{"id":91,"date":"2025-04-23T12:33:57","date_gmt":"2025-04-23T12:33:57","guid":{"rendered":"https:\/\/www.critical-stages.org\/31\/?p=91"},"modified":"2026-05-21T17:39:13","modified_gmt":"2026-05-21T17:39:13","slug":"like-an-alien-hair-in-ones-mouth-anmar-tahas-theatrical-performance-and-the-use-of-the-body","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/31\/like-an-alien-hair-in-ones-mouth-anmar-tahas-theatrical-performance-and-the-use-of-the-body\/","title":{"rendered":"Like an Alien Hair in One\u2019s Mouth: Anmar Taha\u2019s Theatrical Performance and the Use of the Body"},"content":{"rendered":"\n

Farah Ali<\/strong>*<\/a> and Majeed Mohammed Midhin<\/strong>**<\/a><\/p>\n\n\n\n

Abstract<\/strong><\/h5>\n\n\n\n

When thinking about successful theatrical experiences for post-2013 emigrants, Iraqi artistic director Anmar Taha immediately comes to mind. After leaving Iraq in 2005 amidst ongoing political deterioration, Taha, alongside Josephine Gray, founded the Iraqi Bodies Troupe in Sweden; a troupe that is dedicated to staging personal stories from Iraq and relies entirely on body mechanisms, as in body dance movements that draw their inspiration from the Eastern tradition. To explore the role of the body in theatre, Taha has, over time and through daily practice, developed techniques that include yoga and dance (ballet and modern jazz), as well as Butoh. This article attempts to shed light on three distinct ideas, chiefly Taha\u2019s theatrical performances and his experience in Iraq, with specific reference to his four actor categories to understand how he uses the body to reflect different stories from Iraq post-2003. Moreover, this paper investigates how Taha views the body: a singular entity that should be free from local constraints, including those that still shackle the theatres of the Western world.

Keywords<\/strong>: Anmar Taha, Iraqi Bodies, body mechanism, physical theatre, voice<\/p>\n\n\n\n

Iraqi Bodies Troupe<\/strong><\/h5>\n\n\n\n

One of the particular challenges that confronted Iraqi people during the war in 2003 was that of forced immigration\u2014thousands of Iraqi people suddenly found themselves in diaspora. Kathryn Libal and Scott Harding affirm that \u201cthe Iraq war\u2026created a flow of forced migrants, both within and across national borders, numbering around four million people, or approximately 15 percent of Iraq\u2019s population\u201d (18). Despite its negative outcomes, migration can sometimes have its own merits.<\/p>\n\n\n\n

Director Anmar Taha\u2019s journey from Iraq to Sweden in 2005 marked a significant shift not only in his personal life, but also in the landscape of contemporary Iraqi theatre. According to Taha in his pamphlet The Entity of the Body in the Theatre<\/em>, his knowledge of theatre originally stemmed from the myths and stories of Greek theatre: \u201cThroughout my theatre studies, focus was exclusively placed on the ideal of the Thespian actor\u2014I was completely fascinated and awestruck\u201d (5). However, the body, in and of itself, has been a prominent presence since the very beginnings of modern Iraqi theatre, as per Taha\u2019s four categorizations of the characters he chooses to present in his theatre-making, namely the actor, the kidnapped, the soldier, and the veiled woman (17-29). Taha explains that his focus on such is driven by both personal and political reasons:<\/p>\n\n\n\n

The sanctions imposed on Iraq by the civilized world were so strict! I remember in art classes at school I learned how to draw tanks and soldiers opening fire. They didn\u2019t teach me the names of the flowers that grew around us in the city, wildflowers of all kinds and all colors. Our teachers used to whip the kids with their belts. My father was constantly violent toward my mother for the most trivial reasons. (35)<\/p>\n\n\n\n

This statement leads us to explore the traditions followed in Iraq regarding the performing arts, and indeed the societal expectations and customs that have shaped them. According to Hadeel Abdelhameed in her unpublished thesis Imaging Women in Wartime:<\/em> A Comparative Study in Selected Australian and Iraqi War Theatre<\/em>, three generations have played a crucial role in shaping the performing arts in Iraq. She further clarifies that:<\/p>\n\n\n\n

