Sunday, 29 July 2012

Amir Sadeghi Konjani: The Bone, Performance Art (2011)



Setareh Pessyani, Amir Sadeghi Konjani, Pegah Ahangarani


Amir Sadeghi Konjani, conceptual artiste, pianist and composer has received performances of his works by eminent musicians including the conductors Peter Manning, Gregory Rose , Andy Morely, violinist Darragh Morgan, harpist Sioned Williams, The Finzi Quartet, and the poet Ahmad Shamlou at prestigious venues such as The QEH London ,the Ether Festival , the USA and Canada, and on television broadcasts. Born in 1983, Amir received Masters Degree course under the tutelage of Dominic Murcott, Stephen Montague and Edward Jesson, and is the recipient of a scholarship from Trinity Laban Conservatoire of Music and Dance. In 2005, the UNESCO National Music Committee of Iran selected him as a ‘notable composer’, and he was also an award winner at the 24th international Fadir Music Festival. His first CD released in 2009 worked with the well-known Iranianpoet Ahmad Shamlou on a creative presentation and subsequently produced further CD of contemporary music ”Metaphor till eternity” for the same Iranian company Mahoor. In recent years Amir’s work have been given much exposure both within Trinity, as well as further afield During 200910- he worked with harp players from Trinity on extended techniques, including experimenting with the use of a cello bow on the wire strings, and further exploration of sounds emanating from wire cello string tied between two harps, also played with a cello bow which has been presented at Royal Academy of Music.Concept and Composed by:Amir Sadeghi KonjaniCast:Pegah AhangaraniSetareh PesianiFlutists:Mona Taherian, Asal Hanachi, YaldaEhsani, Sachli haghighat talab,BaharBehzad, Sahar Jahantash, shararehsheikhan, shabnam sarmadi, FahimehNasiri,Shirin azadi, Elika Malek, Asalkheradyar, Pegah TaslimiPiano:Paria Shokouhi –Shahrzad SafaieCello:Maral MohammadiConsultant Director:Salar Salari, Maral Mohammadi, Amirhossein davani, Ankido Darash, FoadMokhberi, Mohsen RastegarProduction Designer:Amir Hosein Davani, Amir SadeghiKonjani, Ali SadeghiTechnical Director:Amir Hosein BabaianCostume Designer:Neda NasrPhotography:Salar SalariProducers:Maryam Sadeghi ,Aun Gallery andKh.A.V Group.Special Thanks to:Tansy Davies, Mira Calix, DominicMurcott, Nasim Bagheri, NooshinRahimi, Maryam Salari, NedaGhanizadeh, Mehran Danaie, Bahman Mazaheri. (From Aun Gallery)



Sunday, 27 May 2012

A Taste of Rumi and Bach

Coleman Barks


Coleman Barks was born and raised in Chattanooga, Tennessee, and was educated at the University of North Carolina and the University of California at Berkeley. He taught poetry and creative writing at the University of Georgia for thirty years. He is the author of numerous Rumi translations and has been a student of Sufism since 1977. His work with Rumi was the subject of an hour-long segment in Bill Moyers's Language of Life series on PBS, and he is a featured poet and translator in Bill Moyers's poetry special, "Fooling with Words." Coleman Barks is the father of two grown children and the grandfather of four. He lives in Athens, Georgia. (From Barks' official website)

Ibn 'Arabi & Rumi - Teachings for the Modern World was presented by NEW YORK OPEN CENTER and the Muhyiddin Ibn 'Arabi Society.






Monday, 30 April 2012

HICH (2009) by Abdolreza Kahani

Abdolreza Kahani


Like Oscar-winning Ashgar Farhadi, Abdolreza Kahani is a director of the new cinematic movement in Iran whose members, in contrast with the older generation of Iranian film makers, focus on urban life in Iran. HICH is a successful example of Kahani's craftsmanship and mastery of narrative-writing, characterization, and realistic depiction. 





Monday, 23 April 2012

Iran in turmoil as Shah departs; CBC; 1979



In 1979 a cataclysmic revolution shook Iran, creating the world's first Islamic republic and altering the balance of power in the Middle East. With the widely despised Shah of Iran forced into exile, spiritual leader Ayatollah Khomeini returned to oversee the country's transformation. But peace was still elusive as student protesters overwhelmed the United States embassy in Tehran, taking hostages and launching a diplomatic crisis. CBC Digital Archives presents a series of clips about revolutionary Iran. 



After more than a year of escalating protests, the Islamic revolution in Iran reaches a prime goal in January 1979: the overthrow of Mohammad Reza Shah Pahlavi. But the Shah's exit brings no end to street demonstrations and gas shortages in the capital of Tehran. The new civilian government, headed by Shapour Bakhtiar, has little credibility with anyone in Iran, especially Ayatollah Khomeini, an exiled cleric who fiercely opposes the Shah. This in-depth report from CBC-TV's Newsmagazine examines the possible outcomes for Iran without the Shah.  (From CBC)

Medium: Television
Program: Newsmagazine
Broadcast Date: Jan. 15, 1979
Guest(s): Abbas Amirie, Shapour Bakhtiar, Raji Samghabadi
Host: Knowlton Nash
Reporter: Don McNeill
Duration: 26:28            

             

 


Sunday, 22 April 2012

Mohamad Tavakoli Targhi; Islam and the Contest of Faculties in Iran (2011)

Mohamad Tavakoli Targhi


Mohamad Tavakoli-Targhi is Professor of History and Near and Middle Eastern Civilizations at the University of Toronto and the chair of the Department of Historical Studies at the University of Toronto-Mississauga. Since 2002 he has served as the Editor of Comparative Studies of South Asia, Africa and the Middle East, a Duke University Press journal, and has served on the editorial board of Iranian Studies, the Journal of the International Society for Iranian Studies.

