Tirgan Magazine 2015 by Tirgan

‫دست در دست هم نهيم به مهر‪...‬‬ ‫ﺑﺎ اﻫﺪای ﮐﻤﮏﻫﺎی ﻧﻘﺪی ﺧﻮد در ﺑﺎﻟﻨﺪﮔﯽ و ﺗﺪاوم‬

‫تورنتو‬ ‫كانادا‬

‫‪ ۲۰‬اىل ‪۲۳‬‬ ‫اگوست‬ ‫‪۲۰۱۵‬‬

‫ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن ﺳﻬﯿﻢ ﺑﺎﺷﯿﻢ‪.‬‬

‫ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن ﺟﻠﻮهﮔﺎه ﻓﺮﻫﻨﮓ و ﻫﻨﺮ ﭘﻮﯾﺎی اﯾﺮاﻧﯽ در ﻋﺮﺻﻪ ﺟﻬﺎﻧﯽﺳﺖ و‬ ‫ﻣﯿﻌﺎدﮔﺎﻫﯽ ﮐﻪ زﯾﺒﺎﯾﯽ و ﺷﮑﻮه ﻫﻨﺮ اﯾﺮان را ﺑﺎ اﻓﺘﺨﺎر و ﺳﺮور ﺟﺸﻦ ﺑﮕﯿﺮﯾﻢ‪.‬‬ ‫ﻫﻤﺪﻟﯽ و ﭘﺸﺘﯿﺒﺎﻧﯽ ﺷﻤﺎ ﺑﻪ اﯾﻦ ﻋﻈﻤﺖ و ﺷﮑﻮه ﺟﺎوداﻧﮕﯽ ﻣﯽﺑﺨﺸﺪ‪.‬‬

‫درﺑﺎره ﻧﺤﻮه ﮐﻤﮏ رﺳﺎﻧﯽ ﺑﻪ آدرس زﯾﺮ ﻣﺮاﺟﻌﻪ ﻧﻤﺎﺋﯿﺪ‬ ‫ﺑﺮای اﻃﻼﻋﺎت ﺑﯿﺸﺘﺮ‬ ‫ٔ‬

‫‪www.tirgan.ca/donation | 416.640.2412‬‬

MASTHEAD

English Editor

Behzad Sarmadi

Editor-In-Chief

Saeed Valadbaygi

Art Director

Katayoon Toufighi

Photo Editor

Setareh Sarmadi

Assistant Editors

Anahita Ghaffari, Sanaz Haghverdi

Translators

Behzad Sarmadi, Samaneh Tavasolli, Saeed Valadbaygi

Designers

Cassra Abedini, Asal Bassir, Hadi Dinevari, Shiva Tadayoni

Cover illustration

Arash Tanhai

Contributing Artists

Siamak Abbasi, Cassra Abedini, Bahram Aghakhan, Mania Akbari, Babak Amini, Darya Dadvar, Mehdi Ghadyanloo, Manelli Jamal, Pegah Lari, Asal Malekzadeh, Bagher Moazen, Ariana Bundy, Sunny Ravanbach, Nima Kiann, Mahdieh Mohammadkhani, Hamed Nikpey, Farideh Sakhaeifar, Ardalan Sarfaraz, Arash Tanhai, Simin Keramati, Shahrokh Yadegari

Contributing Writers

Cassra Abedini, Ayda Ahadiani, Behrouzh Akrei, Fardin Alikhah, Joobin Bekhrad, Touraj Daryaee, Dick Davis, Sulaiman Delsouz, Hadi Dinevari, Afshin Ghaffarian, Sasan Ghahraman, Laurel Victoria Gray, Golnoush Hassanpour, Nader Jahanfard, Simin Keramati, Sam Khosravifard, Nima Kiann, Sara Lenehan, Neda Maghbouleh, Amy Malek, Aref Mohammadi, Hamid Naficy, Hossein Raeesi, Sunny Rahbar, Mehdi Rostampour, Ebrahim Savalan, Behzad Sarmadi, Fleur Talebi, Arsh Tanhai, Mohamad Tavakoli-Targhi, Ehsan Yarshater & Rustin Zarkar

Contributing Organizations

Edinburgh Iranian Festival Noor Iranian Film Festival Tabestoon Festival Farhang Foundation Iranian Alliances Across Borders (IAAB) Toronto International Film Festival Fribourg International Film Festival

Special thanks to

Mehrdad Ariannejad, CEO, Tirgan Festival Nima Ahmadi, Marketing Director, Tirgan Festival

Photograph by Farideh Sakhaeifar from the series Workers are taking photographs

tirgan magazine 2015

TIRGAN MAGAZINE AUGUST 2015

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TIRGAN MAGAZINE AUGUST 2015

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MESSAGE

message from the editor (english section)

Behzad Sarmadi Editor Tirgan Magazine

Youâ&#x20AC;&#x2122;re reading the least important page of this magazine. What I really want to tell you, as an Editor, is waiting in the pages that follow. You may be unfamiliar with Iranian art and culture, but you may still recognize the themes that many of these pages address. These are the questions and entanglements that result from migration, life in a diaspora, and the production of art in this context. You may be familiar with Iranian art and culture, but you may still find some of the artistic endeavours and analysis in the pages that follow to be new. These include works and performances that will be featured in the Tirgan festival this year, and analysis of some of the words and things that often feature in the everyday lives of Iranian-Canadians. And between it all you will find the voices, collective effort, and generosity of the Tirgan volunteers and contributors who made this magazine possible, again. So please, turn the page.

TIRGAN MAGAZINE AUGUST 2015

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Special thanks to our 2015 Sponsors GOVERNMENT GRANTS

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KEYWORDS

are a glimpse into cultural complexity. The articles in this section each address one, and elaborate their origins, the kinds of work we rely on them to do, and the social contexts in which they both circulate and help hold together. And what better way to begin the magazine of an Iranian arts and culture festival, hosted in Toronto, with “homeland” as this yearʼs theme, than by talking about “homeland”, “diaspora” and “culture” as keywords?

KEYWORDS

By Mohamad Tavakoli-Targhi • Translated by Behzad Sarmadi MOHAMAD TAVAKOLI-TARGHI is Professor at the department 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. He has served on the editorial board of Iranian Studies (the journal of the International Society for Iranian Studies) and is the Editor-in-Chief of Persian journal Iran Nameh.

Imagining Iran as a “homeland” (vatan), while imagining this homeland as a mother figure and Iranians as brothers and sisters was the result of a new political discourse coalescing on the verge of Iran’s Constitutional Revolution (1905-1907). This movement involved the reconsideration of “royal authority” and “the commons”, giving rise to the emergent notions of Iranian “spirit”, “character”, “pride”, and “zeal”. The exhibition of patriotic “honour”, for example, granted women access to the “public sphere”, while rendering “the public” into a powerful nation possessed with rights-bearing citizens rather than the “flock” of the king, which it had thought to be until then. This gradual merging of the spaces of men and women, and the relative easing of sexual discrimination, were among the most important consequences of this discourse. It worked to cultivate a sense of national intimacy between men and women by describing the “homeland” as a kind of shared interior. The term vatan came to represent this “homeland”. Yet it actually bore several meanings in pre-modern writings, implying both a place and non-place. These included a house, a birthplace, a place of settlement, and even a grave as it appeared in literary, historical, religious texts. For example, in The Tale of the Mermaid and Her Worldly Travels by religious scholar Mullah Ahmad Naraqi—written in the 1820s—vatan is employed as a “house”. Upon her return, the mermaid recounts the “wonders of the world” for her people. Among them were the structures of “bricks and mortar” that humans had erected: Onto them their hearts they attached, calling them vatan, And therein they did rest, bodies but to no end. The Iranian poet Rumi (1207-1273) had similarly described this relation to vatan in terms of foolishness and wisdom in his poem The Three Fish. Upon the arrival of fishermen, the wise fish decided to abandon their small pond and swim for “the ocean’s depth”. But the foolish fish, infatuated with pride, chose not do so and ended up being fried. Rumi regarded this ability to sensibly discern one’s circumstances

TIRGAN MAGAZINE AUGUST 2015

and make decisions accordingly as a form of vatan, namely “knowing vatan” (“vatan-shen si”): Love of vatan, however true, first know vatan, tis worth it too. There are numerous appeals to such sensibility, in terms of vatan, in the history of Persian and Arabic literature. The poet Saadi (1210-1291), for example, acknowledges this sense of attachment to vatan as a “home”, but also notes: O Saadi tis proverb about love for vatan be right, But a hard death for your natal land you’re not obliged. Persian memoirs have often relied on varied meanings of vatan and selectively employed them; apparent in compound terms such as “tarh-i vatan rikhtan” (planning to settle), “vatun guzini” (selecting a place of residence), “vatan kardan” (place-making), etc. The onset of modernity, however, relegated this varied usage of vatan. Instead, the adoration of vatan (“vatandusti”) and attachment to the nation (Iran-parasti) were emphasized. These modern conceptions of vatan coincided with the centralization of governmental power, the emergence of a “public sphere”, commitment to “public welfare”, and the demarcation of national territory. This formal consolidation of Iran’s borders was the result of a series of political treaties (Gulistan 1813, Turkmanchay 1828, and Erzurum 1823, 1847). Without this official enclosure of political territory, the consolidation of Iran’s historical and cultural identity would not have been possible. The wars and crises of the early 1900s saw Iran’s monarchs focus on strengthening state power, modernizing the army and police, while investing in education and science. This resulted in re-envisioning “government” as an institutional and public-facing apparatus, rather than the private domain of kings and their kin. This flurry of official efforts and the institutionalization of the nation-state as a coherent body was accelerated with the

KEYWORDS

standardization of government news media. The establishment of newspapers (e.g. Vãqayi‘-i Ittifãqiyah, Iran, Mirikh, etc.) worked to publicize news and circulate it beyond the limited purview of elites. Proclamations and public notifications elaborating the art of government pried open the enclosed domain of the royal court, which was once taken for granted as divinely appointed. Public notifications about governmental policies and appointments, along with the circulation of “counter-official” opinions and theses gradually transformed conceptions about “the court” and “the commons”. This eventually saw the privacy of the royal court transposed onto the lives of common people and registered as “individual privacy”. Counter-official newspapers and associations played a key role in this process through their comprehensive critique of governmental policies. Just as the government worked to influence public thought, people strove to influence governmental policies. This reciprocal process worked to institutionalize the public sphere and facilitate discussion of “the general interest” and “public welfare”. Such discourse had the effect of domesticating vatan as a familial space; a shared “home”; a “homeland”. And along with the institutionalization of the royal court, the king was now imagined as a crowned father figure. In summary, with news publications and the institutionalization of the government, consolidation of borders, general healthcare and education, and the organization of policing, the crown assumed a public character. New educational institutions (like the Dãr al Fonun) fostered persons who were critically engaged with these nascent public institutions and secret societies. The latter included Oblivion House (Faramushkhanah) and its successor the Society of Humanity (Jami’ah-yi Adamiyat). Such societies proliferated and offered a counter-official forum in which to debate politics and the art of government. Public news media fostered among the masses a widespread sense of collective responsibility about the nation’s affairs, and the desire to evaluate them. The notion of “the general interest” was often invoked in this public discourse. It featured heavily in the Tobacco Protests of 1891-1892 (a revolt against colonial economic policies) and the confrontations between people and the government. It was the clarion call of these publications as they increasingly criticized the government for failing to defend it, while considering themselves as its guardians. On the one hand, governmental power and kingly rule was expanded by organized efforts to advance “the general interest”. And on the other hand, this notion provided opponents of the government with an effective slogan. Those who were content with the affairs of the “homeland”

(vatan) regarded the Shah as its generous father figure. And those who were discontent and thought the state of the “homeland” to be at risk envisioned it not as a “house” but as the ailing body of a mother. This latter view of things was widespread on the eve of the Constitutional Revolution, and the metaphor of an old mother in precarious circumstances soon overtook that of “the homeland as kind father”. The notion that Iranians were bound by a common maternal relation to their vatan, as a “homeland”, worked to strengthen conceptions of a shared public sphere and the mutually articulation of personal and national (“ham-vatan-i”) interests. With the emergence of medical metaphors around the time of the Constitutional Revolution, this gendered conception of “homeland” as a maternal figure was repeatedly invoked to be in ill health and requiring constant care. Political writings represented governmental authorities as being responsible for her chronic afflictions, while the care this maternal “homeland” required was assumed to derive from the “love” and “honour” of her children, ordinary Iranians.

THE TERM VATAN CAME TO REPRESENT THIS “HOMELAND”.

