BabuKishan.com

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

I am making distinctions because the word 'lineage' is thrown around so much these days. I have heard people one generations into Baul call themselves a Baul  Lineage, when in actual fact they are new born babies, who sing folk songs or a few Baul songs from this lineage? "they say my lineage", so we all can call ourselves lineage holders. I don't think that is how it works, and in actual fact, lineage is always based on ancestry. Baul is based on indigenous ancestry or many hundreds to thousands of years of practice. It is not a simple path, although it looks simple, just as the an accomplished Kung Fu Master makes it look easy. This easiness is called Sahaja and it comes from generations after generations of indigenous Baul ancestors. Baul is never base on one poet or a few generations, you can not or should not self-title yourself a Baul, you should not act or pretend to be an indigenous Baul, use their songs, copy there dress, and follow them all over the world pretending you are a Baul. There are actually laws in this now that prevent indigenous theft of their intellectual property. 

Pretending to be something you are not waters down the lineage, the reductionism is astounding and now while fake pretendian Baul have now decided they are fundraising to preserve Baul, when Baul has already been preserved over 60 years by Babu Kishan aka Krishendu Das Baul who is an indigenous ancestral Baul.

The new fake pretenbdian Baul actors do not know what they are talking about, they make up fake Baul Guru's and Fake Baul lineages duping people and telling them to come and join us, when Baul does not collect people. These fake Bauls leave out the information, water down the tradition? This is the way with all indigenous wisdom, if nobody says anything, then it is a free for all, as we can see in the Yoga industry, the same is happening to indigenous Baul and has been happening with great intensity since the 1970's when this lineage pioneered Baul throughout Bengal, all over India and globally. Whatever, this lineage did, these pretendian Baul copied and followed, including their dress, songs, dance, instruments, names (Das Baul and Dasi) and followed them around the world, even contacting their own connections and contacts.

Bauls are freedom lovers, but the kind of freedom that is drawing people to the Baul mela's these days is not the kind of freedom Baul was intended for.  

However, in the true sense of a lineage I am talking, "thousands of years, before Christianity, before Buddhism, before Islam. Baul was around long before as they follow the path of Dattatreya, Vishnu, Shiva, Brahma and Shakti Sadhana. This one and only lineage of Baul is (Vayu Tula) the path of Krishna'Kali and every Indian philosophy, Upanishads, Tantra, Oral Sanskrit including manuscripts, it is the path of Upanishads, Puranas, and Itihas the Historical epics, Ramayan, and Mahabharat.

Bauls are not illiterate, they are Sahajiya meaning indigenous natural and spontaneous, indigenous mystics called Vaishnava Sahajiya Tantric Bauls of Birbhum, West Bengal, India

They speak oral Sanskrit, Sandhya Bhasha, Braja Bhasha, and vernacular Birbhum Bengali dialect.

The Bauls of the old days are extinct. All we can do is return Baul to the indigenous Baul and stop all the using and abusing of Baul usually for financial jackpots by outsiders who are faking Baul.  

Lineage Baul is very rare. Nabani Das Khyapa Baul is the last authentic Baul to live on earth, he passed in 1969.

We are the bird people---we do not know how to walk, we like to fly." Babukishan

BabuKishan.com

Indigenous Fraud, Indigenous Intellectual Property Theft!

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

.

The Black listed Journalist.. A sizzling Baul! Baul History in the West and the only in New York City.

Babu Kishan  aka Krishnendu Das Baul

BabuKishan.org

This is the only authentic History with New York and Baul, Cosplayer Bauls have shadow footprinted this Baul history too. A cosplayer, Baul Artist or Baul Master is not a Baul. They follow this lineage, make up lineages and try to replace this lineage, erasing the actual history by tracking them. Now they are saying they are the new Baul Samrat Purna Das Baul, who is historical indigenous Baul along with Nabani Das Khyapa Baul and Krishnendu Das Baul stealing their legacy bragging about all this thinks in a great remake of this lineage. I have all the receipts and legally will present this intellectual indigenous fraud. You can't even make this up anymore. There is only one Baul history, all the firsts and lasts, only belong to this parampara or lineage. There is no such thing as Baul Artist or Baul Master, they were created by fake Bauls to give the legitamacy?

