New PDF release: We Are Iraqis: Aesthetics and Politics in a Time of War

By Nadje Al-Ali

ISBN-10: 0815633017

ISBN-13: 9780815633013

While the profession of Iraq and its aftermath has got media and political awareness, we all know little or no in regards to the daily lives of Iraqis. Iraqi males, girls, and kids are usually not simply passive sufferers of violence, weak recipients of repressive regimes, or bystanders in their country’s destruction. within the face of possibility and trauma, Iraqis proceed to manage, getting ready nutrients, sending their young ones to college, socializing, telling jokes, and dreaming of a higher destiny. in the realm of mind's eye and artistic expression, the editors locate that many Iraqi artists haven't basically survived yet have additionally sought therapeutic.

In we're Iraqis, Al-Ali and Al-Najjar exhibit written and visible contributions via Iraqi artists, writers, poets, filmmakers, photographers, and activists. members discover the best way Iraqis maintain, subvert, and bring artwork and activism as methods of dealing with melancholy and resisting chaos and destruction. the 1st anthology of its type, we're Iraqis brings into concentration the multitude of ethnicities, religions, and reports which are all a part of Iraq.

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Additional resources for We Are Iraqis: Aesthetics and Politics in a Time of War

Sample text

This situation, however, is changing as many of the Iraqi artists in Jordan have left for more permanent homes in Europe and the Americas, while others await their turn. Works by Iraqi artists residing in Jordan embodied the Iraqi daily existence, without reference to particular details except for ones from memory. For example, in Card of Illumination, Nazar Yahya uses his personal experience with an identity card in Iraqis’ daily life both as indicative of an individual’s being as an element of identiﬁcation and as a facilitator of a life in which one had to produce the card to receive rations during the years of sanctions.

How does one speak to the fragility of life in a war zone? How does one say, without saying, what seems imaginable and unimaginable? All the writers in this book express in implicit and explicit terms internal and external turmoil. Hassan Abdulrazzak’s “Shadow of Their Former Selves” also speaks to familial and historical fragilities. How to recount one’s own history, pay homage and yet speak to the destructive forces that personal and cultural history has taken on self, body, heritage, family, nation?

The void became manifest in two forms: the physical absence of artists due to relocation or death and a debilitation caused by lack of security and patronage. After the fall of Saddam Hussein’s regime, an Iraqi sculptor, Hammad, declared that he was one of the Iraqis cautiously optimistic about the future. Yet the continuous absence of law, order, and structure demonstrated otherwise. Thus, like many other artists, Hammad left Iraq. com states: But as the insurgency grew in intensity, so did proscriptions against secular expression.

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