Through an exploration of subjects such as Gandhi impersonators, performance artists, and ritual participants, makes an intervention toward understanding the phenomenon of impersonation and guising in South Asia and the world. This volume defines as the temporary assumption of an identity or guise in social and aesthetic performance that is perceived as not one’s own, and as sartorial and kinetic play more generally. Interrogating the legitimacy of the purported dialectic between the “real/original” and “fake/dupe,” refutes the ordering of identity along the lines of a binary or dichotomy that presupposes the myth of an original identity. By peeling back the layers of performative masks to reveal the process of the masquerade itself, we can see that those with the most social capital are often those with the most power and opportunities to impersonate “up” and “down” social hierarchies. The book’s twelve chapters disclose sites and processes of sociopolitical power facilitated by normative markers of social status relating to race, ethnicity, gender, caste, class, and religion—and how those markers can be manipulated to express and enhance individual and group power. The first comprehensive study to focus on impersonation in South Asia, expands on previous scholarship on impersonation and guising in vernacular theatre, dance, public processions, and religious rituals. It is particularly in conversation with the robust scholarship on gender performance in South Asia’s theatrical and dance forms. explores some of the contexts and forms of impersonation in South Asia, with its remarkable array of performing arts, to gain insight into the very human and quotidian practices of impersonation and guising.