His areas of specialization encompass Middle Eastern History, Modernity, Nationalism, Gender Studies, Orientalism, and Occidentalism. He is the author of two books, Refashioning Iran: Orientalism, Occidentalism and Nationalist Historiography (Palgrave, 2001) and Tajaddud-i Bumi [Vernacular Modernity] (in Persian, Nashr-i Tarikh, 2003). He has authored numerous articles: “The Homeless Texts of Persianate Modernity,” in Iran--Between Tradition and Modernity (Lexington Books, 2004); “Orientalist Studies and Its Amnesia,” in Antinomies of Modernity (Duke, 2002), “Eroticizing Europe,” in Society and Culture in Qajar Iran: (Mazda, 2002); “Women of the West Imagined,” in Identity Politics and Women (Westview Press, 1994); “From Patriotism to Matriotism: A Tropological Study of Iranian Nationalism, 1870-1909," International Journal of Middle Eastern Studies (2002), “Inventing Modernity, Borrowing Modernity,” Iran Nameh (2003).

Born and raised in the “navel of Tehran,” Iran, Professor Tavakoli is the recipient of two Outstanding Teacher awards from Illinois State University (1996 and 2001); a Research Initiative Award (1992); and visiting fellowships at St. Antony’s College, Oxford University (1998), the Center for Historical Studies Jawaharlal Nehru University (New Delhi, 1992-93); and Harvard University (1991-92).

He has initiated numerous conferences and workshops on topical issues pertaining to the Middle East, and has encouraged the active involvement of student associations in the organization of scholarly events and community outreach programs. He holds a BA in Political Science and an MA in History from the University of Iowa, and a PhD in History from the University of Chicago.  (From Tavakoli's official website)







Saturday, 14 April 2012

Today's Life and War (2008) by Gohar Dashti

Gohar Dashti


Gohar Dashti received her M.A in Photography from the Fine Art University of Tehran in 2005. She has developed a practice concerning social issues with particular references to history and culture in modern society.

She creates artwork using different media such as photography and video. She has participated in several art residencies and scholarships such as DAAD award (2009-2011); Visiting Arts (1mile2 project), Bradford –London, UK (2009) and International Arts & Artists (Art Bridge), Washington DC, USA (2008).

She has held various exhibitions around the world, being shown in many festivals and biennales. Her works are in many collections including Museum of Fine Arts (MFAH), Houston (US) and Nelson-Atkins Museum of Art, Kansas City (US). (From Gohar Dashti's official website)












Friday, 6 April 2012

Cut people/Amir Naderi (doc., 2006) by Alberto Momo

Alberto Momo

Amir Naderi (Persian: امیر نادری‎, born 15 August 1946 in Abadan) is a notable Iranian film director, screenwriter and one of the most influential figures of 20th-century Iranian cinema. Mr Naderi's latest feature film CUT starring Hidetoshi Nishijima and Takako Tokiwa was released in Japan in 2011 and in Korea in 2012.

Naderi developed his knowledge of cinema by watching films at the theater where he worked as a boy, reading film criticism, and making relationships with leading film critics. He began his career with still photography for some notable Iranian features. In the 1970s, Naderi turned to directing, and made some of the most important features of the New Iranian Cinema. In 1971, his directorial debut, Goodbye Friend was released in Iran. Mr. Naderi first came into the international spotlight with films that are now known as cinema classics, The Runner (1985), and Water, Wind, Dust (1989). The Runner is considered by many critics to be one of the most influential films of the past quarter century. After a number of his films were banned by the Iranian government, Mr. Naderi left the country. Expatriating to New York, Mr. Naderi continued to produce new work. He was named a Rockefeller Film and Video fellow in 1997, and has served as an artist in residence and instructor at Columbia University, the University of Las Vegas, and New York's School of Visual Arts. His U.S. films have premiered at the Film Society of Lincoln Center/MOMA's New Films New Director's series, the Venice, Cannes, Sundance and Tribeca Film Festivals. His U.S. feature, Sound Barrier (2005) won the prestigious Roberto Rossellini Prize at the Rome Film Festival. Naderi's latest feature film CUT was made in Japan in Japanese language and stars Hidetoshi Nishijima and Takako Tokiwa. The film laments the collapse of cinema through the gripping tale of a young filmmaker giving it all to make his next movie.

Amir Naderi continues to produce works of new generation of film directors such as Andrei Severny's Condition (2011), Naghmeh Shirkhan's Hamsayeh (2010) and Ry Russo-Young's Orphans (2007).


