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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]

"Songs are knowledge" (gāne jñān) is a recurrent saying among Bauls, Fakirs, Sahajiyas, and other Bengali esoteric and heterodox communities. The sonic dimension of songs is related to cosmogonic vibration, seed, food, and feminine bodily fluids. Singing, requiring breath control and concentration, is associated with yoga. How is the performance of songs simultaneously an embodied way of knowing and an act of indigenous scholarship? Can the epistemology of singing coexist with hegemonic sensory epistemologies in a postcolonial South Asia? This article draws upon a ten‐year ethnographic engagement with Bengali‐speaking gurus and performers to discuss how singing provides a transformative and anthropopoietic knowledge, rooted in bodily experience and exchanged among performers‐listeners to build togetherness in ways that subvert dominant ideologies of relatedness. This article also adopts Bengali understandings of ensounded knowledge to question the ocularcentric and scriptist epistemologies that underlie modern academia. Taking songs seriously as ways of knowing in their own right, I suggest singing as method and using the feelingful body as a research tool, not only for an ethnography that reflects the sensory epistemology of the communities I work with but also as a promising way to decolonize anthropology's epistemic ethnocentrism. [ABSTRACT FROM AUTHOR]

Festivals have often been described as ritual occasions in which members of a community get together and overcome internal divisions and conflicts. The festival of Jhāṃpān (or Jhāpān Melā) provides a different definition of festivals as mirrors of social dramas and hierarchical divisions. The Ojhās of Bengal are low-class rural healers specializing in curing snakebites. The Bedes (or Bedias) are tribal snake catchers who extract venom and sell it to private clinics. Both groups perform snake charming, a popular entertainment as well as a ritual practice, during particular religious festivals, such as the Jhāṃpān. The diffusion and government support of Western medicine and education have seriously compromised the indigenous knowledge of these groups and attacked it as irrational superstition. Some of the most popular Jhāṃpān celebrations have been coercively stopped, and yet the festival is still celebrated in several districts and practitioners have developed strategic narratives to protect their knowledge. This article analyzes the changing role of snake specialists in Bengali rural society through a historical and contextual study of the Jhāṃpān. The decline of this festival mirrors the crisis of the transmission of indigenous knowledge, which can be understood only by considering the intersections between healing, ritual, and entertainment. [ABSTRACT FROM AUTHOR]