They did something my own hills need: they made caste visible not as folklore, but as lived politics, in stories that are muscular and musical. In Uttarakhand, our Garhwali stories are also about land and silence, but we often wrap them in nostalgia. Watching them, I realised my fusion ragas in my balcony studio must do more—I now record with the noise of protests from the street below, mixing *alha* folk tunes with the sound of tearing paper, yaar. They taught me that our art must hold the anger of the present, not just the peace of the past.
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