Thursday, 15 March 2012

Eric Clapton's Layla; Nizami's Layla; Majnun's Layla

Eric Clapton


"Layla" is a song written by Eric Clapton and Jim Gordon, originally released by their blues rock band Derek and the Dominos, as the thirteenth track from their album Layla and Other Assorted Love Songs (December 1970). It is considered one of rock music's definitive love songs, featuring an unmistakable guitar figure played by Eric Clapton and Duane Allman, and a piano coda that comprises the second half of the song. Its famously contrasting movements were composed separately by Clapton and Gordon.

Inspired by Clapton's then unrequited love for Pattie Boyd, the wife of his friend and fellow musician George Harrison, "Layla" was unsuccessful on its initial release. The song has since experienced great critical and popular acclaim, and is often hailed as being among the greatest rock songs of all time. Two versions have achieved chart success, the first in 1972 and the second twenty years later as an acoustic "Unplugged" performance. In 2004 it was ranked #27 on Rolling Stone's list of "The 500 Greatest Songs of All Time", and the acoustic version won the 1993 Grammy Award for Best Rock Song.


Nizami Ganjavi


The title, "Layla," was inspired by The Story of Layla / Layla and Majnun (ليلى و مجنون), by the 12th-century Persian poet Nizami Ganjavi of the Ganja (present day Azerbaijan) Seljuq empire. It is based on the true story of a young man called Qays ibn al-Mulawwah (Arabic: قيس بن الملوح‎) from the northern Arabian Peninsula, in the Umayyad Caliphate during the 7th century. When he wrote "Layla," Clapton had been told the story by his friend Ian Dallas, who was in the process of converting to Islam. Nizami's tale, about a moon princess who was married off by her father to someone other than the one who was desperately in love with her, resulting in Majnun's madness (A name, مجنون, which translates to "madman" in Arabic), struck a deep chord with Clapton. (From Wikipedia)



Tuesday, 13 March 2012

"Rashid Khan"

Shojaoddoleh's Manor House in Ghoochan


"Rashid Khan" is an Iranian folk song from Ghoochan, located in northeast of Khorasn, Iran. In Ghoochan, the song is known as "Ghoochan Kharabeh" or "Ruined Ghoochan", but in the rest of Iran, it is usually referred to as "Rashid Khan." Here are two different performances of the song, Pari Zangeneh's "Rashid Khan" and a modern instrumental adaptation of the Khorasani classic by Shirin Delsooz.


Pari Zangeneh


Pari Zangeneh, an acclaimed Persian female vocalist, began her study of music in Iran at a very early age before continuing her studies in Italy, Germany, and Austria. Renowned for her unique opera-style music, Zangeneh’s beautiful music is both charming and soothing. Her musical portfolio is varied and complex. She has been given as much credit for generating interest in Persian folk music as for her solo performance of Beethoven’s Ninth Symphony with the Florida Symphonic Orchestra. Her voice has been heard around the globe: at the Palazzo Barbarini in Rome; the Kennedy Center in Washington D.C.; Lincoln Center in NYC; Herbst Theatre in San Francisco; Harvard University in Cambridge, Massachusetts; Salmino, Paris; Hercules Hall, Munich; Wilshire Ebell Theatre, Los Angeles; to name but a few. She is the recipient of many international awards for her magnificent performances, including the First Medal of Work, the International Gold Medal for Voice, and the title of Ambassador of Good Will.

In 1971, unfortunately, Ms. Zangeneh lost her eyesight in an automobile accident. This incident did not diminish her enthusiasm and passion for life, nor her pursuit of excellence. In addition to her musical performances she has studied and researched the folk music of many countries, and has preserved a wealth of melodious songs and stories. She has authored several books all to critical acclaim. All her writings are available in Braille. (From Encyclopædia Iranica)











Shirin Delsooz


Shirin Delsooz is a Persian-Canadian musician based in Montreal whose influences range from alternative to traditional music. Her latest EP features her singing, playing mandolin and guitar, and also features musicians she met in the Irish and Quebecois traditional music scene.Shirin combines her Persian heritage and inspirations ranging from Celtic, Quebecois and Bluegrass genres into her songs.

A recent trip to Iran opened her eyes to a genre of Persian gypsy music. Her mind has been made since, her next music project will incorporate their charming accordians and upbeat percussive drums. (From CBC)





Sunday, 11 March 2012

"Rencontre avic Aramech Dusdar" by Ali Amini and Farhad Farhadi, 2000 (Farsi with French subtitles)

Aramesh Dusdar


Aramesh Dustdar (born in Tehran) is an Iranian philosopher, writer, scholar and a former philosophy lecturer at Tehran University.Dustdar received a PhD degree in philosophy from University of Bonn. He is known in Iran as a secular Heideggerian philosopher (in contrast to Reza Davari Ardakani who is a religious Heideggerian philosopher). (From Wikipedia)


"[Aramesh Dusdar] belongs to the same generation of Tehran's academic "philosophers" in the early 1970's, people like Shayegan, Davari, Enayat, Nasr and a few minor figures around them, who were thinking within the same problematic discourse that Ahmad Fardid (via Al-e-Ahmad) laid its parameters out: the destiny of our culture against the onslaught of Western civilization; questions of History (capital H), faith, modern science and technology and what lays ahead, our future in the world. Aramesh Dustdar was the black sheep of the gang, the antichrist among the gatekeepers of Hekmat-e-Elaahi.

