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Journal articles on the topic 'Kurdish theatre'

Author: Grafiati

Published: 5 June 2025

Last updated: 16 July 2025

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1

Baş, Elif. "The Rise of Kurdish Theatre in Istanbul." Theatre Survey 56, no. 3 (2015): 314–35. http://dx.doi.org/10.1017/s0040557415000289.

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Imagine a festival taking place before about five thousand people in a park in Adana, Turkey, in June 1992. In the middle of the park is a stage made of concrete. A touring Kurdish theatre company comprising four men, Hüseyin Kaytan, Kazım Öz, Nihat Öz, and Kemal Orgun, is performing a short play called Du Şivan (Two Shepherds). They enact a village raid and choose the villagers from among the audience. Kemal Orgun plays the commander of the task force raiding the village. The other three carry out the operation, rounding up the villagers. Orgun struts among the villagers, harassing them. All

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2

Pieter, Verstraete. ""Acting" under Turkey's State of Emergency: A Conversation with Kurdish Artists about Theatre, the Dengbêj Tradition, and the First Kurdish Hamlet." Performance Matters 4, no. 3 (2019): 49–75. https://doi.org/10.5281/zenodo.8024538.

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In this essay, we explore what is at stake for Kurdish theatre artists who develop their theatre praxis in a permanent state of emergency imposed by the Turkish government, and why it matters to <em>act</em>, both in the general sense and in the theatrical one, in a language that is neither the accepted one of the nation nor of the majority culture. This essay discusses interviews with five prominent Kurdish theatre artists, some based in Turkey and others currently in exile in Europe. The respondents included costume designer Ismail Oyur Tezcanli (based in Turkey), playwright Yusuf Unay

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3

Tejel, Jordi. "The Kurds and World War II: Some Considerations for a Social History Perspective." Kulturní studia 2023, no. 2 (2023): 3–17. http://dx.doi.org/10.7160/ks.2023.210201en.

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Scholars generally argue that during the Second World War the Middle East, and the Kurdish areas in particular, was a peripheral theatre of an otherwise global war. While this is largely true, it seems necessary to introduce some nuances into this analysis. A view from the borderlands, combined with a socio-historical approach to how the war was experienced on a daily basis behind the front line, reveals that military tensions, large-scale arms smuggling, inflation, food shortages and economic migration were common features in the Kurdish borderlands between 1941 and 1945. Furthermore, looking

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4

Mustafa, Amanj Ahmed, and Sirwan Mahmood Rasheed. "The role of Theatre teams in the cultural movement in Soran district (1991-2003)." Twejer 5, no. 1 (2022): 7–58. http://dx.doi.org/10.31918/twejer.2251.1.

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Abstract On March 5 of 1991, Kurdish people in the North part of Iraq launched an uprising which resulted in reoccupying various lands from the hands of socialist groups and Baath Regime. These lands were taken over by the demonstrators and revolutionists. This revolution resulted in the establishment of an autonomous Kurdish government. Additionally, Soran province as a part of those reoccupied lands, fell under the influence of that revolutionary atmosphere. As various social activists and artists began seizing the opportunity and started making groups in order to make artistic activities. M

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5

Tofighian, Omid, Rachael Swain, Dalisa Pigram, et al. "Performance as Intersectional Resistance: Power, Polyphony and Processes of Abolition." Humanities 11, no. 1 (2022): 28. http://dx.doi.org/10.3390/h11010028.

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Australia’s brutal carceral-border regime is a colonial system of intertwining systems of oppression that combine the prison-industrial complex and the border-industrial complex. It is a violent and multidimensional regime that includes an expanding prison industry and onshore and offshore immigration detention centres; locations of cruelty, and violent sites for staging contemporary politics and coloniality. This article shares insights into the making of a radical intersectional dance theatre work titled Jurrungu Ngan-ga by Marrugeku, Australia’s leading Indigenous and intercultural dance th

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6

Khaloufi, Rajae. "Lalish Theatre: Enacted Bodies, Voices and Spaces in Heterotopias." International Journal of Linguistics, Literature and Translation 7, no. 9 (2024): 56–64. http://dx.doi.org/10.32996/ijllt.2024.7.9.7.