The accounts of constitutionalists told of “the deplorable condition of Iran” and “chronic ill health of our maternal homeland”. They attributed this state of affairs to the “abnormal” behaviors of Iranians, and called for their rehabilitation in the present and into the future. This was a common thread in constitutional discourse, and their publications played an important part in the cultivating of a new sense of self: one that felt attached and committed to welfare of their “homeland” in the same way that were to their actual mother and the welfare of their family. This conception of self differed markedly with one that was focused on salvation, and life in the hereafter. The latter regarded “everlasting and eternal comfort” to be the purview of the next world, and strove toward ensuring their arrival into it through personal redemption. But the kind of self espoused by constitutionalist discourse regarded personal redemption to be synonymous with the recovery and redemption of Iran, as one’s “homeland”. TIRGAN MAGAZINE AUGUST 2015

KEYWORDS

BEHZAD SARMADI (@b_sarmadi) is a Ph.D. Candidate in cultural anthropology at the University of Toronto. His research focuses on Iranian migration and urban transformation in the Persian Gulf, with particular attention to Dubai. He is an Editor of Ajam Media Collective: an online space dedicated to documenting and analyzing social-cultural trends in Iranian, Central Asian, and Diaspora communities.

Like that awkward guest at your party, you’re never sure enough about “culture” to leave it alone. It lingers in your peripheral vision. Every so often it will require your attention. And so you remain ready to give reasons for it: “don’t be offended, in my culture this isn’t a big deal”. And just like that guest it turns up everywhere, makes demands, and is easily offended. You certainly can’t just ask it to leave or give it the silent treatment (you can try but it’ll get messy). So there you are: obliged toward “culture”, but unsure about the limits and criteria of this obligation. Just what is it about this mercurial concept that makes for such awkward intimacy? Some of the answer lies in the uncanny range of things that “culture” can do and be. It spans great distances as it permeates the geography of nation-states (“Canadian culture”, “Iranian culture”), yet also represents the continuity of their history through the centuries when bits of ornament are unearthed from a few feet underground. It is invoked as something commonly shared by the peoples of these geographies (like a language), yet it’s also used to distinguish some of them from others (“he’s not very cultured, you can tell by his accent”). It’s often described as an intangible essence (a “mentality”, “feeling” or “ethos”), yet it’s equally understood in very tangible terms as the object of preservation (“cultural heritage”), a vehicle for domination (“cultural imperialism”), the stuff of development (“Canada Cultural Investment Fund”), and even the subject of increasingly elaborate copyright laws (“cultural property”). During the 1980s—coinciding with the increasing affordability of travel, advances in communication technologies, and the increase in circular migration as migrants remained connected to their “homelands”—this uncanny nature of “culture” emerged as the focus of much debate in the social sciences. The consensus today is that “culture” is not a coherent and timeless thing that is always bound to a certain place. It is contested, and though it can materialize in things and actions it always exceeds them as well. Academics today prefer to focus on the politics of “culture”: the claims that it is invoked to make, and by whom. “Culture” is key to our sense of national identity, for example, and regularly features in the everyday conversations that articulate it. Wait for it the next time you discuss whether television programming requires homegrown content, if Black Friday will eventually overshadow Boxing Day, or hear someone rant about the service at that “ethnic” restaurant. But references to “culture” don’t just describe the nation. Rather, it is actually this shared concern and talk about “culture” itself—the description of its contents, celebration of its diversity, speculation about its future, etc.—that keeps within view a larger collective like “Canada” or “Iran”. Talk about “culture” is ubiquitous because this word functions like the conceptual glue holding these larger-than-life collectives intact in our imagination, making them available for us (this author and his readers) to feel beholden to, alienated from, work to salvage, reform, reject, and so on. The adventure of this concept in recent Iranian history is a case in point. It’s been called upon to help assemble various iterations of Iran. But while visions of the Iranian nation and the values of its governments radically changed, the conceptual grammar remained the same: “culture”. A (very) brief overview will suffice.

TIRGAN MAGAZINE AUGUST 2015

During the Pahlavi dynasty (the monarchical government prior to the revolution), the concept of “culture” was officially deployed toward the twin ends of modernization and the legitimation of monarchy. In the 1930s the Iranian Language Academy adopted a Persian equivalent for the English “culture” (farhang), and the Centre for Iranian Anthropology was established in order to study it in Iran. In the 1960s and 1970s, this study of “culture” was further prioritized. It usually focused on either folklore and archeology, or the task of providing sociological data on rural populations for development projects and on nomadic tribes for programs to permanently settle them. The former reinforced a pre-Islamic cultural heritage and furnished establishment historians with materials to trace the continuity of the nation, while the latter reinforced the work of technocrats aiming to transform this nation. Following the revolution (1978-1979), the Islamic Republic initially disregarded this academic study of “culture” for being so closely associated with the ideology and objectives of the previous government. The revolution was propagated as morally rehabilitating the nation in the face of “Westernization”, and requiring religion rather than ancient history to this end. The field of anthropology was marginalized. But the notion of “culture” was retained. When this “rehabilitation” involved purging universities—they were closed down between 1981-1983—it was officially as part of a “cultural revolution” and coordinated by a newly minted Committee for Cultural Revolution; in 1984 this committee gave way to the enduring Supreme Council of the Cultural Revolution. In the early 1990s the notion of “cultural invasion” was officially adopted in governmental discourse to emphasize this vision of Iranian society as morally besieged by Western “culture”. Later in the 1990s the Islamic Republic began to revise its position on Iran’s pre-Islamic history and adopted a more nationalistic cultural policy. The academic study of culture was once again expanded (e.g.: 465 books focusing on folklore were published between 1979 and 2002). This cursory sketch is enough to remind us that “culture” is intimately implicated in national politics; it provides the common language in which competing visions of ‘the nation’ confront one another. There are other ways of probing the uses and politics of “culture” as a keyword. Canadian readers will be familiar with “multiculturalism” and the talk about reconciling a coherent national identity while accommodating a cultural “mosaic”, and whether building a giant statute of a mother figure is the most appropriate way to remember fallen soldiers. Iranian readers will be familiar with the irony of arresting a group of youth for uploading their version of Pharrell Williams’ Happy, while officially allowing an Iranian duplication of Modern Family. Then there’s also the matter of how different generations of Iranians in the diaspora jostle with each other over what it means to be a “hyphenated” Iranian. The list goes on. My point here has been to highlight the resiliency of this concept— warts and all—in framing our sense of who we are in relation to others, and the larger-than-life collectives that are assembled and reassembled in our name. That awkward guest, in turns out, lingers in the peripheral vision of everyone else at the party too: binding us even as we take turns engaging and avoiding him or her.

KEYWORDS

By Amy Malek

AMY MALEK is an anthropologist and lecturer at the University of California, Los Angeles. She earned her Ph.D. in anthropology at UCLA and holds an M.A. in Near Eastern Studies from New York University. Her research interests include migration and diaspora, and she specializes in cultural production in Iranian communities in North America and Europe, including Toronto (and its remarkable Tirgan).

Iranians who have emigrated since the 1970s have scattered to nearly every continent, creating a global diaspora estimated at between 4 and 6 million strong. Communities in the Iranian diaspora are concentrated in several global urban centers, such as Los Angeles, London, Stockholm, Hamburg, Dubai, Kuala Lumpur, Sydney, and, of course, Toronto. While newer destinations like Kuala Lumpur have become home to recent Iranian immigrants, more established communities of diasporic Iranians, like Los Angeles, are home not only to immigrants (the first generation) but to multiple generations of their descendants, including immigrants’ children (the second generation), and their children’s children (the third generation). The ancient Greek usage of the word diaspora (meaning “to scatter” or “to sow widely”) applied to those who emigrated from their city-states to colonize new land for the empire. The current use of diaspora builds upon this Greek meaning: when dispersed, people – like seeds – grow roots in their new environments and give rise to new communities in diverse locations. In recent decades, the term diaspora has been used to describe groups who share national, ethnic, racial, or other ties while residing outside of a shared homeland. Intrinsic to the idea of diaspora, in other words, is a sense of connection to a homeland and the development of communities with shared belonging in dispersed locales. The term Diaspora (capitalized) is used to refer to Jewish communities formed by the expulsion of Jews from Judea in ancient times. But diaspora (not capitalized) is now used by scholars, journalists, and politicians to describe populations around the world who share national, ethnic, religious, or other affiliations. These dispersed ‘communities’ emerged as a result of both voluntary and involuntary migrations and their living members may or may not have the desire to return from whence they or their ancestors came. The term has been applied as much to the widespread African diaspora (dispersed due to

TIRGAN MAGAZINE AUGUST 2015

involuntary migration during the African slave-trade) as to the Cuban diaspora (dispersed due to political and economic circumstances), and even to internally displaced populations like “the Katrina diaspora,” (describing evacuees from New Orleans after Hurricane Katrina in 2005). As the academic use of the word began to shift, scholars of diasporas focused on creating lists of characteristics used to determine whether a given group “counted” as a diaspora. Now, as the term has gained traction in everyday language beyond the ivory tower, scholars suggest that instead of using diaspora in a descriptive way, we might be better off thinking of it as a key word in everyday life. In other words, diaspora is useful precisely because individuals and their communities have found it meaningful and actually use it: it is a way of identifying themselves, of advocating for and mobilizing their communities, and of maintaining the continuing connections between groups of co-nationals, co-ethnics, or co-supplicants wherever they may be in the world. Membership in a diaspora is a process, and a matter of ongoing relationships, identifications, and practices. As people move, and move again, their identities shift and adapt in different ways and in response to different places and situations. Not everyone who immigrates to a new country necessarily becomes a diasporic subject and membership in a diaspora is neither obvious nor fixed. There is no right or wrong way to be a member of a diaspora; it is about one’s sense of belonging to a community of individuals whose identity as a community relates to a homeland, its cultural forms, and its peoples. Given the different motivations for their migrations, diasporic Iranians have varying relationships with Iran. Some cannot return to Iran for fear of persecution while others who emigrated as students or for economic reasons may travel back and forth frequently. Some diasporic Iranians would return to Iran if they could, while others choose to live outside of Iran and have no desire to return permanently. Similarly, while some diasporic Iranians view their identity as rooted in Iran, others see their transnational connections to fellow Iranians outside of Iran as more formative of their feelings of belonging. Regardless of whether diasporic Iranians travel to Iran regularly or not, strong connections to Iran and between Iranians are often maintained across generations and across borders through culture, as the pulls of cultural nostalgia and continued social networks with family and friends in Iran are often reinforced by cultural forms and productions – including music, film, literature, art, and the festivals that feature them, like Toronto’s Tirgan Festival.

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KEYWORDS

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VISUAL ARTS

canvassing

labouR What led you to conceive of such a project? Is the social world that these men inhabit one you were already familiar with?

more accessible—like a mechanic shop or a grocery store—so I just walked in and asked them to let me photograph them.

You would think that I knew what I was doing from the beginning. But in reality, “workers are taking photographs” formed in the process of photographing it. I was interested in the encounter between the camera and ordinary people. I first started asking people who I knew to come to my studio and take a picture of themselves. The results were not what I was looking for. Then I decided to go to the streets and use a white canvas (instead of white backdrop in studio) while asking random people to be my subjects. Through my interaction with people, I realized I have more power over a specific group. It was easier to convince lower-income men—blue-collar workers—to be my subject. Eventually industrial and manufacturing workshops became my destination and workers my subject, while relations of power, inequality, gender, and class became the themes of my project. As I was taking the photos, I educated myself and learnt more about these topics and what I was doing.

How did these men react to such a project, and did they have a sense of who would be viewing their pictures?

So these pictures are foregrounding class and gender, but only feature working-class men. Why not women? The workshops I chose to photograph were predominantly male, industrial environments where no woman, or very few, were working in. Another reason was that I intentionally decided to use my advantage as a female photographer from a different social class to enter workshops that are not women friendly, or the environments where men workers do not expect to see a woman, and ask workers to be the subject of my project despite their hesitation. The encounter of two traditionally oppressed groups—and I mean women and workers— from two different social classes was interesting to me.

farideh sakhaeifar

is an award winning Brooklyn-based artist. A few years ago she hit the streets of Tehran to take portraits of ordinary Iranians. She found plenty of ordinary, but not on the streets.