Then something strange happened which is not dissimilar to Germany in the 30s. Amazing parallels! History took a grave turn and everybody got caught up in its tremors. We don't get in to that story but one immediate result was a moratorium on thinking, the kind which had just started.

Regardless of what we think of these individuals and the weight and caliber of their thinking (I happen to think the majority were ersatz-philosophers), we should grant them that they were the first group of post-Mashrootiat intellectuals who could be called "thinkers" or "philosophers." All the others before them were Adeebs, Mohaghgheghs, encyclopedists and Alems, and of course a mass of journalists that we can loosely call our modern intelligentsia.

But among that crew of thinkers, Aramesh Dustdar was the oddball; he did not have the nativist peasant attitude sporting a tassbih, clearing his throat with verses of Hafiz (or hooey from Sepehri) every step of the way, and he certainly was not a dilettante-tourist-philoshophe with Parisian accent searching Illuminations from the East. He was a true German mandarin of strong atheistic stripes, a heavy-weight. And he was bent to grapple with all those mystifications generally known as farhang-e Irani-Islami. Only one person before him had done something similar, a serious wake-up call, little understood up until even today: a man named Ali Esfanidari, otherwise known as Nima Youshij." (From "Demanding criticism" by Abdee Kalantari)




Thursday, 8 March 2012

"Simin Daneshvar: Early Iranian at Stanford"; a Documentary by Sharif University of Technology Association (Farsi)

Simin Daneshvar

Simin Dāneshvar (Persian: سیمین دانشور‎;‎ April 28, 1921 – March 8, 2012) was an Iranian academic, novelist, fiction writer and translator. Daneshvar had a number of firsts to her credit. In 1948, her collection of Persian short stories was the first by an Iranian woman to be published. The first novel by an Iranian woman was her Savushun ("Mourners of Siyâvash," 1969), which has become Iran's bestselling novel ever. Daneshvar's Playhouse, a collection of five stories and two autobiographical pieces, is the first volume of translated stories by an Iranian woman author. (From Wikipedia)



Monday, 5 March 2012

"Modern Warfare: Iran/Iraq 1980-1988" by Chris Sheridan




A comprehensive commentary of the Iran-Iraq War, 1980-1988, which covers the highlights of this bitter conflict from the Iraqi blitzkrieg on seven Iranian cities to "The Fountain of Blood," where nerve agents and mustard gas were used to murder thousands.

Iran / Iraq 1980-1988: The war began September 22, 1980 when Iraqi troops launched a full-scale invasion of Iran. Iraq expected that Iran was weak after the Iranian Revolution, so Iraq would face little resistance. The war lasted eight years and there were heavy losses on both sides, with 600,000 Iranians and 400,000 Iraqis killed. Iraq's ruthless dictator shocked the world by using cyanide gas against the civilian Kurds - all captured by ITN British News cameramen. But despite Iraq's initial successes, the Iranians rallied and, using their much larger population, were able by mid-1982 to push the invaders out. In June 1982, the Iranians went on the offensive, but Iraq, with a significant advantage in heavy weaponry, was able to prevent a decisive invasion breakthrough. However, Saddam Husein's ambitious plans for developing Iraq into a world power came to a halt. Many believe this war was the precursor of the next war, the invasion of Kuwait and "Desert Storm."





Iran-Iraq War 1980-1988: A Few Images

















 



Saturday, 3 March 2012

Parisa; "O, Sage" (Ala Ey Pir-e Farzane)

Parisa Vaezi


Fātemeh Vā'ezi (Persian: فاطمه واعظی‎) (born 15 March 1950 in Tonekabon, Iran), commonly known by her stage name Parīsā (Persian: پریسا‎), is a Persian Classical vocalist and musician.

A student of maestro Mahmoud Karimi, Parisa has published several albums and performed numerous concerts throughout the world, sometimes with Dastan ensemble. Her major debut in Tehran was a concert at the Iran-America Society arranged by Lloyd Miller, a disciple of Dr. Daryush Safvat. After that concert, Miller, through writing reviews and other articles in various Terhan newspapers and magazines, was able to influence the Ministry of Culture to allow Parisa to be transferred from there to Dr. Safvat's Center for Preservation and Propagation of Iranian Music where her skills as a purely traditional dastgah vocalist would enhance their excellent instrumental ensemble.

After she was established at the Center, Miller convinced the CBS Iran A & R person to produce tapes of Parisa with the Center's instrumental ensemble the most sought after being in Dastgah-e Mahur and Dastgah-e Nava. These became hit releases and Parisa was invited to perform Chahargah at the famous Shiraz Arts Festival and other major venues. Her best work was with the Center where now famous virtuosi such as Dr.Dariush Talai (Tar (lute), Setar), Hossein Alizadeh (Tar,Setar), Jalal Zolfonun (Setar)and Majid Kiani (Santour) were established. (From Wikipedia)

The following YouTube includes her "O, Sage," a golden classic which gave momentum to her popularity. "O, Sage" is performed in Nava, a challenging mode in Iranian traditional music.





