Available online: https://pub.norden.org/temanord2021-513/ The report analyses women in violent extremism based on contemporary data for Sweden. Statistics are presented across various demographic and criminal indicators for violent far-left, far-right and Islamic extremistm, compared to same-sex siblings, to men in the same violent extremist milieus and to women in other antagonistic milieus. There are both similarities and differences between groups. Women in violent Islamic extremism have the weakest labor market attachment and the highest social welfare uptake. Women in violent far-right extremism have the lowest levels of education. The comparison between women in violent extremism and their biological sisters suggests a link between crime, social problems and extremism. When controlling for family background, women associated with violent extremism seem to have more extensive problems than their sisters without such (known) connections.
Available online: https://pub.norden.org/temanord2021-513/ The report analyses women in violent extremism based on contemporary data for Sweden. Statistics are presented across various demographic and criminal indicators for violent far-left, far-right and Islamic extremistm, compared to same-sex siblings, to men in the same violent extremist milieus and to women in other antagonistic milieus. There are both similarities and differences between groups. Women in violent Islamic extremism have the weakest labor market attachment and the highest social welfare uptake. Women in violent far-right extremism have the lowest levels of education. The comparison between women in violent extremism and their biological sisters suggests a link between crime, social problems and extremism. When controlling for family background, women associated with violent extremism seem to have more extensive problems than their sisters without such (known) connections.
Since its emergence in the 1920s, Iraqi-Kurdish theatre was used as a tool of national identity building and modernisation. It promoted literacy, education and women's rights and became one of the most visible forms of Kurdish cultural nationalism by exploring folklore, myths, legends and local history and by celebrating heroes of the past. As time went on, by staging anti-feudalist and anti-monarchist plays, theatre became engaged in representing and legitimising the wider political movement in Iraq that ultimately led to the overthrow of the monarchy in 1958. Between 1975-1991, even under strict censorship during the Baath rule, Kurdish theatre continued to promote Kurdish nationalism and resistance through the use of Kurdish folk culture and literature. This book is based on dramatic texts from the period, interviews with Kurdish theatre artists, Kurdish theatre histories, historical documents, and journalistic accounts. It illustrates the ways in which theatre participated in the Kurdish national struggle and how it responded to political changes in different historical periods. It is the first book dedicated to Kurdish theatre and complements the latest research that examines theatre in its wider socio-political context.
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