Talking to Farideh Sakhaeifar about her series “workers are taking pictures”

Describe the process involved. How long did this project take? Where are these places? How did you gain access? This project took about a year or more. Photos were shot in a woodshop, a stone shop, a metal shop, couple of factories and construction sites, a mechanic shop, a grocery store and a butchery. In some places like factories, I needed to know someone to give me access to; so I just asked friends or friends of friends. Some other places were

The majority of them were fine and accepted to be photographed. Sometimes it depended on the first person that I talked to. If he accepted to be photographed, the rest would be motivated to do it as well, but if one person said no, I knew that I would have a long day ahead of me and have to convince them somehow. I briefly explained the process: that they’re going to stand in front of the white background and the thing they’re holding is the cable release, they just need to press it when they’re ready. I gave them more information if they asked me questions about the technique or the reason I’m taking these photos. I also told them that in the best-case scenario, if everything works out, these photos would be shown in a gallery. Some felt a little bit uncomfortable about this. For example, a couple of Afghan workers who didn’t have work permits got suspicious and anxious that I was sent by the government to take their photos and report them. But they ended up accepting to be photographed after I explained the project to them. I think this part of the project is invisible to viewers. The images don’t convey my interaction and experience with these people, talking to them and getting to know them briefly to make them feel secure enough to accept being photographed.

How has this project been received among your audiences? I only showed these photos in Iran once in a group show in 2009. The first review I had was after that show. One criticism was that I copied what was already done by many other photographers, and that I need to know more about the history of photography. However, I did my research before I started the project...I knew that I was influenced by Qajar photography, 19th century photographs in Europe, Richard Avedon, August Sander, and others. Moreover, I had numerous discussions about this project with other artists, writers, and friends. I received good feedback. I had an idea of what the project was going to be about when I started taking photos, and like any other art project, the more I talk to others about my work, both during and after the process, the more I learn about it. But in general, I think my audience is more open and curious here in the US than in Iran.

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Your murals cover over 100 walls in Tehran. What attracted you to painting murals? Was it a desire to reach a particular kind of audience, the medium itself, or something else? Tehran was grey. When I looked at its walls, as a graduate of the arts, I saw them to be lifeless and rigid. It was ten years ago. Then came a call by the city’s Organization of Beautification (an affiliate of the municipality). They were inviting artists to collaborate with them. Given my training in painting, illustration, and drawing caricatures, I thought that I could bring some of this to bear on the walls; that this was an opportunity to begin painting murals. And so this is what I began to focus on. My first objective was to bring color to the city: offering some relief—if only for a few seconds—to the residents of this grey city. I also wanted to experience painting on a larger scale. TIRGAN MAGAZINE AUGUST 2015

These murals are often considerable in size, spanning the entire façade of a building. How were the buildings selected, and what role does the municipality play? It was collaborative. The municipality suggested some of these walls, and others were selected by me. I used to walk around the city with my camera for hours, taking pictures of the walls and people that I thought would be suitable for painting. I used to sit in front of these blank walls and sketch. I’d often piece together the image right there, trying to picture its full effect on the wall.

Let’s talk aesthetic. The scenes in these murals are surreal; featuring Escher-like dimensions and uncanny juxtapositions. What led you to work in this style, and what about it do you find so compelling? What does it allow you to do?

VISUAL ARTS

“tehRan was gRey” Mehdi Ghadyanloo and his art, in the city and on the canvas

The idea was to create art that people would find appealing, without sputtering out visual pollution in the city. There was a lot to get right: the perspective, the angles of shadows, the height of the horizon relative to people on the street, the architecture and urban area. That said, most of these works were painted over five years (from when I started ten years ago), and given that Tehran’s surfaces and its people’s sensibilities are constantly shifting, perhaps these works aren’t suitable for this city anymore. In terms of their content, I was really drawn to creating images of suspended spaces and frames that allow for multiple narratives; situating the viewer such they can follow any one of several storylines.

Your recent paintings on canvas (the Perception series) extend this surrealist vision. But I feel that

there is a greater sense of angst about them as well. Is there a common theme between these paintings? Painting in Tehran requires a lot of focus and caution. It’s been four years since I’ve painted murals in Tehran. Perhaps I just can’t focus on beautification the way I used to; maybe this is why. The audience isn’t on my mind when I paint (on canvas). In the Perception series you can feel angst, confusion, endless repetition, the abandon of modern humanity, fear and hope. The persons of the paintings are alike: small in comparison to their frame of mind, preoccupied and hopeful. They’ve been set into motion by a common concern, the fears and hopes they share has them talking to another. They’re philosophical in their approach. The literary equivalent to these paintings, I think, might be the works of Milan Kundera and Romain Gary. Their contents have been shaped by my past and present life in the Middle East: like TIRGAN MAGAZINE AUGUST 2015

VISUAL ARTS

Logic of Metaphysics by Mehdi Ghadyanloo

mehdi ghadyanloo

is a painter and illustrator who has brought colour to more than 100 walls in Tehran. These murals have also garnered much international attention as of late. We discuss his approach to this street art, and his more recent work on canvas.

TIRGAN MAGAZINE AUGUST 2015

my childhood years, which were witness to the war between Iran and Iraq (1980-1988).

and I consider it to be my personal favourite from among all the murals I’ve ever painted.

You have recently started painting murals in London as well. Are you approaching these differently than your works in Tehran? Is the content of a work supposed to relate to its social surroundings?

Like most cities, the streets in Tehran also feature the work of underground artists. And also like most cities, the municipality is less likely to regard these works as “beautification”. What are your thoughts on this underground art scene in Tehran?

The mural in London that I painted—We Didn’t Start the Game—was intended as a continuation of the works on display at the gallery (the Perception series). That wall hosts the work of urban artists from all over the world, and features a new one every month. In terms of form and aesthetic, this mural was perhaps the darkest that I’ve painted,

You can find a lot of interesting graffiti in Tehran today. Its creative depth—the very substance of this work—is based on its independence and counter-normative nature. The moment this art is accommodated it’s no longer graffiti.

CINEMA

cinEma+ critique+ stRuggle Talking to ﬁlmmaker Mania Akbari about the art of cinema, social critique, and personal struggle By Aref Mohammadi

Your first appearance in film was alongside your son in Abbas Kiasotami’s film Ten (2002). How did this come about? Was this also your first acting experience? Before turning to cinema, I was focused on painting: on experimenting with forms, colours, patterns, structures and harmony. I found this medium to be limited. I felt that I wanted to express more thoughts, emotions and protests than I could on canvas. I’m a storyteller, and I wanted to share my stories aloud and with everyone. I found a much more suitable medium in cinema. My first foray into cinema was as an Assistant Director on a documentary called The Old Man of Harra (2001), alongside Mahvash Sheikholeslami (an Iranian director). When I appeared as a version of myself in the film Ten (2002), I had no experience in acting. This film depicts real events in my life, and my relationship with my son Amin. It revolves around the problems and the status of a modern woman in Iran today; a woman who desires to explore other dimensions of her own being. However, she is caught between the contradictions of tradition and modernity. As a mother and a wife, she is struggling with these contradictions: the expectations of society one the hand, and her personal beliefs on the other. Her beliefs conflict with these expectations about her gender as a woman.

I see the camera as a small box that registers my moments and stories. And this small box is a reliable friend that has the ability to deliver the meanings and concepts of life to passionate audiences. I don’t approach cinema itself as the objective. It’s just a medium—a tool—to convey deeper reflections and meanings in a life that can be full of boredom.

Your first film, 20 Fingers (2004), was a very frank take on Iranian social norms concerning gender roles and the tensions that inhere to them. What were the challenges in making such a film? My exile didn’t happen over night. It was a lengthy, tiring and truly destructive process that began when the Iranian intelligence services targeted me following this film. My first ‘offence’ was being a woman. The second was my refusal to compromise my beliefs and adhere to their ideology. I made 20 Fingers without the necessary permissions. It was screened internationally without the consent of the Iranian government. I believe that even the most powerful ideology can’t restrict art, and that artistic expression will eventually find a path to its audiences.

What drew you to filmmaking? Was it a desire to give expression to certain social concerns, or was there more to it?

Your documentary film, 10+4 (2007), focuses on your personal experience with cancer. What’s behind the title? And what motivated you to make such a film?

I hate cinema that confronts me as something ‘larger than life’. I try to avoid the kind of cinema that patronizes me and assumes that I’ll receive its values and content just because it appears on a large on screen; the kind of cinema that indulges in dishonest drama and excitement.

This is a documentary about my struggle with cancer. The motivation behind it was largely therapeutic. It was also an attempt to create something out of a devastating experience; to create life out of death. I chose the name “10+4” because I regard it as the continuation of the film Ten: now it’s four years later and the same

TIRGAN MAGAZINE AUGUST 2015

CINEMA

~ film ~

1+2+1 q+a MANIA AKBARI

WHEN: August 20-23, 2015 DURATION: 79 minutes LOCATION: Studio Theatre, Harbourfront Centre ~ film ~

from tehran to london & q+a MANIA AKBARI

WHEN: August 20-23, 2015 DURATION: 70 minutes LOCATION: Studio Theatre, Harbourfront Centre ~ film ~

dancing mania MANIA AKBARI

WHEN: August 20-23, 2015 DURATION: 25 MINUTES LOCATION: Studio Theatre, Harbourfront Centre

character, with all her wild dreams and aspirations, is facing a new challenge by dealing with a life or death situation.

Your film 1+2+1 is about a beautiful woman named Ava whose face has been disfigured in an acid attack. It comes before a few cases of such attacks that made headlines. To what extent is it related to these actual events? The disfiguration of a woman’s face in this film is a metaphor for the plight of women in Iran. In this film, people are sharing their fragmented stories in situations that seem hopeless. But in these stories there is a hidden restless and passionate vitality, and it’s beckoning this woman to live her life. The source of this perky vitality is love, and the desire to find shelter in it.

When did you leave Iran for London, and what have you been up to since? I’ve written a collection of short stories. It was creatively and emotionally exhausting. I was unbundling the thirty-seven years of recollections and experiences that have shaped me as a woman. These writings were an attempt to move beyond this woman, at a critical time in my life...Following this, my immigration experience was turned into a documentary film called Life Maybe which features conversations between me and Mark Cousins. This film is now going through the festival circuits and public

mania akbari

is a well-known Iranian lmmaker and actor. Her works often focus on the themes of gender, sexuality and domestic life.

screenings. Currently, I’m making my new film that is about my collaborative work with Douglas White. This project is not yet complete.

As an accomplished filmmaker, to what extent do you find the experience of filmmaking in Iran and abroad to be different? What are some of the challenges and opportunities between them? I don’t really understand the concept of being within or outside of a geographical border. Creativity is creativity, and the person who wants to create and engage in art will find the necessary means and will to work under any given circumstances. The only major difference to me is that while in Iran I experienced much fear and anxiety because of the Iranian intelligence service as they followed me around everywhere. Like some kind of lurking presence, they nearly drove me mad with their mind games. Over time, you eventually learn how to deal with this anxiety. At the time of such struggles you come to feel almost numb as you’re only focused on surviving...Now I’m trying to recover. TIRGAN MAGAZINE AUGUST 2015

Cinema motion & in diaspora context in

Talking Iranian cinema and identity politics with Hamid Naficy hamid naﬁcy

literally wrote the book several books actually - on Iranian cinema. As a scholar of cultural studies (NorthWestern University) his work has focused on questions of identity, diaspora, and cultural production. We caught up with Naficy while he was in Toronto to give a talk at TIFF’s “I for Iran” series.