Do NOT copy, All rights reserved 2010 -2040

The Black Listed Journals of Al Aronowitz are not with Sanford University as part of American History. 

 

Eighteen years after he first comes to my apartment in New York, Babukishan Das, son and rhythm drummer of the celebrated Purna Das Baul, comes to visit me again in the Fall of 2000. I know him as Babu.

He started out phoning me repeatedly a number of years ago. He wanted to come to the U.S. to connect with American musicians. He told me he has become a success in India writing music for a number of the films being ground out assembly "line-style in Bollywood, which is what India calls the capital of its thriving film industry. India's Bollywood, in fact, now rivals America's Hollywood in selling movie tickets. With its name obviously meant as a take-off of America's original movie capital, Bollywood, is located in India's teeming Bombay, now renamed Mumbai for local political reasons of which I am currently ignorant.

Babu's Indian music is not like Ravi Shankar's sitar music. Babu is a Baul, a product of the famous Bengali Bauls, of which his grandfather, Nabani Das Baul, was the patriarch and of which his father, Purna, is currently the celebrated leader. The Bengali Bauls represent not a religion or a sect or a tribe but a way of life grown from performing in the streets. In other words, Baul music is one of India's folk musics. Fusing it with a combination of America's myriad musical genres is an interesting concept. Not a bad idea at all! In fact, the idea is so good, it started rekindling dreams of musical entrepreneurship in my battered brain.

Babu starts out by phoning me a lot. I tell him to buy a computer and email me, because that'll be cheaper. He does just that and starts filling my inbox regularly. But, before we do anything else, he wants me to write a story about him for my website. He sends lots and lots of photos of himself. Every day. I get another email from Babu full of information about himself and about the Bauls. Soon, he sweet talks a web-tekki named Mary into setting up a Babukishan website for him.

But when I finally go to his website to look it over, I get this message: "BROKEN HEART--SITE CLOSED." Turns out that Mary and Babu had a spat and she closed down Babu's website. Next thing you know, Mary thinks it over and recognizes Babu is just following the Baul way of life, which is Casual with a capital C. Next thing you know, Mary fills my inbox with 24 messages containing all the material that had been on the website she erased. Eventually, Babu tells me she now calls herself Mary Das Baul.

Now, I am confronted with a massive overdose of Babu's information. This comes at a time when I am not only overwhelmed by my never-ending duties as editor and one-man staff of THE BLACKLISTED JOURNALIST, an e-zine that requires a new issue on the Internet every month, but I also have begun the exciting and time-consuming task of publishing THE BEST OF THE BLACKLISTED JOURNALIST in a series of paperback books. I find myself paralyzed by indecision. Do I really have time to turn my attention to Babu? Then I get this email:

Subject: hi al,i am in newyork...babu
Date: Fri, 26 Sep 2003 08:27:45 -0700 (PDT)
From: babukishan das babukishan@yahoo.com
To: info@blacklistedjournalist.com

http://community.webshots.com/user/babukishanon

 New York and Babu Kishan (Krishnendu Das Baul) are history, he went to New York every year for half a 1980s through to 9/11 2001 that changed everything. Regarding Baul and New York that Baul history belongs to KD Babu Kishan. Even if Cosplayer self-titled Baul Masters who are tracking Babu Kishan have tracked him here too, advertising that they are the ones, first you have to be a Baul. Cosplaying and Shadow footprinting is not Baul. No one can be Babu Kishan, Purna Chandra Das Baul, or Nabani Das Khypa Baul. No non-indigenous Women from a middle class family can pretend to be a Baul Avadhut, Nabani was the last Baul Avadhut. No one can steal Manju Das's legendary legacy as the first and last Baul Women to travel the world.

