In spite of a pervasive mistrust of femininity in Hindu culture, the world of bhakti is conspicuously full of men speaking, singing, and sometimes dancing as women. While the ubiquitous gopīs are paradigmatic figures of Kṛṣṇa devotion, the presence of feminine discourse in Sant poetry, understood both as the (imaginary) gender of the speaker and as poetic themes and images, is still puzzling. The stature of Kabīr as the paramount nirguṇa bhakti voice and his public image as a visionary and a mystic has somewhat silenced the substantial part of his poetic oeuvre where he takes a female alter ego as his medium of choice in order to articulate emotional states. How femininity is imagined, constructed, and articulated by men, how and why it has been ascribed the cultural meaning it carries in this particular context, and how it relates to the rare and poorly preserved authentic female voices in it are some of the questions this paper tackles.