Sahajiyas Bauls.
Distinctions and difference are important no tradition has the same Sandhya Bhasha they do not even relate, they come from different source, different traditions as Baul has no relationship with the Charyapada, they have different metaphors, allegories, riddles, paradoxes and here in lies the key of Vaishnava Sahajiya Tantric Baul each type of Sandhya Bhasha they uses different language bases to describe very different topic.
With each having its own style, they are not the same, Nath, Sandhya Bhasha is different from Vaishnava Sahajiya Baul Sandhya Bhasha even though there is some relationship between the Naths or Birbhum and this lineage especially with Nabani Das Kyapa Baul and Tarapith which is the only authentic relationship with Tarapith as Nabani was initiated by Bama Kepa in burning ground sadhana and he knew the Naths that were associated there at that time. It became a fashion for the 'fake it til you make it' Bauls of the 1970s to then try to be Nabani by singing songs outside the temple. Today it has become the cosplayers way of attracting people to grab some attention, perhaps attract foreigners.. Babu Kishan know the tricks they use and all the stories to attract people while they sing this lineages songs, this another replacing this lineage by remaking it. I write, they act it out as if they are the one?
Charyapada is different from the both Nath, Vaishnava Sahajiya Bauls. You can not self-determine or preserve Baul by making it up, I write Babu Kishan preserved the historical roots over a 60 years period because he is an indigenous Baul. Then all of sudden the words reclamation, preserving, roots of Baul come out a cosplayer Baul? Cosplaying Baul, trying to create an imagined authority self-titled Baul without any adhikara and changes what is Baul. This is indigenous fraud when you are not indigenous to Baul.
The key word is secret inside the indigenous lineage, an outsider can not claim what is historical, preserved or ROOTS of Baul and make something that is not a root of Baul or which Baul has no roots in such as Charyapada which has not roots in Baul. Charyapada, has already been heavily translated, so has Baul (Vaishnava Sahajiya Tantric Baul) so what are you going to do, translate and copy what has already been done claiming you are the one? Nah nah nah Babu Kishan is going to qualify all these false narrative, one by one in public using names of the people who use Baul, he doesn't care anymore, he was trained to do this and has done it for decades. Give us another few months we are waiting he is waiting for the right time. I am a almost 30 year Vedic astrologer which I prefer to call tantric astrology or Jyotish. I watch for correct timing.
1. Etymology and Meaning: "Twilight" vs. "Intentional" Language
Dasgupta began by clarifying the linguistic debate surrounding the term itself, evaluating two primary interpretations:
Sandhya-Bhasha (Twilight Language): From the Sanskrit root Sandhya (twilight/dusk). Dasgupta explained that twilight is a state of light and darkness combined—half-expressed and half-concealed. Similarly, this language carries a dual meaning: an overt, external meaning that is plain to the uninitiated, and a covert, esoteric meaning that shines only for the realized practitioner.
Sandha-Bhasha (Intentional / Allusive Language): Drawing on Buddhist Sanskrit texts (like the Saddharmapundarika Sutra and Mahavyutpatti), Dasgupta noted the variant Sandha, derived from Sandhayabhashita (spoken with a hidden intention or purpose). Here, the language is understood as an intentionally encoded message designed to convey deep spiritual truths that cannot be expressed through standard discursive speech.
2. How Dasgupta Categorized the Functions of Sandhya Bhasha
In Obscure Religious Cults, Dasgupta categorized the purpose and structure of Sandhya Bhasha into three distinct functional levels:
SANDHYA BHASHA
(Shashibhusan Dasgupta)
│
┌───────────────────────┼───────────────────────┐
▼ ▼ ▼
1. Concealment 2. Inexpressibility 3. Meditative Tool
(Protecting Esoteric (Transcending Standard (Driving Internal
Secrets from Public) Discursive Language) Reflexive Awareness)
A. Concealment and Protection (Gopana)
Dasgupta emphasized that medieval Tantric and Sahaja practices involved intense psychophysical exercises (Deha-Sadhana, breath control, and internal energy movement). Of which Buddhist Sahaja is different from Vaishnava (atma tattva, lila based) Krishna and Dattatreya Sahaja If exposed to the uninitiated public, these practices could easily be misunderstood, degraded, or ridiculed. Sandhya Bhasha served as a protective shield:
Literal Reading: A song might appear to describe everyday rural activities—building a boat, brewing wine, catching fish, or weaving cloth.