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This paper attempts to uncover aspects of artistic performances where the lines between real life and artistic representations are quite blurred. To achieve this purpose, we will investigate the interdependencies of the artistic power of Lalish theatre, a performance troupe emerging from an oppressed Kurdish context, coupled with the human and socio-political dimensions of Lalish performances. By adopting a qualitative descriptive analysis of key features of the performances, the research delves into the methods employed in Lalish performances to challenge and destabilize conventional dramatic

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7

Ataie, Iraj Jannatie. "Poems." Index on Censorship 17, no. 9 (1988): 30. http://dx.doi.org/10.1080/03064228808534537.

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Iraj Jannatie Ataie (b. 1947), renowned in Iran as a poet, playwright and songwriter, was imprisoned under the Shah and is now in exile from the Khomeini regime. He lives in Britain, where several of his plays have recently been staged to great critical acclaim. Prometheus in Evin, staged in Farsi at the Royal Court in London last year, was hailed by The Guardian as ‘a brilliant and compelling universal story … which must place [Ataie] in the forefront of international playwrights today’. The play, which examines with ruthless honesty the lot of. the intellectual under repressive regimes, has

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8

Khalid Najmadeen, Najim. "Dramatic Narration in Hotel Europe Novel." Journal of University of Raparin 12, no. 1 (2025): 405–32. https://doi.org/10.26750/vol(12).no(1).paper20.

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Novel is one of the narrative literary genres that are most open to other literary and artistic ones. So, we see that there is a strong interaction between the novel and the play, because they are two narrative literary genres that are united by common elements such as (dialogue, event, movement, and conflict). Nevertheless, the novel has maintained its limits. It did not, with all its characteristics, turn into a theatrical text intended for performance. That is, it kept for itself distinct characteristics that express its identity, which separates it from the full dramatic text. Henry James

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9

Kurdi, Diyar, and Chiad Abdulkarim. "PATRIOTIC THEATER: A STUDY OF GHARBI MUSTAFA’S LEYLA, THE KURDISH BRIDE & W.B. YEATS’ CATHLEEN NI HOULIHAN." Humanities Journal of University of Zakho 13, no. 2 (2025): 253–63. https://doi.org/10.26436/hjuoz.2025.13.2.1550.

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The present study is an attempt to examine the representation of patriotism and nationalism in Irish and Kurdish plays. Specifically, the researcher deals with two dramas one penned by the Kurdish playwright Gharbi Mustafa, and the other by the Irish dramatist William Butler Yeats. Their stage plays, Mustafa’s Leyla, The Kurdish Bride (2010), and Yeats’ Cathleen Ni Houlihan (1902), have been taken into account in order to analyze how the two aforesaid plays are patriotic in nature. For the purpose of achieving the aim of the study, i.e., investigating expressions of national pride and belongin

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10

Gareeb, Hawzheen Abdulkhaliq. "Kurdish Manifestations in Muheyaddin Zanagana Novel Asus." Journal of University of Human Development 3, no. 4 (2017): 227. http://dx.doi.org/10.21928/juhd.v3n4y2017.pp227-244.

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Muheyaddin Zanagana is a Kurdish author, playwright and novelist, he was born in Kirkuk. He authored several works in different literary domain such as theater, story writing and novels. One of his most important and widespread work was the novel “Asus”, which had in between the lines a Kurdish features, depicting or explaining the various aspect of Kurdish society characteristics. I find that shedding lights on this novel is highly noteworthy, thus this paper is an attempt to show and review these Kurdish aspects and manifestations.

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11

Kaplan, Ellen Wendy. "Refuge and Resistance: Theater with Kurds and Yezidi Survivors of ISIS." Humanities 11, no. 5 (2022): 111. http://dx.doi.org/10.3390/h11050111.

