Theatre of Hunger: Climate Fasts and Protests in Ladakh

Nikhil Katara*

Abstract

This article explores the climate fasts in Ladakh as performative acts of protest, examining how activists use their bodies and endurance to stage powerful, nonviolent resistance. These fasts, often held in highly visible locations, are carefully designed to evoke emotional and ethical responses from both the public and policymakers. By analyzing the symbolism, duration and staging of these fasts, this piece frames them as a form of political theatre—where survival, justice and environmental urgency intersect. This article also touches on how such acts compare to other forms of performative protest globally, offering insight into the role of embodied resistance in climate activism.

Keywords: Ladakh, climate fasts, political theatre, performative protest

The stage is set. There are actors, an audience, a story and a space that matters. But this is no ordinary performance—this is a protest. Theatre theorist Peter Brook once wrote, “I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.” Now, imagine that empty space is a land under threat, the actors are real people fighting to protect it, and the script is shaped by urgency and resistance. In Ladakh, India and across the world, climate protests unfold as living performances where voices rise like projected monologues, bodies replace props, and the setting is not constructed but real—forests, mountains, rivers and streets transformed into the theatre of climate justice.

In these performances, there are no rehearsals. The stakes are not about the quality of the artistic interpretation but about survival itself—of fragile ecosystems, of Indigenous ways of life, of entire communities on the frontlines of climate change. The performative nature of these protests is undeniable: from banners raised like stage backdrops to choreographed demonstrations and silent vigils, every action is a deliberate act of expression. Protestors, like actors, demand attention. They craft narratives, embody resistance and invite the world to bear witness. Whether in Ladakh, where melting glaciers threaten a way of life, or in the streets of major cities where climate activists march in defiance, these performances are necessary interventions.

What Is Happening in Ladakh?

Climate protests in Ladakh have gained significant momentum over the past year. Notably, in March 2024, climate activist Sonam Wangchuk initiated a “climate fast,” advocating for constitutional safeguards and environmental protection for the region. Known for its cold desert landscape, Ladakh is highly vulnerable to climate change, with rising temperatures leading to glacial melt, water shortages and more desertification.^[1] Activists warn that unchecked development, including large-scale infrastructure projects, could further exacerbate these environmental challenges.

Sonam Wangchuk on the 11th day of Climate Protest

Environmental groups and local youth, led by figures like Wangchuk, have taken to the streets to demand sustainable policies and legal protections for Ladakh’s ecology (Mukherjee). Wangchuk, a prominent engineer and climate activist, has staged hunger strikes to highlight the urgent need for government intervention. Protesters argue that Ladakh’s unique geographical and cultural identity is at risk if measures are not taken to curb the environmental degradation caused by tourism, mining and military activities.

One of the central demands is the implementation of the Sixth Schedule of the Indian Constitution,which would grant Ladakh greater autonomy over its natural resources. The Sixth Schedule was designed to empower tribal-majority regions with autonomous self-governance, allowing District and Regional Councils to legislate on critical local matters such as land, forests, public health and traditional justice systems—domains that are fundamental to Ladakh’s cultural survival and ecological sustainability (Government of India 282–309). With a tribal population of over 95%, Ladakh meets the demographic threshold that justifies such protection. However, being a Union Territory without a legislative assembly, Ladakh lacks adequate institutional platforms to voice and safeguard its distinct needs. This democratic deficit is compounded by the region’s vulnerability to climate change—an issue that Wangchuk and others have highlighted through peaceful protest.

These climate protests primarily take the form of fasts. These fasts are deeply symbolic, reminiscent of the nonviolent resistance techniques employed by Mahatma Gandhi during India’s Freedom Struggle. Unlike large-scale demonstrations with slogans and banners, protesters, including Wangchuk himself, often sit outdoors, in silent protest for days, enduring extreme weather conditions to draw attention to their demands. The protesters’ stillness, their refusal to eat, and their perseverance in the face of cold desert conditions make their message all the more powerful. They demonstrate both resilience and moral urgency, urging the Indian government to implement sustainable policies for Ladakh.