Monday, 20 February 2012

Neil MacGregor: 2600 years of history in one object, the Cyrus Cylinder

Art historian and museum director Robert Neil MacGregor


A clay cylinder covered in Akkadian cuneiform script, damaged and broken, the Cyrus Cylinder is a powerful symbol of religious tolerance and multi-culturalism. In this enthralling talk Neil MacGregor, Director of the British Museum, traces 2600 years of Middle Eastern history through this single object. (From TED)




Saturday, 4 February 2012

Susan Scollay on Persian poetry

Susan Scollay


Susan Scollay reveals the beauty of Persian poetry and its vibrant tales of human and divine love. The classic love stories found in Persian poetry have been reflected in western culture, with parallels in the works of Chaucer and Shakespeare and in the lyrics of rock stars today. (From State Library of Victoria)



Monday, 30 January 2012

Michel Foucault's "What Are the Iranians Dreaming About?"

Michel Foucault


An excerpt from
Foucault and the Iranian Revolution
Gender and the Seductions of Islamism
Janet Afary and Kevin B. Anderson

What Are the Iranians Dreaming About?
Michel Foucault

"They will never let go of us of their own will. No more than they did in Vietnam." I wanted to respond that they are even less ready to let go of you than Vietnam because of oil, because of the Middle East. Today they seem ready, after Camp David, to concede Lebanon to Syrian domination and therefore to Soviet influence, but would the United States be ready to deprive itself of a position that, according to circumstance, would allow them to intervene from the East or to monitor the peace?

Will the Americans push the shah toward a new trial of strength, a second "Black Friday"? The recommencement of classes at the university, the recent strikes, the disturbances that are beginning once again, and next month's religious festivals, could create such an opportunity. The man with the iron hand is Moghadam, the current leader of the SAVAK.

This is the backup plan, which for the moment is neither the most desirable nor the most likely. It would be uncertain: While some generals could be counted on, it is not clear if the army could be. From a certain point of view, it would be useless, for there is no "communist threat": not from outside, since it has been agreed for the past twenty-five years that the USSR would not lay a hand on Iran; not from inside, because hatred for the Americans is equaled only by fear of the Soviets.

Whether advisers to the shah, American experts, regime technocrats, or groups from the political opposition (be they the National Front or more "socialist-oriented" men), during these last weeks everyone has agreed with more or less good grace to attempt an "accelerated internal liberalization," or to let it occur. At present, the Spanish model is the favorite of the political leadership. Is it adaptable to Iran? There are many technical problems. There are questions concerning the date: Now, or later, after another violent incident? There are questions concerning individual persons: With or without the shah? Maybe with the son, the wife? Is not former prime minister Amini, the old diplomat pegged to lead the operation, already worn out?
The King and the Saint

There are substantial differences between Iran and Spain, however. The failure of economic development in Iran prevented the laying of a basis for a liberal, modern, westernized regime. Instead, there arose an immense movement from below, which exploded this year, shaking up the political parties that were being slowly reconstituted. This movement has just thrown half a million men into the streets of Tehran, up against machine guns and tanks.

Not only did they shout, "Death to the Shah," but also "Islam, Islam, Khomeini, We Will Follow You," and even "Khomeini for King."

The situation in Iran can be understood as a great joust under traditional emblems, those of the king and the saint, the armed ruler and the destitute exile, the despot faced with the man who stands up bare-handed and is acclaimed by a people. This image has its own power, but it also speaks to a reality to which millions of dead have just subscribed.

The notion of a rapid liberalization without a rupture in the power structure presupposes that the movement from below is being integrated into the system, or that it is being neutralized. Here, one must first discern where and how far the movement intends to go. However, yesterday in Paris, where he had sought refuge, and in spite of many pressures, Ayatollah Khomeini "ruined it all."

He sent out an appeal to the students, but he was also addressing the Muslim community and the army, asking that they oppose in the name of the Quran and in the name of nationalism these compromises concerning elections, a constitution, and so forth.

Is a long-foreseen split taking place within the opposition to the shah? The "politicians" of the opposition try to be reassuring: "It is good," they say. "Khomeini, by raising the stakes, reinforces us in the face of the shah and the Americans. Anyway, his name is only a rallying cry, for he has no program. Do not forget that, since 1963, political parties have been muzzled. At the moment, we are rallying to Khomeini, but once the dictatorship is abolished, all this mist will dissipate. Authentic politics will take command, and we will soon forget the old preacher." But all the agitation this weekend around the hardly clandestine residence of the ayatollah in the suburbs of Paris, as well as the coming and going of "important" Iranians, all of this contradicted this somewhat hasty optimism. It all proved that people believed in the power of the mysterious current that flowed between an old man who had been exiled for fifteen years and his people, who invoke his name.

The nature of this current has intrigued me since I learned about it a few months ago, and I was a little weary, I must confess, of hearing so many clever experts repeating: "We know what they don't want, but they still do not know what they want."