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This essay looks at ongoing efforts to revitalize arts and culture among the Yezidi and broader Iraqi Kurdish communities. The Yezidi are survivors of the 2014 genocide perpetrated by the Islamic State (ISIS, also known by its Arabic acronym Da’esh) which resulted in mass killing, captivity and expulsion from their ancestral homeland of Mt. Sinjar in northern Iraq. They are part of the Kurdish people, who have engaged in centuries of struggle to protect their cultural and political identity, establish autonomy and ensure their security in the broader Middle East. After a brief overview of the

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12

Muhamad, Farhang Muzzafar. "The role of children’s literature in the patriotism, and the upbringing of Kurdish children." Review of Nationalities 7, no. 1 (2017): 355–73. http://dx.doi.org/10.1515/pn-2017-0011.

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Abstract Children’s literature, despite being a relatively young branch of literature in general, is an important factor in the upbringing of children. Its basic aims have been obvious but not simple to achieve – to develop a child’s personality, provide educational experiences and encourage him to read. Along with areas such as art, theater, puppetry, music, movement and field trips, literature is also an object of children’s attention. Moreover it provides an opportunity to gain experience and learn a lesson, as children are usually open to fairytale-like content. Because of that, a magic wo

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13

Verstraete, Pieter. "Exiled lives on the stage: Support networks and programs for artists at risk from Turkey in Germany." Open Research Europe 3 (July 6, 2023): 109. http://dx.doi.org/10.12688/openreseurope.15726.1.

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This article analyses the support and self-care strategies of artists from Turkey who have left their country from considerable risk regarding their country’s political and economic instability since 2013 and have relocated to Germany. It maps the support networks, programs and institutions as well as consider questions of sustainability and risk (self-) assessment. The study is based on interviews with Turkish and Kurdish artists in Germany and an analysis of the activities by the Maxim Gorki Theater, Apartment Projekt, bi’bak, Hafiza Merkezi Berlin, as well as support systems like artistic r

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14

Sokolov, Denis. "Love and Jihad. Female Trajectories from North Caucasus to the Islamic State." Central Asian Affairs 7, no. 2 (2020): 123–51. http://dx.doi.org/10.30965/22142290-00702001.

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In the 2000s, Al-Qaeda, represented by the Caucasus Emirate, took over the first Chechen resistance, as well as local Islamist armed groups in Dagestan and other republics of the North Caucasus. However, a decade later, the Islamic State won the competition with Al-Qaeda, by including the involvement of women in its project. Hundreds of Russian-speaking Muslim women followed men to live by the rules of Islam. Some joined their husbands or children. Others travelled to the Islamic State in pursuit of love and romance with future husbands they had met on the internet. Based on exclusive intervie

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15

Mannion, Elizabeth. "Miriam Haughton and Mária Kurdi, eds.,Radical Contemporary Theatre Practices by Women in Irelandmiriam haughtonandmária kurdi, eds.Radical Contemporary Theatre Practices by Women in Ireland. Dublin: Carysfort Press, 2015. Pp. xvi + 251, illustrated. $34.00 (Pb)." Modern Drama 59, no. 3 (2016): 390–93. http://dx.doi.org/10.3138/md.2016.59.3.390.

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16

Plowright, Isobel. "The Theatre of Marie Jones: Telling Stories from the Ground Up edited by Eugene McNulty and Tom MaguireRadical Contemporary Theatre Practices by Women in Ireland edited by Miriam Haughton and Mária Kurdi." Contemporary Theatre Review 26, no. 4 (2016): 518–20. http://dx.doi.org/10.1080/10486801.2016.1216650.

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17

Jaber, Soltan. "HECUBA IN THE CONTEMPORARY WORLD: MARINA CARR’S USAGE OF REPORTED SPEECH." SASE JOURNAL 1, no. 1 (2025): 47–56. https://doi.org/10.46630/sase.1.2025.3.

