In this special episode, Marina and Nabra sit down with Lebanese actor, theatremakers, and peacebuilder Raffi Feghali to talk about the Buffer Fringe Festival. Buffer Fringe is an annual festival with a mission for peacebuilding and social justice, organized by Home for Cooperation and situated in the buffer zone in Cyprus. Buffer Fringe runs 7-9 October 2022, presenting three days of international, interdisciplinary, experimental performances under the theme of Pockets (beyond). Join us as we explore improv in Lebanon, experimental theatre in a geographically contentious area, and artistic curation for peacebuilding.

To end the season, this episode will have Marina and Nabra sitting down to tea to talk about highlights from this season and what is to come in the future.

As politicized ethnic groups, playwriting comes with a sense of responsibility and history for many MENA and SWANA writers. Balancing drama and comedy in plays that deal with MENA politics, identity, and history can be difficult, but is also crucial for inviting audiences into our stories and addressing stereotypes and historical harm. Join two prominent playwrights and pillars of the MENA community, Yussef El-Guindi and Leila Buck, as we have an open conversation about how they approach their writing and reflect on what their work means in a greater societal context.

Artistic identities can be complicated, and many theatremakers work equally within two or more disciplines simultaneously. The most interesting work is rarely created in a vacuum. These multidisciplinary artists create diverse projects in all senses of the word, broadening our idea of what theatre can and should be. Today, two such multihyphenate artists, Denmo Ibrahim and Sarah Fahmy, converse about their multiple identities, how they reconcile and manage their myriad expertise, and the role of multihyphenate artists in today’s theatre landscape.

MENA artists continue to work hard to create representation in large theatrical arenas by pushing for their work to be produced on contemporary stages. However, since some major theatres only allot 1 or 2 slots a year for plays by BIPOC artists, and MENA artists have frequently been ignored. They have found other ways to create thriving artistic spaces for actors, directors, and playwrights alike. Masrah Cleveland Al Arabi has created a space for MENA artists to thrive. This artist-led organizational infrastructure serves as an example of how change can be made within existing theatrical structures. Today we are joined by Raymond Bobgan and Omar Kurdi.

In the greater conversation about MENA or SWANA identity, many national and ethnic groups do not neatly fit into that category or are in between geographic areas. One of the largest groups that are both within and without what is considered the “Middle East” is Iran. So many Iranian leaders are making intentional space for the diversity and specificity of their culture by creating companies for Iranian artists. In this episode, we highlight two Iranian theatre companies: Seda Iranian Theatre Ensemble in Seattle, WA, and Peydah Theatre Company in NYC.

For artists, getting a quality review of their show is often critical to continued success. It can make or break new plays and emerging artists. However, works by BIPOC artists have often been subjected to the white critical gaze in reviews, which has frequently not made any attempt to account for the complexity of culture outside of the reviewer’s own understanding. There has been a major push by BIPOC artists to counter the white supremacy of reviews, including who writes the critiques and what they write about. In this episode, Arti Ishak and Yasmin Zacaria Mikhaiel talk about their experiences as MENA artists and critics, how they negotiate the field of criticism, and what changes can and must be made to the landscape.

Community engagement is more than a post-show talk or touring production. These two directors and administrative leaders are community engagement practitioners in everything that they do, including their artmaking and program curation. They work both as independent artists and through organizations. We will discuss the nature of community engagement as an artistic practice, how their MENA backgrounds influence their practice, and how the theatre atmosphere is or should shift to be community engaged in an authentic and equitable way.

Site-specific performances have the possibility to truly make all the world a stage. To produce site-specific and devised theatre performances in the United States and abroad, artists must engage with the questions of the politics of any space, what communities inhabit or use it, and who is invited into it. Sahar Assaf, a Lebanese theatremaker and the new artistic director of Golden Thread Productions, and Zeina Daccache, an actor, director, and the founder of Catharsis: Lebanese Center for Drama Therapy come together to talk about site-specific and devised theatre pieces in Lebanon, the rest of the MENA world, and the United States.

Theatre is a powerful tool for political and community advocacy efforts. From the stage to the streets, theatre can illuminate underheard narratives, reveal different perspectives on political events, and humanize the struggles of groups. There is a long history of theatre as a tool for advocacy in the Palestinian community in the US and abroad. In this episode, we talk to two Palestinian writers and theatremakers who have been using the art form as a way to bring awareness to the conflict in Palestine, give audiences with concrete tools for change, and provide direct relief to Palestinians internationally.

Last season we talked about on-stage representation in contemporary theatre. But what does representation look like behind the scenes and why is it important? How does the process change when there are MENA creative team members, production staff, directors, and playwrights involved from the inception of a project to its closing night? What role does this representation play in new work development? We will discuss all of this and more with playwright Betty Shamieh and artistic director of Boom Arts Tracy Francis as they share their past experiences, insight, and ideas for the future.

On this special episode of Kunafa and Shay, Marina and Nabra are joined by actor and activist Yousof Sultani, who discusses his experiences in the theatre field as an Afghan American artist and the advocacy and community organizing he does for the people of Afghanistan.

In this final episode of Kunafa and Shay, Marina and Nabra are focusing on MENA theatre in the United States with playwrights Lameece Issaq, Torange Yeghiazarian, and Jamil Khoury.

Join Marina and Nabra on this week's episode of Kunafa and Shay as they discuss Middle Eastern and North African cuisine in theatre and their lives.

On this week’s episode of Kunafa and Shay, join Marina and Nabra as they discuss Forum Theatre in Palestine with Palestinian actors and founders of ASHTAR Theatre Edward Muallem and Iman Aoun.

On this week's episode of Kunafa and Shay, Marina and Nabra discuss Western ideals of women, specifically Arab women, and two adaptations of Western plays by Arab women. The hosts also explore the authentic Arabic feminist themes in the plays Jogging: Theatre in Progress and Noura.

On this episode of Kunafa and Shay, Marina and Nabra discuss Egyptian street theatre with Egyptian curator and coordinator Mohab Saber.

On this week’s episode of Kunafa and Shay, join Marina and Nabra as they discuss MENA drama on video, touching a wide range of plays. Marina and Nabra also interview Andrea Assaf about her works, DRONE and Eleven Reflections on September.

On this week’s episode of Kunafa and Shay, join Marina and Nabra as they interview Jen Marlowe about her company Donkeysaddle Productions, where Jen conducted interviews for fifteen years to create the verbatim piece There is a Field, a play about Asel Asleh, a seventeen-year-old Palestinian citizen of Israel killed by police in October 2000. Donkeysaddle used this piece to connect communities in the way it was subsequently performed and then documented. Listen to find out how this piece came to be.

On this week's episode of Kunafa and Shay, join Marina and Nabra as they discuss Zeina Daccache's work using drama therapy in Lebanon to empower inmates in the carceral system.

Join Nabra and Marina as they discuss how MENA theatre in the United States was affected by 9/11, analyze post-9/11 trends in MENA theatre from their own perspectives, and also examine popular MENA plays of the twenty-first century. Setting the stage for future episodes, this discussion illuminates how theatre has contributed to representation of Arabs in popular media and highlights the playwrights who have fought against the stereotypes that were made mainstream by the widespread racism and xenophobia following 9/11, which continue to this day.

In this first episode of Kunafa and Shay, meet our hosts Nabra Nelson and Marina J. Bergenstock!