This paper examines how contemporary Buddhist practitioners enact chanting as a creative and embodied practice that unsettles the apparent fixity of the Pali Suttas. Based on my ethnographic fieldwork in Thailand, I explore how chants are not merely recited texts but lived, sensory, and communal events. I argue that chanting bridges the divide between sound and meaning by transforming Pali scriptures into an embodied experience of Dhamma within the everyday practice of Theravāda Bhikkhū. Approaching chants as emergent and intersubjective performances, I show how they are produced through ongoing processes of "debordering" between textual meaning and vocal vibration. Rather than treating chants as fixed scripts, this framework highlights their dynamic reconfiguration in performance, foregrounding the interplay between textual authority and embodied agency. In chanting, practitioners emphasize rhythm, tone, or semantic content depending on context. By impressing their own agency upon archaic scriptures through the use of the voice, they perform them according to their own interpretation of what constitutes the significant part of the linguistic sign, depending on the goal at hand: tomemorize the teaching, to heal, to meditate, to experience anatta, or simply to feel better. In this sense, chanting does not simply reproduce the Suttas as sacred words attributed to the Buddha; it generates a sensory horizon through which the teachings are interpreted and lived. Chanting thus emerges as a performative practice in which voice and body become central mediators of religious knowledge. For Bhikkhū, recitation is not supplementary to reading but constitutive of understanding: the text acquires substance and feeling through vibration. By moving from written scripture to resonant sound, chanting produces Dhamma as felt presence, an embodied and communal mode of knowing that is continually reanimated in oral and everyday practice.