By Amir Ganjavie

In your analysis of Iranian media and film, you’ve always maintained a focus on questions of identity in the context of migration and movement. In the early 1990s you discussed exile and “exilic culture” among IranianAmericans, and more recently you’ve offered the notion of “accented cinema”. What do you mean by this, and do you think that concerns about “homeland” continue to linger in Iranian films produced outside of Iran today? I think we have to distinguish the different phases that immigrants undergo. The first wave of Iranians who left the country in the 1960s were primarily students; in fact, Iranian students in the 1960s-70s formed the largest of the foreign student bodies in the US, something around 50-60,000. Now, the largest foreign student body in the US is Chinese. As students, those Iranians were temporarily abroad; they were not immigrants in general. I think it was the same in Canada and other places where Iranians went to study. The first wave of immigration began with the revolution. The majority of the first wave were exiles, those who feared they would loose their wealth and status in

society or were associated with the ancien régime. There were ethnoreligious minorities among them as well; including Armenians, Jews, and Baha’is who feared persecution, and, finally, there were many entertainers, artists, actors, and musicians escaping the clampdown on culture, media, and women’s representation. Soon, with the revolution turning against its own children and with the long war with Iraq a whole new wave of political refugees and émigrés fanned out of the country, many of whom were young people escaping the draft or middle class and poorer populations escaping increasing hardships. The exiles, among whom were people in the

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media and entertainment industry, couldn’t go back. Yet they harbored a burning desire to return home, a desire which, as I showed in my book, The Making of Exile Cultures: Iranian Television in Los Angeles, was particularity encoded in their television shows, music videos, and plays. In the face of their anger at the Islamization of Iranian culture and the impossibility of return, they began to represent Iran in a very idealistic, non-Islamic, and secular manner. If you studied the symbolism of television shows of the 1980’s, for example, you would notice that the majority of them refer to the glory of pre-Islamic Iranian history, and to grand landscapes of Iran as permanent and comforting. They did not use images of contemporary Iran under the Islamic Republic or of the great Islamic sites and monuments of the past because these represented the forces that had driven them out. All of these sorts of representations and many more were attempts at separating and repressing a despised (Islamist) present in order to mobilize an idealized, glorious, ancient, Persian nation. The exile filmmakers were particularly politicized and vociferous in their critique of the Islamic regime. Some of them also focused on the tales of tragedy and victimhood under the Islamic Republic. Unlike the exiles, the émigrés did not develop this binary and vertical relationship between ‘here’ and ‘home’: with ‘home’ in the past tense representing originality and authenticity, and ‘here’ as a degraded and ersatz life, even though a freer and more comforting one. Instead, the émigrés and their children formed a multipolar and horizontal relationship with

‘here’ and Iran and with other Iranian populations in their global diaspora. Iranians in New York would be in contact with those in LA, those in LA connected with those in Toronto and Montreal, and they in turn would be in contact with those in Sydney, Amsterdam, Frankfurt, and elsewhere. This horizontal relationship was cemented by the global circulation of diasporaproduced newspapers, magazines, radio programs, televisions shows, and music. In terms of film, this horizontal and diasporic consciousness was fanned by not only the films the Iranians made in different countries but also by the exhibition of these films in festivals that showed both diaspora films and homemade films. Film festivals, therefore, became critical spaces for dialogue among estranged Iranians, sites of translation and mistranslation of all sorts. Over the years, Iranians in the US who had assiduously avoided identifying themselves as “Iranian”, and had actually camouflaged that identity due to American hostility to the Islamic Republic owing to the hostage taking, slowly began to come out. But rather than identify as “Iranian” they did so as “Persian”, reactivating the reference to their ancient past.

In your recent work on the social history of Iranian cinema you have focused on the increasing role of women. Can you elaborate on this? What are some of the obstacles that women continue to face in the Iranian film industry (whether domestically or internationally)?

The first documented act of censorship in Iranian cinema history occurred in 1904, just before the Constitution Revolution. It is said that a famous cleric, Sheikh Fazlollah Nuri, upon hearing that Ebrahim Khan Tehrani was screening films of unveiled women in his cinema issued a fatwa against it. Within a month of operation his cinema was closed. However, there may have been another reason for the closure: Ebrahim Khan’s political activism in support of the Constitutional Revolution. Since then, almost all Iranian regimes— the Pahlavis and the Islamic Republic—have used women and their comportment and dress in public places and on the movie screens as instruments for their own interests. If Reza Shah removed women’s veil by force and pushed them into the public, Ayatollah Khomeini forced the veil back onto women and pushed them back into the home. But something surprising happened in the latter case. Women fought back: they donned the veil, and forcefully entered the public sphere as university professors, taxi drivers, fire fighters, bus drivers, government ministers, architects, and filmmakers. If before the revolution women had made only a couple of feature films in Iran, after the revolution we had about a dozen women making features, and women are strongly represented in most other areas of the film industry.

In what ways have the criteria of cinematic “quality” shifted in recent years in Iranian cinema? Do you see Iranian cinema as being in decline or progressing? TIRGAN MAGAZINE AUGUST 2015

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CINEMA

Well, there has been much evolution in Iranian cinema. Before the revolution we had two parallel cinemas, the popular filmfarsi films, and the intellectual, often dissident, New Wave films made by people like Bahram Beyzai, Dariush Mehrjui, Abbas Kiarostami, Parviz Kimiavi, Masud Kimiai, Naser Taqvai, Kamran Shirdel. While the filmfarsi more or less died with the revolution, the New Wave cinema and its filmmakers continued to create great art-house films that put Iranian cinema on the map of world cinema. Representing the masters of Iranian cinema, these filmmakers were instrumental in the revival of the postrevolution cinema. Among the emergent types of films were the “War Cinema” and “Art House” cinema, produced by a new postrevolution generation of men and women, such as the Makhmalbaf family members, Ebrahim Hatamikia, Kamal Tabrizi, Morteza Avini, Rakhshan Banietemad, Jafar Panahi, Majid Majidi, and Tahmineh Milani. While the masters of cinema and auteur directors produced straightforward fiction and nonfiction films, a new generation of filmmakers—in touch with world cinema and with film theory—is now experimenting extensively with film form: hybridizing the fiction and nonfiction forms and engaging in self-reflexive filmmaking and other avant-garde practices. For example, Shahram Mokri filmed his 140-minute film Fish and Cat in a single uninterrupted shot, filmed by the great director of photography Mahmoud Kalari. Mokri told me in an interview after the film’s screening in Chicago that Kalari and his son alternated on the camera, seamlessly passing it to one another without any pause or cut. I asked him if they had encountered any problems during such arduous filming. He said that on the first day, at minute 95 or so, one character made a mistake in his dialog, forcing them to reshoot from the beginning. The second day, the cameraman made a mistake, and the next day it was rainy, so they couldn’t shoot. Finally, on the forth day, they were able to shoot from the beginning to end without any incident. I suggested that it must have been hard for an older man like Kalari to operate the camera for 140 minutes while moving around, up and down, and all over the place. He responded that every 20 minutes Kalari handed the camera to his son while the camera was rolling and because they were father and son they could communicate well, so transferring the camera from one hand to another happened so smoothly that no one noticed.

The younger generation is moving very fast and is optimistic about the newer, smaller, digital technology. During Ahmadinejad’s disputed re-election people were carrying digital cameras filming and editing their footage, and uploading it to the Internet, without needing any extra money or a distributor.

You’re in Toronto as the guest speaker for the TIFF series, I for Iran, so I’d like to discuss film festivals. Some Iranian film critics have suggested that TIFF’s selection is pretty much the same as that of the 2014 Fribourg International Film Festival (Switzerland) last year. What could be the role of Iranian cinephiles in assisting film festivals organize a better program for Iranian cinema? Well, I think the film organizer’s principle of selection was asking 15 or 16 key Iranians directors to name their favorite movies. That certainly is one way. I must say though that any selection you make has its critics—not enough women represented, or not sufficiently covering the left, the right, or the ethnic, racial, and religious minorities. Most festivals of Iranian cinema concentrate on the New Wave films before the revolution (1978-1979) or the postrevolution Art House films. However, they often ignore the popular genre movies of these periods, such as the filmfarsi or war movies. One of the problems with the screening of the more popular movies inside of Iran is the lack of critical writings about them outside of Iran; another is the unavailability of subtitled prints of these movies. So showing a print of a filmfarsi takes a lot of effort on behalf of the festival. I’ll give you two examples. A few years ago, when I was involved in brining some of the classic pre-revolution films to the UCLA film festival for the first time, we wanted to show Masud Kimiai’s seminal film, Qaisar. But there was no English subtitle for the film; so, I had my bilingual research assistant produce a copy of the dialogue of the film. We then translated that into English and entered it into a PowerPoint document, which we projected below the screen during the screening. This means that a bilingual person had to be present at all the screenings to ensure that the correct dialogue was projected. In another situation, at this year’s TIFF festival, when we showed Ovanes Ohanians’s great silent film

Mr. Haji the Movie Actor, we encountered a different problem. The original print has intertitles in three languages: Persian, French, and Russian. To create an English language intertitle, a French language professor viewed the film on the night before the screening, and created a translation of the intertitles in English, which were burned onto the digital copy of the film that would be screened the next day. As a result, now the film carried intertitles in four languages—a truly global, multinational, multilingual film.

As you know, Jafar Panahi’s last movie received the prestigious Golden Bear at the Berlin Film Festival. There is concern among Iranians that the award was given to him due to the political motifs of his film. How do you see the role of politics in relation to the reception of Iranian films at contemporary film festivals? Well, I think that politics has a lot to do with it, both negatively and positively and, in a way, one of the reasons that Iranian art cinema became such a global cinema is because of the bad image of Iran under Islamic Republic, which gave film festival programmers and curators an impetus to counterprogram against that image. The humanism of the art house films provided a dramatic contrast to the bad, violent image of the government, ennobling both the art cinema films and their directors and the film curators and programmers. In this process, the apparently apolitical art house films become political, brining notoriety and trouble for their makers at home and in the diaspora.

Finally, I heard that your daughter is directing a movie about you. Is this true? And are you finding it easy of difficult to be the center of attention in a movie, for a change? No, not my daughter. I think that you may be referring to a private book that my daughter is putting together to celebrate my 71st birthday. She communicated with a lot of people I knew, and is putting together a kind of collection of what everybody sent her. Maryam Sepehry is working on a documentary, which is in its early stages. It’s difficult. Yet, at the same time, it’s easy because it’s not my film. It’s somebody else’s, so the least I can do is to be myself.

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fo a

ming

MUSIC

the poetics and politics of a woman’s voice

Discussing music and the challenges facing female singers in Iran today with Mahdieh Mohammadkhani women’s voices in Iranian music are hardly new. Yet they have continued to face obstacles; from their first recordings in 1912 (when three women vocalists sang the works of Aref Razmi) through to the 1970s and 1980s (with songs like Raz-e Now and Be Tamasha-ye Sepid). Where do things stand now? Tell our readers about your own efforts and those of other Iranian women pursuing music today. Throughout modern Iranian history, women have continued to face challenges in their professional and ordinary lives. We continue to see this in music today. But we can’t ignore their influence: they have a strong presence in music schools, universities, and cultural institutes both as students and educators. Music, after all, has been an integral part of Iranian life. I share this interest in Iranian musical performance with many other women. In 2008…I began to study traditional Iranian singing with master Gholamreza Rezaei; it’s worth noting that a lot of women attended these classes and with much enthusiasm. It was also then that I began to learn the daf (a handheld drum commonly used in classical Iranian music). In 2011, I met Majid Derakhshani [an Iranian musician and composer] and released my first album, entitled Darya Del, in collaboration with him. After a few recordings in the studio, he invited me to take part in concert tours in Europe for 2013 and Australia for 2014. That same year, I also met Mohammad Reza Shajarian (widely regarded as the most celebrated singer of classical Iranian music) and it was an honor to take part in his singing workshop. TIRGAN MAGAZINE AUGUST 2015

In October 2014, you made waves: you sang as a soloist in a televised performance with the Mah ensemble, even though women vocalists are banned from solo performances in public? How was this received? And what are the concerns of those who support the presence of women in the Iranian music scene? I had accompanied the Mah ensemble, for the first time, to a private performance. We were invited a charity. It was the online video of our performance that made waves in the classical music scene; so much so that a lot of my fans know me by the Khush-e Chin track which was performed in that evening. About the concerns of supporters, unfortunately, I have to say that there isn’t any, especially in singing. Female vocalists are banned from releasing albums and holding concerts, and so they hold little financial value for sponsors. Those who support us don’t really do so materially. I rarely hear talk in music festivals and ceremonies about the role of women in music. The atmosphere has changed a little bit today. The issue is more easily discussed ever since Dariush Pirniakan’s speech (a leading figure in Iranian music) about airing female voices in music, and those rumors about Minister of Culture and Islamic Guidance attending one of my concerts and me allegedly getting approval to perform as the first female singer after the Revolution. However, there is still no effective support in this filed. Women singers in Iran require lasting support, both moral

MUSIC

and financial, so as to continue their artistic endeavors. This is one of my main concerns: how are we to continue along this difficult path without any strong support?

mahdieh mohammadkhani

is among the most talented and recognized female singers to have recently emerged in Iran. Her performances, as a female soloist, have focused attention on official restrictions on women in music and stirred calls for reform. She was kind enough to discuss this, and more

How do you select the poems you sing? Do they reflect your own outlook? Is this why you draw from the poetry of Forough Farrokhzad (one of the most renowned Iranian poets of the 20th Century)? Sometimes the poems are preselected. The composer creates a melody for a certain poem, and I go along with it if I feel it’s consistent with my tastes. Sometimes I prefer a melody be created for a poem that I choose. And sometimes I agree to sing a composition because of the poem alone…As for selecting from among Forugh’s poetry, I must say that it was a dream of mine to sing her works (in the Yek Dariche album). She’s always been a personal hero to me: a woman at once full of emotion and grace, but also strength and fighting spirit. I followed her poetry as a teenager, and now I experience it differently in my performances. Now I sing it with the heart and conscience of an Iranian woman.