 

"In New York, Babu is in Queens. My keyboardist son, Joel, volunteers to go get him. Soon, Babu is here in my crowded apartment. It turns out that although Babu, now 41, has a big hit in India and claims to've made a name for himself in Bollywood's relentless movie mill, he still has to tour with his father, the great Purna Das. That's why he's in the U.S. He's touring with his father's troupe, performing for the most part before Indian "migr? audiences across our nation.

In my pad, which is strewn with papers, cassettes, books, pamphlets, computers, files, file cabinets and everything else I can't find when I need it, Babu says he has a kurta punjabi for me---a long Indian shirt like the silk and elegant bright orange one he's wearing. Only, the kurta punjabi is back in Queens. He's forgotten to bring it with him.

He brings me a cassette of his hit, Soulmate, on MIL MUSIC INDIA, which Babu tells me is topping India's music charts. We play it and I find it lilting, delightful and endearing. Again, Babu tells me he wants me to write a story about him like the one I wrote about his father 18 years ago. I tell him I will when I get around to it.

That evening, my son drives Babu to my old friend David Amram's farm in Westchester. David is a famous master musician, who conducts symphony orchestras, leads a jazz group, is a French horn virtuoso, plays almost every other musical instrument known to man and delights audiences by accompanying himself while singing rap songs he improvises on the spot---something akin to the spontaneous bop prosody of his one-time buddy, Beat Generation saint Jack Kerouac. Before leaving my place, Babu says he will be back to see me in a day or two. When I ask Joel Roi what happened when Babu and Amram jammed together that night, he gives me an answer in one word: "Magic."

Dammit! And I couldn't be there! I had to stay chained to my computer. I had an issue of THE BLACKISTED JOURNALIST to get on the web. Or was I being pressed to get VOLUME FOUR OF THE BEST OF THE BLACKLISTED JOURNALIST ready for 1^st Books Library, the print-on-demand press in Indiana? There are too many things happening at once.

In the meantime, I am in contact with Sally Grossman, the person who, after being alerted to them by Allen Ginsberg, discovered the Bengali Bauls during her trips to India years ago. She is also the one who brought the Bauls to the attention of Bob Dylan and, in addition, she is is the inheritor of the Bearsville estate of her late husband, music magnate Albert Grossman, the entrepreneur who managed Dylan's rise to prominence. Sally graciously offers her Bearsville Studio as a place to record Babu's fusion music---on condition that David Amram is in charge of the production."

But Babu never returns to my place. Instead, he goes off touring the country with his father's troupe to new adventures and new friends. Eventually, I send Babu an email saying:

David Amram, my son Joel (keyboards) and Hayes Greenfield (sax) and Julian Fenton (drummer), stepson of Apple's Neil Aspinall want to make a fusion album with you and Sally Grossman will make her Bearsville studio available. You want me to write story bout you and I want to write it but right now, I'm tied up working on a Bobby Darin book. And my next column. --Al

And eventually I get an email from Babu:

Subject: i am glad to know ....babu
Date: Fri, 14 Nov 2003 11:08:56 -0800 (PST)From: babukishan das babukishan@yahoo.com
To: al aronowitz info@blacklistedjournalist.com

hi al,

wow! i am glad to know that they like to do fusion music with my music. great!!! i'll be in in new york 10th dec and 'll be there up to 30th dec. tell joe i am happy to hear.how r u?

and ur health?

i am ok.

takecare...

babu

Well, for a long time I don't hear from Babu but that's the Baul way. Casual. In fact, that's my way, too, so I understand. In something apparently written by Sir John Wodroffe, an English scholar, I read:

Well, I tell myself, doesn't that just about describe me, too? But there's more:

Bauls have nothing..no scripture, not even to burn, no church, no temple, no mosque..Nothing whatsoever. A Baul is a man always on the road. He has no house, no abode. God is his only abode and the whole sky is his shelter. He possesses nothing except a poor man's quilt, a small hand-made one-stringed instrument called "ektara? and a small drum, a kettle drum called "baaya." That's all that he possesses---a musical instrument and a drum. He plays with one hand on the ektara and he goes on beating the drum with the other. The drum hangs by the side of his body and he dances. That is all of his religion. Dance is his religion, singing is his worship. He does not even use the word "God."