"What do you want?" It is with this single question in mind that I walked the streets of Tehran and Qom in the days immediately following the disturbances. I was careful not to ask professional politicians this question. I chose instead to hold sometimes-lengthy conversations with religious leaders, students, intellectuals interested in the problems of Islam, and also with former guerilla fighters who had abandoned the armed struggle in 1976 and had decided to work in a totally different fashion, inside the traditional society.

"What do you want?" During my entire stay in Iran, I did not hear even once the word "revolution," but four out of five times, someone would answer, "An Islamic government." This was not a surprise. Ayatollah Khomeini had already given this as his pithy response to journalists and the response remained at that point.

What precisely does this mean in a country like Iran, which has a large Muslim majority but is neither Arab nor Sunni and which is therefore less susceptible than some to Pan-Islamism or Pan-Arabism?

Indeed, Shiite Islam exhibits a number of characteristics that are likely to give the desire for an "Islamic government" a particular coloration. Concerning its organization, there is an absence of hierarchy in the clergy, a certain independence of the religious leaders from one another, but a dependence (even a financial one) on those who listen to them, and an importance given to purely spiritual authority. The role, both echoing and guiding, that the clergy must play in order to sustain its influence-this is what the organization is all about. As for Shi'ite doctrine, there is the principle that truth was not completed and sealed by the last prophet. After Muhammad, another cycle of revelation begins, the unfinished cycle of the imams, who, through their words, their example, as well as their martyrdom, carry a light, always the same and always changing. It is this light that is capable of illuminating the law from the inside. The latter is made not only to be conserved, but also to release over time the spiritual meaning that it holds. Although invisible before his promised return, the Twelfth Imam is neither radically nor fatally absent. It is the people themselves who make him come back, insofar as the truth to which they awaken further enlightens them.

It is often said that for Shi'ism, all power is bad if it is not the power of the Imam. As we can see, things are much more complex. This is what Ayatollah Shariatmadari told me in the first few minutes of our meeting: "We are waiting for the return of the Imam, which does not mean that we are giving up on the possibility of a good government. This is also what you Christians are endeavoring to achieve, although you are waiting for Judgment Day." As if to lend a greater authenticity to his words, the ayatollah was surrounded by several members of the Committee on Human Rights in Iran when he received me.

One thing must be clear. By "Islamic government," nobody in Iran means a political regime in which the clerics would have a role of supervision or control. To me, the phrase "Islamic government" seemed to point to two orders of things.

"A utopia," some told me without any pejorative implication. "An ideal," most of them said to me. At any rate, it is something very old and also very far into the future, a notion of coming back to what Islam was at the time of the Prophet, but also of advancing toward a luminous and distant point where it would be possible to renew fidelity rather than maintain obedience. In pursuit of this ideal, the distrust of legalism seemed to me to be essential, along with a faith in the creativity of Islam.

A religious authority explained to me that it would require long work by civil and religious experts, scholars, and believers in order to shed light on all the problems to which the Quran never claimed to give a precise response. But one can find some general directions here: Islam values work; no one can be deprived of the fruits of his labor; what must belong to all (water, the subsoil) shall not be appropriated by anyone. With respect to liberties, they will be respected to the extent that their exercise will not harm others; minorities will be protected and free to live as they please on the condition that they do not injure the majority; between men and women there will not be inequality with respect to rights, but difference, since there is a natural difference. With respect to politics, decisions should be made by the majority, the leaders should be responsible to the people, and each person, as it is laid out in the Quran, should be able to stand up and hold accountable he who governs.

It is often said that the definitions of an Islamic government are imprecise. On the contrary, they seemed to me to have a familiar but, I must say, not too reassuring clarity. "These are basic formulas for democracy, whether bourgeois or revolutionary," I said. "Since the eighteenth century now, we have not ceased to repeat them, and you know where they have led." But I immediately received the following reply: "The Quran had enunciated them way before your philosophers, and if the Christian and industrialized West lost their meaning, Islam will know how to preserve their value and their efficacy."

When Iranians speak of Islamic government; when, under the threat of bullets, they transform it into a slogan of the streets; when they reject in its name, perhaps at the risk of a bloodbath, deals arranged by parties and politicians, they have other things on their minds than these formulas from everywhere and nowhere. They also have other things in their hearts. I believe that they are thinking about a reality that is very near to them, since they themselves are its active agents.

It is first and foremost about a movement that aims to give a permanent role in political life to the traditional structures of Islamic society. An Islamic government is what will allow the continuing activity of the thousands of political centers that have been spawned in mosques and religious communities in order to resist the shah's regime. I was given an example. Ten years ago, an earthquake hit Ferdows. The entire city had to be reconstructed, but since the plan that had been selected was not to the satisfaction of most of the peasants and the small artisans, they seceded. Under the guidance of a religious leader, they went on to found their city a little further away. They had collected funds in the entire region. They had collectively chosen places to settle, arranged a water supply, and organized cooperatives. They had called their city Islamiyeh. The earthquake had been an opportunity to use religious structures not only as centers of resistance, but also as sources for political creation. This is what one dreams about [songe] when one speaks of Islamic government.
The Invisible Present

But one dreams [songe] also of another movement, which is the inverse and the converse of the first. This is one that would allow the introduction of a spiritual dimension into political life, in order that it would not be, as always, the obstacle to spirituality, but rather its receptacle, its opportunity, and its ferment. This is where we encounter a shadow that haunts all political and religious life in Iran today: that of Ali Shariati, whose death two years ago gave him the position, so privileged in Shi'ism, of the invisible Present, of the ever-present Absent.