Tell us about your decision to form the (all-female) Shahnava ensemble. How does a group like this fit into the Iranian music scene? The Shahnava ensemble is comprised of six well-known female musicians. The main goal behind this ensemble has been to showcase the role and talent of women in celebrating the originality and values of classical Iranian music. I can tell you that it is one of the best music ensembles…and it has a very bright future. It’s toward these ends—showcasing women’s creativity and influence in the classical Iranian music—that we’re currently trying to work with our supports to organize performances in different countries.

How have you been received by audiences in the Iranian diaspora? And have you ever thought about working with artists from other countries to perform for non-Persian speakers? When I first performed in London, I was shocked by the enthusiastic reception I received from fans of Iranian music. They were especially happy to see a woman perform. I felt it was a sign of good things to come. I’ve met a lot of young people in these concerts who are interested in Iranian music. I think that they’re also interested to hear a voice from their own generation, and that’s what I represent to them… As for collaborating internationally, my performance with the National Symphony Orchestra of Ukraine was a unique experience, and I welcome this kind of collaboration. My works have been distributed in neighboring countries, especially in Farsi-speaking countries. In the album Darya Del, for example, there is a track by the same name that is composed by the famous Tajik poet Layegh Shir Ali. It’s been very well received in Tajikistan. I hope I can work with artists internationally so as to promote Iranian music. To take another example, in a large concert in Cologne, onethird of the audience was German or non-Iranian. It was very

inspiring. There are plenty of artists who, in addition to celebrating Iranian music in Iran, look to promote it internationally and they need more support. Attracting non-Iranian audiences requires promoting this music and its creative energies, and this requires substantial effort and planning on the part of its supporters and Iranian cultural organizations…Otherwise artists will continue to struggle. It’s a shame that the music of neighboring and western nations travels the world, but that of Iran—despite its rich history—continues to be hampered.

Tirgan highlights the regard Iranian immigrants continue have for the art and culture of their “homeland”. And yet their tastes are also often inflected with the art and culture of their “host” societies. Does this have any bearing on your performances for such audiences?

~ music ~

persian piano night WHEN:

August 20-23, 2015 DURATION: 60 minutes LOCATION: Lakeside Terrace

There are two ways of answering this question. On the one hand, music reflects the culture and history of a country, and artists often strive to preserve and promote them…On the other hand, artists are also engaged with their audiences and look to cater to their desires as far as possible without impinging on their own visions, originality or their artistic traditions. Running parallel to all of this, musicians are aware that they require popular support…and audiences know that the continuity of traditional arts requires that they offer them this support. TIRGAN MAGAZINE AUGUST 2015

MUSIC

seeking thRough song Talking to soprano soloist Darya Dadvar about music and identity

What led you to pursue opera? Did you take it up after you left Iran for France in 1991, or were you inspired earlier? I wasn’t really inspired by opera when I left Iran. At the time, my favourite kinds of music were French, Italian and Iranian pop music, and old American songs. I was familiar with Persian folk songs, but had no idea about opera. When I came to France to continue my studies, I wanted to study medicine not singing. I did want to work on my singing, but not necessarily in an academic way. When I was still learning French, there was an International gathering where every country was presenting something. I was encouraged to sing so as to represent Iran. When organizers and teachers heard my voice, they suggested I audition for the Conservatoire. I auditioned and got in. While studying opera—I was exploring it in Conservatoire—I gradually fell in love with the genre. It took a few years to find the right tessitura of my voice. And only then did my passion for opera start to grow. I decided to continue singing and expand my technique rather than just singing for pleasure.

Let’s talk about your approach to music. Your style isn’t limited to the classical canon. You draw from Iranian poetry, folk songs, and even jazz. You also incorporate multiple languages into single songs. Why is such fusion important to you?

darya dadvar

is an acclaimed soprano soloist and composer. She is known for her eclectic approach to singing; creatively engaging with several genres and languages. She is also featuring in Tirgan this year.

TIRGAN MAGAZINE AUGUST 2015

My style reflects who I am today. I didn’t initially plan on it being so. I was just trying to stay true to my music and my audience. I ignored the conventions, norms and restrictions. I let my mind wander… Finally, it happened. My roots—my Iranian background—were always there and helped me give birth to my style, even while I was studying opera at the Conservatoire. It came easy to me then. I remember that when I was reading in-between classical music sheets and notes, I wondered if the melody is similar to melodies from my own culture… European classical poetry was so beautiful, but at the same time I was frustrated that I couldn’t sing Iranian poems with it, like those of Hafez, Sa’di or Molana (Rumi). So I began mixing what I already knew from my heritage with what I was learning, and tried to come up with something new. I can sing in many languages now but my mix is usually in English, French, Persian and some ethnic dialects.

Speaking of “roots”, in a recent TV program focusing on your life in Paris you were discussing the challenges of life as an immigrant. Something you said stayed with me: “we Iranians keep searching for Iran in

these other places we live.” What did you mean by this? I’m Iranian and regardless of where I live, this is reflected in my songs, my daily life, my kids’ education, the language they speak, and so on; as though I’m still in Iran. After years of living outside of Iran, I feel that there is plenty of ‘Iran’ here as well. My culture pops up in everything I do: like the way I cook, the way I compose, the way I decorate my house. What’s important in my music is not just a search for Iran, but to find peace by bringing different cultures together: to somehow show that we are all the same.

What do you look for when you turn to the world of Iranian song? How do you select the songs that you perform? It depends. Sometimes it’s a childhood memory that comes back to me: like a melody from when I was little, or hearing my mother singing, or remembering an artist that I really loved. Then I try to combine or rearrange the melody with other French or English songs. Sometimes, I hear a piece of music that blows me away, and I think ‘Wow, I have to sing this song!’ Also, I have to say that I don’t always try to mix songs. What is most important, when I select a song, is that it conveys a sense of hope, whether it’s in English, French or Persian. I usually don’t like singing sad songs, or hopeless songs that feel like you’re just lamenting a situation, or a lost love, or country, and so on.

In 2002 you performed in Tehran. You were credited with being the first woman to perform solo since the revolution owing to official restrictions on women singing. How were you received? And are you hopeful about the future of women in music in Iran? I’m so grateful for to be the first female singer to perform solo in Iran following the revolution (1978-1979). It’s an honour. But, at the same time, it’s kind of a shame to say so; that it’s an ‘honour’ to sing as a woman soloist in public. This is something that should have been so natural to begin with. It’s a restriction that shouldn’t be there, because a woman’s voice is a natural thing. It always has been. If you ban it, then you’re denying nature. Whatever your religious beliefs or reasons, you’re questioning what God has already given to us. And about the future of women and music in Iran: not only am I hopeful, I’m also really proud of our women, and their struggles on a daily basis. They are the heroes of our country. I take my hat off for each and every woman in Middle East, and especially in Iran. They’re trying to make a better life for themselves and their family. We owe a part of our progress to the great women artists for sure.

THEATRE

“scarlet stone ” a pLay, By Shahrokh Yadegari Translated by Samane Tavassoli

Tell us about your theatrical production of the poem Scarlet Stone. What drew you to this work? Scarlet Stone, (the play), comes from my collaboration with Shahrokh Moshkin-Ghalam, a renowned Iranian dancer and good friend. We were both interested in working on a project together. We did a bit of research, and decided to take up this particular poem: the last work of the Iranian poet Siavash Kasraei (1927-1996). It was Kasraei’s daughter (a mutual friend) who suggested we do so. I think Shahrokh and I share an appreciation for contemporary art that engages its audiences by drawing from the latest styles, but also remains true to its origins. The theme of this poem is the Iranian revolution (1978-1979), but the issues it raises continue to resonate within present. It doesn’t deny past struggles, but it draws the audience’s attention to Iran today and the responsibilities that come with hope. Kasraei has written it in such a way that it speaks to every Iranian whose life was impacted by this revolution. …In my reading, art can’t easily separate itself from political and social issues, and yet its work must also stand apart from them. Shahrokh and I were looking for a story that could engage with Iran’s recent history without being too clearly political. In Scarlet Stone, Siavish Kasraei demonstrates deep insight into both Iran’s past and his own. We hope this work provokes personal reflection and dialogue amongst its audience. The entire poem will be translated into English during the performance, and so

a poem, & an epic

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it’ll engage both English and Persianspeaking audiences. I’ve worked more on these two musical genres in the past few years. But it took several years before I reconciled them; my sense of Iranian music and my knowledge of electronic music. I didn’t want to force it…

Scarlet Stone crosses paths with the classical epic The Book of Kings (Shahname) by Ferdowsi (a major Iranian poet; 935–1025 CE), and yet retains its own narrative. Where do they meet? The poem Scarlet Stone is based on the most popular story from the classical epic The Book of Kings: the (father and son) story of Rostam and Sohrab. Kasraei wrote a modern rendition of this old mythology. The combination of new and old approaches and ideas informs all the key elements of the play; in its text, dance, choreography, music, staging, and costume design. The play begins with a scene from The Book of Kings, the meeting of Rostam and (his wife) Tahmine. By the time that Sohrab (his son) lays dying, the play would’ve brought the audience to Kasraei’s poem. Sohrab symbolizes the new generation. He goes on to reflect on his life, his relationships…as he searches for answer to his past and his fate.

shahrokh yadegari

is a composer and sound designer at the department of Theatre and Dance at the University of California, San Diego. He is participating in Tirgan 2015 where his latest play, “Scarlet Stone”, will be performed. Based on an ancient Iranian epic, this composition draws from a variety of artistic disciplines, cutting-edge technology, and some of the best-known talent in the Iranian diaspora. We thought an interview was in order, and he was kind enough to agree.

~ theatre ~

scarlet stone (mohreye sorkh) WHEN:

August 20-23, 2015 DURATION: 1 Hour 30 Minutes LOCATION: Fleck Dance Theatre, Harbourfront Centre

A lot of cutting edge staging technology and techniques have gone into this play. What is the idea here? Is it to offer us a new twist on an old tale? I can honestly say that the fusion of old and new runs through the entire play… Just as Siavash Kasraei’s poem (the Scarlet Stone) is a modern rendition of an old epic, the staging, music and choreography are a modern homage to an the ancient art. The play draws from elements of the old theatrical styles of “curtain reading”, and the narration of epics. But it does so while using current staging technologies. Interactive projections (designed by Ian Wallace) have been key to pulling this off. In the traditional style of narrating epics, the narrator relied on a static image and pointed to the events in the story it depicted. In this play, these images are constantly changing as they follow the

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narrator’s performance…A computer registers the power and tone of the narrator’s voice and controls the change and color of the projected imagery.

About your choice of music, why rely on percussion instruments? How does it resonate with the words and the rest of the performance? The use of percussion—and especially those of the zoorkhane (the arena of a traditional style of Iranian martial art)—is commonly used for the narration of epics, but in this project percussion has been used to make same atmosphere. For scenes of battle, rhythm is used to express delight, risk, uncertainty, and also helps create energy. Rostam and Sohrab battle twice in two different ways. First we see Sohrab’s struggle through his thoughts, feelings and sense of distress, without Rostam. The second time we see their physical duel. The rhythm in the first one is more stable, and the melody stronger as it is accompanied TIRGAN MAGAZINE AUGUST 2015

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with electronic beats: here is frenzy, passion and Sohrab’s youth. In the second battle, the rhythm begins gently and gradually builds into a powerful martial rhythm that envelope the theatre…

Photography by jim carmody

Tell us about your experience in performing compositions for non-Iranian audiences. Have you found such audiences to be familiar with Iranian narratives or artistic traditions? Non-Iranian audiences may find Scarlet Stone interesting as it introduces them to Iranian mythology and also the (1978-79) revolution. That’s why it features a translation that follows

along with the play. It also needs to be said that a lot of nonIranian viewers who have attended our previous programs said that they could just listen to the play as a musical performance because it’s a poem after all. We’ve tried to connect both emotionally and intellectually with the audience—Iranian or not—by weaving together several arts: theatre, music, dance, poetry and animation. Our efforts at translation have received a lot of praise from non-Iranian viewers. When I decided to perform the play with the full translation of the poem, I was sure that it would connect with a non-Iranian audience. But I didn’t expect it to engage them to this extent.