That's because the Bauls don't believe in an external God? a God in Heaven or in the trees or in nature or in anyplace outsides of themselves, The Bauls believe in a God withinthemselves. To

---

The Bauls don't have to go
to any kind of church
to worship

---

the Bauls, God is inside you, me and everyone. To the Bauls, God is the essence of man. And so each human is his or her own temple or church or mosque or synagogue. And so, a Baul's search for God is "withinwards." This is what I read:

. 
. . on the waves of song and on the dancing, he moves withinwards. He goes on moving like a beggar, singing songs. He has nothing to preach. His whole preaching is his poetry. And his poetry is also not ordinary poetry. He's not consciously a poet. He sings because his heart is singing. Poetry follows him like a shadow. . .He lives his poetry. That's his passion and his very life. His dance is almost insane. He has never been trained to dance. He even doesn't know anything about the art of dancing. He dances like a madman, like whirlwind. And he lives very spontaneously.

Well, I think, if that explains Babu, that also explains me. Except, I don't play an instrument. I used to be a pretty good dancer, though. And, like Babu, I do things when I can get around to doing them. And I'll go so far as to join the Bauls in saying, as one writer has quoted them:

We are the bird people---we do not know how to walk, we like to fly."

And, so Babu's own musical group back in India is called 'the Birds."

Did you ever try to catch a bird? That's like trying to catch Babu. 

In my rekindled dream of musical entrepreneurship, I want to rope him into recording the magic he made with David Amram the night I wasn't there.

Silently, my thoughts call out:

Babu, where are you?

He turns up in New York again in December of 2003 and I try to get my musician friends together.

I even contacted Garth Hudson, The Band's former keyboardist, with whom I helped produce The Bengali Bauls at Big Pink many years ago. But Garth is touring. David Amram is also preparing to tour. He's going on the road with Jack Kerouac's 'sacred scroll," Jack's manuscript of On The Road. As for Hayes Greenfield, he's otherwise busy. And Julian Fenton is still in London. Sally Grossman isn't even around. She's avoiding the winter cold in Palm Springs.

So, Babu spends a night jamming with Joel Roi and one of Joel's musician friends. Joel has invented a device that enables him to stroll and play his keyboard while it's strapped around his neck like a guitar and the next night, he brings Babu to my cramped apartment. Here, Babu delivers the promised kurta punjabi to me. Equipped with a dupki, which is something like a tambourine, and also with a bracelet that he calls a ghoonghoor, Babu begins to jam with Joel in my cramped apartment. They get a riff going, with Babu hitting the dupki and shaking the ghoonghoor with hypnotizing percussion.

Before long, Babu starts singing in Hindi and then starts dancing in my cramped place. There's room only for Joel to sit while I'm perched on the edge of my cot. I can't understand a word of what Babu's singing, but he's sizzling. I find myself spellbound by the gracefulness of his dancing and the passion in his voice. Once again, my dreams of musical entrepreneurship start burning and I?m compelled to imagine girls singing a background refrain in English. Enraptured by the show Babu is putting on, I find myself compelled to rise up on my frail legs and start to dance with Babu. But there's room enough only for me to take a few awkward steps.

Afterwards, we go to dinner, Babu goes back to India and I go back to my computer to write this. I guess I've grown too old to have my rekindled dreams of musical entrepreneurship come true. 
--------------------------------------------------------------------------------------------------------------------------

Footnote:

Babu loved Al Aronowtiz as a Baul loves purely, and in that love there is a deep innocence, he was so sad Al passed away in 2005. He still misses him today.
.Alfred Gilbert Aronowitz (May 20, 1928 – August 1, 2005) was an American rock journalist best known for introducing Bob Dylan and The Beatles in 1964.

