Exhibited at the Almas Art Foundation, Souad Abdelrasoul's Like a Single Pomegranate draws on interdisciplinary methods to illustrate how women evolve in oppressive patriarchal environments, weaving the feminine and the emotional to offer bold hope.
Film Review: Writer-director Edward Lovelace’s documentary feature Name Me Lawand is an immersive portrait of a young adolescent boy and his raw determination to learn British Sign Language.
In-depth: In the absence of coherent policies, long-term planning, and the Iraqi elite's poor track record in the realm of public spending, the new record-breaking $153 billion budget has raised concerns.
A carefully stitched interrogation of Iraqi agony, Ahmed Abd's 'The River's Shadow' combines Mesopotamian mythology and modern trauma to create a film that taps into a twitchy, paranoid national psyche.
The New Arab Meets: Educator and activist Noor Ghazi to discuss the double bind of being Iraqi-American and the ways her dual identities compete, interchange and complement each other.
In-depth: When US forces invaded Iraq, looting and pillaging of political and cultural artefacts was rampant. Two decades later, Iraq's TV archive remains lost despite efforts to retrieve the country's stolen collections.
A vital expression of free-thinking, folk dance has long been a staple of Algerian national identity. Now Esraa Warda's famed Algerian dance workshops have taken London by storm, introducing the metropolis to the rhythms of the Maghreb.
Don't judge a play by its title, Two Palestinians Go Dogging is a thoroughly engaging production about the mundane, cyclical nature of Israel's occupation of Palestine. Funny and thought-provoking, the viewer is forced to speculate about our future.
Sustained periods of drought have ravaged much of northern Iraq's ecosystem. But in a stunning recent excavation, archaeologists discovered a 3400-year-old city previously submerged underwater, that was once the epicentre of the Mittani Empire.
Mustafa Al-Sumaidaie was one of the millions of Iraqis born into occupation and sectarian chaos. Arming himself instead with a lens, Mustafa's photographs and films portray an honest depiction of his homeland's urban and architectural beauty.