While the first and second generations from the 1940s to the late 1960s established the praxis of Aristotelian drama, the third generation from the 1970s to the 1990s were influenced by Brechtian dialectical theatre, Beckettian Absurdist drama, and Artaud\u2019s Theatre of Cruelty. They worked to introduce experimental drama not only to the Iraqi academia but also to the public. (44-5)<\/p>\n\n\n\n

Taha, from his description of the circumstances he experienced and the characters he chose to represent in his theatre, belongs to the third experimental generation (17). Establishing the Iraqi Bodies Troupe in 2009 was a response to the need for a platform where stories of displacement, war, and personal trauma could be expressed through the universal language of the body. However, this need to place the body center stage created two conflicting issues for Taha: while the body is a familiar element of Iraqi performing arts, it remains buried under multiple layers of religious and social taboos. Regarding the significance of the name Iraqi Bodies<\/em>, Taha, in an interview with Nahed Nasr for Ahram Online<\/em> (Saturday 1 Oct 2016), stated that, \u201cWe belong to a society where the body is our biggest taboo\u201d (5). He added, \u201cOur bodies are imprisoned under layers and layers of restrictions. To liberate ourselves, we need to liberate our bodies. This is part of the physical theatre I choose to work in\u201d (5). This liberation is precisely what Taha intends to achieve through his troupe.<\/p>\n\n\n\n

The other issue is the unity between the body and the mind while creating theatre. Taha does not believe in the Western concept that the body and mind should work on different levels;[1]<\/sup><\/a> rather, he believes that \u201cin the performative act this becomes a hinder [sic] to the performer and director because it divides the person into sections which should be truly whole\u201d (5).<\/p>\n\n\n\n

Shaun Gallagher agrees with Taha\u2019s view by bringing other theorists who believe in the unity of both body and mind in what he prefers to refer to as \u201cperformative forgetfulness of the body\u201d (305). He states that the aim of bodily unity \u201cis to become so habitual in our bodily movement that we no longer have to monitor it\u201d (305).[2]<\/sup><\/a><\/p>\n\n\n\n

Taha\u2019s reasoning for such a casting of actors\u2019 corporeality is that while the body acts the character assigned to it, such attributes add \u201csocial, cultural, religious and so on\u201d aspects of such layers, which build a framework of constraints he believes pollute the body and start speaking for it, rather than the body being able to speak for itself (5).<\/p>\n\n\n\n

Therefore, in an environment far removed from his homeland, Taha\u2019s work transcends linguistic and cultural barriers, creating a visceral experience for audiences. The Iraqi Bodies Troupe oscillates between physical and dance theatre, drawing strong inspiration from Antonin Artaud and Jerzy Grotowski, as evident in the troupe\u2019s focus on the body, corporality, and physicality. Iraqi Bodies\u2019 performances are heavily influenced by Artaud\u2019s Theatre of Cruelty<\/em> and Grotowski\u2019s Poor Theatre<\/em>. Artaud\u2019s philosophy emphasizes the use of physicality and raw emotion to affect the audience in a visceral manner; similarly, Grotowski\u2019s focus on actors\u2019 physical and emotional commitment to their roles resonates deeply within the troupe\u2019s work. This methodological synergy fosters a unique blend of physical and dance theatre that pushes the boundaries of traditional performance art. Taha notes that his knowledge of such theatre makers came from his studies at the University of Baghdad\u2019s Fine Arts Institute (17).<\/p>\n\n\n\n

Iraqi Bodies\u2019 repertoire delves into themes reminiscent of absurd theatre, echoing the works of Samuel Beckett and Eug\u00e8ne Ionesco. In his aforementioned pamphlet. Taha explains that he is deeply concerned with the ideas of birth and death, processes he considers entirely mysterious. He views his theatre as a reflection of the brief light that exists between these two moments, describing it as the space between the two dark spots of birth and death (Taha 6).[3]<\/sup><\/a> In addition to citing his Brechtian influence, Taha explains the influences of both Artaud and Grotowski on his work, and indeed how he came across their respective works. As for his interest in Artaud, Taha says that he was directly influenced by Hijikata of the Butoh (or Dance of Utter Darkness) style. He puts things more in context through the following:<\/p>\n\n\n\n

