Readings from texts on the structures of Hindustani Classical Music are entwined with political histories of Kashmir and the rise of Hindu nationalism; drawing parallels with the ongoing genocide in Gaza and occupied Palestinian territories while collectively reimagining futures where Palestine and Kashmir are both free.

Experimenting with the musical structures of Hindustani Classical Music through its improvisational framework of Raag; a set of notes intending to create a vibe, shift a mood, or influence the sonic aura of a space. Together with its components of Alaap, Khayal, Dhrupad, Thumri and Taal, they create an improvised recital or performance in the form of a Baithak, meaning to sit or lounge for a listening session.

Sounds from a personal audio archive were manipulated using an MPC Live II while participants were invited to use their phones and hands as instruments to form a mobile phone ensemble. Together with ambient sounds from elements forming part of Togar’s exhibition resulting in this collaborative work. Sounds from multiple sources were amplified from mobile phones through a circle of microphones, leaving traces within the space to activate the installation through a process of sonic scrolling and clapping. Each person became part of this interaction with the space created by Togar for his exhibition REꓘONCILIATION. The soundscape (59 min 07 sec) presented here is a live recording from parts of the performative lecture and participatory performance.