This article addresses the issue of passive resistance by the Jogi and Mirasi musician castes against the puritanical notions of their former patrons, Meos. After the Meo patrons embraced the Tablighi Jamaat's version of Islam, the Jogis and Mirasis feel pressured to give up performing. Their artistry is also their livelihood which they value very much. By using James Scott's understanding of ‘passive resistance’ and ‘hidden transcript’ this article shows the use of poetic art for passive resistance. In doing so, the Jogis and Mirasis do not compromise with the civility of the art and positively use the lyrics of their new songs against the Meo patrons’ versions of religious purity on one hand, and extremist Hinduism on the other. They, in fact, emphasize a version of righteousness that is universal and thus needs no organised religion.
