Perspective, Spring 2015

PERSPECTIVE

Iranian Students' Cultural Organization Published Since 1995

University of California, Berkeley Spring 2015

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Inside

About

About us Courtesy of Sogole Tabatabaiepur

Editor in Chief // Samira Damavandi Assistant Editor in Chiefs // Sawhel Maali / Nikta Daijavad Chief Editor of Layout // Arya Aliabadi Assistant to the Layout Designer // Paniz Amirnasiri Editorial Board // Paniz Amirnasiri / Kayla Razavi / Negin Shahiar Authors // Sawhel Maali / Nikta Daijavad / Paniz Amirnasiri / Kayla Razavi / Negin Shahiar / Leila ZariďŹ / Nima Shajarian / Roya Azarkeyvan / Sara Mahjoub / Shayaun Nejad / Shireen Ebrahim 2 PERSPECTIVE

Inside

Inside

Inside this issue and a letter from the editor Dear Reader, It is with great pleasure that we introduce the Spring 2015 edition of Perspective Magazine. This year, we are excited to release our 20th Anniversary special edition. Since 1995, Perspective Magazine has published articles on Iranian culture and has engaged with the Berkeley community.

Our publication’s goal is to unite the Iranian American diaspora community, specifically in the Bay Area and in California. Our articles aim to highlight topics relating to Iranian history, culture, and arts and literature. We hope to provide a unique insight into our Iranian culture and heritage.

I am proud to serve as Editor-in-Chief for the 2014-2015 year. This is my last semester at UC Berkeley and although I am sad to leave, I am excited that Perspective will continue to thrive. I have been writing for Perspective since my first year here at UC Berkeley and now as a senior looking back on the past three years, I truly appreciate the experiences and opportunities that I have had because of this publication. Without the hard work and dedication of all of our writers and staff members, we would not have been able to come this far.

If you are interested in getting involved with the publication please send an email to info.perspective@berkeley.edu. We accept new applications for writers and staff members each semester and always welcome donations and advertisements for future editions.

Sophia Kiapos: A Rising Figure in Film // Insta-Iran// French-influenced Education in Iran // The Architect of Entrepreneurship: Dariush Zahedi// Academic Freedom and Iranian Students // The Five Most Bizarre Persian Sayings // Nowruz: A New Day // The Other Shajarian // What does Perspective Magazine Mean to You? // Fifi Howls from Happiness: a story of Bahman Mohasses // The Other Shajarian // The Reality Behind the ‘Rich Kids of Tehran’// Dignifying a Divisive Identity // The Brains of Ancient Persia // Dignifying a Divisive Identity

Warm regards, Samira Damavandi Editor-in-Chief

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Arts

Sophia Kiapos: A Rising Figure in Film

By Shireen Ebrahim Courtesy of Sophia Kiapos

There are very few women in their early 20s who have been able to have the success that Sophia Kiapos has had in the film industry.

Born and raised in Los Angeles, Sophia is the daughter of an Iranian mother and a Greek father. Sophia made her directorial debut on the short film "Olivia Martha Ilse," which was featured at the 2015 Berlin Film Festival as well as selected for the 2015 Cannes Film Festival. Sophia, a proud Iranian-American female, is a powerful contrast to the white male dominated film industry. Sophia, who recognizes the need for a more inviting and inclusive environment in the industry, founded her own production company, Maiden Voyage Productions, alongside her father, John Kiapos, as a female - driven enterprise.

I had the pleasure to speak with 4 PERSPECTIVE

Sophia regarding her career and what it entails to be a female Iranian-American in an unorthodox industry for the Iranian culture and her goals for the future.

What was your upbringing like and how did you get to where you are today?

My mom has always been a huge supporter of me being expressive and theatrical. From when I was four years old, I wanted to explore every avenue of art. I was a dancer for ten years and took art classes throughout my childhood. In high school, I discovered drama in order to fill the void of dance. Through theater, I was able to be expressive through words and movements. At first, I did attend a regular college for journalism and communication in order to be more practical. However after a semester, I realized I was unhappy and didn’t know

why. I called my mom during finals and asked her where she saw me in ten years. She responded that she saw me in theater and performing - giving me all the validation that I needed. I packed my bags and left immediately and I never once regretted that decision. Having that support from my family members was the force behind me believing in myself and not being afraid to pursue the path that I wanted.

What have been your experiences as an Iranian American in the industry?

When I first came back to LA to pursue acting before filmmaking, every role that I was selected for was very similar and limiting. I was almost entirely type casted as the Persian or Middle Eastern girl. There isn’t anything wrong with playing these parts, as they are a part of my history and culture, but

Arts at the same time I did see a problem when they comprised all my roles. I felt that only being casted as the Middle Eastern girl was cutting short on my talent as an individual and an Iranian American actress.

I am an Iranian but also a woman who has emotions and life experiences that can allow me to play any role I want.

Because of this negative casting stereotype, I felt a huge pull in becoming a filmmaker since I didn’t want to play parts others made for me - I wanted to create the parts that I could and wanted to play. Shohreh Aghdashloo is a huge inspiration to me and she told me to figure out what story I wanted to tell and figure out how to say it. As an indirect consequence of being an Iranian American in the film industry, I found my path into filmmaking and my personal experiences with being type-casted, as well as seeing other well-rounded individuals limited to only certain roles contributed greatly to teaching me how to be a director.

a CW show. I know that this calls for a radical change but I want to be a part of the movement to inspire others to become validated. You don’t make art for yourself.

You make art for other people- you want to make others feel.

constantly reminding myself to remain balanced. You can get caught up in such high and low emotions but I seek to remain balanced and true to myself. I remind myself of why I’m doing what I’m doing and at the end of the day, I want to tell a story and remain humble. It’s been a very exciting process and I don’t want to take anything for granted. I hope to make more films and continue to explore other areas of film, art, and life.

"I am an Iranian but also a woman who has emotions and life experiences that can allow me to play any role I want."

What are your goals and aspirations for the future?

Well idealistically speaking, I want to potentially end this existing stigma [of lack of women in cinema], but that will probably not happen. However I do hope to be able to open a bigger door for women especially of various backgrounds into the industry. I know that I’m still young and in pursuit of my dreams but I truly hope that one day, I can be an inspiration for other filmmakers who are scared to cross the norm threshold.

Taking that risk is the only way they can experience that change.

Ultimately, I want women to be able to be on top in the industry so that one day we could see an Iranian girl as a lead on

Your short film "Olivia Martha Ilse” has already gained critics’ attention and is now turning into a full-length feature film. How has your experience been throughout this process?

This has been very overwhelming but with all this momentum happening, I’m trying to stay grounded as much as possible and spend time with my family and friends.

Although this process has been full of huge

movement, I try to have everything in moderation. The biggest challenge is not getting the film done but

Do you have any advice for Iranian Americans trying to enter the film industry?

Yes, always remember where you come from and the importance of your roots. Being an IranianAmerican has had a very huge impact on my life and I’m very proud of my culture.

However at the same time, you were born on this earth with a specific purpose and sometimes that purpose doesn’t line up with the orthodox of your tradition. Your purpose could be greater than yourself. I consider myself very fortunate to have an Iranian mother who is so open-minded when the culture has very strict values and traditions. Living in America, we have the beauty of exploring freedoms and opportunities to do whatever we want no matter what culture you come from.

I think there needs to be a change where more Iranians should feel proud and inclined to enter the film industry as the inclinations of art run in our history and blood.

Overall, Sophia’s passion and charisma for film, art, and life was easily transmittable through the phone and can be seen through her work. Her strive for empowerment and visibility of women and Iranian Americans in the industry is inspiring and already in effect with the success of her work.

Congratulations to Sophia and make sure to be on the look out for her future projects.

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Arts

Insta-Iran

By Kayla Razavi

Courtesy of Kayla Razavi

Omid Scheybani is a Googler, photographer, designer, and world storyteller.

He is a German-born Iranian who has studied and traveled all over the world. This past year, he and three of his German friends decided to go on an adventure to Iran, eat cool things, take cool pictures, and meet cool people. Pretty cool, right? Well it doesn’t stop there!

