Bāuls live in the Bengali-speaking region in West Bengal and Bangladesh. Admired for their enigmatic songs performed to the rhythm of a small drum and a one-string droning instrument, Bāuls are widely viewed as icons of Bengali regional identity. Many singers with a Muslim orientation call themselves Fakirs; most live in Bangladesh, while the majority of singers with a Hindu orientation self-identify as Vaiṣṇava, and some as Śāktas, and are found mainly in West Bengal. Bāuls are householders or renouncers; they tend to be poor and to have a lower caste identity. A number of Bāuls support themselves through singing songs for alms on passing trains, but many supplement this income through part-time work, while still others work full time. Very few earn their living as professional performers. They sing at festivals and fairs and are summoned to perform at ashrams to honor the demise of holy persons. When performing at religious celebrations in villages, or secular events in towns (arranged by the middle classes), Bāuls usually band together as a troupe and are accompanied by lay musicians. Male Bāuls are particularly easy to identify. They dress in white or ocher garments, patchwork vests, and coats when singing for a larger audience and when they beg for alms. Men often wind their hair into a topknot and wrap a turban round their head. Bāul women likewise dress in white or ocher clothes, but, stressing modesty, they tie their hair into a bun when collecting alms and let it loose when they perform on stage. Yet, despite their visibility and popularity, opinions are divided among scholars as to how Bāuls should be defined. These disparate views may in part be traced to colonial Bengal, during which time the educated classes elevated Bāuls as carriers of Bengali tradition in their attempt to fashion a sanitized, unique, and authentic sense of self, stripped of elements that they regarded as problematic. Evidence suggests, however, that most but not all Bāuls learn body-centered practices from murśids or Vaiṣṇava gurus, who belong to different lineages, and who teach esoteric knowledge, not just to Bāuls but a range of other followers, including lay householders and mendicants. From a scholarly viewpoint, given that the body constitutes the main instrument for worship and that the larger universe exists within the human frame, which also harbors the divine in humans, these body-centered practices may be broadly classified as tantric. In 2005, Bāul songs were included in UNESCO’s established Lists of Intangible Cultural Heritage.