observed that it evolves continuously with such concepts. design as a consumption object, consumer behavior, cultural formation, populism, branding etc. In the research, as a tool of the consumer society, new theories and searches that emerged with the globalization process will be presented in terms of their reflections on art and design. In this research, the paradigms changing with globalization on the consumer society, capitalism and information systems it aims to examined through art and design as a consumption object / commodity. Finally, it is very apt to argue that the performance is mainly intended to commercialise the female body and structurally built on the disavowal of women’s identity. Accordingly, spirituality, genuine love, and intellectual banter do not exist. The performance exhibits sexual lust, seduction and flirtations as components which altogether lead up to gender subjugation.

Considering the Iraqi conservative culture Bateekh Fee Al Mareekh violates the social norms since the performance purely objectifies women and thus signifies men’s ultimate superiority and women’s deficiency. The analysis of the performance is thoroughly informed by Luce Irigaray’s ‘Women on Market’, an essay in her influential book The Sex Which is Not One.

Thus I argue that the performance defines women as mere commodities whose roles are prescribed by the male(s) to win the. The consumer/ commodity relationships are very palpable in the performance. The present paper aims to investigate the way women are introduced, manifested and treated as commodities in Bateekh Fee Al Mareekh, a play performed at Al Najah Theatre in the capital Baghdad in 2013. Finally, it is very apt to argue that the performance is solely based on and mainly intended to commercialize the female body, and structurally built on the disavowal of women’s identity. Accordingly, subjugation, spirituality, genuine love, and intellectual banter do not exist in the performance. Indeed, the performance exhibits the sexual lust, seduction and flirtations as components which altogether lead up to gender subjugation.

Considering the Iraqi conservative culture Bateekh Fee Al Mareekh violates the social norms since the performance purely objectifies women and thus signifies the men’s ultimate superiority and women’s deficiency. The analysis of the performance is thoroughly informed by Luce Irigaray’s ‘Women on Market’, a chapter in her influential book The Sex Which is Not One. I argue that the performance defines women as mere commodities whose roles are prescribed by the male(s) to win the audience’s attention (tickets!). The consumer/ commodity relationships are very evident in the performance. The present paper aims to investigate the way women are introduced, manifested and treated as commodities in Bateekh Fee Al Mareekh, a play performed at Al Najah Theatre in the capital Baghdad in 2014.

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