Baul Sadhana is known as Sahaja Yoga, post Chaitnya period Baul became known as also Sahajiya Vaishnav, Baul songs are often described as ‘Sahajiyader Gann’ –songs of sahajiya. Those who follow the path of Sahaja Yoga are known as Sahajiya. When Sahaja is described in Baul it is often said with an image of opening of flower petals with the soft touch of rays of early morning sun.
Sahajia songs are the expressions of openhearted Sahaja Sadhaka, they carry the message of both the ‘Oneness’ or Advita non-Duality, and also the experience of broken heartedness of Longing for the Beloved.
We often say in Baul that the Guru lives in the Baul song, a Baul sadhaka would write a poem when the poem sprung to life spontaneously from a deep inner state of being to communicate the inner ‘Bhava’ or inner experiences to fellow seekers, while singing or listening these poems –our door to the inner chamber of our heart is opened to us. This deep inner state of being is nothing but the state of Sahaja,
the fulfillment attained through sahaja Yoga. These songs are ‘living wisdom’ or ‘the spoken truth’ coming from the deep realization of Sadhaka’s heart, completely soaked in the tears
and laughter of Love and Devotion. In this CD first few songs speakes about the aspect of
Sahaja Sadhana, and the rest describing the love and longing for the Beloved which is often described through the divine passion and unconditional love of Radha for Krishna.

Sahajiya : Songs of Sahaja Yoga ( Audio CD)

http://www.ville-ge.ch/meg/expo19_parvathy_uk.php

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Article Soul Full in Culturama, Jully 2011

Songs from the Heart Beyond Borders’ 29th April 2011, in Krtashraya the Aurodhan Gardens, Pondicherry

Parvathy Baul sings at Bharat Nivas, Auroville

Parvathy interprets a vast repertoire of sung poetry, whose ecstatic character belongs to the tradition of Bauls, mystic bards of Bengal.  She sings and dances to them, accompanied by two small instruments: the monotonous Ektar and drum Dugger. Although it follows the vocal style of her guru Sanathani Das Baul, she always imprints flavor and energy of her own, gained from many other Baul masters.

Parvathy and the world of Bauls

Parvathy comes from a family of Brahmin astrologers and farmers originally from the province of Chittagong, Bangladesh.    She was born in Assam in 1976. But the many riots that raised in the region made life dangerous.  Her father then decided to send his family to Bengal, in the small town of Kochbihar where, at the age of six, Parvathy began to awaken to the music.  In Assam, she had attended meetings of Bihu, a kind of ritual dance during the harvest. Later, in Bengal, she remembered the song of gowalparia called mahouts, and especially the song called bhâvaya of Kochbihar.
Noticing her interest in music and dance, her parents resolved to provide training, she learned the rudiments of Kathak dance and Hindustani vocals with masters of the region: Jagadish Sharma, and Roy Satyabrhita for singing, and Mukherjee Srilekha for the dance Parvath, but soon became resistant to the Gurukula system (teaching traditional master-disciple) because she disliked the type of slavery imposed by teachers to their students.
She came in contact first with the world of Bauls, most of whom live in south Bengal, especially in the Bhulpur districts of Bhirbum of Bakura and Murshidabad, when she met with a blind Baul, singing and begging in a train, she was fascinated by this man, who appeared to belong to another world.
Being seated among them, she felt more affinity with the Bauls.   Gradually impressed by their music, she wished to address this vocal practice.  Touched by his sincerity,  Bhipad Taran Das Baul was the first to teach her some songs.  She then played for her friends on university campus.
It was very hard for Parvathy to live the life of Bauls, but her determination was strong.  The image of a student of Brahman family, begging in trains provoked a great scandal, fueled also by the reputation of consuming alcohol and hashish for Bauls.  Parvathy was eventually expelled from her school and rejected by her family.
Gradually, she realized that music, dance and poetry of Bauls hid other things than their marginal lifestyle.  So she went in search of a master. One day she heard Sanathani Das Baul, a man aged about eighty years, singing poems about Radha.
Parvathy told Sanathani Das Baul she wanted to become his disciple.   One day, after a long wait, he finally asked if she wanted to learn songs, and he began to teach her one or two.  His method was simple: he sang a poem to her, and she had to repeat the verse, phrase by phrase.
Sanathani Das Baul seemed convinced by the aptitude and said she should be formally initiated.  Before the ceremony, Parvathy should make an offering and feed the whole village population.   As for the initiation proper, Parvathy remains discreet about it.
Parvathy was accepted as a full member of the family, Sanathani Das initiated her in the same way he himself had learned from his own master Nithay Khapa.  He often took Parvathy with him when he went begging.
As a Brahmin girl, Parvathy could not help wondering if the path she followed was consistent with her real vocation.  She also knew very well what to do with all the teachings received.  While maintaining her links with the Bauls, she entered into politics and joined a group of street protest theater.
At this time it was noticed by Khaled Yochi, the director of a famous company, who urged her to join him at Hampi in the state of Bangalore.   According to him, it was in Kerala that Parvathy could actually understand the way of Bauls of Bengal!
Without knowing why, Parvathy therefore decided to follow this advice and to visit Kerala with a single address, that of Ravi Gopalan Nair, a specialist in theater and friend of Khalid.  The meeting was actually decisive on the recommendation of Ravi, Parvathy began undergoing treatment for radical Ayurvedic medicine (her body had suffered somewhat from the effects of her wanderings), then the inevitable happened: she married Ravi and was initiated into the Tantric path.
After two years in Kerala, Parvathy returned to Bengal to find her master Sanathani Das Baul.  Seeing the improvement of her physical and mental condition, the latter considered her ready to receive teachings of a more esoteric nature. He agreed to convey the secrets of alchemy of the body and Bauls dance.
After she had gone through all the stages of initiation, the doors of the West opened to Parvathy.  She received the invitation of the Maison des Cultures du Monde in Paris and ethnomusicology workshops in Geneva. She performed as soloist for the first time in Europe in 2001.
Parvathy now feels her role as an intermediary between the tradition of Baul, weakened by the socio-economic development of Bengal, and the outside world.

Text byLaurent Aubert, Ethnomusicology Workshops Geneva

With the contribution of Ethnomusicology Workshops in Geneva.

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Source : http://www.fesfestival.com/2010/en/fes.php?id_rub=41&type=6&id=162&mod=1

Source :
http://ibnlive.in.com/generalnewsfeed/news/parvathy-baul-a-singer-who-made-kerala-her-home/216080.html