When I speak about the actor today it all came from the first encounter I had with Antonin Artaud\u2019s texts, in particular The Theatre and Its Double<\/em>. As is common knowledge Artaud never succeeded in implementing his theories on acting and theatre due to his enforced hospitalization. Theatre makers have struggled with this notion, from Peter Brook to Jerzy Grotowski, the latter devoting an entire chapter in his Towards a Poor Theatre<\/em> on the impossibility of Artaud\u2019s suggested methods. What undeniably stuck with me, and has blossomed ever since, was the notion that the actor should not frame a dramatic text as a set of signifiers that needs to be treated in a particular way in order to further the meaning of the text but that the actor should instead make equal use of his body and breath as <\/em>the text. One example of this was to treat speech as you hear it in your dreams\u2013noises, ambiances, meanings without corresponding signifiers. (18)<\/p>\n\n\n\n

According to Taha, while Grotowski\u2019s influences do not feature as prominently in his work as those of Artaud, the latter nevertheless provides the foundation for the archetypal actor,[4]<\/sup><\/a> a concept Taha refers to as The Holy Actor, akin to a high priest or actor with noble heritage. This nobility should be manifested in the character\u2019s breath, speech, body, and overall being, which Taha describes as encompassing \u201cthe infinite I\u201d (19). This \u201cI,\u201d however, must be aware of the characters it represents, like the soldier, the veiled woman, the kidnapped, etc.), but should otherwise lack the self-awareness that would lead it to identify with a specific signifier. Taha states: \u201cThe actor as an archetype in this sense\u2013holy\u2013permeates the vision and experience I have of the actor. He remains pure potentiality [sic] to actualize the myriads of roles, \u201cI\u2019s\u2019\u201d, that he will bring to life on stage, and in life too as the theatre and its mode outlives the spotlights in order to remain observant of the poetry of life\u201d (19). This is how Taha envisages the role of the actor in his works when acting in any form or shape.<\/p>\n\n\n\n

Iraqi Bodies has been collaborating since 2005, but their trajectory took a dramatic turn when their director and leader, Anmar Taha, was tragically shot. This tragic event left an indelible mark on the troupe members\u2019 personal lives and permanently transformed their art. Incorporating Artaud and Grotowski, in addition to Japanese dance styles such as Butoh, fosters a unique blend of physical and dance theatre that pushes the boundaries of traditional performance art. The troupe\u2019s thematic focus often aligns with the absurdist theatre movement, embracing existential questions and the human condition\u2019s inherent absurdity. Like Beckett, Ionesco, and Genet, Iraqi Bodies\u2019 work reflects a sense of dislocation and a search for meaning in a seemingly indifferent universe. By exploring such themes, Iraqi Bodies creates performances that are not only thought-provoking but also deeply reflective of contemporary global issues.<\/p>\n\n\n\n

The shooting of Anmar Taha profoundly influenced the troupe\u2019s artistic direction; Taha\u2019s injury and his subsequent relocation to Sweden, were ultimately pivotal moments for the troupe. This personal trauma transformed into a narrative tool within the group\u2019s art, where movement and image essays are used to express the symbols and signs of trauma and existential limits. Their performances often confront the dichotomy between the Eastern and Western worlds, striving to bridge cultural differences and present a shared reality.<\/p>\n\n\n\n

One of Iraqi Bodies\u2019 particular objectives is to portray a reality that resonates universally, transcending cultural and geographical boundaries, and hence the emphasis on the universal \u201cI\u201d that does not imbue any cultural, social, or political signifiers on itself. Their blend of physical and dance theatre allows them to explore deep existential themes through a unique and compelling medium. By incorporating personal and collective traumas into their work, they create performances that not only reflect the absurdity of the human condition but also serve as a bridge between disparate cultural worlds. Their continued evolution and dedication to confronting complex themes ensure that Iraqi Bodies remain a vital and impactful presence in Iraqi contemporary theatre.<\/p>\n\n\n\n

Moreover, in 2009, Taha started operating his dance theatre company alongside fellow artistic director and academic Josephine Gray. However, it is worth noting that Taha, despite everything, emerges as the more contemplative and intellectually inclined of the two. There are a few reasons for this. First, the article primarily focuses on portraying Anmar Taha himself and his experiences, which were rooted in Iraq\u2014an experience that Josephine Gray does not share. Second, the authors may seem to equate the term “Western” with modern or contemporary perspectives, however, it is important to acknowledge that the West has been profoundly influenced by the East. By “Western world,” we are specifically referring to Western and Central Europe as well as North America. This influence, particularly in terms of theosophy, related theories, and aesthetic trends, began in the 1880s and 1890s, and, in a broader sense, even earlier.<\/p>\n\n\n\n