Omid’s journey was one that may not have been possible about ten years ago. With an iPhone and an idea, he set out to capture his journey on the social media application Instagram and ended up meeting his Iranian followers and social media friends along the

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way.

Taking pictures and editing them with only his iPhone, he captured Iran’s beauty and shared it with people around the world. I had the incredible opportunity of visiting his Instagram photo exhibit at the Cannessa Gallery in San Francisco and had a chance to meet him and take a look at his incredible insta-photos in person.

While the photos look gorgeous on my iPhone's Instagram application, they were even more breathtaking in person. Every picture told a different, colorful story. From photos of food, to portraits of his new Iranian friends, I believe that Omid truly captured the beauty

and vibrancy of Iran.

One thing that I particularly loved about his photos was that they gave a glimpse into the lifestyle of Iran's millennials-something we do not get to see often enough.

Through the lens of an iPhone, we had a chance to see yummy food, colorful fashion, and the ornate imagery of Iran's unique architecture.

If you want to see more pictures from Omid's journey, follow him on Instagram: @ omidscheybani.

Education

French-influenced Education in Iran

By Sara Mahjoub

Throughout the twelve years I attended a French school in Los Angeles, my Iranian parents would always point out how similar the French education was to the one they had received in Iran. When speaking Persian, one does notice the French words that appear seemingly randomly; the most significant example of this is seen in how we say thank you: “merci.” Beginning in the 19th century and continuing through the 20th century, there was a gradual entry of a large number of loan words into Persian from European language. This was a result of the modernization of Persian society and culture pursued during the reigns of the Shah. There are actually around 820 French words in Persian dictionaries.

[1] However, often a French loan word is added to a Persian counterpart, which transforms it in a way that makes the pronunciation almost impossible for French speakers to understand.

Additionally, many of the professors in the prestigious universities in Iran either studied in French speaking countries or received a French influenced education in Iran. Most importantly, in the last two centuries, political discourse and Persian literature incorporated French vocabulary in the Persian language to convey modern concepts.

Throughout Reza Shah’s reign, there was a persistent need for foreign teaching expertise in order to prove that Iran was a cultured and intellectual nation. Many teachers were recruited from abroad and foreign instructors were sharing responsibilities with Iranian teachers. In 1928, 10 French instructors arrived in Tehran ready to teach in a newly founded Franco-Persian school.[2] In the 1930s, there was a fight amongst the French and US governments to have

their system adopted in Iran, and in the end, French influence prevailed. The Iranian system of higher education was set up along French lines as it evolved. The laws, administration, regulations, schools, textbooks, and curriculum of the Iranian educational system were all borrowed heavily from the French model. Moreover, by 1930, almost all state secondary schools of the period taught French as a second language.

Additionally, adapted from the French educational system, Iran utilizes a marking system that gives students marks out of 20 (a 10/20 is a passing grade, for example).[3]

Another example of French influence in the Iranian education system can be seen in Iran’s university admissions process. If you have Iranian parents, you have undeniably heard about the “concour” exam taken after high school. It is a standardized test used as one of the means to gain admission to higher education in Iran. The test itself has undergone major criticism throughout the years, and in recent years there was a bill introduced in the Majlis (Parliament) to gradually eliminate this entrance exam to enter universities in Iran. An alternative option being considered is using the cumulative grade-point average (GPA) of the final three years of high school to admit students, but the Iranian government

is hesitant, arguing that it cannot ensure fairness or reveal student’s aptitude for further learning.[4] In comparison to other nations that use university admissions exams (such as the SATs in the US), the “concour” most resembles the Baccalaureate in France, which is passed at the end of senior year in high school after 2 years of preparation.

Many Iranian schools have been turned into “factories for exam cramming,” and this exam has reinforced major social, psychological issues and results in hopelessness and boredom for the youth who fail the test and thus do not gain admission to university.

As a witness and “survivor” of the French education system, though it was a very tough and long process, it was very rewarding and made the transition to university a little less difficult. Despite the many flaws that exist within both education systems, the intricate rules helped me (and others, I’m sure) gain some very vital skills for the future. If you’ve encountered the French education system at some point your life, you were certainly told to underline specific titles in specific colors and to never write in black ink. You knew exactly what you would be tested on while never forgetting the “gray area” in arguments. Additionally the countless hours spent practicing your cursive has resulted to many admiring your handwriting that you once dreaded. Most significantly, however, the French system of education taught me to be fully committed to every work I hand in, as well as teaching me to be diligent and meticulous in the works that I produce (most of the time).

[1] http://www.iranicaonline.org/articles/france-xvi-loan-words-in-persian- [2] Iran and the Surrounding World: Interactions in Culture and Cultural Politics edited by Nikki R Keddie, Rudolph P Matthee [3] https://www.educationusairan.com/edu-professionals/education-systems [4] http://en.wikipedia.org/wiki/Iranian_University_Entrance_Exam PERSPECTIVE 7

Education

The Architect of Entrepreneurship: Dariush Zahedi

By Kayvon Deldar

Courtesy of Dariush Zahedi

Since 2001, Dr. Dariush Zahedi has taught multiple coursed Conflict Studies, and at the Boalt School of Law here at UC Berkeley. He is also the director of the Berkeley Program on Entrepreneurship and Development in the Middle East, where he is involved in a variety of projects. Last October, his program hosted the Bridge 2014 Conference on campus at Wheeler Hall, which sought to discuss and promote the high-tech entrepreneurship sector of the Middle East in the departments of Political Science, Political Economy, Peace, and Iranian economy. I had the privilege of speaking with him about his life experiences and the work that he is doing as an important member of the Iranian-American community.

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Where did you grow up and what was your process of moving to the United States like?

For the first twelve years of my life, I was in Iran prior to the revolution. So I guess you could say that I grew up partially in Iran and partially outside of Iran. After the revolution, I was briefly in London and then moved to the United States, initially to Boston and then to the Bay Area.

What was your motivation for becoming a professor and getting into the field of Political Science?

My motivation initially was to get a degree in Political Science,

and it seemed somewhat natural because I was, to a large extent, the offspring of the Iranian Revolution.

I experienced it firsthand, was affected by it, my family was impacted by it, and therefore it prompted me to want to discover its causes and its consequences.

To do so, you had to become familiar with theories of revolution and also comparative analyses of various revolutions. Based on my research experience and background knowledge it was natural for me to teach such a course as “The Iranian Revolution and the Middle East,� as well as others.

What projects are you currently working on? Most of the things you are doing right

Education right now are for the Berkeley Program on Entrepreneurship and Development in the Middle East (BPED), correct?

Absolutely. At the moment, the bulk of my time, effort, and energy is spent on BPED and promoting BPED inside and outside of the university and institutionalizing it.

The conferences and initiatives for BPED take up most of my time. There are the Bridge conferences, the annual Turkey event, and we are working on a number of other potential projects and conferences. Certainly the Role Models Project is something that I have devoted a lot of time and effort to.

Would you care to elaborate on the Bridge projects?

What are the main objectives?

Your program also has a project called the Local Role Models Project. Can you tell me more about that and what goals you are trying to achieve?

We try to identify and interview prominent economic, business, and social entrepreneurs who come from the broader Middle East region. This Role Models Project is predicated on the notion that in order for entrepreneurship to flourish, a certain number of factors have to be in place. Definitely the ecosystem in the country has to be conducive and auspicious, and for young people to become entrepreneurs, they need mentors and above all an idea. You also need sources of inspiration:

from the broader Middle East region get to know and to become intimately familiar with the successful entrepreneurs from that region who have succeeded in spite of the odds.

We might ask them such questions as what prompted them to become entrepreneurs and what advice do they have for young people who wish to become entrepreneurs. Then at the broader macro level we want to ask them about conditions in their respective countries that are either conducive or not conducive to the advancement and promotion of entrepreneurship.

Speaking of role models and inspirations, did you have a role model or inspiration?

"Iran certainly has the human capital to become a source of growth and job creation, but obviously there are a large number of hurdles that would have to be overcome."

