the guide FRIDAY, SEPTEMBER 26, 2014
Traditions Evolve as Campus Grows The origins of students’ favorite Georgetown rituals PENNY HUNG Hoya Staff Writer
T
he Georgetown student experience is one defined by tradition, from those with Jesuit foundations to Homecoming to sitting on John Carroll’s lap. “I think when you first step foot on campus, you think about the 50 things you have to do, like Rangila, eat a Five Guys burger, run to the monuments, pull an all-nighter or whatever,” Blue & Gray Tour Guides President Parnia Zahedi (COL ’15) said. “I think for a medium-sized campus, it makes it smaller, and it gives it a more close-knit feel. It gives you common themes to talk about.” But what is tradition? In common usage, tradition is implied to be rooted in history, with ancient origins in the days of ivy-clad walls. It connects generations, binding them with a common culture, common practices and common goals. Yet today, many of the traditions we seemingly take for granted as being long established are, in fact, relatively new.
THE HOYA ARCHIVES
See TRADITIONS, B2
THIS WEEK EXHIBIT REVIEW
LIFESTYLE
The Art of Arabic Script
Exhibit celebrates the skill and beauty of Persian calligraphy NICK BIGGS-CHIROPOLOS Special to The Hoya
Telling Our Stories
New university online project plans to follow 11 students through their daily lives on the Hilltop for nine months. B3
Exploring Skills of Arabic Script
A new exhibit at the Freer Sackler Gallery examines the artistry behind the Persian Nasta’liq calligraphy. B4
FOOD & DRINK
Vietnamese Spot Discovered
Local underground restaurant Simply Banh Mi delivers surprisingly high-quality Vietnamese dishes. B5
ARTS & ENTERTAINMENT
Tracks of Pure Joy
The debut album by Vance Joy combines addictive lyrics with soothing vocals. B6
THEHOYA.COM/ GUIDE @thehoyaguide
There are many who see the foreign symbols of the Arabic alphabet as art themselves, in contrast to the bland letters of our own modern English alphabet. The sequences of curves and dots that make up the Arabic figures give it a creative nature. Historically, Persian calligraphers used flat-tipped pens, expertly constructing both thick and thin lines in Persian script to produce this artistic sense. The Arthur M. Sackler Gallery, 1050 Independence Ave. SW, is currently holding an art exhibit called “Nasta’liq: The Genius of Persian Calligraphy,” which showcases the innate beauty of this alphabet. Nasta’liq is a calligraphic script that developed in 14thcentury Persia. Originally a style of writing, nasta’liq has developed into an artistic expression of Persian culture. The exhibit focuses on four of the most influential nasta’liq calligraphists who lived between the 14th and 16th centuries. The first is Mir Ali Tabrizi, the inventor of this script form. Next is Sultan Ali Mashhadi, referred to as the “sultan of calligraphers” in gallery descriptions, who worked as a writer and a teacher and developed new, more technical rules of calligraphy. His student Mir Ali Haravi became notable — surpassing the sultan himself, according to some historians — and produced large-scale qit’as (fragments of poetry). However, the authenticity of these manuscripts is unverified, as the Sultan allowed his pupils to sign his name on their own pieces, which already closely imitated his work. Last, but certainly not least, the apparent master of nasta’liq is the last of the four to be presented. Mir Imad al-Hasani, a 16thcentury man who is still regarded in Iran today as the greatest calligrapher, was interestingly murdered in 1615. Some experts claim that it’s possible he was assassinated
FREER SACKLER GALLERY
The “Nasta’liq” exhibit features gorgeous examples of ancient Persian calligraphy, including this folio, attributed in part to Sultan Ali Mashhadi. under orders of a rival calligrapher named Ali Riza. The nasta’liq exhibit is not large, featuring about 20 works and filling only two small rooms in the Sackler Gallery. However, with most of the gallery in transition between exhibits, this is one of only a few displays currently available to audiences. Its stated purpose is to describe the story of nasta’liq’s shift from a written form of communication to an artistic form of expres-
sion. The exhibit includes a brief description of nasta’liq’s transformation as well as a short video of calligrapher Manzar Moghbeli writing characters with a traditional calligraphy pen and dipped ink. The video in particular helps the audience understand the difference between calligraphy and our own style of writing. Making this distinction can See CALLIGRAPHY, B4