A graduate of Rutgers University, Aronowitz became a journalist in the 1950s and his work in that decade included a 12-part series on the Beat Generation for the New York Post.

Al Aronowitz was the original manager of The Velvet Underground; getting the band their first gig at a high school auditorium. The Velvet Underground stole Aronowitz's tape recorder and dumped him weeks later when they met Andy Warhol.

Aronowitz introduced Bob Dylan to the Beatles. According to his own journal entries, at this meeting he brought a marijuana joint which would be the first pot smoked by the Beatles.

On August 28, 1964, the Beatles were staying in the Delmonico Hotel in New York City. Aronowitz brought Dylan to meet the band and also introduced them to marijuana that evening. According to John Lennon's interview in Rolling Stone magazine, Dylan "thought 'I Want to Hold Your Hand' - when it goes 'I can't hide' - he thought we were singing 'I get high.' So he turns up with Al Aronowitz and turns us on, and we had the biggest laugh all night - forever."

Aronowitz also claimed that Dylan wrote the song “Mr. Tambourine Man” while staying in Aronowitz’s Berkeley Heights, NJ home.

Aronowitz's son Myles is a well-known photographer, often credited as the still photographer on feature film productions

--------------------------------------
Mary passed away in 2006 from cancer, she worked relentlessly on Babu's web site, and re-editing, and promoting Babu, they were friends, in which Mary became attached to Babu, thus in anger at never being able to capture Babu, she took with her his "Web site www.babukishan.com", all his instruments, his bank account ect. 

Mary lived in Seattle Washington.

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

Babu Kishan and Levon Helm 2004 Woodstock NY

 

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

 BabuKishan.org 

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

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

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

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

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

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

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

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

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

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

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

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

Shadow Footprinting & Identity Cannibalization:

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

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

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

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

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

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

Shadow Footprinting & Archival Squatting:

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

Shadow Footprinting & Spectral Theft:

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

 Shadow Footprinting & Chronological Hijacking: 

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

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

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

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

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

The True Lineage (Parampara)

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

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

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

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

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

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

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

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

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

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

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

A True Pioneer of World Music and Cultural Diplomacy

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

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

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

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

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

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

The Composer Behind the Legend

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

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

Archival Summary & Credentials

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

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

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

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

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

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

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

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

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

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

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

1. Institutional Recognition & Historical Firsts

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

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

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

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

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

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

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

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

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

Key Revisions & Terminology Standardized

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

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

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

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

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

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

Documentation Archive: 20+ Years (2006–2026)

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

Overview

This executive summary introduces the empirical evidence documented over two decades exposing the systematic misappropriation, digital piracy, and "shadow-footprinting" of the unbroken, 13-generation hereditary Baul lineage of Birbhum, West Bengal. Ahead of the release of the upcoming three-volume historical trilogy, this documentation establishes a definitive record against indigenous cultural fraud, historical revisionism, and the unauthorized commercial exploitation of Baul heritage.

Key Findings & Evidence Categories

• Digital Scraping & Intellectual Property Theft (1990s–2026):

  Archived web analytics, screenshots, and digital timestamps confirm the unauthorized harvesting of proprietary content, oral histories, and specific terminology originally published on BabuKishan.com and associated archival platforms. These primary source materials were systematically co-opted to build commercial websites, social media followings, and unaccredited academic lectures.

• Musical Piracy & Composition Misappropriation:

  KD Babu Kishan composed and arranged over 80% of the modern repertoire made famous by his father, Baul Samrat Purna Das Baul. The documentation logs instances of uncredited re-recordings, stolen melodies, and unauthorized distribution of proprietary compositions across global streaming platforms without licensing or attribution.

• Biographical Co-Optation & "Shadow-Footprinting":

  Detailed comparative timelines demonstrate how non-initiated, self-appointed performers have systematically copied the lived history, travel itineraries, stage attire, and performance styles of Purna Das Baul, Manju Das (the first international female Baul ambassador), and KD Babu Kishan. Key historical milestones—including KD Babu Kishan’s 12-year monastic service with the Ramakrishna Mission and the family’s pioneering work with the ICCR—have been falsely claimed by external actors.

