Painting Without Paint: Four Sisters, Three Dresses <b> </b>

Barwari, Nuveen

doi:10.13169/jinte.6.1.0002

ScienceOpen: research and publishing network

For Publishers

For Researchers

Blog
About

Search
Advanced search

306

views

recommends

If you have found this article useful and you think it is important that researchers across the world have access, please consider donating, to ensure that this valuable collection remains Open Access.

The Journal of Intersectionality is published by Pluto Journals, an Open Access publisher. This means that everyone has free and unlimited access to the full-text of all articles from our international collection of social science journals. Furthermore Pluto Journals authors don’t pay article processing charges (APCs).

scite_

Journal of Intersectionality

Volume 6, Issue 1

Record: found
Abstract: found
Article: found

Is Open Access

Painting Without Paint: Four Sisters, Three Dresses

Published

research-article

Author(s): Nuveen Barwari ¹

Publication date (Print): 11 November 2022

Journal: Journal of Intersectionality

Keywords: Kurdish art, Kurdish diaspora, United States, Kurdish dress, jilli Kurdi, Iraqi Kurdistan, instersectionality, conflict

Bookmark

Abstract

Nuveen Barwari uses the multiple layers of the jilli Kurdi (Kurdish dress) as a metaphor for the multiple layers of a Kurdish diasporic identity. Using Édouard Glissant’s concept of opacity, Barwari engages with the jilli Kurdi as artistic inspiration, describing it as private space for an individual, and for a diasporic community as anapparatus that works in opposition to transparency, protecting the unseen, and resisting a colonial gaze.

Content

Author and article information

Journal

Title: Journal of Intersectionality

ISSN: 2515-2122

Publication date (Print): 11 November 2022

Volume: 6

Issue: 1

Pages: 17-29

Affiliations

[1 ] Tennessee State University

Article

DOI: 10.13169/jinte.6.1.0002

SO-VID: b096bf74-bfbc-44c7-b6b6-ee4be1db0c9d

License:

Published under Creative Commons Attribution 4.0 International ( CC BY 4.0). Users are allowed to share (copy and redistribute the material in any medium or format) and adapt (remix, transform, and build upon the material for any purpose, even commercially), as long as the authors and the publisher are explicitly identified and properly acknowledged as the original source.

History

Data availability: Data sharing not applicable to this article as no datasets were generated or analysed during the current study.

ScienceOpen disciplines: Political science,Arts,Social & Behavioral Sciences,Cultural studies

Keywords: conflict,Kurdish art,Kurdish diaspora,United States,Kurdish dress,jilli Kurdi,Iraqi Kurdistan,instersectionality

References

Anzaldúa Gloria. How to Tame a Wild TongueThe Mexico Reader. p. 34–44. 2022. Duke University Press. [Cross Ref]
Nguyen Mimi Thi. The Hoodie as Sign, Screen, Expectation, and Force. Signs: Journal of Women in Culture and Society. Vol. 40(4):791–816. 2015. University of Chicago Press. [Cross Ref]

Comments

Comment on this article

[1] Anzaldúa Gloria. How to Tame a Wild TongueThe Mexico Reader. p. 34–44. 2022. Duke University Press. [Cross Ref]

[2] Nguyen Mimi Thi. The Hoodie as Sign, Screen, Expectation, and Force. Signs: Journal of Women in Culture and Society. Vol. 40(4):791–816. 2015. University of Chicago Press. [Cross Ref]