Rana Hamadeh’s cacophonous sonic work takes the Shiite ceremony of Ashoura, and its current political, military, and legal expressions within the Lebanese/Syrian context, as its field for commentary and research. An annual ritual during which mourners take the streets to 're-witness' the slaying of al-Imam al-Hussein (626–680 AD)—the grandson of the Prophet Mohammad and an allegorical reference to the ultimate figure of the oppressed—the Ashoura’ic tradition is addressed as a structural dramaturgical framework from which to read the theatrics of militancy and militarism in today’s Lebanon. Structured ‘through’ rather than ‘around’ Ashoura, this sound composition investigates the extent to which theatre operates as a technology of justice. The work re-dramatizes the effects that constitute the ta’zieh (mourning) ceremony, calling into question what it means to emerge as a testimonial subject in place of the legal subject.