• Distortion of Core Philosophy & Terminology:

  The archive documents the rise of reductionist narratives that conflate Baul Sahaja with Buddhist Sahajiya or reduce esoteric concepts like Vayu Tula to rigid medical conditions. The documentation reaffirms that authentic Baul is an innate, ancestral transmission (Atma Tattva) protected through Sandhya Bhasha (twilight language), rather than an illiterate or syncretic commercial commodity.

Historical Significance & Lineage Authority

Historical Anchor	Lineage Contribution & Recognition
Nabani Das Khyapa Baul	Last true Baul Avadhut; sole Baul Guru to Rabindranath Tagore; initiated at Tarapith by Bamakhepa; national performer for Jawaharlal Nehru during the Independence Movement.
Baul Samrat Purna Chandra Das Baul	Conferred Padma Shri by the Government of India and Baul Samrat by the President of India; global pioneer who introduced Baul to international stages in the 1960s.
Manju Das & KD Babu Kishan	Designated ICCR "Baul Ambassadors" in the 1970s; KD Babu Kishan has led 60+ years of active preservation, music composition, and international academic lectures on indigenous Baul philosophy.

Purpose Upcoming Trilogy

The upcoming three-volume publication serves as a formal, legal, and historical reclamation of the authentic roots of Mystic Baul. Grounded in United Nations principles regarding the rights of indigenous peoples to protect their cultural heritage and self-determination, this project directly challenges non-indigenous fraud, provides verifiable evidence of historical priority, and restores the rightful legacy of Birbhum's premier Baul parampara.

• Spectral Identity Theft: The practice of haunting and occupying another person’s historical coordinates—their awards, institutional stops, performance venues, and network—until the public mistake the ghost for the original inhabitant.

• Archival Squatting / Retrospective Squatting: Systematically claiming association with historical archives, prestigious institutions, or spiritual centers that were originally established by the true lineage holders, effectively "squatting" on their historical reputation.

• Identity Cannibalization: The total ingestion of a primary source’s lived experience, oral traditions, and public milestones, regurgitating them as one's own personal origin story to achieve commercial success.

• Chronological Hijacking: Exploiting the passage of time and the public's short memory span to overwrite older, authentic primary sources with modern, high-volume digital content.

• Ersatz Colonization: The process where non-lineage actors use synthetic, performative copies to colonize and commodify an indigenous tradition from within, replacing the original bloodline with a market-friendly substitute.

Why This Is Indigenous Fraud and ICIP Theft

To establish without a shadow of a doubt that this practice is fraudulent under international standards (such as UNDRIP Article 31), the argument rests on three core pillars:

                          THE THREE PILLARS OF ICIP FRAUD
                                         │
     ┌───────────────────────────────────┼───────────────────────────────────┐
     ▼                                   ▼                                   ▼
1. THEFT OF LIVED REALITY          2. FABRICATED PARITY             3. INTENTIONAL ERASURE
Taking another's real-life                             Recreating historical footprints         Overwriting primary records
experiences and lineage history.                 to claim equal authority.                       to cause audience amnesia.

1. The Theft of Lived Reality (Not Just Style): Artistic inspiration involves learning a style; Indigenous fraud involves stealing a lived, historical reality. When a performer doesn't just sing a genre's songs, but actively tracks down the primary source's personal contacts, re-enacts their specific historical institutional appearances, and claims their family's historical milestones, they are stealing a life story.

2. Manufactured Parity through Shadowing: Because external performers lack Adhikara (authorized lineage transmission) and ancestral root authority (Beeja), they cannot generate genuine tradition from within. They must physically and institutionally track the real lineage to create a false sense of equivalence. If the primary lineage performed at a specific university or archive decades ago, the copy appears at the same venue today to trick modern audiences into assuming an unbroken chain of authority.