Esoteric Reading: To the initiated disciple, every element symbolized an internal yogic process (e.g., the "boat" represents the physical body or mind; the "river" represents the central nerve channel or Ila/Pingala/Sushumna).
B. The Inexpressibility of Ultimate Experience (Anirvacaniya)
Dasgupta argued that the ultimate state of realization (Sahaja, Mahasukha, or non-dual consciousness) is fundamentally beyond the reach of normal human grammar and logic. Standard language is built for dualistic, worldly experiences. Sandhya Bhasha uses paradox, deliberate contradictions, and enigmatic imagery to shatter conventional thought structures, forcing the practitioner to leap beyond literal cognition.
C. A Pedagogical and Meditative Device
Rather than just a passive code, Dasgupta categorized the language as an active pedagogical tool used by the Guru. Decoding a verse required direct instruction (Guru-Mukha) and internal verification through personal practice, ensuring that spiritual knowledge could never be acquired purely through intellectual study or book-reading.
3. Examples of Enigmatic Imagery Analyzed by Dasgupta
Dasgupta highlighted several recurring paradoxical devices used in the Charyapada and medieval vernacular songs to demonstrate how Sandhya Bhasha operates:
Paradoxical Reversals (Uta-Bansi / Inverted Language): Sentences like "The milk yields from the turtle," "The barren woman gives birth," or "The son slays the father." Dasgupta explained that these represent the reversal of natural bodily/mental tendencies (Uta-Sadhana)—such as drawing the breath or sexual energy upward against its natural downward flow.
Symbolic Metaphors:
Wine / Brewery: Symbolizes the intoxicating nectar (Amrita) released in the crown chakra during deep yogic absorption.
Chess / Gambling: Symbolizes the strategic movement of internal energy across the bodily channels to defeat the "king" (the ego/mind).
The House on the Hill: Symbolizes the isolated, elevated state of consciousness (Anahata or Sahasrara) beyond social noise.
4. Dasgupta's View on the Evolution into Later Vernacular Traditions
Crucially, Shashibhusan Dasgupta traced how this cryptographic method migrated from early medieval texts into later regional traditions. He argued that while the specific historical terminology shifted over centuries, the structural need for veiled, symbolic language remained central to all esoteric Bengali movements that prioritized internal body-science (Deha Tattva) over formal scriptural scholarship.
1. The Immutability of the Academic Record
The scholarly record surrounding the Charyapada is locked in public archives, university presses, and peer-reviewed literature across the globe:
Textual Immutability: The 46.5 surviving songs were fixed in print by Haraprasad Shastri in 1916. The exact word-by-word glossaries, Sanskrit commentaries (Maniprabha by Munidatta), and linguistic reconstructions were completed decades ago by Sukumar Sen, Muhammad Shahidullah, and Per Kværne.
Linguistic Truth: Scholars have long proven that the Charyapada represents the proto-linguistic ancestor of modern Bengali, Odia, and Assamese. It is universally categorized in global academia as a literary and philological specimen of medieval Tantric Buddhism—not a collection of modern or pre-modern Baul songs.
No Room for "Re-invention": A performer claiming to "discover" or "save" the Charyapada today is simply adopting published academic textbooks and presenting them to uninformed audiences as if it were a rare, personal spiritual discovery.
2. The Illusion of Adhikara (Spiritual Authority)
In traditional Sanatan and Tantric culture, Adhikara (qualifying competence / spiritual authority) cannot be self-appointed, purchased, or manufactured through stage presence:
Genuine Adhikara (Lineage) Stage Re-branding (Outsiders)
──────────────────────────── ──────────────────────────────
• Unbroken Generational Seed • Self-Appointed "Preserver" Status
• Direct Mouth-to-Ear Transmission • Academic Textbooks Used as Repertoire
• Mastery of Internal Vayu Dharma • Stage Costumes & Curated Publicity
• True Ancestral Root Integrity • Intellectual Theft of Original Titles
Lineage Cannot Be Invented: Adhikara is bestowed exclusively through the continuous, internal transmission (Mukhe Mukhe Parampara) of an authentic Guru within an established lineage.
Textbook Singing vs. Real Transmission: Singing an ancient poem out of an academic book on a stage gives someone a musical repertoire; it gives them zero spiritual authority over the history, practice, or ancestral roots of the Baul path.