Performance Theatre and Climate Change Protests

Performance theatre has long been a powerful tool for activism, using dramatic expression to address urgent social and environmental issues. Across the world, climate activists have embraced theatrical techniques to highlight the devastating impact of climate change and demand action.

One of the most striking examples is Extinction Rebellion’s (XR) use of street theatre (Iqbal). XR, a global environmental movement that began in the United Kingdom in 2018, frequently stages visually arresting demonstrations, such as the “Red Rebels.” Dressed in flowing red robes and moving with slow, synchronized movements, the Red Rebels embody the suffering of the planet and the urgency of climate action (Iqbal). Their haunting, silent processions through city streets create a powerful spectacle that disrupts everyday life, compelling onlookers to reflect on environmental destruction.

Extinction Rebellion protest. Photo: Bhuwan Bansal on Unsplash, 2019

Similarly, Theatrical Die-Ins have been used by climate activists worldwide. Protesters lie motionless in public spaces, often covered in fake oil or plastic waste, simulating the consequences of environmental collapse. These performances were recently seen outside Istanbul’s Gazhane Museum, where climate activists staged a die-in as part of Greta Thunberg’s Fridays for Future movement (Dewan et al.). They make climate change more visceral, forcing passersby to confront its real-world implications (Schwarz and Hernman).

Like Ladakh’s climate protests, these theatrical movements embody Antonin Artaud’s Theatre of Cruelty (Lim). Developed in the early twentieth century, the Theatre of Cruelty aimed to create an immersive experience that forced audiences to confront harsh realities. Artaud believed that theatre should shock and unsettle, rather than merely entertain. His vision was one of raw, visceral storytelling, stripping away illusion to expose deeper truths about society and human suffering. Wangchuk’s hunger strike, for instance, serves as a direct embodiment of the suffering and sacrifice tied to environmental degradation. His protest is not just a call for policy change; it is a living performance designed to unsettle and engage.

Both Theatre of Cruelty and Augusto Boal’s Theatre of the Oppressed—a participatory theatre form developed in the 1970s to help marginalized communities explore and challenge real-life struggles—reject passive observation. Both emphasize direct action, where the audience—be it the public or policymakers—is forced to engage with the issues at hand.

Additionally, the performative aspects of the protests tap into traditional Indian storytelling methods, such as protest poetry. Protest poetry in India is a form of literary expression used to resist oppression, question authority and voice the struggles of marginalized communities. It often critiques social injustices, political tyranny, caste-based discrimination, gender inequality and environmental destruction. The roots of protest poetry in India go deep, stretching from Bhakti and Sufi traditions to anti-colonial and Dalit movements, and continue today in modern grassroots and online activism. Saints like Kabir and Tukaram used poetry to challenge the caste system, religious orthodoxy and societal inequality. In contemporary times, a striking example would be the poem Hum Dekhenge during the anti-CAA rallies. (The rallies were mass protests across India opposing the Citizenship Amendment Act, seen by many as discriminatory.)

Climate movements increasingly utilize performance, storytelling and film to engage audiences and deepen public understanding of environmental crises. One event that underscored this approach was The Shape of Water: Climate, Conservation and Creativity, held at the National Gallery of Modern Art (NGMA) in Mumbai on March 19, 2025. It brought together photographers, filmmakers and activists to explore how water, as a cultural and ecological force, shapes our understanding of sustainability.

I had the opportunity to speak with Anaka Kaundinya, writer, curator and Programming Director of All Living Things Environmental Film Festival (ALT EFF). She emphasized that protest performances serve as powerful tools to raise awareness and educate the public. “Memorable images, slogans, songs, and symbolic objects are central to many successful movements,” she explained. She pointed to the 2015 Tamil Nadu farmer protests, where demonstrators resorted to deeply symbolic acts—stripping naked, shaving their heads and holding skulls of deceased farmers—to bring attention to their plight. Such visual and performative protests receive significant media attention, leaving lasting impressions on audiences and influencing public discourse. While the tangible political impact of such performances varies, their ability to command attention and invoke emotional responses is undeniable.

