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The Phosphoros Theatre makes plays with, for, and by asylum seekers in the UK. Its amateur actors travel all over the country to perform, telling their own stories in the form of a fictionalized narrative.
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“On a chair on a ship in the middle of the ocean.”
“The bed I shared with my grandfather at home.”
“A sofa-bed in Belgium that I could hardly fit on.”
The characters on the stage have all been forced by their circumstances to sleep in uncomfortable places. As the lights come up, the audience learns that the actors are all asylum seekers and refugees who have come to the UK. In All The Beds I Have Slept In, produced by Phosphoros Theatre, they describe their perilous journeys from their dangerous home countries to a place they hoped would offer them freedom and safety.
Phosphoros’s plays emerge from the minds of its actors. To create this production, the company got together over a weekend, played drama games, and brainstormed. They had stories to share but needed a theme to anchor them. They realized that what their stories had in common was beds, in that all of them had once slept on proper beds at home but then, during their long journeys, they had moved from one strange bed to another. Often, they had had nowhere to sleep but the cold ground. On stage, that theme became a prop that was central to the action—sometimes a bed on wheels that served as a place to sleep or a place to talk. Sometimes, the bed was even a boat.
By the end of the creative weekend playwright Dawn Harrison had a wealth of material. During the writing process she checked in with the actors by WhatsApp to verify what kinds of expressions they might use, to make sure the dialogue reflected their voices accurately.
“A charpai on top of my roof in Afghanistan when it was too hot to sleep inside,” is how one of the performers, a young man named Syed Haleem Najibi, described his bed.
Syed is studying to be an engineer, while simultaneously touring with the theater company—which makes productions with, for, and starring refugees and asylum seekers. In theory one’s bed is a “place of comfort,” but this has not been the case for many of these refugees. “I've slept on the street, and I've slept in forests and fields,” Syed said. Going into this project “I understood the value of a bed,” he said, adding that the stories were “very personal. All the actors, he said, wanted to tell their stories in their own voice and “not the way the media or the politicians are showing it.”
Syed has been with the company since its first production in 2016, but All the Beds I Have Slept In has been his most emotional acting experience . Refugee audience members often approach him after his performance and tell him that they heard their own story in his words. “I'm representing all these people who don't have the opportunity to be standing on a stage like this and tell the stories the way they want to,” Syed says.
All the actors in the production came to the UK as teenage asylum seekers. They are used to telling their stories, but usually to lawyers, social workers, and interpreters who then retell their stories for them. Syed wants people in the UK to get to know refugees and hear their stories directly.
The message he wants to convey is that “nobody would be willing to leave their family, leave their homeland, leave their friends, just like that for no reason. You don't leave home unless home is not safe for you.”
Missing home
“A blanket in the rescue ship that pulled me from the sea.”
When he arrived in the UK as a teenager in 2012, Syed was full of hope. He believed he had arrived in a country that would respect and recognize his human rights. But like his character in All The Beds I Have Slept In, who glosses over the difficulties of his life in the UK as he describes it to his brother back home over the phone, Syed’s experience was not what he had hoped.
Once in the UK, he discovered that he was at the start of another journey, this time through the bureaucracy—the asylum system, the care system, the education system. It was a “hostile” experience, he said. He had to fight for his rights, and his battle continues.
Being part of a touring theater company has changed Syed’s experience of living in the UK. He’s met people in every part of the country and has come to know a huge range of organizations that support refugees. And he has made new friends. He says he now has a new family called “Phosphoros.”
Nevertheless, said Syed, Britain does not feel like home. “I am constantly reminded that I don't belong here, by the system and by society,” he says. Compounding that feeling, the House of Commons recently passed the controversial “Nationality and Borders bill,” which, if approved by the House of Lords and passed into law, would make it harder for people to claim asylum in the UK. This bill could even allow the government to strip people of their citizenship without notice.
“It's shocking to hear that even somebody with British citizenship can be removed and sent back to their country of birth,” Syed says.
On a 2019 visit to Afghanistan Syed realized that his country no longer felt like home. People there saw him as a foreigner rather an Afghan. “I realized that I'm just a tourist in Afghanistan and I don't belong there,” he said. “I don’t belong anywhere.”
Afghanistan from afar
“In a stranger’s flat in Nice.”
During his previous life in Afghanistan, Syed went to school. But there was no future for him there, with seemingly never-ending war all around him. The extreme instability was impossible to bear, and so he decided to leave
In August, tensions in Afghanistan increased again when the U.S. pulled its remaining troops out of the country, leaving a power vacuum that the Taliban filled within days. Syed found it “heartbreaking” to watch this unfold from abroad, knowing his family was still there. He says that people he knows are now going weeks without their salaries and, unable to buy food, have become desperate.
Towards the future
“A carpet in church the night before a spiritual celebration.”