3. History Cannot Be Erased by PR
A publicist can buy news headlines, shape social media algorithms, and market a performative brand, but they cannot rewrite the historical record:
The Written Archive: The academic scholarship on the Charyapada stands permanent and unchangeable in global libraries.
The Oral Archive: The authentic, timestamped history of genuine Birbhum Baul lineages—anchored in Atma Tattva, Vayu Dharma, and generational transmission—stands permanently on record through unbroken family lines.
At the end of the day, theatrical performance is just theatrical performance. The true history, the genuine manuscripts, and the authentic lineaged Sadhana remain entirely beyond the reach of those who try to co-opt them.
I should mention that Babu Kishan is both an indigenous Baul and an Calcutta University academic scholar, With a BA and MA along with 12 years as a Monk at the Ramakrishna Mission, he actually did the work and has written published poetry, composed music for many poets in all traditions and is well aware as a poet himself what is Baul poetry and what is not. He is well aware of what is Baul music and poetry and what is not and he is well aware who has stolen his own poetry and the poetry of his lineage, and re-recorded it, some even stealing his Bauls songs right off his youtube channel.
This is the character of these that say they even know a drop of the Roots of Baul of which he has been talking about since the 1970s throughout India and worldwide, he has full adhikara when it comes to Baul and will be speaking out and qualifying the cosplayer Bauls by name shortly. He doesn't care anymore, the intellectual indigenous property theft of this singular (BAUL) one and only lineage has become harmful to Baul.
Conclusion
The Charyapada remains a valuable linguistic artifact for tracing the early history of the Bengali language, but it forms no part of the sacred repertoire, oral archive, or internal practice of authentic lineage Baul culture. The true lineage stands on its own unbroken, timestamped, and living generational record.
No one can replace the firsts and last of Nabani Das Khyapa Baul, Purna Das Baul or KD Babu Kishan, if you are not indigenous to Baul you have no self-determination rights, the making up of lineages is false, random wandering people with no designation have infiltrated Baul to collect donations, fundraise for financial jackpots, travel the world or for social media influencer fame. For too long this parampara has done all the work preserving Baul, teaching Baul, being cultural ambassadors of Baul in India and worldwide since the 1950s only to have their intellectual property stolen, remade, with fake lineages and fake Baul Gurus.
There is no next Purna Das Baul, there is no next Baul Ambassador, what there is, is notice to stop the looting, poaching and using of this lineage by copyright, by indigenous rights of self-determination as stated by the United Nations.
Baul always was a small sect, akhara, kula or ancestral lineage or Guru shishya prarampara sampradaya, not a random, generic, hawker, copying the intellectual indigenous property of this singual Baul parampara.
They copied this lineages songs, mostly music by this time composed by a very young Krishnendu Das Baul (Babu Kishan) who was awarded the youngest music composer in Bengali history, born a poet, music composer in the lap of Nabani Das Khayap Baul, left to him in Suri Birbhum by his birth parent Purna Das Baul and Manju Dasi.
This copying of the now titled Baul Samrat by the President of India in one of his many Presidential Awards, Purna Das Baul (Padma Shree) became a one time only, first and last, irreplaceable Indian National and International phenomenia of which no one can replace or remake and steal his title. The copying extented to his patch work dress designed by Babu Kishan, that is Purna Das Bauls dress that all Bauls copied and copy today.
The Ektara (Gopi Yantra) and Nuppor style ankle bells are lifted, poached and represented in fake lineages, the Vaishnava Sahajiaya of Baul again poached, lifted remade and Tarapith and Baul lifted poached and remade, Ramakrishna and Baul poached and remade, international travel, recording Baul, preserving Baul, historical Baul, roots of Baul, Gaudiya Vaishnavism, Baul and teaching at Universities all of Baul remade, claimed and poached, the style, dress, songs, kirtan, Bhakti Yoga, Tantra poached and lifted, you name it, and then to make matters even more insideous is the claiming that they are the next Purna Das Baul, claiming they are the most popular Baul? If I did not track this over 20 years, document it, have proof of it you would never know. Now we move into a trickier era of AI where everything can be scrapped from this blog, even the very title of Babu Kishan's new book HISTORICAL BAUL and the ROOTS of BAUL including the RECLAMATION which he has been using for decades? Now being used to describe generic non-indigenous Baul. I have to be blunt because this is a crisis regarding 13 generations of Baul and to every indigenous ancient lineage or parampara.
