This article explores how Australia’s neoliberal multicultural policies of the 1990s curtailed the artistic self-worth of first-generation Iraqi theatre makers. Their creative journey reveals how art became a lens for negotiating home, belonging, and marginalized migrant identities.
The chapter focuses on an unprecedented approach of protesting in Iraq which is mothering the protest. It argues that traditional gender performance, including mothering, has identified an original form of women’s activism post 2003.