The Bridge events are very unique because nothing like them has happened before. Their objective is to focus on Iran and look at Iran’s high-tech sector and to assess the extent to which high-tech could emerge at some point as one of Iran’s comparative advantages, meaning that the high-tech economy could serve as an engine of growth and job creation.

Iran certainly has the human capital to become a source of growth and job creation, but obviously there are a large number of hurdles that would have to be overcome. So, the objective of these conferences is to look at the opportunities and challenges of the Iranian high-tech sector and also to assess to what extent we can build bridges between Silicon Valley, especially successful Iranian high-tech entrepreneurs in Silicon Valley, and their counterparts in Iran to help spur the creation of an innovative economy.

The first conference was held last September in Berkeley, and the sequel to it will be held from June 4-6 in Berlin, Germany.

people you look up to, who inspire you, who animate you. But role models are not the same as mentors.

Mentors are your advisors who are going to hold your hand, guide you, and coach you. The role model is someone you don’t necessarily know personally but who has done something and succeeded and whose example you admire. So, the Role Models Project is designed to, first of all, identify these people and then profile them through interviews because there are many of them.We also need to make these interviews accessible, to promote.

The objectives of the Role Models Project are to let young people

I don’t know if I have a singular role model or inspiration, but my objective with establishing this program is to bridge the gap between academia and the real world. So, we want to do something that is worthwhile and has academic value and credibility, but we don’t want it to be confined to academia. We want it to have practical implications.

The purpose of the program is to conduct systematic research and analysis that is academically rigorous to the extent possible, and to explore its policy ramifications and come up with actionable recommendations that could be used outside of academia.

Do you think that you will return to teaching at UC Berkeley anytime soon?

BPED is the primary focus for the near future, but once it begins to take off and has become institutionalized, then I can go back to teaching. So, the answer is yes but not in the immediate future.

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Education

Academic Freedom and Iranian Students

By Layla Behrouzian

Courtesy of UMass.edu

The University of Massachusetts, Amherst lifted a controversial ban barring Iranian students from graduate science and engineering programs because of the amount of heavy international criticism that the university faced as a result.

This ban was a blatant expression of systematic discrimination. However, UMass argued that it based its decision on a law enacted by Congress in 2012 that restricts Iranian citizens from studying in the U.S. if they were preparing for a career in nuclear sciences in Iran. An excerpt of this ban states, "The Secretary of State shall deny a visa to any alien who is a citizen of Iran [...] to participate in coursework at an institution of higher education [...] to prepare the alien for a career in the energy sector of Iran or in nuclear science or nuclear engineering or a related field in Iran."1 In response to UMass’s controversial decision, the State Department declared that each situation should be looked at on a case-by-case basis and that it is illegal to disenfranchise Iranians from pursuing 1

higher education. Thus, UMass reversed this ban only a few days later.

Education is supposed to allow for social mobility and diversity. Yet, UMass decided to take away this right. Before Iran’s 1979 Islamic Revolution, Iranians made up one of the largest group of international students in the United States. Even though these numbers have dropped significantly, many top students are still Iranians who go on to take important leadership roles in both Iran and the U.S. This has consequentially created a large amount of soft power for the US in Iran, since many US-educated Iranian leaders are among the most proU.S. in the Middle East.

As a daughter of immigrants who have suffered in this country due to widespread animosity toward Iranians, I am disheartened to see Congress enact such a discriminatory law. It is already difficult to immigrate to America for educational pursuits as an Iranian, and now the process has become even harder.

Although the U.S. government doesn’t agree with the decisions of the Iranian

government, it is not justified for the U.S. to take out their frustrations on the Iranian people.

Now that the decision of the ban has been reversed, many Americans think the problem of discrimination against Iranians is resolved. Unfortunately, it is not. The stereotypes of IranianAmericans are still embedded in American culture. The fact that such a reputable institution like UMass Amherst would enable such prejudice highlights the fact that our nation has not come as far as many think in terms of equality. The Iranian community needs to present a united front and mobilize to reverse the Congressional law that led to the original UMass decision and prevent discriminatory acts like this ban from occurring again. As the renowned social justice leader Nelson Mandela once said, “Education is the most powerful weapon which you can use to change the world.” We should not let anyone take away this “powerful weapon” from us--and no, we do not plan on using it to blow up the world.

United States. Cong. Iran Threat Reduction and Syria Human Rights Act of 2012. Cong. Bill. Washington, D.C.: U.S. G.P.O., 2012. Print.

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Culture

The Five Most Bizarre Persian Sayings From "more holes than Swiss cheese" to "when pigs fly," the English language has its fair share of untranslatable, nonsensical idioms used in everyday speech. These odd phrases exist in every dialect, and Farsi certainly has no shortage of them.

ChaiandConversation, an online blog, was created to teach conversational Persian through online podcasts. They recently published a list of several of the most bizarre common sayings in the Persian language. I've included the figurative and literal meanings of those I’ve found to be particularly strange, as well as my own speculation on their origins.

1. “Moosh bokhoradet” Figurative meaning: “You're so cute” Literal meaning: “A mouse should eat you” Growing up, we all had that one great aunt who pinched our cheeks every time she saw us and gushed gibberish about how we get more adorable each day. This saying was probably a favorite of said aunt. It's a slightly condescending term adults use toward children to convey their cuteness. The origin may be rooted in a belief that mice are quite cute. Thus, if a child is so cute that an animal as cute as a mouse wants to eat them, then they must be pretty darn cute.

2. “Zahré mār” Figurative meaning: “Shut up” Literal meaning: “Poison of a snake” When a child continues to whine after several warnings, their mother might yell zahré mār in frustration to silence them. If you think about its root, this phrase is actually a fairly terrible one to use toward someone, as it's much more extreme than a mere “shut up.” Certain snakes are known for their venom, which immobilizes bitten prey. These bites can even be fatal. Thus, by wishing 1

"poison of a snake" on someone, you're suggesting that a snake paralyze or kill them so that they will no longer be able to speak --oh, the beauty of linguistics.

3. “Jeegaretō bokhoram” Figurative meaning: “I love you” Literal meaning: “I will eat your liver” If someone told me they planned to eat my liver, I would probably report them and/ or get a restraining order. But in Persian, it's a whole different story. This idiom is said to friends, family members, and lovers to convey adoration. The Persian language’s obsession with livers doesn't end there. Other sayings that invoke this vital organ include jeegar tala (gold liver), kheyli jeegar-ee (you are really a liver), and jeegaré man-ee (you are my liver). All of these terms are used to express endearment and affection.The origin of these idioms may be rooted in an appreciation for

the liver, which has a wide range of functions in the digestive system. Just as animals need their livers to survive, perhaps such terms suggest the necessity of a loved one in a Persian-speaker's life.

4. “Bā namak” Figurative meaning: “Charming” Literal meaning: “Salty” It is interesting that in English “salty” is slang for angry, upset, or agitated due to

By Negin Shahiar

embarrassment. For example, when you lash out at your cousin for calling the kabob your father just grilled in the backyard “dry,” you might be described as salty.

In Persian, however, “salty” is a positive term used to describe a charismatic individual. Conversely, bi namak (lacking salt) portrays a dull, uninteresting person.

The explanation for this idiom may lie in the fact that salt, like pepper, adds flavor to plain-tasting foods. In the same way, then, a salty person keeps life interesting by bringing his individual spice or zest to it, while someone without salt fails to.

5. “Saram kolā gozāshtan” Figurative meaning: “They tricked me” Literal meaning: “They put a hat on my head” This common saying can be used in a serious or playful manner to convey deception. In terms of the idiom's origin, the hat as a symbol for trickery goes back to the early days of performed magic. If you've ever witnessed a magic show, you might have seen a magician pull a bunny rabbit out of his hat and heard the audience respond with “oohs” and “aahs.”

Another possibility is that hats are often used to add mystery to an outfit, particularly in film and literature (think of villain Michael “Goob” Yagoobian, also known as “Bowler Hat Guy” from the Disney film Meet the Robinsons). Thus, as hats are used to convey secrecy and enigma in characters whose true intentions we fail to understand, putting a hat on someone may blind him from realizing the trick about to be played.