Gray is deeply involved with Iraqi Bodies, an artistic collective active in Gothenburg since 2009. She has an extensive educational background, including training at L\u2019\u00c9cole Internationale de Th\u00e9\u00e2tre de Jacques Lecoq, as well as advanced degrees in philosophy and English. Gray holds a Master’s degree in Philosophy from Katholieke Universiteit Leuven, where she wrote her thesis on the philosophy of comic performance in the works of Henri Bergson and Jacques Lecoq. Additionally, she earned a Master’s degree in English from the University of Sheffield, focusing her research on the grotesque figure in the re-imaginings of Shakespeare\u2019s plays by Eug\u00e8ne Ionesco and Carmelo Bene. Most recently, she collaborated with Anmar Taha on a production centered on the prophetess Sibyl. Directed by both Gray and Taha, this work is part of the festival-like event Radix<\/em>, scheduled for March.<\/p>\n\n\n\n

In 2022 Gray co-edited the volume Second Nature: Comic Performance and Philosophy<\/em> with Lisa Trahair. She also initiated the studium RADIX<\/em> research program for performers in physical theatrical practices, including a seminar series featuring international guests. She usually does the dramaturgy part of Iraqi Bodies. Gray\u2019s background, combined with Anmar Taha\u2019s intellectual inclinations, makes Iraqi Bodies a distinctive force in exploring and demystifying the symbolism of the human body on stage. While acknowledging Gray\u2019s significant dramaturgical contributions to Iraqi Bodies’ productions, this article primarily focuses on Taha\u2019s artistic evolution, methodologies, and approaches in his work.<\/p>\n\n\n\n

The Dance Methodology and Body Movement<\/strong><\/h5>\n\n\n\n

Recently, Gray and Taha worked on workshop that offered a deep exploration of the performer\u2019s self-awareness and presence on stage, rooted in the original concept of theatre as \u201ctheatron\/<\/em>\u03b8\u03ad\u03b1\u03c4\u03c1\u03bf\u03bd<\/em>,\u201d a space where things are made visible.[5]<\/sup><\/a> Held in 2024 at the Akropodoti Dance Centre in Greece, the workshop\u2019s focus was on the preparatory state of \u201cbeing\u201d before a performer embodies a character or persona, encouraging participants to reflect on their authentic selves.<\/p>\n\n\n\n

This workshop was an immersive experience that not only honed technical skills but also delved into the performer\u2019s personal and artistic growth, aligning with the philosophy and practices of Iraqi Bodies. The openness of the workshop to a diverse audience above the age of 16 aligned with Taha\u2019s broader vision that performance and self-awareness are universal pursuits, not confined to any specific group or type of person. The workshop\u2019s inclusive nature and broad target audience suggest that it was designed to engage people from all walks of life, allowing them to explore their own physical and creative potential. Taha\u2019s belief, as outlined in his pamphlet, is that a flawed educational system stifles the development of what he refers to as \u201cfluid intelligence\u201d (37), that is, the inherent creative potential within every individual. By focusing on the \u201cart of creative life\u201d (ibid), Taha argues against prescribing specific messages or meanings in performance as this could undermine the body\u2019s potential as a dynamic and expressive tool. Taha\u2019s recommendations, as mentioned on page 37 of his pamphlet, thus emphasize:<\/p>\n\n\n\n

    \n
  1. Cultivation of Fluid Intelligence:<\/strong> Encouraging environments that allow creative intelligence to flourish naturally.<\/li>\n\n\n\n
  2. Non-Prescriptive Expression:<\/strong> Rejecting the idea of imposing specific meanings or messages, thus preserving the integrity of the body as a vehicle for authentic expression.<\/li>\n\n\n\n
  3. Educational Reform:<\/strong> Advocating for changes in educational systems to support the development of individual creativity and self-awareness, rather than conforming to rigid structures that limit personal and artistic growth.<\/li>\n<\/ol>\n\n\n\n

    Taha\u2019s approach to the body in theatrical performance highlights the deep philosophical and practical considerations that inform his work. The body, as Taha sees it, is not merely an instrument of expression but the central medium through which stories, emotions, and experiences are conveyed. His rigorous training regime allows performers to transcend mere acting and instead \u201cbecome\u201d the story they are telling.<\/p>\n\n\n\n

