Baul is one of the few widely known and appreciated types of folk music in Bengal. Baul is not only a kind of music, it is basically a Bengali religious sect. The members of the sect are themselves called Bauls, and the songs they sing are named for them, Baul-gAn (Baul songs). It has been suggested that, etymologically, the word derives from Sanskrit word "Vatula" means "affected by the wind disease, mad". On the other hand, it might be derived from Sanskrit word "Vyakula" means "restless, disordered".

The Baul costume consists of a half-dhoti and an alkhalla ( saffron robes). Another noticeable identifying signs of Baul is their hair style. They don't cut their hair, so a manner has been devised for coiling it neatly atop the head in a bun. They also wear a kind of necklace made of beads formed from the stems of the basil plant (tulsi).

Among the three B'sof Bengali folk music - Baul, Bhaoyaiya and Bhatiyali- Baul is distinguished from the others textually as religious music. The texts of bhatiyali and bhaiyaiya, though they may concern of Radha and Krishna, are mainly about the problems of love in separation or unrequited love. In Baul-gan, however, though songs of similar nature occur, they are thought of as allegories on the state of separation existing between the souls of men and the spiritual ground.

The instruments, extensively used by the Bauls are Gopiyantro, khamak, dotara, ghungur, nupur and duggi. Gopiyantro, often called "ektara" means one string and that is the most popular instrument for a Baul singer. The ghungur or nupur are always used in conjunction with gopiyantro or khamak. The baul singers also use "dotara" ( two strings) as their paraphernalia. Kartal/mandira and premjuri are used as the adjunct idiophones by the singers.

Lalon Phakir(1774-1890) is the most famous Baul of all ages. The attitude of the Bauls regarding caste has been nicely put by him, "What form does caste have ? I have never seen it, brother, with these eyes of mine!"

Purno Chandra Das is the most widely known Baul today. Like Purno, his father, the late Naboni Das Khepa, was the best-known Baul of his generation. From his early childhood, Purno travelled widely with his father, learning his songs and performing with him. At age seven he won a gold medal for his singing at a music conference at Jaipur, the pink city of India. Although Purno Das has become widely popular as an entertainer, he is criticized both by his peers and by some of the urban elites for his lifestyle and for having transplanted Baul-gan to new performance context.

Another exponent of this area is Yotin Das Baul. He is originally from the Dinajpur area of North Bengal but he spends much of his time on the road, performing at various village festivals. His manner of performance is more sedate and mellifluous. That's why he is not that famous as he deserves on the basis of his repertoire and musical competence.

Sonatan Das Thakur Baul, another Baul artist was born at Khulna, Bangladesh. Sanatan is particularly appreciated for his attractive dancing which, like his singing, has more conscious artistry about it than that of most Bauls. He is one of the few Bauls who is occasionally asked to perform on All India Radio Calcutta.

‘Moner katha jodi bujhte pare, keno piriti karo na’ – it isn’t a sermon or an official statement or even a famous one-liner. It is the first line of a typical Bengali ‘Baul’ song. No discussion on Bengali folk culture would be complete without giving due importance to the Baul tradition. No one exactly knows how this tradition started, but that Baul song is very much a part and parcel of Bengali folk tradition is something which is very difficult to deny.

Baul singers are almost a community by themselves. They may be Hindus or Muslims, but once they take to Baul culture, they refer to themselves as a ‘Baul’ as if to signify that they are a separate community by themselves dedicated to the spreading of the message of peace, brotherhood and goodwill through their songs. The dialect of the song is essentially local. Hence, if becomes a trifle difficult for the urban folks to understand the nuances of the language. In olden days, when sources of entertainment were scarce in rural Bengal, Baul singers had a field day moving from village to village attired in saffron clothes with an ‘ektara’ in their hand. No wonder Rabindranath said ‘Gramchhara oi ranga matir path’. Baul singers narrated various folk tales, mythological tales and contemporary problem through their songs. Since, they sing in the language of the village folks, their song always have a ready appeal. Most of the Baul singers earned their livelihood through singing songs. Baul singers used to get not only cash money but also foodgrains and other items as a ark of appreciation for their songs. As sources of entertainment were scarce, they used to entertain people throughout the year.

Tradition entails that Baul singers should live like a community. They may own land or work as agricultural labourer but their prime occupation would be the propagation of Baul music. No matter whether a Baul is Hindu or a Muslim, they must stay together and strive for the propagation of the song. Baul singers normally have no religion. Most of them worship Makali, because, for them, Ma Kali is a source of inspiration. One of the greatest Baul of all time Lalan Fakir, was a Muslim. But he is known to posterity not as a Muslim, but as a Baul whose songs still mesmerize many in this modern time. Baul singers, can till date, be safely said, to be the most pure forms of non-communal human beings on earth. Most of their song preaches love and universal brotherhood. Hence, the high-pitched voice of a Baul singing with an ‘ektara’ in his hand is the symbol of the spirit of Bengal.

The ‘Rarh’ village or so the districts of Birbhum are called was once a home to many Baul singers. Through the equivalent of Baul song exists in other parts of India as well, the particular term ‘Baul’ can be applied only to singers hailing from Bengal or Greater Bengal, if we put it that way, that is from Tripura, Bangladesh, East Bihar and Northern Orissa. The Baul singers of Bangladesh, has a very vibrant tradition of participating in the ‘Bhasha Andolan’ of Bangladesh. Bangla Baul singers are known for their depth of voice and variety of their themes. The Baul songs from Chittagong, Sylhet, Mymensingh, reflect only the message of love and brotherhood, but also the message of nationalism as well.

Two important fairs are held in West Bengal to showcase the Baul talents of Bengal – the Kenduli Mela and the Pous Mela. In both these fairs Bauls from for off places come to participate.

Of late, the onslaught of commercialisation and cable TV creating a lot of problems for the Baul singers. Interest is waning as village folks are becoming more interested in watching the surging top-softs of Mamta Kulkarni and the like. Now we see malnourished Baul singers joining the fairs and singing on top of their voices. The under – nourished Baul singers really mock at the rich tradition that was. People, not originally hailing from Baul culture, are taking to Baul music and culture are, in most cases, vitiating the purity of Baul. These people, more often than not, abuse the easy lifestyle and indulge in immoral practises. Is the golden days over? One is really hoping to see the coming of another ‘Nabanidas Naul or Purna Das Baul.