While these sayings may seem odd when you first hear them, when you think of their origins, they seem to make more sense.

http://www.chaiandconversation.com/2014/11-persian-sayings-make-no-sense-english. 2 http://www.urbandictionary.com/define.php?term=salty PERSPECTIVE 11

Culture

Nowruz: A New Day

By Leila Zarifi

Courtesy of Huffington Post

During the spring equinox, which marks the first day of spring and the renewal of nature, Iranians all over the world celebrate Nowruz, the Persian New Year. Approximately 300 million people worldwide celebrate Nowruz, which means “New Day” because it signifies the day that begins the year. The exact moment in which the New Year occurs is called Saal Tahvil; however, the celebration is more of a 13-day ritual.

As their largest and most sacred celebration of the year, Iranians begin the process of Nowruz by cleaning out their homes, a tradition known as Khaane Tekaani. Buying new clothing is also a major step toward entering a new year, as it symbolizes renewal.

The first day of celebrations occurs 12 PERSPECTIVE

on the last Tuesday night of the year. Chahar Shanbeh Soori, or Fire Wednesday, is a day to give thanks for the good fortunes of the past year and to release any remaining evil. Households set up bonfires or other forms of small fires using wood or brush after the sunset. The fire symbolizes the light and goodness that people need to see within themselves, despite the unluckiness of the night and the end to the year.

At the same time, they must await the arrival of spring and good fortune.

Individuals then take turns jumping over the fire while synonymously chanting, Zardi-e man az to, sorkhi-e to az man, which translates to, “My paleness (pain) is yours, your redness (health) is mine.”

Another critical aspect of Nowruz is the sofreh haft-seen, a layout of specific items beginning with the letter “S.” The sofreh is prepared by and can be seen in nearly all Iranian households that celebrate the Persian New Year. The items placed on the haft-seen, or 7 S’s, all symbolize good luck, prosperity and a new beginning.

The seven items represent the seven angelic heralds of life, health, happiness, prosperity, joy, patience, and beauty. The items include Sabzeh (wheat sprout), Samanoo (brown wheat paste), Seeb (apple), Senjed (dry fruit of Lotus tree), Seer (garlic), Somaq (crushed form of sumaq berries), and Serkeh (vinegar).

Culture In addition to the seven “S” items, items such as coins (representing fortune), painted eggs (representing fertility), goldfish in a bowl (representing life and end of a year), a hyacinth flower (representing beauty), a mirror (representing images and reflections of creation), and candles (representing enlightenment and happiness) are included on the sofreh.

When the New Year finally arrives, families gather around the sofreh, often indulging in a Persian pastry or a taste of Samanoo, in hopes that the first moments of the New Year will be filled with sweetness. Elders of friends and family give money to the young ones in the family, while the

young visit their elders to pay their respects. This period of rejoicing continues for about 13 days.

The 13th day of Nowruz is known as Sizdah Bedar, or passing the

number, so it is a bad omen to stay inside the home during the day. On Sizdah Bedar, friends and families often venture to parks where they picnic and play games. This is also the day where households will throw away their Sabzeh, representing the end of Nowruz.

Although Nowruz is a Persian cultural holiday that is celebrated worldwide and through countless generations, many people have come to participate in Nowruz celebrations despite ethnic background.

Nowruz is a way for Persian culture to spread and for Iranians to share their culture with friends, colleagues, and neighbors.

Not only is Nowruz a festive celebration for the Persian New Year, but it is also a binding ritual that has an important place in Persian culture today. Sad Saal be in Saal-ha, or “Wishing you 100 more Happy New Years.”

"[Nowruz] is also a binding ritual that has an important place in Persian culture today.

Sad Saal be in Saalha, or “Wishing you 100 more Happy New Years.”

13th day. Iranians typically spend this day outdoors, mostly because 13 is considered to be an unlucky

http://www.iranchamber.com/culture/articles/norooz_iranian_new_year.php http://www.timeanddate.com/holidays/un/nowruz-day PERSPECTIVE 13

People

The Other Shajarian Maestro Mohammad Reza Shajarian is one of the most decorated and successful Persian musicians in the world. As one of NPR’s 50 great voices, he has received awards and honors such as the UNESCO Mozart Medal, the Picasso award, the National Order of Merit, and has been nominated for multiple Grammy awards.

He has developed five new instruments to date, including the tondar, the sorahi, the kereshmeh, the saghar, and the saboo, and he continues to influence the musical and political worlds of the Iranian people.

Ostad (Master) Shajarian, however, was not the only Shajarian of his generation to make a name for himself in the classical stylings of radif, the traditional repertoire of classical Persian music. Siamak Shajarian, his brother, was also hailed as one of the greatest voices in Iran. But after moving to the United States in 1977, Siamak didn’t have the same opportunities he did in Iran.

Despite the obstacles, he still managed to make a name for himself as one of the most talented radif singers as well as a very wellversed sitar, santur, tar, and tombak player.

This is the story of my father, the other Shajarian.

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How did you learn music growing up?

As far as the voice, when I was around seven years old, I was listening to my brother, Mohammad Reza, and was trying to imitate him. After a while, I found out normal kids couldn’t sing the same way that I could. I knew that I had a talent that other people didn’t have and that encouraged me to learn more from anyone else who knew about music ever since I was a kid. I remember I was ten and a master musician I was taking classes from in Mashhad wouldn’t let us record his voice (not to mention that I also couldn’t afford a recorder). I was anxious to learn more, so I would go behind his window and listen to him every night while he sang.

Unfortunately, there weren’t a lot of people who taught music in Mashhad.

And where did your talents come from?

We got the musical talent from both our father’s and mother’s sides. Our voice came from our father’s side because he had an amazing voice as well as his father.

By Nima Shajarian They said when my grandfather sang, birds would come sit next to him and sing along with him. Yet, my talent with instruments came from my mother’s side. Her brother – my uncle – is a doctor but is actually a very talented tar player.

How did you develop these talents?

After I learned I could sing, I would attend competitions every year from the different cities in the state of Khorasan.

There were about ten to fifteen cities. Every year, from the ages of 13 to 18, I won all the singing competitions. When I was 17, there was even a one-time competition among all of the different cities in Iran and I won that as well. From the age of 13, I was part of a cultural center in Mashhad that included an orchestra conducted by Ostad Gholamhossein Zahirodini from Tehran. The orchestra consisted of the best musicians in Mashhad including about four or five singers (40-50 year olds) and I was in charge of singing the solos even though I was much younger than everyone else. I stayed there until I got my degree and had to go to the military.

Features

People

How did your father's views on music affect your childhood and your musical development?

My father was not happy with my music. I always tried to hide my talents by not singing in front of him while he was at home. When I was going to the cultural center, he didn’t know. He didn’t want me to do these things for religious reasons. Mashhad itself is very religious, and music is against Islam. A lot of people knew my father as a very religious man, and he couldn’t accept my music because of this image. My father, however, played music and sang when he was younger as well. He was a very open-minded man, but public opinion about musicians wasn’t good, as they thought these were merely street performers or wedding singers and these people always got involved with drugs and alcohol. Because of this, he couldn’t accept it openly. My father didn’t know that we played instruments at all while he was alive, but he knew that we sang. My brother proved to him that singing could be a good path.

You are also skilled in multiple instruments. How did you learn those?

as a result of his love for music and not the money. He never sold his talent for money.

The direction he was taking was that he was going after the top teachers and he learned a lot from them. He wanted to learn from the best, not just one person. He was my role model because of the music he was doing and how everyone respected him. Even today, it is the same because he does it just for the love of music. Besides him, Akbar Golpayegani was another singer who influenced me. I would listen to him a lot and would try to imitate him.

You moved to America in 1977.

How did your musical career differ in the States compared to in Iran?

