Farah Dailami

Ultimately, this practise is auto-ethnographical, in that personal and anecdotal experiences are collected through filming, which are collated to translate an autobiographical narrative to a wider cultural perspective.

It explores dual nationality and the concept of a split identity that can originate from this. It was interesting to explore the use of the words ‘dual’ versus ‘split’ and seem to come to the above conclusion: nationality is dual, but identity is split. However, through video, looking at the visual and auditory contrasts between my parents and the two sides of my family, it is evident from the areas that British and Arab culture intertwine, that it is possible to view cultural identity as a spectrum.


Conducting these conversations was a way to re-associate with elements of traditional and modern Arab culture, since feeling mentally and physically separate from this, living in the UK. It was also to see how the British and Bahraini sides affect my personality and behaviour in different ways.


Since this video work runs in parallel with analogue photography, the physicality of a visual image has recurring importance in this practise. My photographs are mainly shots of everyday life and people; and although spontaneous, together they work to represent time split between two locations identifying as my homes, and the mindsets and character I associate with each. However, from working with video, the rhythm and repetition of sound and language has become significant in portraying the deeper concepts in my work, like personal histories. This led to me to research story telling as form of heritage, which was prominent in the Arabian Gulf, despite claims of Tabula Rasa.


The technical processes involved, like the chemical development and printing of photographs in the darkroom and editing of video footage, shows the idea of transformations involved in this practice, and further highlights the idea of contrasting elements, through the context and
creation of the work.

Interviewing my family members in comfortable environments with non-intrusive methods led me to the work of Candice Breitz. In terms of her ability to show distinctive differences in voice, body language and world views between twins was adaptable to how my practise presents familial cultural contrasts. Her split-screen style of presentation was also
impressionable upon my in-camera editing and curation of a candid photographic perspective.


This work will relate to those viewers of dual heritage in terms of familiarity and resonance with certain cultural signifiers. In contrast, viewers who are not, can hopefully still resonate with the ideas of internal turmoil and confusion around identity. As well as this personal
draw to a culturally explorative practice as a means of self-reflection, it also can have wider connotations. In this contemporary chaotic climate of racial tension and rising Islamophobia, I believe work like this is essential in showing how despite societal polarities, respect and acceptance can still be reciprocated between cultures.

Art Instagram: https://www.instagram.com/farahd_art/?hl=en

Website: https://farahfeb.myportfolio.com/about