    The Role of the Body in Contemporary Performance<\/strong><\/h5>\n\n\n\n

    Gaye Leigh Green\u2019s observation that performance art has brought the body back to the forefront of artistic practice and pedagogy is central to understanding Taha\u2019s methodology (12). In Taha\u2019s performances, the body is not just a conduit for expression but a living, breathing canvas upon which experiences such as identity, loss, and resilience are etched. This perspective aligns with the broader trend in contemporary performance whereby physicality and corporal knowledge are increasingly recognized as integral to both artistic and scholarly endeavors.<\/p>\n\n\n\n

    The Dichotomy of Awareness vs. Forgetfulness<\/strong><\/h5>\n\n\n\n

    The debate between enhanced bodily awareness and \u201cperforming forgetfulness\u201d is a critical point in Taha\u2019s philosophy. Gallagher\u2019s argument that heightened awareness of the body can lead to improved performance contrasts with Taha\u2019s emphasis on freeing the body from conscious control. Gallagher suggests that by becoming more aware of aspects such as breathing or muscle movement, performers can refine their technique and emotional expression. For instance:<\/p>\n\n\n\n

      \n
    1. Awareness of Breathing:<\/strong> By focusing on breathing during dance, a performer might become more attuned to their emotional state, potentially enhancing the depth of their performance.<\/li>\n\n\n\n
    2. Awareness of Movement:<\/strong> Conscious awareness of muscles and movements allows for deliberate modification and improvement of technique (307).<\/li>\n<\/ol>\n\n\n\n

      Taha, however, advocates a different approach. He believes that by immersing oneself in the rhythm of breathing, the enjoyment of movement, and the exploration of hidden selves without self-consciousness, a performer can achieve spontaneous and authentic self-expression. Taha\u2019s assertion that \u201cin Western movement practice, it is believed that you can possess your body and control it\u201d reflects his critique of the Western focus on control and ownership of the body. He sees this as a misunderstanding of both life and the body\u2019s true potential (9).<\/p>\n\n\n\n

      Influence of Eastern Practices<\/strong><\/h5>\n\n\n\n

      Taha\u2019s turn towards Eastern practices, particularly those of Michizo Noguchi Taiso\u2019s (1914-1998)[6]<\/sup><\/a> and Tatsumi Hijikata\u2019s Butoh, underscores his commitment to a more holistic and intuitive approach to performance. Butoh, often described as the \u201cDance of Utter Darkness,\u201d involves an exploration of the deepest layers of the human psyche, often addressing themes of pain, darkness, and transformation. Taha\u2019s reliance on these practices, especially in his portrayal of marginalized figures, such as veiled women and the kidnapped, reflects his belief in the body\u2019s ability to convey profound, often hidden truths.<\/p>\n\n\n\n

      By embracing these Eastern techniques, Taha seeks to move beyond his perceived limitations of Western practices. Instead, he advocates a performance style that allows the body to express itself freely, unburdened by the need to conform to specific meanings or messages. This approach enables a deeper, more authentic connection between the performer and the story, as the body becomes a vessel for spontaneous, raw expression.<\/p>\n\n\n

      \n
      \"\"
      The subdued demeanor of the characters reflects a sense of resignation and exhaustion, as they grapple with the seemingly endless cycle of violence and loss. The portrayal of the woman character highlights the often-overlooked experiences of women in conflict zones, who endure unique challenges and vulnerabilities. Still from Cairo International Festival of Contemporary and Experimental Theatre 27 September 2016.<\/figcaption><\/figure>\n<\/div>\n\n\n

      The video, \u201cPity – Part 1,\u201d features a figure in a dark cloak, possibly a Hijabi woman, by a river. The storyline involves former ISIS General Othello, his deputy Iago, and Desdemona, weaving a narrative with modern political and media elements. The video employs subtitles that mimic breaking news, discussing Othello\u2019s exposure by Iago and the ensuing media reactions. This setup creates a dichotomy between East and West, with Iago maintaining his allegiance while accusing Western media of misinformation. The video\u2019s narrative prompts an examination of bodily representation in Taha\u2019s theatrical work, especially the practice of Butoh which involves how the physical presence and depiction of bodies on stage communicate themes of conflict, resistance, and identity. Moreover, it represents the \u201cOther,\u201d as Bernadette Sweeney argues, \u201cthe placement of the body on stage or in the performance space relative to other \u0312objects,\u2019 both animate and inanimate, emphasizes the body as object. In theatre the body as subject becomes more complex, especially when a performer is working with a character or characters; the self as subject is still in place but the body is also projecting an-other\u201d (33).<\/p>\n\n\n\n