Yes, the reason I didn’t pursue music as seriously was because my brother was a master and a lot of people were trying to compare me to him and I didn’t want that. If I was back home, it would probably have been different, too, because I could have just used a different stage name apart from Shajarian to avoid that, but there wasn’t the same opportunity once I came here. I could’ve been a good singer in my own regard, but no one could compare with my brother.

Which of the ensembles you've been a part of have you enjoyed working with the most?

The one in my career I enjoyed the most was working with Ostad Jalil Shahnaz, Ostad Faramarz Payvar, Ostad Farhang Sharif, and Ostad Habiballah Badiee as the Asateed Ensemble. These are very well known musicians, master musicians in their respective fields. They were unbelievably talented musicians and to work with them was a very proud time in my life. Another two were the Oshaagh Ensemble and then the Lian Ensemble, which I worked with after the Oshaagh Ensemble disbanded.

"If I had stayed in Iran, I would have pursued music more seriously like my brother and would have had a much What would be your advice to an bigger career." aspiring classical musician?

When I was ten my brother was playing santur and I was listening to him and wanted to practice it as well.

He was hiding it from our father along with his singing. I was very anxious to play it, because it was the only instrument we had, so when he wasn’t home I would practice on his instrument by ear. So now I had to hide from both my brother and my father, and I could only play when both of them weren’t home. I remember one time I was playing, my brother came home and as soon as I was going to put the instrument back I broke both of the sticks right when he walked into the room. When he saw me he didn’t know I was playing it, and I thought he was going to hit me, but he came over and told me it was okay and that I could play whenever I wanted, just to promise I wouldn’t break the sticks again.

Who have been the most influential musicians in your life?

My brother because he worked so hard

If I had stayed in Iran, I would have pursued music more seriously like my brother and would have had a much bigger career. Before coming to the states I actually went to a radio station in Tehran in 1976 to audition. I went without my brother’s knowledge and didn’t let the station know my relation to him because I wanted to be hired for my voice and not my connection to him. I did in fact get hired by the station to be a professional singer. I could have had a career in Iran but ultimately I decided to pursue education in America a year later.

Even if I wanted to coninue, it wasn’t possible in American because as I mentioned before, there wasn’t anyone to learn from. All I had were recordings I got through people from back home.

Looking back on your career, is there anything you would change?

People who want to become classical musicians have a very hard responsibility. We had this music from the generation before us. It was passed down to us and we kept it traditional. This kind of music has to be taken seriously and not changed too much. Like a house, you can change the decoration but not the base of it. It is not impossible to do it in the United States, either, because of so many musicians like myself coming here and teaching. I wish I had this opportunity when I came here.

What are your future endeavors in music?

In the future, I want to make more CDs and my main concern will be teaching music.

I believe that I learned something great from people before me and I want to pass it down to people who are interested. I feel obligated to pass on what I have been given.

PERSPECTIVE 15

Feature

What does Perspective Magazine Mean to You?

By Sawhel Maali

This year marks a very special edition of Perspective Magazine. It marks twenty years of strengthening the IranianAmerican community here at Berkeley through the sharing of culture, ideas, stories, art and so much more.

Hundreds of articles and contributing writers later, we find ourselves at the most evolved version of this magazine to date. Yet, Perspective would be nothing without the hard work and dedication of the students before us. With that, what better way to capture the essence of this publication than asking previous editors one simple question: What does Perspective Magazine mean to you?

Sahar Mozaffari (2012-2013)

“I stumbled across Perspective Magazine my first semester at Berkeley and fell in love with what it represented. I was born and raised in Iranian culture in the United States, but before I moved to Berkeley, I never found a place to celebrate it outside my home.

We are part of a rich and intellectual society where Iranians all over the globe are making strides in their respective fields, becoming 16 PERSPECTIVE

positive role models, and making our world a better place. As a young Iranian American, Perspective Magazine became my guide to learn about my Iranian culture and our positive representations around the world, as well as my voice to communicate it to others.”

Iranian American community at Berkeley.

The brainstorming sessions, the writing, the editing, and the design of the magazine all offered an opportunity for the team to express ourselves and learn about Iranian history,

Tina Noohi (2011-2012)

“Perspective was an opportunity to explore my identity as an Iranian American. It was a safe place to discuss issues around culture, politics, and life in the diaspora. Most importantly, Perspective Magazine gave me the chance to be a leader and foster a community at Cal. Giving fellow students a space to be creative, take action, and publish their thoughts and experiences was extremely rewarding. It is remarkable to see the way in which students come together and share skills in writing, editing, networking, design, and photography. I was so grateful to have been a part of it and it makes me so happy to watch it continue to succeed.”

Ruyan Rahnama (2009-2010)

“Perspective was a way to intellectually connect with friends and colleagues in the

culture, and current events.

There was concern at various points throughout the process about whether what we were doing was meaningful outside of our own little community, whether readers would continue to be interested in topics they were perhaps already familiar with, and whether the product we were creating would reflect what we ourselves had learned and how we had grown.

Features The answer was and continues to be yes. By working together and continuously pushing each other to be innovative we kept a dynamic energy and awareness present amongst ourselves. We were up to date on current events, we were learning interesting facts about our culture, and we were taking the next step to share it with others. This was a very special thing to be a part of and entirely rewarding in its outcome.

Writing this now I’m realizing how much I miss it!”

Sahar Maali (2008-2009)

“When I think back to my college years, Perspective Magazine was undoubtedly a source of immense happiness and personal growth because it offered me a creative space where I both questioned and embraced my Iranian American identity.

Through Perspective, my peers and I were able to channel our passion for our heritage into a substantive piece of work that would contribute to the growth of our community. We were able to talk about social taboos, celebrate our cultural intricacies, and confront political realities, all within the safe space of our Perspective

Feature

family.

strength.

More importantly, Perspective Magazine advanced the identity and message of our students in a tangible form. As much as it was an important tool and medium for us to explore and discuss, it was even more important for us to educate the world around us. With Perspective, it was as simple as handing over a copy of our magazine to a non-Iranian friend, professor, or supervisor -- the magazine spoke for us in a professional, yet enticing way.

Perspective Magazine gave our team and our campus community the unique opportunity to hold a mirror to ourselves, our cultural identity, history, and so much more.

I joined Perspective the first semester of my freshman year, and was lucky enough to serve on the editorial board, followed by two years as Co-Editorin-Chief.

During that time, we sparked a Perspective renaissance: from an almost fully new team to our complete re-design, and first full-color 36-page edition - we found ways to take the magazine and the content to a new level.

Thus, it’s with great pride that I see Perspective’s legacy as strong as ever. Perspective is family and I hope it continues to nurture the passions and challenge the conceptions of generations of young Iranian Americans to come.”

Roya Soleimani (20052007)

“As first, second, and third generation Iranian Americans at Berkeley, our community was as diverse and intricate as an Iranian mosaic. Each tile brought it's own viewpoint and context, and when woven and pulled together, this mosaic had undeniable beauty and

I still look back on our late nights of editing, layout, design, and review with a smile. We all had full academic schedules and other commitments - but our passion and love for Perspective were unmatched.

Each semester, we built something together: a publication that captured a particular moment in time for all of us. With each edition, the output became more thoughtful and comprehensive, and our bonds and friendships as a team grew stronger and better.

Perspective will always represent a continually evolving Iranian mosaic at Berkeley and beyond, and I'm honored to have had a chance to help represent that mosaic during my time at Cal.” PERSPECTIVE 17

Feature

Fifi Howls from Happiness: a story of Bahman Mohasses

By Nikta Daijavad

When Mitra Farahani, Fereydoun Firouz, and Marjaneh Morghimi, respectively the director, executive producer, and producer of Fifi Howls from Happiness, decided to make a documentary about Iranian artist Bahman Mohasses, they faced one major challenge: finding him.. A giant of Iranian fine arts considered by sources like BBC Persian to be the most influential contemporary Iranian artist, Mohasses had largely lived in seclusion after leaving Iran for Rome in 1968. He continued to be commissioned for statues and sculptures that were sent to Tehran until the Islamic Revolution, but after 1979, many of his works were destroyed in Iran. His exact whereabouts were unknown to the public for over thirty years.

