This paper examines the work of Kashmiri theatre-maker Arshad Mushtaq in the context of the political turmoil in Kashmir. It argues that Mushtaq's theatre practice challenges the India's attempt to assimilate Kashmir into its national cultural framework. Focusing on three of Mushtaq's plays rooted in collective memory, the paper examines how his work resists cultural appropriation and disrupts the notion of normalcy imposed by the state. It discusses how Mushtaq's work dislodges state-approved cultural conditions, using a unique blend of politics and aesthetics to create a powerful voice of protest.