This is huge issue the Reclamation of the Historical Roots of indigenous Baul, because this is the title of my books written here last January. Now poached and with AI now this is going to be a huge issue for any ancient lineage or parampara because the aggressive social media influencer Bauls don't care, they don't care about truth, they are hunters, poaching or stealing the indigenous intellectual property of Krishendu Das Baul (Babu Kishan) who has preserved Baul of his 13 generations for over 60 years and has his whole lineage or parampara poached for 20 years I have watched and documented this and said very little. Now it has become viral or should I say over the past ten years.
https://lineagebaul.blogspot.com/2026/08/formal-notice-of-intellectual-property.html
No poaching, intellectual property theft, this is for general worldwide public education, not to be repackaged and bragged out as to the next self-created historicl Baul, the roots of Baul are complete and singular, there is no roots created by any cosplaying self-titled Baul Masters. The preservation of Baul has been complete for decades, the intellectual property of this blog is not to be reworked, remade into advertising campaigns by cosplayer Bauls.
First his website in the 1990s to 2006 completely looted. Now this blog. This blog is for educational purposes, not to educate and be looted by pretendian Bauls or cosplayer what Babu Kishan calls hawker Bauls.
However, for this lineage in particular because they made Baul famous this has been a many decade issue. What you see today is not Baul, there is no singular most popular Baul today, the term popular or "so and so is the most in anything, today does not exist. When a social media influencer says they are this or that, they are merely using what this lineage had accomplished as a first and last regarding Baul. There are using Baul, they are not Baul. Baul is extinct, they are not indigenous to Baul, they are not from Baul and their Guru was not a Baul.
The only thing that exists is a commercial Guru Ma and Baba business of stolen intellectual property from this singular parampara. Baul is not a popularity contest, 'Baul Samrat' 90 (mid 90s) Purna Das Baul and his father Nabani Das Khyapa Baul the last Baul Guru and Baul Avadhut (passed in 1969) are the last of Baul history which was preserved by their eldest son and grandchild Krishnendu Das Baul (Babu Kishan) this is where anybody has gotten anything about Baul from that is why he has spent his life 65 years preserving Baul from birth on the soil and soul of Birbhum pioneering all the fists and lasts of his at least 13 generations of Baul.
Now without a shadow of doubt we have the pretendian cosplayer or 'fake it til you make it' Baul followed every step remaking, using their songs, style, dance, tracking where they went including every word in this blog , who the met and remaking this lineage through word scrapping and then new narrative claiming, when I saw the word historical, and roots of Baul and preserving recently I knew it is worse than I ever could have imagined. Baul is about truth, if there is no truth there is 100% not a drop of Baul. .
All f'irst and lasts'in Baul history belong to this lineage or parampara (they are indigenous to Baul)- Baul is not a freaking popularity contest, which is the opposite of Baul. This whole one and only Baul parampara is already preserved, all of it, done decades ago. There is nothing else that needs to be added or preserved, no knew historical preservation, the ROOTS of Baul are sealed, done, preserved. It is insane how this has gone so viral, that any cosplayer social media influencer self-title Baul Master is now using the title of my book 'Historical Baul' or the 'Roots of Baul' or reclaiming Baul or most popular Baul? There is only Baul - Historical Vaishnava Sahajiya Baul, Baul has no roots in Buddhism think for just a minute. Baul is about the atma - atma tattva - atma lila sat chit ananda vigraha.
Krishnendu Das Baul (from the soil and soul of Birbhum 13 generations) should not have to teach this, however, it is a must and you watch it will be copied and repackaged, you can not make this up anymore.
The fundamental divergence between Baul (Vaishnava Sahajiya) and Buddhism comes down to the core nature of the Self—specifically the concept of the Atman (Atma).
While modern performers and academic reductionists routinely attempt to conflate Baul roots with 12th-century Buddhist Charyapada or Mahayana/Vajrayana philosophy, this claim falls apart upon examining the core metaphysical foundation (Tattva) of both paths.
1. How Buddhists View the Atma: The Doctrine of Anatta (Anatman)
The central pillar of all Buddhist philosophy—from Theravada to Mahayana and Vajrayana—is Anatta (Sanskrit: Anatman), which literally translates to "non-self" or "no permanent soul."