Out of respect for Mohasses’ privacy, the film’s creators have not revealed how exactly they came to find him, but they ultimately tracked him down and convinced him to participate in their project. With the help of Rokni and Ramin Haerizadeh, brothers and Mohasses fans who commissioned a painting from him, the plan was to film this genius at work after thirty years. But the project was presented with another major challenge on July 28, 2010, when Bahman Mohasses passed away at the age of 79 years old on his first day working on the painting.

But rather than abandoning the project, the film’s creators decided to use what they had to pay tribute to the life of this hidden genius. Fifi Howls from Happiness was released in 2014 and provided audiences with a glimpse into the brilliant mind of one of pre-revolutionary Iran’s most provocative artists. I sat down with Marjaneh Moghimi to talk about the film.

Could you tell me a bit about the production process? How long did the film take to make? What was the initial idea for the film and how did it evolve over time?

Mitra and I had collaborated on a previous film about another Iranian artist 18 PERSPECTIVE

from the same generation as Mohasses. After we finished that, we thought it was such a great experience that we wanted to continue focusing on Iranian contemporary artists that we both admired and liked. Mohasses was in seclusion for 30 years, and we weren’t sure if we could find him. Once we found him,

about the state of contemporary art between them. But unfortunately, Mohasses died on the first day of the intended project.

The footage you see was all done for research and for pre-production. All of it was shot with Mitra’s camera, and we didn’t even have real mics. None of it was the way we had imagined the shoot.

We didn’t have cinematographers.

But it worked for the best because we realized that Mohasses wouldn’t have been as comfortable with large crowds. Mitra was only supposed to be there for three days to convince him to be in the film and to get a feel for him. But as soon as she got home on the first night, she called me and said that we should just shoot his personality because he might change his mind about the project at any minute. We thought he might change his mind at any minute because, as you see in the film, he has a tendency to destroy his work. Mitra never left Italy for the entirety of the project. I started sending her money from my own savings.

We used the same executive producer as we had in our last film because he had enjoyed the project.

Getting him on board went pretty smoothly, but it did take us a while to draft a proposal and get it to him.

he was interested in working. We thought the best way we could persuade him to be in the film and to convince him to work was to commission him. So we wanted to find a Mohasses fan who would commission him after 30 years, and we would capture his artistic process on film. Once Rokni and Ramin came on board, because they were artists from a different generation, we thought it would be interesting to have a dialogue between Mohasses and them about contemporary art in general - to have them commission Mohasses, start filming from the first day of painting, capture the month or two that he was painting, and also have a dialogue

What was the experience of making the film like for you personally? What were some of the highlights, and what were the challenges?

The highlight was definitely Mohasses himself; being able to capture the last three months of this genius’ work was incredible.

One of the biggest challenges was that I wasn’t there in Rome. I personally have always been very involved in the films that I make and I’m there from Day 1, so the big challenge was trying to do everything from here in California.

And of course, the even bigger challenge was that Mohasses died. He literally died in

Feature And of course, the even bigger challenge was that Mohasses died. He literally died in Mitra’s arms; Mitra talked him through his death. She felt that she was the audience of his death, as he spoke about in the film. It was difficult for her to work after that journey, so she took a few months off and then we went back to the drawing board. At some point, Mitra went to Iran thinking we would do the editing there, and she came back to Paris and we looked at all the footage and came up with a new story idea. And basically, this story is the story we felt Mohasses wanted to tell.

“Fifi Howls from Happiness” refers to one of Mohasses’ earliest paintings. Why did you choose to name the film after this painting and to use it in the film’s poster? What do you think Mohasses meant when he said, “Fifi is me, it’s you, it’s him”?

Mohasses does mention a few times that Fifi was the painting he felt closest to. He mentions that Fifi was to him what Mona Lisa was to Da Vinci. It was the closest to his mentality, and it was the beginning of his figurative work. The name is very ironic because Fifi is said to be screaming from happiness, but there’s so much pain in the painting. He said Fifi represents him, you, and all humans, and we wanted the name of the film to be something that represented him.

Can you explain the decision to use Mozart’s “Requiem” throughout the film?

The film is about destruction and death, and that music is the best description of destruction and death. Mohasses not only destroys his work, but he also doesn’t believe in immortality.

You literally see him die in the film. Destruction was a big part of his personality, and this music was the best representation of that.

What role, if any, do you think Mohasses’ homosexuality played in his artwork and in shaping the person he became?

Mohasses was extremely fascinated with sexuality; he had a lot of sculptures of nude men and large penises. So I’m sure [his homosexuality] had some effect on his personality. But I’m also not sure what that effect was. He was such a strong human being, and from the stories that you hear about his youth in Iran, he had really handsome

a clear answer. What do you think the answer to this question is?

Mohasses was from northern Iran, from Rasht, and he felt very connected to the Caspian Sea. He mentioned a few times that he felt like a fish living on land. That had a lot to do with it.

“I always consider death to be a performance...An artist should know that entering the stage is just as important as leaving it.” Bahman Mohasses. Do you think Mohasses was satisfied with how he came to pass?

It’s hard to say, coming from my own frame of mind. But knowing Mohasses, he hated the idea of people not knowing of his death and the idea of dying in his apartment with nobody knowing he had passed. But the fact that he was so eager to work, the fact that he didn’t feel connected to society, and the fact that he was basically rediscovered by Mitra and the brothers, who were very close to his way of thinking...I think he was ok with dying. It’s hard to say, but I think he didn’t resist dying and was happy with letting go. I think he felt appreciated and that there were people who were taking care of him. He felt extremely close to the brothers. He didn’t think he was going to die because he planned on visiting the brothers in Dubai, but once he felt ill, he just let go.

"He did say that homosexuality was very Renaissance-like for him.

He was a very eccentric being, and the nature of hiding it and hoarding it was appealing to him. "Is there anything else you feel

Throughout the film, it becomes clear that Mohasses had destructive tendencies; he ruined a lot of his own artwork, as he describes in a way that’s almost proud. Why do you think that is?

Mohasses was very disillusioned. It wasn’t just about Iran, although he did go back there once and tried living there but couldn’t. And it wasn’t just about the Islamic Republic but more about people’s frame of mind. He felt the same way about Rome. He listened to the news every day, and it pained him to hear of all the injustice in the world. He destroyed his work because he didn’t want to leave anything behind for such a cruel world. He didn’t want immortality for himself, so he didn’t want it for his artwork.

boyfriends. He wasn’t shy about it. He was married to a woman at some point, and then he was divorced. I want to say that the society didn’t accept homosexuality and that had some effect, but honestly, I don’t think he really cared. It’s one of those questions that I really don’t know the answer to. The fact that he got married says something on the one hand, but the fact that he was so open about his homosexuality makes me wonder.

He did say that homosexuality was very Renaissance-like for him. He was a very eccentric being, and the nature of hiding it and hoarding it was appealing to him.

Throughout the documentary, Mitra asked Mohasses several times why he drew so many fish, and he never gave

the audience of this film should know?

The biggest fulfillment for me as a producer was introducing Mohasses to an audience who would not have normally known about him.

I think he deserves to be known, not just as an artist but also a philosopher and thinker.

He was such an intriguing person that it’s so satisfying to have this documentation. I have watched the film so many times, but once in a while I want to go back and watch it again just to learn from him. Everything was a work of art for him: the way you walked, the way you talked, the way you held your food. Mitra changed the way she walked because she didn’t want to disturb him. So it’s fascinating to know somebody like that and to have this documentation that we can go back on and learn from.

PERSPECTIVE 19

Feature

The Reality Behind the ‘Rich Kids of Tehran’

By Shayaun Nejad Courtesy of Rich Kids of Tehran

Despite widespread Western misconceptions of what life in the Middle East looks like, the Rich Kids of Tehran Instagram page allowed for upper-class Iranian youth to showcase their glamorous lifestyles. The account launched around September 2014 and quickly gained 100,000 followers with hundreds of pictures boasting young men with gold-plated Maseratis, scantilyclad women, house parties, and luxury designer brands. With extensive global media attention, the account had the opportunity to display a side of Iran that is seldom shown on the media. Although the creators of the page stated that their intentions were to show the world a more “luxurious” side of Tehran, this is a direct contrast to the fact that half of Iran’s urban population lives below the poverty line. With this in mind and the display of flagrant violations of Iran’s social laws, the account came under fire from a multitude of different outlets and had to eventually delete all of its images.