Syed no longer sees a future in Afghanistan and is now focused on building his life in the UK. He’s studying sustainable energy engineering, and hopes to contribute toward ending the climate crisis.
But he’s also hoping that those who follow his path will have a better future. “I'm hoping to see a system, not just in the UK, but all around the world, treating migrants, refugees, and asylum seekers with dignity and respect,” he says.
Syed wants to continue acting with Phosphoros even as he starts his engineering career. He’s proud to use his personal experience as a piece of art, and education, to help people see refugees as human beings. To treat them with the dignity and respect they are so often denied.
In the play, a stranger offers kindness to a boy called Mohamed, who is continuing his journey towards the UK. He offers him a place to stay for the night. He buys his train ticket. It is this kindness that allows Mohamed to travel without fear. But the stranger doesn’t wait to be thanked. Instead, he said that he was going to get a coffee and strolled away.
“When he said he was getting a coffee, he meant goodbye.”
[post_title] => 'In our own words': refugee actors share their stories on stage
[post_excerpt] => The Phosphoros Theatre makes plays with, for, and by asylum seekers in the UK. Its amateur actors travel all over the country to perform, telling their own stories in the form of a fictionalized narrative.
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In the months before he announced his candidacy, Zemmour reveled in several personal and legal scandals that further raised his public profile. In September Paris Match’s cover showed him 
Little Amal greeted by an Italian nonna, or grandmother, in Bari, Italy.[/caption]
[post_title] => How the Soviet Jews changed the world: A graphic tale of tragedy and triumph
[post_excerpt] => Soviet Jews played a critical role in the history of the USSR and, by extension, the trajectory of the Cold War and the history of the twentieth century.
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[post_modified] => 2026-08-06 19:43:18
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Hazal Sipahi, host of the podcast "Mental Klitoris."[/caption]
When she was a child growing up in provincial Turkey, Sipahi said, sexuality was only discussed in whispers; but as soon as she could speak English, she found an ocean of sexuality content available on the internet.
“I searched for information online and found it, only because I was curious,” she said. “I also learned many false things on the internet, and they were very hard to correct later on.”
For example, Sipahi explained, “For so long, we thought that the hymen was a literal veil like a membrane.” In Turkey there is a widespread belief that once the hymen is “deformed,” a woman’s femininity is damaged, and she somehow becomes less valuable as a future spouse.
“Mental Klitoris” is both Sipahi’s public service and her means of self-expression. She uses her podcast to correct misunderstandings and disinformation, to go beyond censorship and to translate new terminology into Turkish.
“I really wish I had been able to access this kind of information when I was around 14 or 15,” she said.
More than 45,000 people listen to Mental Klitoris, which provides them with access to crucial information in their native tongue. They learn terms like “stealthing,” “pegging,” “abortion,” “consent,” “vulva,” “menstruation,” and “slut-shaming.” Sipahi covers all these topics on her podcast; she says she’s adding important new vocabulary to the Turkish vernacular.
She’s also adding a liberal voice to the ongoing discussion about feminism, “Which became even stronger in Turkey after #MeToo.” She believes her program will lead to a wave of similar content in Turkey.
“This will go beyond podcasts,” she said. “We will have a sexual opening overall on the internet.”
Inspired by contemporary creatives like Lena Dunham (“Girls”), Michaela Coel (“I Might Detroy You”), 
Tuluğ Özlü[/caption]
Asked to describe how she feels when she crosses the barriers created by widely shared social taboos about human sexuality, Özlü, who lives in Istanbul’s hip 
Rayka Kumru[/caption]
Kumru said one of the current barriers to freedom in Turkey was the lack of access to comprehensive sexuality education, information and skills such as sex-positivity, critical thinking around values and diversity, and communication about consent. She circumvents that barrier by informing her viewers and listeners about them directly.
“Once connections and a collaborations are established between policy, education, and [particularly sexual] health, and when access to education and to shame-free, culturally specific, scientific, and empowering skills training are allowed, we see that these barriers are removed,” Kumru explains. Otherwise, she says, the same myths and taboos continue to play out, making misinformation, disinformation, taboos, and shame ever-more toxic.
Şükran Moral[/caption]
When it comes to female sexuality, Moral said, Turkey’s art scene is still conservative. “There’s self-censorship among not only creators, but also viewers and buyers, so it’s a vicious cycle.”
Part being an artist, particularly one who challenges the position of women, she said, is seeing a reaction to her work. “When art isn’t displayed,” she asked, “how do you get people to talk about taboos?”
Turkish academia also suffers from a censorship of sex studies.
Dr. Asli Carkoglu, a professor of psychology at Kadir Has University, said it was not easy finding a precise translation for the English word “intimacy” in Turkish.
“There’s the word ‘mahrem,’” she said, but that term has religious connotations.