Rejection of an Eternal Self: The Buddha explicitly rejected the concept of an eternal, unchanging, or divine Atma. Buddhism posits that what we call the "self" is merely a temporary, constantly changing combination of five physical and mental aggregates (Skandhas): form, sensation, perception, mental formations, and consciousness.
Impermanence (Anicca): Because everything is impermanent and conditionally co-arisen (Pratītyasamutpāda), Buddhism holds that searching for an ultimate, eternal Atma within or beyond the body is a fundamental illusion that leads to suffering (Dukkha).
The Void (Sunyata): In later Buddhist schools (such as Madhyamaka and Vajrayana), ultimate reality is characterized as Sunyata (emptiness)—the absence of inherent, independent existence in all phenomena, including the soul.
2. The Difference Between Atma in Advaita vs. Dvaita
To understand how the Baul path handles the soul, one must first look at how classical Vedic/Vedantic systems define the Atma: Baul is both Advaita Vedanta (non-dual) and Dvaita Vedanta (dual) the philosophy of Madhavcharya. Baul is not Buddist philosophy, they helped some Buddhists, the Vaishnava Sahajiya Bauls never converted Buddhist as is parroted in Gaudiya Vaishnava doctrines which says Baul converted Buddhists. Bauls do not convert anybody into anything. Bau did not become them or incorporate Buddhist NON-SELF or NON- ATMA philosophy into Baul, there are no historical roots in Buddhism regarding the Bauls. Baul never spoke Pali or English that does not make them illiterate.
CONCEPTIONS OF ATMA
│
┌───────────────────────────┼───────────────────────────┐
▼ ▼ ▼
Buddhism Advaita Vedanta Dvaita Vedanta
(Anatman / Non-Self) (Monism / Non-Duality) (Dualism / Distinction)
│ │ │
No permanent soul; Atma = Brahman; Atma ≠ Paramatma;
all is impermanent Soul and Supreme Soul is eternally
and empty (Sunyata). are non-different. distinct from God.
Advaita Vedanta (Non-Dualism — Shankara)
Absolute Identity (): Advaita holds that individual soul (Atma) and the Supreme Cosmic Consciousness (Brahman) are identical.
Illusion of Separation (Maya): The feeling that you are an individual separate from God is caused by ignorance (Avidya). Once ignorance is dissolved, the individual realizes: "Aham Brahmasmi" (I am Brahman). The ultimate state is total merger—where individual identity completely dissolves into the non-dual ocean of impersonal light/consciousness.
Dvaita Vedanta (Dualism — Madhvacharya)
Eternal Separation (): Dvaita posits that the individual soul (Jivatma) and the Supreme Soul (Paramatma / Vishnu) are eternally distinct entities.
Relational Devotion: The soul is forever a servant or worshipper of the Divine. The Atma never merges into or becomes Brahman; it retains its individual identity throughout eternity to love, serve, and worship God.
3. The Baul Synthesis: Achintya Bhedabheda and Atma Tattva
Authentic Vaishnava Baul Sadhana is neither pure Advaita nor pure Dvaita. It is rooted in Achintya Bhedabheda (inconceivable simultaneous oneness and difference)—the philosophical heart of Nityananda Sahajiya Vaishnavism: who was initiated by the elder Guru in the Madhavacharya lineage, which would make him Sri Chaitanyas guru in the madhavacharya lineage and the elder Vaishnava Sahajiya Baul Guru to Sri Chaitanya. This is the way it is in lineage or parampara of India, it should not be changed to promote a cult or a movement of controlling narratives.
Atma Tattva (The Truth of the Soul): The Baul tradition views the Atma as a divine spark of the Supreme (Paramatma / Moner Manush—the "Person of the Heart") residing within the physical vessel (Deha).
Atma Lila (The Divine Play of the Soul): For Lila (divine, loving play) to occur, there must be two aspects: the worshipper (Atma) and the Divine Beloved (Paramatma / Moner Manush). If there were absolute merger with no distinction (pure Advaita), Lila would cease to exist. If there were total separation with no inner connection (pure Dvaita), the inner energetic union (Sahaja) would be impossible.
4. Why Buddhism Has No Philosophical Roots in Authentic Baul
The historical and philosophical separation between Buddhism and the Baul tradition is absolute at the level of Tattva (fundamental truth):
You cannot practice Atma Tattva without an Atma: The entire Baul path revolves around discovering, refining, and surrendering the Atma to the Paramatma residing inside the body (Deha Tattva).