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Marina Carr relocates Euripides’ Hecuba from a women-empowering myth into a twenty-first century colonial piece. Her choice stems from the fact that she “writes in Greek” (McGuiness, 2003) and highlights “contemporary issues through the plight of a marginalised, gendered individual” (Kurdi, 2010). Her rewriting centers around the Irish colonial struggle by introducing a new, vulnerable Hecuba who loathes war and reveals colonial motifs. What Carr also does is employ reported speech throughout the play to replace dialogue that is “at the heart of every dramatic encounter, whether in theatre or

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18

McCarthy, Lynne. "Miriam Haughton and Mária Kurdi, ed. Radical Contemporary Theatre Practices by Women in Ireland Dublin: Carysfort Press, 2015. 251p. €25.00. ISBN: 978-1-909325-75-3." New Theatre Quarterly 32, no. 4 (2016): 398. http://dx.doi.org/10.1017/s0266464x1600052x.

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19

Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ars.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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20

Antić Gaber, Milica, and Marko Krevs. "Many Faces of Migrations." Ars & Humanitas 7, no. 2 (2013): 7–16. http://dx.doi.org/10.4312/ah.7.2.7-16.

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Temporary or permanent, local or international, voluntary or forced, legal or illegal, registered or unregistered migrations of individuals, whole communities or individual groups are an important factor in constructing and modifying (modern) societies. The extent of international migrations is truly immense. At the time of the preparation of this publication more than 200 million people have been involved in migrations in a single year according to the United Nations. Furthermore, three times more wish to migrate, mostly from sub-Saharan Africa towards some of the most economically developed

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21

Khan, Muhammad Hamza. "The role of recruitment and selection on organizational performance." Inverge Journal of Social Sciences 2, no. 2 (2023): 146–64. https://doi.org/10.63544/ijss.v2i2.37.

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The researchers wanted to see how much of an effect hiring practices have on productivity inside a business. The goal was to learn about current procedures for selecting candidates and making hiring decisions. Human resource management and growth, including the recruitment and selection procedure, its accompanying difficulties, and potential solutions. The questionnaire was used to collect the data from two hundred (200) responders from the firms in Pakistan. The findings revealed that the general population's advertisement of job openings, the usage of employment agent(s), and employee recomm

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22

"Text Of Women's Theater in Kurdish Theatre." Qalaai Zanist Scientific Journal 8, no. 4 (2023). http://dx.doi.org/10.25212/lfu.qzj.8.4.3.

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23

"The Reflection of Culture and Folklore in the Kurdish Theatre." Qalaai Zanist Scientific Journal 8, no. 4 (2023). http://dx.doi.org/10.25212/lfu.qzj.8.4.9.

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24

Pieter, Verstraete. "Exiled Lives on the Stage: Turkey's Artists at the Crossroads of New Aesthetic Practices and Political Subjectivities." ITI-Journal, no. 3 (February 20, 2023). https://doi.org/10.5281/zenodo.7860028.

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In this article, I look at the works and practices on the theatre stage by Turkish artists who have left Turkey recently for Europe, under varying circumstances as President Erdoğan’s rule has become more autocratic and the country has been sliding into economic and political crises. This regional focus is informed by my own experience, since I previously lived and worked in Turkey, where I lived through the political events from the Gezi Park uprising in 2013 up until the post-coup witch hunt in 2017. The latter caused my Turkish partner and me to lose our jobs and to move away for

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25

"The Effect of Street Theater on the Kurdish Theater Movement." ZANCO Journal of Humanity Sciences 25, no. 5 (2021). http://dx.doi.org/10.21271/zjhs.25.5.7.

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26

"The Role of Rafiq Chalak in The Development of Kurdish Theater." Qalaai Zanist Scientific Journal 9, no. 1 (2024). http://dx.doi.org/10.25212/lfu.qzj.9.1.5.

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