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laurel victoria gray

is a scholar and choreographer of dance. She is the founder of the award winning Silk Road Dance Company, performing dance styles from around the Middle East, the Caucuses and South Asia.

dance interrupted By Laurel Victoria Gray

The recent history and artistic styles of Iranian dance

The Geography of Iranian Dance Dance grows from place. Its traditions reflect the nuances of social and natural geographies. Even the soundscape of the land makes its way into the folk music that accompanies a dance. Iranian dances themselves reflect a widely varied geography, from the Caspian Sea in the north, to the Persian Gulf in the south, from the mountain ranges of the northwest, to the great deserts of the east. To survive in these divergent environments, different ways of life arose, and with them, different customary ways of moving. Captured in the amber of time, these gestures of everyday life—the curvilinear strokes of a rice harvester, the upright carriage of the horseman, the pliant wrists of a weaver—all embedded themselves in dance. And if one ventures beyond the boundaries of present-day Iran to the ancient lands described in the Shahnameh, the dance geography widens in scope. Did Zal catch a glimpse of the beautiful Princess Rudabeh of Kabul enjoying Afghani dance with her handmaidens? And did the villain Afrosiab (who shares his name with the ancient term for the city of Samarkand) watch Turanian dancers at his feasts? Did the

“seven princesses from the seven climes,” described by Nizami Ganjavi in his epic poem Haft Paykar, dance their native dances when they entertained Bahram Gur in their palaces? Perhaps something of the “multi-cultural” has always been part of the Iranian experience.

Dance as Cultural Embodiment Middle Eastern dance has been conventionally examined in terms of four broad categories, and while these can be applied to Iranian dances they do not exhaust them. These genres are the “chain” or lines dances; combat or war dances; the religious dances of mystical brotherhoods; and solo improvisational dances. Expanding these categories to include rare couple dances, and extending the genre of religious dances to other ritual and spiritual traditions, results in a more useful approach to analyzing and understanding Iranian dances. Chain or line dances often move in a circle pattern; they are frequently named for regional, tribal or ethnic groups such as Kavkazi, Qashqai, Kurdi, and others. For ancient agrarian societies, it is thought that circle dances strengthened the sense of communal cooperation needed to offset the anxiety of a tenuous existence, with starvation just one bad harvest away. More than simply entertainment, shared dance rituals were a way to render the unknowable forces of nature more coherent by appeasing their fickle character. War or combat dances are those that imitate fighting and help train the warrior. The shamshir, or sword dance, belongs in this category. The stylized motions of athletic training in the zurkhoneh (“house of strength) also belong in this category.

Photograph by Renata Kaveh

Dance is the most ephemeral of the arts. It resides not in books, on canvas, or even in musical scores, but in the human body itself. Like a piece of heritage, it must be passed on from one generation to the next. And if this fragile lineage is broken, the dance is in jeopardy of being lost. This is the challenge facing Iranian women’s’ dance traditions; both in the “homeland” where public performances are banned, and in diaspora communities where matters of cultural heritage are often informed by the identity politics of life at a distance from this “homeland.”

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DANCE

~ dance ~

azarbaijani WHEN:

August 20-23, 2015 DURATION: 30 Minutes LOCATION: AM: Westjet Stage PM: Stage in Round, Harbourfront Centre

~ dance ~

kurdish WHEN:

August 20-23, 2015 DURATION: 30 Minutes LOCATION: AM: Westjet Stage PM: Stage in Round, Harbourfront Centre

Spiritual dances, such as those of Sufis or dervishes, have been depicted in Persian miniature paintings showing all-male gatherings in various postures of ecstasy. Dressed in everyday attire, the dancers’ sleeves are sometimes pulled over their hands; turbans tumble to the ground, symbolic of a state of abandon. These dances bring to mind mystic poetry of Jalaledin Rumi and the rituals of sama’ and zikr. Couple dances like naz eleme can be found among the Turkic Azeri population. The man and woman dance in close proximity. The male frames his female partner, showing off his proud carriage and swift footwork, while the woman gracefully, and graciously, flirtatiously deflects his advances. The solo improvisational genre ranges from reconstructions of Persian court dance to contemporary social dance. These dances emphasize charm and beauty, as well as that elusive and hard to define quality of naz. Of all the dance forms, the solo improvisational dance allows women the greatest opportunity for self-expression, historically within the confines of the andaroon (women’s quarters). For these reasons, it is the solo improvisational genre which has historically most suffered from association with immoral behavior. In the traditional Persian hierarchy of the arts, poetry and calligraphy enjoyed elevated positions while dance ranked at the bottom. The settings for dance—often gendered spaces like coffee houses with all-male audiences—were often linked with immoral behavior, such as drinking, smoking or engaging in “improper” sexual conduct, specifically prostitution. Young boys sometimes took the place of women, wearing women’s clothing and mimicking feminine gestures and dance. These factors linked the dance with shame and sin, making it a disreputable profession. Court patronage during the Safavid and Qajar dynasties offered a more prestigious setting for dance. Characterized as “dainty, subtle, and full of symbolism and meaning,” court dance blossomed. Scenes of court entertainment, such as the famous paintings at Chehel Souton—the enchanting pavilion in Isfahan—depict dancers performing at banquets, garbed in rich fabrics and jewelry. The fall of the Qajar Dynasty in 1925, broke the continuity of court dance; although in neighboring areas, like the Emirate of Bukhara, the traditions were not lost but passed down through families. When Iran’s historical borderlands of Azerbaijan, Uzbekistan, and Tajikistan became part of the USSR, they benefited from professional dance training built on Western models. Here dance was elevated to a respected art. A similar trend developed under the Pahlavis, with the establishment of the National Ballet of Iran and the National Folklore Society of Iran, as well as the Mahali Dancers who toured internationally with their performances of Iranian folklore.

Diaspora Dance Trends The 1978-1979 Islamic Revolution not only brought an end to state support for dance as a profession but for public presentations of dance as well. The continuity of dance for public audiences and its formal d issemination fell to diaspora populations. In Sweden, Nima Kiann created his Les Ballets Persans to revive the endangered repertoire of the National Ballet of Iran. Some other contemporary artists are also experimenting with melding Iranian dance elements and themes with

other established and respected art forms like ballet and modern dance to further develop and elevate Iranian dance art. But in this very blending of genres, “Iranian” dance changes some of its basic characteristics and becomes something new, perhaps better suited for the social worlds beyond the “homeland”. Dance, like all art, can only thrive with the respect and support of the diaspora community. In Los Angeles, Iranian-Americans like Mohammed Khordadian produce performance and teaching videos that enjoy great popularity. Iranian émigré cultural centers and schools often include dance classes for children and youth, helping them develop a sense of national identity in a new homeland. In the past twenty years, a new kind of solo and group dance has emerged, performed almost exclusively by women. Although its teachers and performers call it “Persian Sacred Dance” or “Persian Sufi Dance,” it is typically presented with costumes that imitate the full-skirted tenure of the Turkish Mevlana semazens (the “whirling dervishes” as well as their distinctive “turning” movements). Perhaps the earliest documented instance of this new genre dates from a 1994 concert in California, which combined classical Persian music, mystical poetry and dance elements including participation by members of the Mevlevi Order (a Sufi order founded by followers of the 13th Century Persian poet Rumi). But diaspora performances of Iranian dance can also be uneven, especially when a performer or teacher has no formal dance lineage and no ‘credentials’ beyond ethnicity. Democratized media outlets like YouTube offer videos that may not have merits as true ethnographic representations but become wildly popular, encouraging imitations. The resulting dances become “a copy of a copy of a copy” and can gain iconographic status. Removed from their original cultural context, dances like Bandari and Baba Karam, have been conflated with Egyptian raqs sharqi, with distinctly Arabic moves and costume elements replacing traditional steps and garments ones. Then there is the question of hair. The hat, veils, and headdresses characteristic of women’s traditional dress, signaling ethnic identity, social class, and marital status often disappear from diaspora performances of Iranian dance. Artists often appear bare-headed with loose tresses and contemporary hairstyles. In some cases, this may simply result from unfamiliarity with traditional folk costuming methods. In addition to the efforts of artists living abroad, Iranian dances have been studied, cultivated, and presented by non-Iranians. Some of these individuals have professional training in related dance genres, experience in the theatrical arts, and knowledge of historical and cultural traditions; their ensembles may include “hyphenated” Iranians and non-Iranians alike. These companies are often called upon to represent Iranian heritage at festivals and other cultural celebrations. All dance evolves, responding to changing needs and environments. Trends of urbanization and globalization create an everyday reality far from the rural life or courtly venues of earlier generations. But far from being irrelevant, traditional Iranian dance embodies a legacy of joy, energy, and grace that reaches beyond boundaries of time and nationality to touch new generations, even capturing the hearts of non-Iranians who have never set for foot in the Iranian homeland. TIRGAN MAGAZINE AUGUST 2015

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MUSIC

stRinging Iranian guitarists at Tirgan songs togetheR

Performing at Tirgan this year are some of the most acclaimed Iranian guitarists. Playing a variety of genres and representing unique backgrounds in their art, we suggest you pay heed!

maneli jamali

bahram aghakhan

babak amini

bagher moazen

Acoustic guitarist and composer Maneli Jamal has lived in various countries and moved numerous times by the time he was eighteen. The young artist gained a sense of musical maturity rarely seen among his peers especially when he transforms his nomadic life experiences into musical movements using extended guitar techniques. There aren’t many players in his style that have Jamal’s balance of power and sensitivity. His rhythmic concepts can be alternately short and dense, or explored carefully through several movements and real life stories. This becomes evident with having won countless music competitions around the world including most recently placing 1st at Canada’s Soundclash Music Awards. Having been brought up in a purely artistic and musical family has contributed to shape his unique story telling approach. He has performed all over the world including tours in USA, Canada, New Zealand, Australia, Mexico, Europe and Africa.

Bahram began learning classical guitar at the age of thirteen. Two years later he started his autodidactic studies in flamenco, and until 2000 continued working on these two styles in parallel. Since 1994 he has performed in many classical and flamenco concerts including the Concierto De Aranjuez by Joaquin Rodrigo and the Double Concierto by Astor Piazzolla. He has released three albums: The Song Of Matadors recorded with flamenco musician Kaveh Nasehi, Persianas, and La Cometa Del Oriente Mediano featuring flamenco singer Raul Mico. After immigrating to Montreal, Canada in 2014, Bahram participated in the Flamenco Festival of Montreal 2014 and began accompanying flamenco dance at La Puerta Negra (Rae Bowhay), and Studio Pleamar (Myriam Allard), as well as performing with maestra Lina Moros. Recently in Toronto, he has started collaborating with Maria Serrano Flamenco Dance Academy.

Babak is a highly talented and accomplished Iranian-Canadian musician, composer, guitarist, member of American Guitar Society (CSUN University, Northridge, CA), and member of the Toronto Musicians’ Association (TMA). Babak was born in April of 1970 in Tehran, Iran and started playing music when he was ten years old. Babak studied with Shahrokh Partovi, Dr. Simon Ayvazian, Levon Ichkanian, Ruben Diaz and many more. At the age of eighteen, he started working as a professional musician and a session player in Tehran’s top studios and worked with famous composers such as Babak Bayat, Majid Entezami, Dr. Mohammad Sarir, Fereydoun Shahbazian, and many others which led to performing and collaborating in over a hundred albums and movie scores. Babak Currently resides in Toronto, leads Googoosh’s band and Faramarz Aslani’s band all over the world, teaches and produces music.

Born in the south of Iran he grew up at a time when the oil industry brought Western music and film to this area. Looking to widen his horizons from his roots in traditional Persian music, Bagher fell in love with these new influences. He was captured by the beauty of Western melodies and classical music he heard on film and on radio. His imagination stirred, Bagher began to sing the music he heard. Bagher first started guitar under Abdullah Mafakher who introduced him to the delights of Spanish music. His next inspiration and teacher was the well-known French musician, Dr. Jean During, who had come to Iran to study Persian music. In 1987, Bagher arrived to Canada. In 2003, Bagher released his album, Nomad, featuring an international repertoire of music rich in melody and rhythm from composers such as Carlo Domeniconi, Lorca, Paco De Lucia, Roland Dyens, Rak plus his own compositions. Nomad was highlighted on CBC’s Music and Company. Tracks were also broadcast out of London, England at the beginning of June 2005 on the BBC.