Even if the pictures exhibited violations of dress codes and an underground drinking culture, many of the subjects are

children of Iran’s business elite, rendering them untouchable by the regime’s enforcements. It is also worthy to note that the page claims not all the images were taken in Iran. The initial intentions of the page went awry, but allowed for global recognition of the socioeconomic divide and the assumed immunity from social laws that the members of Iran’s elite possess.

The page also helped break down misconceptions about the power of the Islamic Republic’s ability to enforce its strict social laws. According to the World Health Organization’s statistics, Iranians drink alcohol at 35 liters or more/year; Iran’ ranks around 19th in the world in alcoholics per capita, ahead of Germany, Russia, Britain, and USA. The Iranian government denies these statistics and according to their official records, no one drinks alcohol in an attempt to buttress an illusion of power. The images found in The Rich Kids of Tehran also help illustrate the rebellious sentiments of the youth, as two-thirds of the Iranian population are under the age of 35.

It appears that amongst the younger

populations, religious and social values are being ignored and flagrantly broken.

Thus, the biggest challenge to the Iranian social conservatives might be their own offspring.

In addition to the inefficiency of social enforcement, the page helps highlight a huge gap in socioeconomic standing in Iran as well. Pages like Poor Kids of Tehran showcase what it is like to live in Tehran’s slums as a reactionary message to that of The Rich Kids’. The Islamic Republic again refuses to publish any data regarding poverty levels, but according to PBS, government research showed that around half of Iran’s urban population lives under the poverty line. Despite strict economic sanctions, the pictures on the Rich Kids of Tehran show that they are relatively unscathed by the same economic struggle that affects the poor.

What this page ultimately show us is that the wealthy and well-connected have undefined parameters of hedonism in Iran, limited only by the confines of their mansions and villas, hosting a lifestyle of opulence and freedom that is otherwise inaccessible to the rest of the population.

Thomas, Emily. (2014, October 7). ‘Rich Kids of Tehran’ Instagram page raises eyebrow’. Retrieved from http://www.huffingtonpost.com 5World Health Organization/World Health Organization Regional Office for the Eastern Mediterranean Questionnaire for Regional Situation Analysis on Drug Abuse 2003.

Cairo, WHO Regional Office for the Eastern Mediterranean. 6Homylafayette. (2011, March 04). Iran’s Cities a Sea of Poverty. Retrieved from http://pbs.org 4

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Feature

Dignifying a Divisive Identity As an Iranian-American, it is difficult not to pay constant attention to the current status of the Middle East with all the talk of the Israeli-Palestinian Conflict, ISIS, and not to mention, the continuing nuclear negotiations between the U.S. and Iran.

Personally, I’ve found it fairly easy to get caught up in the nuances and politics of these conflicts – attempting to untangle the various knots only to find new ones forming along the peripheries. It wasn’t until I had an opportunity to hear Vali Nasr, a scholar of the Middle East, speak at the Berkeley Forum in early March 2015 that I realized where I had failed to look from the beginning. The scope of all the various conflicts in the Middle East can be tied back to something much more internalized and personal than any form of politics or foreign policy – and that is identity. Vali Nasr’s engaging critique of the tensions throughout the Middle East brought me back to the importance of identity as he explained how critical identity is as a source of such conflicts. It’s remarkable how easy it is to forget about a concept that, fundamentally, is supposed to define the essence of one’s being. Through the same manner in which many tend to forget the ethnic, religious, and cultural factors behind the issues present in the Middle East, I think that the youth of our time who have come in possession of a hyphenated identity also tend to forget themselves as well.

A hyphenated identity is a provoking identity. Author Toni Morrison defines it explicitly but accurately stating: “In this country American means white, everyone else has to hyphenate” (Morrison 1992).

What I have discovered though, from taking on an Iranian-American identity, is that severe implications result from hyphenating one’s identity.

The sense of “otherness” my dualistic identity has appropriated me to this day never seemed to manifest itself when I was in my younger years. Sure, my elementary school counterparts thought it was odd that my sandwiches generally contained lamb tongue over the conventional PB & J, and yeah both my friends and I found

my parents’ dejection of sleepovers to be frustrating, but I still never managed to see myself, my family, nor our practices and habits as unconventional. Partial to my grade school vocabulary, I only saw us as unique - not different. Just as all my grade school teachers had taught me, each and every one of my friends came from a unique family with unique practices – myself included. This was all true up until I entered middle school. My first experience with “otherness” developed very quickly and at the core of its development was one word, a word that haunts me to this day: “terrorist.” From sixth grade until high school, I faced a domain of peers who had chosen this derogatory term in order to assign me an identity that I myself did not choose; they chose to define me under a stereotype. Against my own will, they had transformed me into the “other.”

The sense of otherness only continued to haunt me throughout my adolescent years. The jokes about whether or not I was planting bombs became so commonplace, the derogatory terms were used so frequently, that I began to question my Iranian-American identity altogether – did my peers and subsequently my society see me as friend or foe? I mean, as far as the everyday language I spoke and social norms I followed, I was an American; I was one of them and not a cast off to be known as “the other.” However, I soon began to realize that my American upbringing could not overshadow the fact that I explicitly give away the Iranian half of my dualistic identity as soon as I walk into a room.

I realize that in America, I give away my otherness before anything else – just because of the way I look. My external appearance showcases tan skin, curly black hair, and a prominent nose. Around my neck, I bear a Farvahar instead of the typical Anglo-American symbol of a cross.

What I once thought made me unique I now recognized as a driving force behind the appropriation of stereotypes onto my personal identity.

And that brings me back to the idea of friend or foe. Given the state of IranianAmerican foreign relations throughout the

By Roya Azarkeyvan

past twenty years of my existence, I have felt myself constantly walking on eggshells from the time I became bombarded by that toxic word. My identity is comprised of two sides that, for as long as I’ve lived, have been opposed to one another. Am I friend or foe? Considering Iran and America have not been the best of friends, I questioned if I had to take a side. Which side do I take?

How can I even take a side when I consider the dualism of my identity to be imperative to my existence? By that I mean, I live the Iranian-American identity every day and strongly affirm the belief that I can never choose to exclusively live just one side of it without compromising the entire essence of my being. Asking me the question “Who are you?” always transforms itself into a perplexity for me. I don’t know who I am.

I feel at odds with myself. The implications are that I feel like a living contradiction some days. As long as foreign relations between the U.S. and Iran are at odds, I feel that I will continue to feel at odds with myself. My dualistic upbringing tethers me. The reality is that my identity revolves around constant nuclear threats and nuclear deals - around the stereotypes of terrorist and exploitative capitalist, neither of which reflect sentiments that resonate with me.

Even though this internalized identity crisis produces significant tensions for me, I realize I can never give up one side of the dualistic identity in order to fully assimilate to the other. I feel devoted to the Iranian-American identity because I see myself as a living representation of the potential of the future. The IranianAmerican identity is not a simple choice for me to toy with to my liking; the IranianAmerican identity signifies an important and current reality. The realization of my identity is more important now than ever before. I am not a contradiction; in fact, I am a living embodiment of what the future could hold. I’m not saying that the history and its subsequent tension will be permanently scraped away, but maybe we’ll be approaching a period where “IranianAmerican” is seen as an ideal rather than a terror.

PERSPECTIVE 21

Reflection

History

The Brains of Ancient Persia

By Paniz Amirnasiri Courtesy of Omid Bahramfard

For most, names such as Aristotle, Archimedes, Pythagorean, and Galileo evoke familiarity as well as a sense of awe. Growing up, we studied the great achievements of these revolutionary thinkers and probably even wrote a history paper or two about them. Though less universally taught, equally accomplished individuals exist within Persian history as well. These ancient Persians played vital roles in the modernization of areas such as medicine, math, and philosophy, each facilitating progress in their respective fields.