3. Exploiting Digital Amnesia for Total Replacement: Public memory is short, and digital algorithms prioritize recent, high-volume content over older, physical archives. Modern actors leverage this "collective amnesia" by flooding digital platforms with search terms, titles, and concepts (Historical Baul, Roots of Baul) pioneered by the original lineage. The goal of this strategy is total replacement: making the original creator a ghost in their own history while the copy collects awards, grants, and public acclaim.

Framing the Legal & Historical Distinction

To permanently separate authentic history from manufactured spectacle in your writing:

• Historical Real: Defined by biological continuity, primary-source documentation, state-recognized honors bestowed directly on lineage heads (e.g., Baul Samrat Purna Das Baul), and mouth-to-ear internal body-science (Deha Tattva).

• Manufactured Fake: Defined by external costuming, paid public relations campaigns, digital scraping of living authors' works, and the systematic retracing of another family's historical footsteps to claim unearned status.

  “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. 

Lineage Historical Anchor  Krishnendu Das Baul (Babu Kishan) BabuKishan,org Baul Samrat Purna Das Baul - award winning Indian singer and Baul singer who is the Baul who introduced the world to Baul and Indian culture, singing, kritan as an indigneous Baul. His father Nabani Das Khyapa Baul was the first Baul to sing on stages he introduced India to who the Bauls of Birbhum West Bengal were. They are the only Roots of Vaishnava Sahajiya Baul and Baul for that Matter. Nabani Das Khyapa was the last Baul Guru and Baul Avadhut, the only Baul who was initiated by Bama Kepa at Tarapith.  Their first and last historical significanace, all the firsts and lasts regarding Baul have been Shadow Footprinted tracked, retraced and erased.

 

Key Baul Figures & Lineage

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

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Core Baul Concepts & Philosophy

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

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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

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Baul Music

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

---

Related Figures & Movements

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

---

General & Other

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

"Authentic Baul" #AuthenticBaul

"Vaishnava Sahajiya Tantric Bauls" #VaishnavaSahajiyaTantricBauls

"Birbhum Baul" #BirbhumBaul

"Nabani Das Khyapa Baul" #NabaniDasKhyapaBaul 

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

"Baul Guru Shishya Parampara" #BaulGuruShishyaParampara #Baulparampara

"Baul philosophy" #Baulphilosophy

"Krishna Kali unity" #Krishnakali

"Raai Raja lila" #RaaiRajaLila

"Real Baul history" #Baulrealhistory

"Baul cultural appropriation" #baulculturalappropriation

"Endangered Baul lineage" #Baulendangeredlineageparampara

#BaulandRamakrishna

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

#Baul&Tantra 

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

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

  #BaulKirtan 

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

  
  

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

  
  

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

  #Baultantramantragopiyantra

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

  #BaulthepathoftheAvadhuta

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

  #BaulsahajaKrishnaDattatreyasahahaja

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

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

Va

"Authentic Baul" #AuthenticBaul

"Vaishnava Sahajiya Tantric Bauls" #VaishnavaSahajiyaTantricBauls

"Birbhum Baul" #BirbhumBaul

"Nabani Das Khyapa Baul" #NabaniDasKhyapaBaul 

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

"Baul Guru Shishya Parampara" #BaulGuruShishyaParampara #Baulparampara

"Baul philosophy" #Baulphilosophy

"Krishna Kali unity" #Krishnakali

"Raai Raja lila" #RaaiRajaLila

"Real Baul history" #Baulrealhistory

"Baul cultural appropriation" #baulculturalappropriation

"Endangered Baul lineage" #Baulendangeredlineageparampara

#BaulandRamakrishna

#Baul&Tantra 

• The practice of "Baul Kirtan-anga"  

  #BaulKirtan

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

  #BaultheRasaLilaMystics

• "Baul Tantra Mantra Gopi Yantra".  

  #Baultantramantragopiyantra

• "The path of the Avadhuta".  

  #BaulthepathoftheAvadhuta

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

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

#India