Director from Rojava uses theater to break silence on women's issues

Originally from Serê Kaniyê (Ras al-Ain), Ahmed began her journey in playwriting and directing following the Rojava Revolution in 2012. The war, repeated attacks, displacement, and forced migration experienced by her community—particularly in her hometown—motivated her to express these realities through theater.

She grew up in a family deeply connected to the arts. Her father, Fawaz Ahmed, was a stage actor and member of the Tolhildan Theater Group in Hasakah during the 1990s, giving her an early introduction to theater.

Recalling her childhood, Ahmed said her family home functioned like a small cultural center, where directors, writers, and actors gathered for rehearsals ahead of national celebrations, particularly Newroz, which was banned at the time. Artists were forced to prepare in secret, with many facing arrest.

She began her career writing children's plays at the Culture and Arts Center in Serê Kaniyê, while director Mohammad Rasoul staged the productions. Following displacement, however, she turned to directing herself.

Her first production, "Diziya Bexçeyan" (The Theft of the Orchard), explored children's fears of war, bombings, and the loss of their childhood.

Women at Center of Her Work

Since the beginning of her career, Ahmed has made women's experiences the central focus of her plays, a choice shaped by her own experience of repeated displacement after attacks on Serê Kaniyê.

She believes women in Rojava have played a unique role compared with women in many other parts of the world, pointing to their leading role in the July 19, 2012 Revolution and their participation in political, social, economic, military, and cultural life.

"For a theatrical production to succeed, women must be essential partners," she said.

Ahmed also chose to work at the Hilala Zêrîn Women's Culture Center in Hasakah because of its commitment to Kurdish women's culture and issues.

Six years ago, she founded the all-female Martyr Darsin Theater Troupe, bringing together around nine actresses to develop their theatrical skills and produce performances focused on women's issues in Rojava.

She said writing about women's experiences comes naturally because she personally lived through many of the hardships she portrays.

Her plays also reflect what she describes as the "Revolution of Braids," highlighting women's resilience, resistance, and contributions to cultural and artistic renewal while portraying the role of the Women's Protection Units (YPJ).

Ahmed focuses on issues that directly affect women's daily lives, including domestic, physical, and social violence, child marriage, displacement, exploitation, women's economic and educational empowerment, and self-protection.

She believes art is a powerful cultural force and that writing and theater are effective tools for defending women's rights and highlighting their struggle for dignity and achievements.

Theater as Tool for Social Awareness

Ahmed said theater plays a vital role in raising awareness of women's rights by addressing issues that are often difficult to discuss publicly.

"It breaks the silence by presenting these issues from a woman's perspective and exposing their causes, consequences, and impact before audiences," she said.

She added that theater encourages society to better understand social problems and seek solutions while promoting women's independence through education and economic empowerment.

Choosing Subjects

Ahmed explained that her productions are inspired by the realities women face in Rojava while incorporating artistic imagination to communicate their message more effectively.

Her consistent message is to encourage women to believe in themselves and continue striving to achieve their goals.

Facing Challenges

Despite her achievements, Ahmed said her artistic career has been marked by significant challenges, including conservative social attitudes toward women working in theater and limited opportunities, particularly during the rule of Syria's former Baath government, when Kurdish theater faced restrictions.

"My passion and creativity existed since my school years, but the Baath regime did not allow us to practice this art. After the Rojava Revolution, many doors opened for me to realize this dream," she said.

She also pointed to the shortage of specialists in sound, lighting, stage design, costumes, and music, forcing directors to take on multiple responsibilities. She credited her determination, family support, and the Hilala Zêrîn Center for helping her overcome these obstacles.

Productions She Values Most

Ahmed is especially proud of her play "Weso's Bag", whose lead actress won Best Actress at the 6th Martyr Yekta Herkol Theater Festival in 2023. The play tells the story of a woman employed as a domestic worker who suffers exploitation while waiting for a bag that symbolizes long-awaited hope.

She also highlighted "Revenge of the Braids" and "Embers and Fire," both portraying the role of Women's Protection Units (YPJ) fighters in the war against ISIS, saying the productions reflect Kurdish women's struggle and sacrifices.

State of Theater in Rojava

Ahmed described theater in Rojava as making progress despite ongoing challenges.

She said Kurdish theater has developed significantly since the Rojava Revolution. In the 1990s, performances were largely limited to national occasions, whereas today theater is represented at festivals such as the Martyr Yekta Herkol Theater Festival, Rojava Festival, and Berjem Festival.

However, she noted that insufficient financial support, the departure of experienced artists, weak infrastructure, and social challenges facing women in the field continue to hinder its development.

Dream of Musical Theater

Looking ahead, Ahmed hopes to produce musical theater, combining acting, singing, dance, and music, although she acknowledged that such productions require substantial financial resources and professionally trained performers.

She directs around seven plays each year, including Let's Go for a Picnic, The Scream, Revenge of the Braids, Embers and Fire, On the Chest of the Homeland, Salt and Bread, Bavi Hebone, and Weso's Bag.

Ranging from tragedy and comedy to drama, her productions use theater as a vehicle to address social issues—especially those affecting women—and have been featured at major theater festivals across Rojava, including the Martyr Yekta Herkol Festival, Rojava Festival, and Berjem Festival.

ANHA