The difficulty in interpretation, she explains, illustrates the problem: In Turkey, intimacy has not been normalized.
President Recep Tayyip Erdogan and his conservative Justice and Development Party (AKP) have many times expressed support for gender-based segregation and a conservative lifestyle that protects their interpretation of Muslim values.
Erdogan, who has has been in power since 2003, has his own ways of promoting those values.
“At least three children,” has long been the slogan of Erdogan’s population campaign, as the president implores married couples to expand their families and increase Turkey’s population of 82 million.
“For the government, sex means children, population,” Dr. Carkoglu explained.
Dr. Carkoglu believes that sex education should be left to the family, but “when the government acts as though sexuality is nonexistent, the family doesn’t discuss it. It’s the chicken-and-egg dilemma,” she said.
So, how do you overcome a taboo as deep-rooted as sexuality in Turkey? Carkoglu believes that that the topic will have to be normalized through conversations between friends.
“That’s where the taboo starts to break,” she said. “Speaking with friends [about sexuality] becomes normal, speaking in public becomes normal, and then the system adapts.”
But for many Turks, speaking about sexuality is very difficult.
Berkant, 40, has made a living selling sex toys at his shop in the city of Adana, in southern Turkey, for the past two decades. But he said that he’s still too embarrassed to go up to a cashier in another store and say he wants to buy a condom.
“It doesn’t feel right,” he said, adding he doesn’t want to make the cashier uncomfortable.
He is seated comfortably at his desk as we speak; behind him, a wide selection of vibrators are arrayed on shelves.
Berkant and his older brother own one of three erotica shops in Adana. Most of their customers are lower middle class; one-third are female. “Many of them are government workers who come after hearing about us from a friend,” he said.
The shopkeeper said female customers phone in advance to check whether the shop is “available,” meaning empty.
He said he often refers women who describe certain complaints to a gynecologist.
“I see countless women who are barely aware of their own bodies,” he said.
Dr. Doğan Şahin, a psychiatrist and sexual therapist, said that the information women in Turkey hear when they are growing up has a lot to do with their avoidance of discussions about sex, even when the subject concerns their health.
[caption id="attachment_2971" align="aligncenter" width="1600"]
Advertisement for men's underwear in Izmir, Turkey.[/caption]
Men don’t really care whether the woman is aroused, willing or having an orgasm, he said. Unless the problem is due to pain, or vaginismus, couples rarely head to a therapist, he adds.
“[Women who grew up hearing false myths] tend to take sexuality as something bad happening to their bodies, and so, they unintentionally shut their vaginas, leading to vaginismus. This is actually a defense method,” he told The Conversationalist.
“They fear dying, they fear becoming a lower quality woman, or that sex is their duty.”
While most Turkish women find out about their sexual needs after getting married, the doctor says that, based on research he completed about 10 years ago, men tend to fall for myths about sexuality by watching pornography, which plants unrealistic fantasies about sex in their minds.
“Sexuality is also presented as criminal or banned in [Turkish] television shows. The shows take sexuality to be part of cheating, damaging passions or crimes instead of part of a normal, healthy, and happy life.”
He recommends that couples talk about sexuality and normalize it. Talking is crucial, and so is the language used in those conversations.
Bahar Aldanmaz, a Turkish sociologist studying for her PhD at Boston University, told The Conversationalist why talking about menstruation matters.
“A woman’s period is unfortunately seen as something to be ashamed of, something to be hidden,” she said. (According to Turkey’s language authority, the word “dirty” also means “a woman having her period.”)
“There are many children who can’t share their menstruation experience, or can’t even understand they are having their periods, or who experience this with fear and trauma.”
And this is what builds a wall of taboo around this essential issue, the professor says. It is one of the issues her non-profit organization “We Need To Talk” aims to accomplish, among other problems related to menstruation, such as period poverty and period stigma.
Female hygiene products are taxed as much as 18 percent—the same ratio as diamonds, said Ms. Aldanmaz. She adds that this is what mainly causes inequality—privileged access to basic health goods, the consequence of the roles imposed by Turkish social mores.
“Despite declining income due to the COVID-19 pandemic, there is a serious increase in the pricing of hygiene pads and tampons. This worsens period poverty,” Aldanmaz says. She offers Scotland as an example of what would like to see in Turkey: free sanitary products for all.
During Turkey’s government-imposed lockdown in May 2021, several photos showing tampons and pads in the non-essential sales part of markets stirred heated debates around the subject, but neither the Ministry of Family and Social Services nor the Health Ministry weighed in.
“We are fighting this shaming culture in Turkey,” Aldanmaz says, “by understanding and talking about it.”
[post_title] => Sexually aware and on air: Beyond Turkey's comfort zone
[post_excerpt] => Turkish podcasts that host frank conversations about sexuality are smashing taboos and filling information vacuums.
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