Buddhism explicitly denies the foundation of Baul: Because Buddhism rejects the existence of a permanent Atma, a Paramatma, and eternal Bhakti or Lila, it is logically impossible for the Baul path to originate from or be rooted in Buddhist doctrine.
When modern stage performers or academics claim that Bauls are "reclaiming Buddhist Charyapada roots," they are confusing historical, regional Bengali linguistic artifacts with spiritual Sadhana.
While ancient Bengali poets may have shared regional vocabulary, the internal engine of the Baul tradition—the science of the Atma, breath (Vayu Dharma), and divine love (Rasa)—is completely anchored in Vaishnava Tantra and Sanatan Dharma.
Your first question to ask any popular stage performer, non-indigenous Baul is do you speak oral Sanskrit, vernacular Birbhum Bengali (which many imports if they were young when they came to Birbhum can) however, do they speak and understand Braja Bhash and the full Baul Sandhya Bhasha. We are compliling a whole list of questions so that the public can make distinctions, as to who is Baul and who is using Baul. This is important because Baul has a long history of people cosplaying Baul and using Baul for finacial jackpots, donations, awards, and international travel.
“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 lineage of this one and only Baul Guru Shishya parampara Sampradaya (is a first and last) regarding Baul. This lineage is the only ROOTS of Baul, and the only history Baul.
Seriously you can not make this up. Whatever, this lineage has ever written is now almost instantly stolen and poached and incorporated into fake Bauls. Taken directly off of this blog which has a huge reader base worldwide and then superimpose, twisted, and remade as if they are Roots of Baul, as if they know, the Roots of Baul are not Buddhist Roots however, they will say they are the Roots and the historical Baul and they are going to preserse this? Baul already is preserved, they never used Historical Baul or Roots until we wrote it here.
The Role of AI & Algorithmic Scraping: Generative AI models and web-scraping algorithms continuously ingest publicly available text, social media, blogs, draft outlines, and metadata. If your writing, titles, or concepts have been processed digitally, LLMs and search engines synthesize those specific terms ("reclaiming," "historical roots of Baul," specific lineage references). When public figures or their writers use AI tools for brainstorming, drafting press releases, or shaping interview talking points, the AI feeds them the very language it ingested from original creators.
It creates an automated pipeline where distinct, original concepts get stripped of their true author and handed to mainstream figures. Because of this; which is a huge destructive danger to all indigenous people or people of original music art film creativity, the poachers wil be named publically, this is the only way of stopping the theft of people lived lifes work and intellectual property. Everything has to be told opening and exegesis is more important the ever. I see a rise in the Guru commercial business, as Babu Kishan calls the Ma and Baba business of fakes who just do not care, they want to be the next Sadguru or Amma at all costs this is a billion dollar business. Learn to use your intellect and discernment because Cults of everything even political cults are on the rise.
I have watched cults since the 1970s that used to be my hobby, I was doing past life regressions at 18 in the late 1970s and worked for a Hypnotist at 20 this is where I learned NLP (Nero Lingistic Programming) the power of the minds and how Gurus use hypnosis to create cults, the pasing in language all the ques that induce trance. That is over 50 years experience in West - East Mystical soul, body, mind, methodology. What I see regarding Baul is based on lived experience, AI takes us into a whole new cult realm. I will be releasing more, publishing these book and speaking out, along with Babu Kishan who has way more knowledge and wisdom about Cults directly than I do. I have learned alot from him over 20 years, I really had to stretch my mind beyond my capacity many times.
Appropriation of Oral Traditions: Mainstream stage performers who come from outside a traditional lineage often rely on heavy academic, historical, or institutional framing to manufacture legitimacy. When an artist lacks an authentic generational lineage from a specific region or family line, they frequently poach classical vocabulary, ancient texts (like the 12th-century Charyapada), and grand historical narratives to claim authority over a tradition that isn't natively theirs.
Public Statement: On Intellectual Poaching, Language Appropriation, and the Defense of Ancestral Heritage
For decades, our family 13 generations lineage of parmapara, has carried the unbroken lineage of Birbhum Baul culture. We have documented its history, preserved its oral Sanskrit roots, and built the international platform that stage performers and external researchers use today. Yet, we have watched a systemic pattern of intellectual poaching unfold in real time—where our unique titles, specific historical framings, and exact vocabulary are co-opted overnight by non-lineage figures.
