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Members of the Matua religion, a displaced Dalit community from Bengal, believe that the coronavirus can affect only the upper-caste/class layers of society, those who sit in air-conditioned offices and live in the big cities. Matua devotees, on the other hand, are predominantly part of an agriculturist community inhabiting multiple fringes: the borderlands of India and Bangladesh, the peripheries of unorthodox Vaishnavism, and the social margins of untouchability. Conducting remote ethnography with Matua participants based in West Bengal, Bangladesh, and the Andamans, one comes across insistent narratives of immunity and recurrent interpretations of the pandemic that fit into the onto-cosmology and sociocultural imagination of the Matua religious movement. I discuss these as dissident tales of immunity that describe COVID-19 as an urban-based white-collar disease. Matua practitioners successfully prevent it through a sonic vaccine – the practice of kīrtan – and a kind of power (śakti) accumulated through physical agricultural labor. [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]