      In her 2024 book Writing Through the Body: Iraqi Responses to the War on Terror<\/em>, Hanan Jasim Khammas notes that both Slavok Zizek in Iraq: The Borrowed Kettle<\/em> (2004) and Judith Butler in Frames of War<\/em> (2009) suggest that the televised coverage of the war in Iraq and the associated visual spectacle were part of the military operations (17), with the latter, in particular, targeting viewers ideologically and politically to shape historical narratives (17), whilst in the former Butler suggests that visual media serves as a tool for constructing and disseminating specific war narratives (17).<\/p>\n\n\n\n

      Khammas posits that the media\u2019s portrayal creates a semiotic space where both Iraqi and American bodies become central to expressions of resistance and identity. This representation impacts viewers, embedding them in the ideological constructs of the war narrative. The War on Terror, through its mediated visuals and narratives, sought to reconfigure global perceptions and historical records. As spectators, people are targeted by these semiotic strategies, making them both witnesses and participants in the associated ideological dissemination (17).<\/p>\n\n\n\n

      The mediated, visual narratives of war (as critiqued by \u017di\u017eek and Butler) serve to engage audiences in powerful, often manipulative ways. Taha\u2019s work, through its use of modern media elements and theatrical techniques, explores these dynamics, emphasizing the critical role of spectatorship in the construction and perception of war and violence.<\/p>\n\n\n\n

      Taha\u2019s work exemplifies the dichotomy between East and West in media representation and views on the role of the body as a means of expression through a complex interplay of themes and symbols. Taha\u2019s methodology represents a significant departure from traditional Western approaches to performance, emphasizing the importance of freeing the body from conscious control to achieve true self-expression.<\/p>\n\n\n\n

      The different object and symbols Taha deployed in this performance are all signifiers of physical importance. The burka represents the concealment and control of women\u2019s bodies, emphasizing themes of oppression and identity, while the boxing glove signifies power and conflict, illustrating the brutal realities of war. The dead soldier\u2019s shirt signifies loss, death, and the remnants of humanity amidst conflict, and the red clown\u2019s nose conveys the absurdity and surreal nature of life and death, mocking the seriousness of war and conflict. These objects are all corporeal items which highlight the contradictory nature of the body\u2019s representation in Taha\u2019s theatre, challenging traditional taboos and offering a critique of cultural and religious norms.<\/p>\n\n\n

      \n
      \"\"
      This still, taken from a performance of Pillars of Blood<\/em> at the Cairo Festival (28 September 2016), paints a vivid picture of the themes and imagery present in this play. The use of masks to symbolize various concepts like misinformation, evil, fakeness, and intrusion adds depth to the portrayal of post-war devastation and its impact on individuals. The contrast between the masked characters and the one with a bare face highlights the tension and complexity of navigating through such environments.<\/figcaption><\/figure>\n<\/div>\n\n\n

      As a result, what is being presented here is a more performative entity of the body, in which the body becomes a norm. As Judith Butler states, \u201cthe body is a materialization of a norm, it is the performance of an ideal construct, which one has to comply with to ensure his or her subjectivity so as not to be abjected, excluded, and marginalized into the spheres of nonsubjectivity\u201d (qtd. in Ross 154).<\/p>\n\n\n\n

      We, the authors of this paper believe this very contradiction problematizes the body itself as has been represented in the Islamic world, and Taha\u2019s attempts to free it from taboos form an even stronger pillar around the body itself. According to Khammas, Arab-Islamic heritage has historically emphasized a distance from the body, associating righteousness and true self with the soul, considered superior to the physical body which is prone to change and decay. This perspective has fostered a disdain for difference, plurality, the need for the Other, desire, and feelings altogether (19). Khammas, supported by Abir Hamdar\u2019s concept of \u201cthe turn to the body,\u201d emphasizes the importance of the body as a platform reflecting the various atrocities Iraq has endured. In this context, the body takes center stage in Taha\u2019s work, serving as a medium to express:<\/p>\n\n\n\n