During his studies in Europe, Shariati, who came from a religious milieu, had been in contact with leaders of the Algerian Revolution, with various left-wing Christian movements, with an entire current of non-Marxist socialism. (He had attended Gurvitch's classes.) He knew the work of Fanon and Massignon. He came back to Mashhad, where he taught that the true meaning of Shi'ism should not be sought in a religion that had been institutionalized since the seventeenth century, but in the sermons of social justice and equality that had already been preached by the first imam. His "luck" was that persecution forced him to go to Tehran and to have to teach outside of the university, in a room prepared for him under the protection of a mosque. There, he addressed a public that was his, and that could soon be counted in the thousands: students, mullahs, intellectuals, modest people from the neighborhood of the bazaar, and people passing through from the provinces. Shariati died like a martyr, hunted and with his books banned. He gave himself up when his father was arrested instead of him. After a year in prison, shortly after having gone into exile, he died in a manner that very few accept as having stemmed from natural causes. The other day, at the big protest in Tehran, Shariati's name was the only one that was called out, besides that of Khomeini.
The Inventors of the State

I do not feel comfortable speaking of Islamic government as an "idea" or even as an "ideal." Rather, it impressed me as a form of "political will." It impressed me in its effort to politicize structures that are inseparably social and religious in response to current problems. It also impressed me in its attempt to open a spiritual dimension in politics.

In the short term, this political will raises two questions:

1. Is it sufficiently intense now, and is its determination clear enough to prevent an "Amini solution," which has in its favor (or against it, if one prefers) the fact that it is acceptable to the shah, that it is recommended by the foreign powers, that it aims at a Western-style parliamentary regime, and that it would undoubtedly privilege the Islamic religion?

2. Is this political will rooted deeply enough to become a permanent factor in the political life of Iran, or will it dissipate like a cloud when the sky of political reality will have finally cleared, and when we will be able to talk about programs, parties, a constitution, plans, and so forth?

Politicians might say that the answers to these two questions determine much of their tactics today.

With respect to this "political will," however, there are also two questions that concern me even more deeply.

One bears on Iran and its peculiar destiny. At the dawn of history, Persia invented the state and conferred its models on Islam. Its administrators staffed the caliphate. But from this same Islam, it derived a religion that gave to its people infinite resources to resist state power. In this will for an "Islamic government," should one see a reconciliation, a contradiction, or the threshold of something new?

The other question concerns this little corner of the earth whose land, both above and below the surface, has strategic importance at a global level. For the people who inhabit this land, what is the point of searching, even at the cost of their own lives, for this thing whose possibility we have forgotten since the Renaissance and the great crisis of Christianity, a political spirituality. I can already hear the French laughing, but I know that they are wrong.

First published in Le Nouvel Observateur, October 16-22, 1978.


Copyright notice: Excerpt from pages 203-9 of Foucault and the Iranian Revolution: Gender and the Seductions of Islamism by Janet Afary and Kevin B. Anderson, published by the University of Chicago Press. ©2005 by the University of Chicago. All rights reserved. This text may be used and shared in accordance with the fair-use provisions of U.S. copyright law, and it may be archived and redistributed in electronic form, provided that this entire notice, including copyright information, is carried and provided that the University of Chicago Press is notified and no fee is charged for access. Archiving, redistribution, or republication of this text on other terms, in any medium, requires the consent of the University of Chicago Press.

Tuesday, 24 January 2012

Découverte du Monde: Ispahan (French)



Isfahan (Persian: اصفهان Esfahān), historically also rendered in English as Ispahan, Sepahan or Hispahan, is the capital of Isfahan Province in Iran, located about 340 km south of Tehran. It has a population of 1,583,609 and is Iran's third largest city after Tehran and Mashhad. The Isfahan metropolitan area had a population of 3,430,353 in the 2006 Census, the second most populous metropolitan area in Iran after Tehran.

The cities of Najafabad, Se-deh (Homayounshahr, renamed Khomeinishahr since 1981), Khan Isfahan, Shahin-shahr, Zarrinshahr, Mobarakeh, Falavarjan and Fouladshahr all constitute the metropolitan city of Isfahan.

Isfahan is located on the main north-south and east-west routes crossing Iran, and was once one of the largest cities in the world. It flourished from 1050 to 1722, particularly in the 16th century under the Safavid dynasty, when it became the capital of Persia for the second time in its history. Even today, the city retains much of its past glory. It is famous for its Islamic architecture, with many beautiful boulevards, covered bridges, palaces, mosques, and minarets. This led to the Persian proverb "'Esfahān nesf-e jahān ast" (Isfahan is half of the world).