TIRGAN MAGAZINE AUGUST 2015

WORKSHOP

the

tRavEling cultuRe

food

Exploring Iranian cuisine with chef and author Ariana Bundy

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What motivated you to take up the culinary arts professionally? And how has your approach to it been informed by the various cuisines you’ve experienced while living in the Iranian diaspora? My grandparents were a major source of inspiration for me. They grew all kinds of fruits and vegetables, including grapes, on their land. My earliest memories of cooking were as a little girl, frying onions with my grandmother, perched on a stool. My father was also a restaurateur. He had a French fine dining restaurant in Tehran before the Revolution (1978-1979 ) and later opened a very successful place in Beverly Hills. But he never allowed me in the kitchen. He said it wasn’t a fit place for a lady! And my mom is an exceptional cook. I never really gave her credit but as I’m learning more about Iranian food I’m realizing what a phenomenal cook she really is. She also helped me with my cookbook by doing the styling and cooking. I’ve lived in so many places; Iran, US, UK, France, Italy, Switzerland, Dubai, Singapore, and I love all different types of cuisine. It’s impossible for me to say which one is my favorite. But I take a bit from each in the way I think about my food – the classic French techniques of preparation and sauces I learned at Cordon Bleu, the emphasis on fresh ingredients in Italy, the simplicity and stylish presentation of Japan, the organic and natural movements of California, and of course the ‘feel’, balance of taste, the ‘hot’ and the ‘cold’, and the general depth of Persian cooking.

There is much ethnic diversity in Iran, and the range of local traditions is hard to exaggerate. How is this diversity reflected in local cuisines? Are there certain dishes or ingredients that are associated with certain places? Yes that’s what I really discovered when I was filming my TV series Ariana’s Persian Kitchen. I traveled all over the country:

from gorgeous Yazd to the Caspian Sea, from the rose fields of Kashan to the saffron fields of Khorrasan. Everywhere you go there are regional dishes based on the type of produce available and the climate. For example, in the Caspian they pickle almost everything and they have unique ingredients like smoked rice. Down in the Persian Gulf, the cuisine has been influenced by some neighboring countries and you find some dishes with chili (something you won’t find anywhere else). Every town seems to have its own type of sweets and pastries. And even national dishes can have regional variations such as the Gheymeh in the city of Yazd, which surprisingly contains chickpeas instead of the usual split peas and cumin.

We often ask artists to describe their experiences in introducing Iranian art to non-Iranian audiences. Tell us about yours. Do you find that people often have preconceived notions about Iranian food? Are some dishes an easier hit than others? Unfortunately most non-Iranians still know little about Iranian food. They assume it’s going to be spicy and are surprised that we barely use chili, and how complex and fresh it is. My husband always jokes that I always make the same dish for non-Iranian, zereshk polo, which is the Persian version of chicken rice. This mainly because it’s quite easy and quick to make, but it’s also a very good introduction to Iranian food with the use of saffron, tangy barberries and of course the fluffy Persian rice with tahdigh. I usually pair it with mast-o-khiar and, for the more adventurous, a fesenjoon stew or ghormeh sabzi.

Do you find that Iranian cuisine is often experimented with in the multicultural societies you’ve experienced?

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WORKSHOP

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cooking demonstration by ARIANA BUNDY, USA RECIPES FROM PERSIA WHEN: August 20-23, 2015 DURATION: 1 Hour LOCATION: Lakeside Terrace, Harbourfront Centre

Does this often happen when it moves into the ‘mainstream’ (say an upscale restaurant catering to people who don’t share an Iranian heritage, or even the food court in a mall)? There is a bit of a trend in experimenting with Iranian cuisine, both in restaurants and even in cookbooks. I’m not totally opposed to this, but I do feel that we need to be clear about what we are presenting because Iranian cuisine is not well known enough yet. To say that something is Persian or Iranian cuisine when it contains ingredients or combinations that would never be used in our cuisine is misleading. There are literally hundreds of classic Persian dishes so there’s no need to experiment yet! Or at least, if you do, be clear that this is “Iranian inspired” or “Iranian influenced” rather than a true reflection of Iranian food.

Iranian culture and society are increasingly the focus of Western media coverage. Your recent Nat Geo People series Ariana’s Persian Kitchen features you leading a culinary tour of Iran, and just a few months ago Anthony Bourdain did something similar. Do you sense a growing interest in Iranian cuisine and culture among Western audiences? Definitely. I think it’s seen as one of the last great culinary frontiers. Not long ago Jamie Oliver described it as the next big thing and Anthony Bourdain had been trying to visit for years to do his show. As we all know, Iran is nearly always in the news but people I speak to are really eager to see and understand a different side of the country. What are the people really like? How do they live? Through the medium of food, that’s one thing I wanted to achieve with my show. From a culinary point of view as well, I think Iranian food offers something really different from everything else–it’s heavily spiced but not spicy,

it’s aromatic and complex yet it mainly uses regular ingredients you can find anywhere in the world.

It’s often said that most Iranian dishes can only be found in the home, rather than the restaurant, because their preparation is too complex or they don’t keep well. Is this just a cliché? Do you think that a new generation of Iranian culinary art is complicating this boundary? Iranian dishes do take a while to prepare. It’s true that even in Iran itself the best food is found at home and not at restaurants. Traditionally, people rarely eat out and if they do it’s usually to have something they don’t often prepare at home such as grilled meats or kababs. But there’s no reason why Iranian food cannot be served and presented extremely well in a restaurant. In fact, so much of the preparation can be done in advance which is ideal for a food business.

Tell us about your book, Pomegranates and Roses. Who did you have in mind when you were selecting the recipes that it features? I had two different audiences in mind with this book. The first were Iranians like me who had grown up abroad. For us, eating Iranian food was one of the main ways we kept in touch with our culture while away from Iran. So I wanted to recreate the dishes I grew up with. That’s why it’s subtitled “My Persian Family Recipes”. I also wanted, through this book, to introduce Persian cuisine to a non-Iranian audience and show how rich, varied and interesting it is and for them to see how simple it is to make. People can sometimes be intimidated by a cuisine they’ve not tried before, so I made sure the recipes were as easy to follow as possible. TIRGAN MAGAZINE AUGUST 2015

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BAZAAR

on the

sceNe, dubai In recent years, Dubai has emerged as a regional hub for art. Was this already the case when The Third Line arrived on the scene in 2005? Were your gallery anticipating that Dubai would assume such a status?

In 2005 things were very different as there wasnâ&#x20AC;&#x2122;t a proper art scene, or any venues for creative expression; a far cry from what it is now. Yet the audience and the energy were there, and the environment was just right. This is why we decided to set up a very ambitious programming for The Third Line. There was a gap that TIRGAN MAGAZINE AUGUST 2015

we filled and people responded to it with great enthusiasm. Around the time of our establishment, several other important organizations, publications and partnerships were also founded. One such notable entity is Art Dubai, one of the strongest art fairs in the region now, and a great proponent for cross-cultural dialogue and exposure. Since then, Dubai has come a long way and a lot of the people who were involved before us, or those who joined afterwards, have helped shape it into a vibrant, thriving and fast growing ground for art and culture.

Sahand Hesamiyan Khalvat/Third Line Dubai

dubai

has emerged as an art hub in recent years, helping link regional artists to their publics. Sunny Rahbar was early on the scene when she launched Third Line Gallery in 2005. We talk to her about this city’s art scene, and its significance for contemporary Iranian art.

In conversation with Sunny Rahbar about Dubai as a hub for Iranian art

To what extent do Iranian artists rely on Dubai’s art market? Are they mostly based in Iran? The Iranian art scene has a strong history and deep cultural influences that tend to influence even the current generation very strongly, both artists and collectors. As with many of the Iranian artists we represent, most of them have either grown up with their families outside of Iran, or chosen to move now. There are many personal and professional reasons behind it. Yet we do have examples of some of our most prominent Iranian artist’s still living

and working in Iran; for example Monir Shahroudy Farmanfarmaian, Golnaz Fathi and the fast rising star Sahand Hesamiyan. Dubai is definitely one of the avenues that allow them creative and professional autonomy. But it would be wrong to say they rely solely on the Dubai market.

Are Iranian residents of Dubai very active in the art scene? Out of the 27 artists we represent, 12 are Iranian and live in Iran and across the world, but none in Dubai. However, we TIRGAN MAGAZINE AUGUST 2015

BAZAAR

do have a large Iranian audience and collector base from within the UAE, and the larger region. It would be wrong to generalize, as our overall audience is made up of many different nationalities who are all proactive in their own way as audiences and contributors.

Tell us about some of the Iranian artists that your gallery has featured. Which of them were especially well received? I’m very proud of Monir Farmanfarmaian, who having crossed 90 years of age still works daily in her studio, and is now the subject of her first major solo show at the Guggenheim in New York (the first solo exhibition by an Iranian artist at this venue). She is truly well loved and respected across the board. Artists like Farhad Moshiri have also left a large mark on international audiences. He’s become a very sought after name. At the moment, we have Ala Ebtekar in the main space and Abbas Akhavan in the Project Space – both of the shows have been very popular. Abbas is someone who is now well received in Dubai for his conceptual works. Last year he won the Abraaj Capital Art Prize at Art Dubai, and this year we’re showing him in Statements at Art Basel. Also, we showed Sahand Hesamiyan’s ambitious sculptural exhibition in Nov/Dec 2014 and it got such positive reviews and attention that we extended the show to January of this year!

Where does the demand for Iranian art come from? Are there particular types of clientele that are pursue it more than others?

As the operator of a gallery, you’ve been working at the intersection between artistic production and its reception by “the market.” From this perspective, do you think the category of “Iranian art” is just a formal label, or is there something substantive that weaves its way through a lot these works and speaks of a common experience or ethos? This is a very broad question and there are many angles to its answer. Yes Iranian artists do share many similar cultural, historical and political influences, which may show up in their TIRGAN MAGAZINE AUGUST 2015

Monir Shahroudy Farmanfarmain/Third Line Dubai

Before it stemmed largely from the Iranian collector base. Now there is no such distinction, and many of our collectors have broader concerns when acquiring art.

BAZAAR

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iranian bazaar WHEN:

Friday, 21 August 6:00pm Saturday, 22 August 10:00am Sunday, 23 August 10:00am DURATION: Friday: All Day until 11:00 pm Saturday: All Day until 11:59 pm Sunday: All Day until 5:00pm LOCATION: Internatinal Market

Youssef Nabil/Third Line Dubai

Harbourfront Centre

work and are recognizable as “Iranian”. But not all our artists work like that. Examples would be the works of Laleh Khorramian and Amir H. Fallah; the first dealing with experimental fantasy-based concepts and the latter working with academic critique of the history of painting. We never try and promote or sell work based solely on national identities, and we try to avoid such classifications that take away from the artist’s own creations, which may or may not be connected to their country of origin.

Zooming out a little bit—well, maybe a lot— tell us about some of the trends in art from the region that you’ve noticed over the years. Over the years, the local audience and collectors have opened up a lot to new media art and the reception to sound and video art, site-specific illustrations and performances is much more positive that it previously was. The trends keep shifting, and it would be hard to pinpoint names and styles. But it is definitely easy to say that the making and consumption of art has increased manifold. TIRGAN MAGAZINE AUGUST 2015

Art

Like most non-profit festivals, Tirgan relies on the generosity of others. Financial support from members of the Iranian-Canadian community is especially appreciated and important. We speak to two donors, Houshang Shans and Steve Tabrizi, to get their thoughts on art, civic participation and collective efforts such as Tirgan.

LoveRs

Tell us about how you learned of Tirgan, and why you decided to help it grow? HS: I love Iran and Iranian culture. So I’m always interested in various causes that can help elevate and awaken us culturally in order to advance and grow there are some things we need to do in our society and I’m delighted to play a role in this important matter. I’ve been involved in various community efforts as a volunteer, in Canadian institutions and hospitals for example. In terms of my work with Iranians, I’ve been a part of Parya; from its inception to the completion of the community center. It was through Parya that I met Tirgan organizers—Mr. Ariannejad and Mr. Ahmadi—and got to learn about this festival. I feel that Tirgan is quite important as it brings together young members of our community, allowing us to work together towards a common goal. Through Tirgan, Iranian-Canadians can cultivate an identity that is true to their character and cultural heritage. I became more and more involved in Tirgan, and have become highly vested in the organization. I’m extremely pleased to see the large number of volunteers who really do believe in it and its goals. Some of the volunteers do not even speak Persian, and this inspires me to further contribute to the organization and the festival as much as I can. Tirgan also plays a crucial role in introducing the Iranian-Canadian community to the rest of the country.