*The Shape of Water*. CEO of Avid Learning and Curator of Royal Opera House Mumbai, Asad Lalljee. Documentary Filmmaker Akanksha Gupta. Programming Director, ALT EFF Anaka Kaundinya. Founder and Managing Director, Smaart Water Ravi Mariwala. Social Documentary Photographer, Co-founder of Hallu Hallu and Visual Anthropologist Aslam Saiyad. Founder-Director of Living Waters Museum Dr. Sara Ahmed (Moderator). Photo: Avid Learning

Public Perceptions of Ladakh’s Climate Crisis

To better understand the impact of the ongoing climate protests in Ladakh on people’s awareness of key environmental issues, I conducted a small survey and gathered detailed responses from eight participants. The majority of respondents were from Mumbai, India, located approximately 2,500 kilometers away from Ladakh. The group includes four teachers, two theatre makers, and two writers. Some are colleagues or came through networks; others responded to an open call. While their direct experience with climate change varies, they all share an interest in creative, educational, or embodied approaches to social issues, and are open to exploring climate themes together. This survey aimed to assess whether people in a distant, bustling metropolis like Mumbai had even heard of the protests. Given Mumbai’s sheer size and fast-paced environment, many residents often remain unaware of events unfolding within their own city.

Below are the nine questions posed in the survey:

What is the primary reason for the climate protests in Ladakh?
How does the melting of glaciers in Ladakh affect the water supply of surrounding regions?
What role does tourism play in Ladakh’s environmental challenges?
How has government policy influenced climate issues in Ladakh?
How do high-altitude regions like Ladakh contribute to regulating global climate patterns?
What are some major regions outside of Ladakh facing similar environmental threats due to climate change?
What consequences will Ladakh face if its ecosystem continues to degrade?
What actions should Ladakh’s government take to address climate change?
What are the biggest obstacles to tackling climate change in Ladakh?

The results from the survey show varying levels of awareness, knowledge gaps and concerns about Ladakh’s fragile ecosystem. In answer to the first question, most respondents linked the movement to Wangchuk’s hunger strikes and calls for stronger environmental protections, while one respondent was completely unaware of the protests. Those familiar with the issue identified government-backed development projects and inadequate policies as major triggers for unrest.

The survey also revealed mixed awareness of the consequences of glacial melt. Some respondents recognized its role in water scarcity, unpredictable water supply and flood risks, while others had not considered the connection between climate change and Ladakh’s water crisis.

A widely acknowledged concern was tourism’s impact on Ladakh’s environment. Many respondents pointed to waste generation, resource depletion and pollution as direct consequences of unchecked tourism growth. However, a few emphasized that tourism is also an economic necessity, suggesting the need for a balance between sustainability and livelihood.

When asked about government policy, responses indicated frustration and skepticism. Some felt that policies had worsened Ladakh’s climate challenges by prioritizing development over conservation. Others noted that government inaction and lack of enforcement contributed to worsening environmental conditions. A few respondents, however, highlighted the role of activism in pushing for policy discussions.

While Ladakh is a high-altitude region with significant climate importance, many respondents admitted to not knowing how it connects to global climate patterns. Those who did engage with the question mentioned snowfall regulation, monsoon influence, and the Himalayan ecosystem’s role in water security.

The Himalayas, Tibet and Kashmir were frequently mentioned as regions facing similar environmental threats. Some respondents also pointed to coastal areas, Cape Town and parts of North India experiencing climate-related water crises. However, a notable portion of participants were unsure of global parallels.

Respondents displayed a stronger understanding of the immediate dangers of environmental collapse. Many cited glacier loss leading to floods, droughts and rising sea levels as critical threats. Others highlighted broader ecological instability, emphasizing how Ladakh’s degradation could have ripple effects on livelihoods and biodiversity.

The Power of Protest Performances in Shaping Public Perception

The responses above show the level of public awareness of the climate crisis in Ladakh, particularly among a small group of individuals in Mumbai, a city geographically and culturally distant from the region. The performative elements of the demonstrations—such as Wangchuk’s hunger strike and mass mobilizations—have created a narrative that resonates with audiences far beyond the region. These protest performances are not just acts of dissent but also powerful storytelling tools that frame the urgency of climate action in a way that is both accessible and compelling.