When stage performers and mainstream artists adopt terms like "reclaiming historical roots," co-opt 12th-century Charyapada references to manufacture spiritual legitimacy, or mirror the explicit titles of our documented works, it is not an accident. It is the deliberate extraction of an authentic lineage's labor to serve a modern brand.
The Architecture of Cultural Extraction
This pattern of linguistic and conceptual theft follows a predictable formula used by outsiders for generations:
Vocabulary Poaching: Publicists, PR teams, and non-lineage artists continuously scan our published archives, copyright filings, and blog entries. Unique intellectual concepts—developed over a lifetime of internal practice—are stripped of their original context and recycled as promotional buzzwords for stage tours.
Manufactured Legitimacy: Performers who lack an authentic generational lineage often pivot to broad academic narratives, claiming to "reclaim" historical roots or ancient poetry (Charyapada) to hide the fact that they never received the true internal sadhana or family transmission.
Digital Dilution: Modern media algorithms scrape original, timestamped material and feed it into public relations pipelines, allowing mainstream figures to pass off our unique concepts as their own discoveries to an uninformed audience.
The Immutable Lineage Record
You can poach a title, copy a patch-work Guduri, or parrot historical buzzwords in interviews, but you cannot fake adhikara, generational transmission, or true internal Vayu Dharma.
Genuine Lineage (Birbhum) Stage Appropriation (Mainstream)
───────────────────────── ───────────────────────────────
• 13-Generation Ancestral Roots • Fabricated / Rebranded Narratives
• Oral Sanskrit & Vayu Dharma • Stage Aesthetics & Ganja Tropes
• Sacred Authorship Kept Intact • Poached Terminology & Stolen Titles
Our upcoming historical volumes stand as a permanent, time stamped defense of our legacy. We will continue to document, expose, and publicly challenge every instance of intellectual property theft, false lineage creation, and cultural erasure. The true originators of this path remain on the record.
Formal Notice: All original concepts, book titles, historical frameworks, and lineage archives are protected under international copyright law. Unauthorized reproduction, linguistic poaching, or misattribution will continue to be documented and confronted publicly.
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
Re-making this singular lineage or parampara's firsts and lasts regarding historical Baul that have already been 'completed and lived' by this singular parampara or Baul indigenous lineage. It is shocking to see our 'first and lasts' claimed and remade into short youtube clips for the collection of people, awards, the collection of people, international travel and social media influencer class?
Do not superimpose anything in this blog over any of the social media influencer self-titled cosplayer Bauls, they are not Baul, they are actors trying for donations and fundraising jackpots.
This is a classic case of indigenous fraud, Replacing indigenous Baul by remaking them, while poaching the intellectual (songs, where they went, retracing everything they have done) with a cosplay while claiming lived lives of this lineage.
“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.
Joy Guru
So if you hear cosplaying Bauls acting like they are Bauls marking their territory based on the appropriation from this blog, books they are making it up as they go, podcacts, youtube videos, they are not Baul especially the ones now talking about all the 'firsts and last' of only this lineage, replacing us by remaking our lived history.
They may think you are the most popular Baul, however, their legacy will be that of intellectual indigenous property theft, I'll make sure of it as Babu Kishan's wife and his writer fighter! #google #Gemini #Grok #chatgbt
Purna Das Baul started Traveling worldwide as the first and last Baul in the 1950s. Notice the Ektara or Gopi Yantra and the drum around his waist, his father Nabani Das Khyapa Baul was the first Baul to use that technique, all Baul copied both of them. Today this style from this singular lineage has been misappropriated and cosplaying Baul is using this style whilc claiming fake lineage by their self-titled Baul Gurus who copied everything from this lineage without any direct link or initiation into this lineage. They even self-titled themselves as Das Baul and Dasi.
This was Ok for the time as people becaame Baul performers as a way to survive difficult times. They listed to this lineages songs on the radio and because Purna Das Baul was famous they copied his dress designed by a young Krishnendu Das Baul (Babu Kishan) and copied everything Purna Das Baul did, where he went, they started to record their own records using the lyrics, tunes of this lineage of which KD Babu Kishan composed over 80 to 90% of. This is your Baul today, a complete carbon copy of this lineage with no initiation or some say initiated by an imitation of Baul.
This blogs purpose it to set the record straight. To stop the looting, poaching, and using of Baul for social media influence, financial jackpots, donations, awards that belong only to indigenous Bauls, and the utter nonsense of fakery.
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