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Practitioners' notebooks and personal letters are neglected items that deserve attention in the study of ritual and performance traditions, especially if these can be complemented with oral–aural sources. This article presents some features of an unexplored archive of new sources for the study of Baul songs and popular religious movements in Bengal by introducing and complementing the data contained in the digital archive called 'Songs of the Old Madmen' (EAP1247, British Library), comprising notebooks of Baul songs and correspondence between an influential Bengali guru and his disciple. I highlight three aspects. (i) The notebook as archive and metadata of Baul performances. (ii) Emic notions of authorship and cultural ownership. (iii) The contextualisation of the digital archive within the history of representation of the Baul tradition. Embedded in such context, this digital archive provides a nuanced and intimate picture where Baul practitioners emerge as neither the lonely minstrels lauded by Rabindranath Tagore, nor as the antinomian materialists portrayed in more recent scholarship on Bauls. Questioning the politics of cultural representation of digital archives, this article integrates oral histories and ethnographic sources collected during fieldwork in West Bengal that are inextricably part of the material digitised through remote capture. [ABSTRACT FROM AUTHOR]

This article analyzes the contemporary repertoire of a very popular genre of Bengali folk songs, performed by itinerant singers and practitioners of an esoteric cult known as Bauls. Considering the recent popularization and commercialization of Baul songs and their interference with the urban milieu, the discourse on the authenticity of Baul songs is explored from an inter-disciplinary perspective that embraces orality-literacy studies as well as social studies on cultural tourism, underlining the limits of previous academic works on the subject. This article offers, as an original contribution, the first results of ongoing fieldwork among the disciples of śākta saint and composer of Baul songs known as Bhaba Pagla. Through discussion of the lyrics of songs performed in contemporary Baul festivals, this article argues that the contamination of Baul songs by urban élites and middle-class audiences, far from deteriorating the oral tradition, may enrich the vocabulary of the compositions and reinforce the underlying belief system. Contrarily to the popular and academic view of today's Bauls, that labels the entertaining performer as a corrupted ally of show business, the priority of gānsādhanā (singing as a practice for self-realization) may be interpreted as an efficient way to conceal heterodox esoteric rituals vis-à-vis the increasing interest of cultural tourists in Baul culture and performances, protecting the secrecy of the tradition through an innovative and negotiated version of sandhyā-bhāṣā (twilight-language), the literary device that has accompanied Bengali esoteric songs since their origins. [ABSTRACT FROM AUTHOR]