An assembly of text, image, body and sound, the performance considers the political landscape of Salman Rushdie’s Shalimar the Clown, where Yach-e-gham becomes Pachigam, and the figure of the Yach, a ghoul that haunts the villages, survives in the role of the clown. The performance weaves Bhand folklore, the occupation of Kashmir and the figure of the clown as a disruptor of occupied time.

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