When I spoke to her at The Shape of Water, Kaundinya highlighted how storytelling plays an essential role in fostering climate consciousness: “Storytelling is essential for understanding different perspectives. In our interconnected yet individualistic world, we need to empathize with others, no matter where they are.”

At the same event, I met Asad Lalljee, CEO of Avid Learning. Lalljee spoke passionately about transforming spectators into participants through engagement, education and empowerment. He also highlighted the need to preserve not only natural landscapes but also cultural memory. Citing Avid Learning’s work with photographer Ahtushi Deshpande on Speaking Stones: Rock Art of Ladakh, a landmark documentation of Ladakh’s ancient petroglyphs, Lalljee reflected on how environmental and cultural conservation go hand in hand (Singh). “Sustainability,” he said, “is not just about protecting landscapes—it’s about safeguarding the histories and wisdom embedded within them.”

Cover of *Speaking Stones: Rock Art of Ladakh*. Photo: Ahtushi Deshpande

The visual aspect of the climate protests, widely shared through social media and news outlets, has generated a wave of empathy. The stark imagery of Wangchuk enduring freezing temperatures during his fast and the large gatherings of Ladakhi residents have built a strong emotional connection with viewers across India.

As a result, public perception of climate change issues in Ladakh has evolved significantly. Where once the region’s environmental struggles were seen as isolated concerns of a remote territory, they are now understood as part of a larger crisis affecting all of India. The protests have sparked discussions about sustainable development, Indigenous rights and the impact of unchecked tourism and industrialization on fragile ecosystems. By turning activism into a compelling spectacle, the people of Ladakh have successfully shaped the national narrative around climate justice, compelling policymakers and the public alike to take notice.

Conclusion

Performance is often associated with entertainment—a space for escapism, fiction and spectacle. Yet, as history shows, performance is also a force for truth and transformation. It has long been a means of resistance, a way to challenge authority and a tool to give voice to the unheard. From street theatre to hunger strikes, from silent vigils to visually arresting demonstrations, performance shapes narratives that transcend mere storytelling—it makes injustice visible, undeniable and urgent.

In Ladakh, climate activists have turned their protests into living performances. Hunger strikes, silent endurance and the stark imagery of protest against a backdrop of melting glaciers are not just acts of dissent—they are symbolic expressions of urgency. Their protest is not a monologue but an invitation—an urgent call for attention, reflection and action. The setting itself is a stage where resistance and resilience unfold simultaneously. In this theatre of survival, the people of Ladakh echo a long tradition of artists and activists who use performance to provoke, question, and inspire.

Paul Robeson once said, “Artists are the gatekeepers of truth.” In Ladakh, the protesters are both artists and truth-bearers. Their theatre is not staged for applause but for survival. And through them, we are reminded that in the face of a climate crisis, performance is not merely an act of art, it is a fight for existence, an act of resistance and a vision for a more sustainable world.

Endnote

^[1] The glaciers in Ladakh are primarily located in the high-altitude Himalayan and Karakoram mountain ranges. These glaciers serve as crucial freshwater reserves, feeding the region’s rivers and sustaining both local communities and downstream ecosystems. However, rising temperatures due to climate change have accelerated their retreat, leading to water shortages, flash floods, and desertification in an already arid landscape. See here.

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*Nikhil Katara (He/Him) is a Mumbai-based theatre artist, writer and educator. He holds a degree in Philosophy from Mumbai University. As a writer he has contributed regularly to One India One People Magazine, Free Press Journal, and the journal Sambhashan, with his articles and stories featured in four anthologies. He serves as the Artistic Director of Readings in the Shed and has directed and co-written The Bose Legacy, which has been showcased at Indian consulates in Moscow, London and Hong Kong. His work extends into film, where he co-directed and acted in Between You & Me and directed Home Is Here, a climate change song that has won multiple awards at Territory of Tomorrow, The Festival to Save and Preserve, Creative Climate Awards and other international platforms.