Abu Ali Sina (980 -1037 CE)

A portfolio including writings on medicine, philosophy, astronomy, alchemy, geography, geology, psychology, Islamic theology, logic, mathematics, physics, and poetry is to be expected from any polymath.

What sets Abu Ali Sina apart, however, is his memorization of the entire Quran by the age of 10; or perhaps, his study of medicine beginning at the age of thirteen, which within three years resulted in the treatment of patients. The spirit of Abu Ali Sina is perhaps best epitomized by the following anecdote: after successfully curing the king of the prevailing Samanid empire at the age of seventeen, despite the failure of various physicians to do so, his only request in return was access to the king’s library.

22 PERSPECTIVE

Though it began on a positive note, Abu Ali Sina’s relation to the realm of politics and government underwent much tribulation throughout his life due to the nature of the times in which he lived.

Turbulence and chaos dominated as power alternated between rulers. The result was a pattern of hiding, imprisonment, and escape for the great thinker. Yet, despite the political turmoil, he was able to maintain focus on what he cherished most: knowledge.

Abu Ali Sina produced two renowned books, The Canon of Medicine and The Book of Healing, which contributed immensely to the field of medicine.

The latter is an expansive encyclopedia that delves into topics such as logic, physics, mathematics, and metaphysics. The former is considered fundamental and essential to the field of medicine. In over a million words, his book was a culmination of the vast knowledge Abu Ali Sina had derived from his readings, intermingled with this personal findings and observations. According to an article by the Iran Chamber Society, “His important

original contribution includes such advances as recognition of the contagious nature of phthisis and tuberculosis; distribution of diseases by water and soil, and interaction between psychology and health.”[2] For its time, this book was monumental. As mentioned in an article on Sciencemuseum.org, “…it was printed in Europe at least 60 times between 1516 and 1574. The Canon remained a major authority for medical students in both the Islamic world and Europe until well into the 1700s.”[3] Despite his efforts to cure himself using the field he had helped cultivate, Abu Ali Sina became ill and passed away at the age of 57.

Unsurprisingly, his legacy far surpassed his life thanks to his considerable additions to the pot of knowledge of the world.

Abu Arrayhan Muhammad ibn Ahmad al-Biruni (973 – 1048 CE)

Reflection

Living around the same time as Abu Ali Sina, and, in fact, taking part in letter correspondences with him, Abu Arrayhan Muhammad ibn Ahmad al-Biruni was a second genius with great influence in the fields of astronomy and mathematics among others.

Al-Biruni lived in the same era of political turmoil, but unlike Abu Ali Sina, failed to escape when forced to join the court of the conquering warrior Mahmud. Despite being trapped as a prisoner, al-Biruni made the best of a tragic situation. Forced to follow Mahmud on a campaign in northern India that lasted twenty years, al-Biruni used his observations to compose two major texts that detailed science, literature, religion, and customs in India.[4] Al-Qanun al-Masudi (The Masud Canon), another major work, covered the field of astronomy, combining prior knowledge from other authors such as Ptolemy with his personal conclusions and observations. According to the Encyclopedia Britannica, as a part of said personal additions, al-Biruni “... developed new algebraic techniques for the solution of third-degree equations, drew a subtle distinction between the motion of the solar apogee and the motion of precession, and explored many other applied mathematical techniques to achieve much higher precision and ease of use of tabulated astronomical results.”[5] Additionally, as noted by J. O’Connor and E. Robertson of the University of St. Andrews, “He introduced techniques to measure the earth and distances on it using triangulation.

He found the radius of the earth to be 6339.6 km, a value not obtained in the West until the 16th century.”[6] In total, al-Biruni is estimated to have written somewhere around 146 works and 13,000 folios.[7] Without a doubt, this level of devotion to sharing his knowledge earned him

Reflection the statue that sits outside the United Nations Office in Vienna as part of the Persian Scholars Pavilion, along with that of Ali Sina.

Omar Khayyam (1044 – 1123 CE)

While astronomy, mathematics, physics, and philosophy were among the interests of Omar Khayyam, he is perhaps most known for his famous “Rubaiyat,” or quatrains, which were translated into English by Edward Fitzgerald in the mid-1800s. According to Encyclopedia Britannica, “These quatrains have been translated into almost every major language and are largely responsible for colouring European ideas about Persian poetry.”[8] Covering themes such as transience, predestination, moral virtue, and mercy, this work has established itself as “one of the most popular classics of world literature.”[9] Though his poetry has certainly had a

lasting presence, Omar Khayyam made several other notable contributions during his lifetime. In 1079 CE, he helped create a solar calendar that designated the length of a year as 365.24219858156 days (in present day, this number is somewhere around 365.242190) – clearly, attention to accuracy was important to the great thinker.[10]

Muhammad ibn Zakariya alRazi (864 – 930 CE)

Muhammad ibn Zakariya al-Razi was

fascinated by music, mathematics, astronomy, chemistry, philosophy, and medicine. His treatise on chicken pox and smallpox was the first of its kind and was translated into several European languages. Al-Razi “went beyond his predecessors in dividing substances into plants, animals and minerals, thus in a way opening the way for inorganic and organic chemistry.

By and large, this classification of the three kingdoms still holds.”[11] In the realm of chemistry, al-Razi is known for perfecting distillation and extraction techniques. These developments resulted in his discovery of sulfuric acid and alcohol. In fact, discoveries were common throughout the life of al-Razi. For example, he was the first to point out pupillary dilation and contraction in response to light and the first to recognize that fevers act as defense mechanisms as the body attacks the disease.

Al-Razi’s proficiency in the field of medicine earned him a spot as the head of the Muqtadari Hospital in Baghdad.

According to Modanlou, “It has been written that the same Caliph [who appointed him head of Muqtadari Hospital] asked Razi to build a hospital, but before doing so, Razi put fresh pieces of meat in various places in the city of Baghdad, Iraq. Some time later, he checked each piece of meat to find the least spoiled one and chose that place as the site for the hospital.”[12] To top it all off, al-Razi is noted as being incredibly generous and willing to extend his knowledge and treatment to the poor.

Though, unfortunately, these masterminds have never graced the covers of (let alone been mentioned in) any of my textbooks, it is fulfilling to realize that their influence permeates the fields to which they contributed.

[1] "Iranian Personalities: Abu Ali Sina." Iran Chamber. Iran Chamber Society, n.d. Web. 14 Mar. 2015. [2] Same as above.[3] "Abu Ali Al-Husayn Ibn Abdullah Ibn Sina (Ibn Sina) (980-1037 CE)." Brought to Life - Sciencemuseum.org.uk. Science Museum, London, n.d. Web. 14 Mar. 2015. [4] "Al-Biruni." Trincoll.edu. Trinity College, n.d.

Web. 14 Mar. 2015. [5] "al-Biruni". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 05 Apr. 2015. [6] O'Connor, J. J., and E. F. Robertson. "Abu Arrayhan Muhammad Ibn Ahmad Al-Biruni." Al-Biruni Biography. University of St. Andrews, Scotland, n.d. Web. 15 Mar. 2015. [7] “Al Biruni.” Trincoll.edu [8] "Omar Khayyam". Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2015. Web. 05 Apr. 2015 . [9] "Omar Khayyam: The Astronomer - Mathematician - Poet of Iran." Iran Chamber. Iran Chamber Society, n.d. Web. 14 Mar. 2015. . [10] Same as above. [11] "Al-Razi." Trincoll. edu. Trinity College, n.d. Web. 16 Mar. 2015. [12] Modanlou, Houchang D., MD. "A Tribute to Zakariya Razi (865 – 925 AD), An Iranian Pioneer Scholar." History of Medicine A Tribute to Zakariya Razi (865 – 925 AD), An Iranian Pioneer Scholar 11.6 (2008): 673-77. Ams.ac.ir. Archives of Iranian Medicine. Web. 15 Mar. 2015.

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