The Naghsh-e Jahan Square in Isfahan is one of the largest city squares in the world and an outstanding example of Iranian and Islamic architecture. It has been designated by UNESCO as a World Heritage Site. The city also has a wide variety of historic monuments. (From Wikipedia)






Sunday, 22 January 2012

Poet Robert Bly on the Great Persian Poets Hafez and Rumi

Robert Bly, American Poet



Robert Bly was born in western Minnesota in 1926 to parents of Norwegian stock. He enlisted in the Navy in 1944 and spent two years there. After one year at St. Olaf College in Minnesota, he transferred to Harvard and thereby joined the famous group of writers who were undergraduates at that time, which included Donald Hall, Adrienne Rich, Kenneth Koch, John Ashbery, Harold Brodky, George Plimpton, and John Hawkes. He graduated in 1950 and spent the next few years in New York living, as they say, hand to mouth.

Beginning in 1954, he took two years at the University of Iowa at the Writers Workshop along with W. D. Snodgrass, Donald Justice, and others. In 1956 he received a Fulbright grant to travel to Norway and translate Norwegian poetry into English. While there he found not only his relatives but the work of a number of major poets whose force was not present in the United States, among them Pablo Neruda, Cesar Vallejo, Gunnar Ekelof, Georg Trakl and Harry Martinson. He determined then to start a literary magazine for poetry translation in the United States and so begin The Fifties and The Sixties and The Seventies, which introduced many of these poets to the writers of his generation, and published as well essays on American poets and insults to those deserving. During this time he lived on a farm in Minnesota with his wife and children.

In 1966 he co-founded American Writers Against the Vietnam War and led much of the opposition among writers to that war. When he won the National Book Award for The Light Around the Body, he contributed the prize money to the Resistance. During the 70s he published eleven books of poetry, essays, and translations, celebrating the power of myth, Indian ecstatic poetry, meditation, and storytelling. During the 80s he published Loving a Woman in Two Worlds, The Wingéd Life: Selected Poems and Prose of Thoreau,The Man in the Black Coat Turns, and A Little Book on the Human Shadow.

His work Iron John: A Book About Men is an international bestseller which has been translated into many languages. He frequently does workshops for men with James Hillman and others, and workshops for men and women with Marion Woodman. He and his wife Ruth, along with the storyteller Gioia Timpanelli, frequently conduct seminars on European fairy tales. In the early 90s, with James Hillman and Michael Meade, he edited The Rag and Bone Shop of the Heart, an anthology of poems from the men's work. Since then he has edited The Darkness Around Us Is Deep: Selected Poems of William Stafford, and The Soul Is Here for Its Own Joy, a collection of sacred poetry from many cultures.

Books of poetry from the 1990s include What Have I Ever Lost by Dying? Collected Prose Poems and Meditations on the Insatiable Soul, both published by Harper Collins. His second large prose book, The Sibling Society, published by Addison-Wesley in hardcover and Vintage in paperback, has been the subject of nation-wide discussion. His collection, Morning Poems (Harper Collins), named for William Stafford's practice of writing a poem each morning, revisits the western Minnesota farm country of Bly's boyhood with marvelous wit and warmth. In the 1990s he published The Maiden King: The Reunion of Masculine and Feminine (Henry Holt) in collaboration with Marion Woodman. A new selected poems, Eating the Honey of Words, appeared in 1999 from Harper Flamingo. Recent translations include his versions of Ghalib, The Lightning Should Have Fallen on Ghalib (with Sunil Dutta) from Ecco Press and Angels Knocking on the Tavern Door (HarperCollins) a collection of poems by Hafez (with Leonard Lewisohn). Bly has also edited the prestigious Best American Poetry 1999 (Scribners). In 2000 he won the McKnight Foundation's Distinguished Artist Award. A book of ghazals, The Night Abraham Called to the Stars, was published by HarperCollins, 2001, and his selected translations, The Winged Energy of Delight, appeared from HarperCollins in 2004. In 2005 HarperCollins published his second book of ghazals, My Sentence Was a Thousand Years of Joy. In 2008, the Guthrie Theatre staged his translation of Ibsen's Peer Gynt. Recently, White Pine Press has published a new selection of his prose poems, Reaching Out to the World. Forthcoming in 2011 from W. W. Norton is a new collection of poems, Talking into the Ear of a Donkey. (From Robert Bly's official website)






Tuesday, 3 January 2012

Hooshmand Varaei: "Whistling Under Water"

Whistling Under Water


The 2010 edition of the Videoex Experimental Film and Video Festival awarded Iran's Whistling under Water directed by Houshmand Varaei. The 15-minute film was granted the Special Mention of the Swiss festival, which was held from May 22 to 30, 2010 in Zurich. Whistling under Water also won the First Prize for Best Film and Second Prize for Best Director of the first Nowruz of Hamghadam Short Film Festival in Paris. A production of Iran Film School, Varaei's 2009 production was granted the Open St. Petersburg Film Festival Beginning's diploma 'in memory of Sergey Dobrotvorsky' for the fruitful search of sources of the impossible.Varaei has also directed the 30-minute film Kites Know No Chastity, which has been screened at Denmark's International Odense Film Festival and the Australia Experimental Film Festival.