ST: Iranian people immigrate in order to improve their lives and that of their children. But the issue here is that most of us view this improvement in standard of living through the framework of our own families and not the community as a whole. I’m highly vested in Tirgan and other volunteer and civic projects. One of my first projects was taking up a role in the steering committee in the “Iranian Association” (Anjoman-e Irani). Along with the help of Mr. Shans and others we managed to shape Parya into what is it today, with a permanent base in Thornhill. Because we firmly believed that the Iranian community is deserving of a community center, in brick and mortar. Tirgan is a bridge I’m a Canadian who is proud of his Iranian cultural heritage. My goal in life is to go forth taking the best aspect of both Iranian and Canadian culture in my day-to-day life and the upbringing of my children. And this is where Tirgan comes in. This

festival has the capacity to reach this youth...If I were to teach my children about history, music, folk dance, and various traditions I would have to enroll them in many classes. Whereas in 3 days of the festival’s run, they’re exposed to various aspects of their history and culture. This exposure evokes a sense of curiosity in the audience and they get encouraged to personally explore the many facets of their heritage. Tirgan is a bridge that raises the question for Canadian society as a whole: “What does the Iranian-Canadian community have to offer?”

You mentioned youth. Do you think Tirgan can be an educational tool for the youth? HS: Tirgan has been great in this regard. Nevertheless, the festival’s biggest challenge is outreach and promotion. If Tirgan can expand its reach by having programs that run more than one every two years and host events for youth on various occasions, more and more people become interested in getting involved and becoming part of the “Tirgan Family”.

Since it began in 2006 as a biannual festival, this is the 5th time that Tirgan is taking place. What’s your view on Tirgan’s growth over the years? HS: I’ve been part of the festival for the past 3 events. The growth has been great. But I wish that more businesses in the city would look to Tirgan and learn of its goals. Once they do they’ll be more inclined to support Tirgan financially or otherwise and contribute to its goals. There are many successful Iranian-Canadians, many of whom live in Toronto. I’d like them to know that success is not solely measured in financial and monetary terms. It’s vital to take part in civic and cultural activities—such as Tirgan—and help bring to life their cultural heritage and identity. A major goal of Tirgan’s is to bring together Iranian-Canadians, whatever their circumstances or age. Your children have grown up in Canada. Tell us how they feel about their involvement with Tirgan and how can we improve the rate of participation.

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ST: We have to encourage people to get their children interested in what we have to offer. My children were not involved with Tirgan until 2013 when I asked them to volunteer. At first they were hesitant but after they got to know the organization and the other volunteers they were happy to participate and they are part of the Tirgan Family once more for the 2015 event. We have to implement a mechanism on behalf of the organization and the community, so that youth involvement, not only in Tirgan but other aspects of our civic society, becomes more widespread. Is this easy to achieve? Absolutely not. We need to focus on creating a cultural dialogue, and it must engage the younger members of the public. Tirgan’s volunteer team is mainly made up of individuals ranging in age from 20 to 35. Therefore, they can easily communicate with younger members of the community. So you both agree that Tirgan plays a crucial civic role, and that it requires ongoing financial support. Well, let’s talk about this a little further. What can we do to secure financial aid in order to help us grow and reach our goals? ST: Continuous funding is absolutely essential for our organization. If you look at various successful charitable organizations and NGOs you can see that they have started at a grassroots level and have used the feelings of empathy to gain a large number of supporters. Sure, they have also received funding from corporate sources, but that is not their main source of income. Gaining the support of people and asking them for $5-10 annually can make a huge impact. Tirgan needs this…Iranian people are highly compassionate people. If you recall, on every street corner in Iran you can find a donation box; everybody makes donations, and giving back a part of their duty as a citizen. HS: In addition to what Mr. Tabrizi has said, I’d like to point out that there are many Persian speakers living in Canada who are from Afghanistan and Tajikistan and other places. It would be great to approach these communities in order to get them interested and involved in Tirgan as well. This will make the event more diverse, and it’ll also expand our ability to raise funds.

Do you think we’ll be able to achieve what the Italian community has with Taste of Little Italy, or Greeks with Taste of the Danforth? HS: The way to go forward is to get the successful people in our community involved. As mentioned earlier, we have to expand our reach to all the Persian speakers in the city and I’m highly optimistic for Tirgan’s future. Look, I’m not saying it’s going to be easy. But we have to stay positive and go forward with a “can-do” attitude. We have to stay optimistic and find the right way to conduct our plans. Many Iranians in Europe, the US, and Iran itself are great fans of the ‘Tirgan’ festivals. How can we go on engaging these audiences in the next 10-20 years? HS: This is definitely possible. There is a similar festival that takes place in Sweden. I’ve been in touch with the organizers of this event… What we need here is to form lasting collaborations and partnerships. Our goals here (in the Toronto Tirgan) differ from the Swedish version. What we have here is a non-profit organization. We must have the same goals if we are to work together. The organizers should meet and get to know each other. Consider all these areas with large Iranian populations; New York, Los Angeles, Sweden. We should get in touch with the artists and cultural movers-and-shakers to figure out how we can collaborate and expand our networks. ST: Tirgan can open more chapters: such as an American chapter, European chapter. We don’t necessarily need to have ownership of these chapters, but we can claim that this whole thing started in Canada. We are more than happy to pass on our experiences, contacts, and logistics.

This actually has happened in the summer festival in Calgary. They used Tirgan as a benchmark and source of inspiration. ST: How can we make the bridge. here stronger? We need to collaborate, and this is a huge challenge. The festival in Calgary used our ideas for their programming; we should give each other credit, network with one another, and support each other. TIRGAN MAGAZINE AUGUST 2015

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ARTEFACTS

are cultural condensation. They are the objects that put into relief a certain way of life, identity, historical period, social entanglement, etc. Just like “keywords”, they offer a great way to glimpse a bigger picture. In keeping with the theme of “homeland”, weʼve pulled together articles on a few that circulate far and wide in Iran. But thereʼs also one that stands ﬁrm, and far away from Iran.

ARTEFACTS

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peykan

RUSTIN ZARKAR (@RustinZ) is a doctoral student in the Department of Middle Eastern & Islamic Studies at New York University. His research focuses on the circulation of cultural products around the Caspian Sea. He is also an editor for Ajam Media Collective, an online space dedicated to documenting and analyzing social-cultural trends in Iranian, Central Asian, and diaspora communities.

By Rustin Zarkar

Anyone who has had the misfortune of sitting in Tehran traffic has witnessed a distinctive sea of white vehicles, horns blaring and congesting the highway. This mass of metal and rubber is predominantly composed of the Paykan—Iran’s most iconic car—and it has dominated the Iranian streets since the late 60s. With nearly 2.2 million units sold throughout its production run, it accounted for 40% of all Iranian automobiles at the time of its discontinuation in 2005. The Paykan, like many of its drivers, has survived the tumult of revolution, war, reconstruction, and economic crises. The resilience of the Paykan mirrors that of 20th and 21st Century Iran, which can explain why it still endures not only as functional car, but also as a symbol of collective experiences and an object of nostalgia. Throughout its history, the symbolic significance of this car has changed dramatically depending on social, political, and economic circumstances. The Paykan (which means “arrow” in Persian) has its beginnings in 1962, during a period of massive socio-economic transformations in Iran. Taking advantage of the Iranian government issuing of loans and tax benefits to promote new industries, brothers Ahmad and Mahmoud Khayami founded Iran National, and acquired the rights to produce a version of the British-owned Rootes Group Arrow. The economic incentives that encouraged the formation of the company corresponded with the “White Revolution,” a series of socio-economic reforms proposed by the Pahlavi government. Throughout the 60s and early 70s, a language of “modernization” circulated in public discourse, and many individuals in the government believed that urban industrialization— combined with rural land reform, political restructuring, and new educational programs—would end many of Iran’s “backward” institutions. As Iran’s first domestically manufactured car, the Paykan played a significant role in the formation of a new Iranian middle class, as defined by the Pahlavi government. The vehicle was introduced around the time of massive economic growth in the country, and the foreign origins and the “British cool” style of the Paykan were attractive to the consumerist mentality of the emergent middle class. By the early 1970s, Iran national had increased production of the Paykan and manufacturing numerous models, such as a

station wagon, pickup, and automatic versions. During the 1978-1979 Revolution, the Paykan served as a tool for protest, bringing many protestors to demonstrations all over Iran, with their horns signaling celebrations in the streets with the flight of the Shah. The Khayami brothers also left the country and Iran National was nationalized and renamed Iran Khodro. The revolutionary regime strove to distance the Paykan from its Pahlavi-era image and stripped the car of many of its luxury features—such as its interior wood paneling, chrome fenders, and radio. These downgrades performed a symbolic function; they mirrored the socio-political ideals of the early Islamic Republic, when conspicuous consumption was considered inimical to the austerity of revolutionary Islam. The Paykan continued to be produced during the Iran-Iraq War (1980-88), but a wartime economy meant that they were of inferior and inconsistent quality. To improve the car’s off-the-line performance, owners often visited specialized auto shops that would replace the Paykan’s standard parts with spare foreign imports. The Paykan was no longer perceived as a luxury vehicle; now it was as a battle-hardened ride that was customizable and easily repaired. Perceptions of Iran’s national car seemed to indicate broader socio-economic circumstances that affected the country as a whole. Just as the Iranians were beginning to recover from the war, international sanctions and embargoes placed upon Iran once again added to the struggles of the people. The Paykan lost it status as a symbol of social mobility and their drivers often resorted to informal work like mosaferkeshi (the practice of picking up multiple passengers for a small fare) in order to supplement their income. By the 2000s, the Paykan was being outperformed by newer automobiles on the market. With no airbags, automatic braking systems, and failing to meet international environmental requirements, many Iranians were relieved to see the end to the out-dateds gas-guzzler and the transition to more modern-looking models, such as Iran Khodro’s Samad and domestically produced French vehicles. Despite the car’s spartan qualities, however, the Paykan has remained significant in Iranian society due to the fact that it was at the center of personal and collective memories. Whether driven for work, family use, or taxiing, the

Paykan was a means of social exchange. For many Iranians, the Paykan was their first car they were able to purchase, allowing them to navigate the public sphere in a closed, semi-private environment. From family vacations to political discussions with strangers in the back of a taxi, almost all urban Iranians can recall some memories that occurred inside a Paykan. Through the shared experience of travel, the Paykan helped facilitate a sense of national coherency similar to other transportation and communication technologies, like the national railway or the radio. Considering the Paykan’s role in the formation of human lives, it is no surprise that the car has a privileged position in Iranian cultural memory. Such respect for the Paykan was demonstrated during the funerary-like ceremony celebrating the end of the car’s illustrious career in May of 2005. At the event, government officials gave speeches about the significance of the car, and the last Paykan ever produced was covered in a black cloth reading “Farewell, Paykan” and formally sent off to a museum where it would be revered as a socio-cultural artifact. As the number of Paykans on the street has started to dwindle over the last ten years, the car has been increasingly featured in cultural spaces and products in and outside of Iran. Recently, two exhibitions at the Dastan Gallery and the AUN Gallery in Iran have focused on the Paykan. In music, bands such as Ajam and Kiosk have featured the car in their music videos and album covers, respectfully. The Paykan has even made its way into digital media, as a new generation of admirers has created online spaces (such as Shahin Armin’s Paykan Hunter blog) to collect any information, documents, and photographs about Iran’s most famous car. In the realm of cultural production, the Paykan will continue to represent something uniquely Iranian.

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KR A EY T EWFOA RC DT S

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FARDIN ALIKHAH earned his Ph.D. in sociology from Allam eh Tabatabaei University (Tehran). He is currently a faculty member of the Department of Social Sciences, Humanities and Literature at Guilan University. His research focuses on the politics and social dimensions of mass media. His scholarly writings appear in both English and Persian.

satellite dish

Photograph By Ensie & Mathias/Flickr

By Fardin Alikhah • Translated by Behzad Sarmadi

In the early 1990s, everyday conversation in Iran was animated with much talk about a new kind of technology. Like turning the knob on a radio in search of stations, and just as easily, it allowed for tuning into TV programs from beyond Iran. The Iran-Iraq war (19801988) had recently ended, and the turmoil of war had begun to subside. This technology was the satellite dish, and it was cause for excitement. At first, these dishes were over a meter wide.There were few people who could both afford them and had the necessary space to install them. And just like the introduction of television in Iran, the relatives and friends of these early adopters would gather in their houses to watch its programs. These dishes continued to shrink in size, while their receivers grew in affordability. As a result, more people were able to use them. In those days, the receivers were analog and only offered about forty channels, mostly Arabic and European. This content wasn’t especially appealing and none of the broadcasters were particularly popular, but Iranians were enthused nonetheless. With the war over, they could watch TV any time of TIRGAN MAGAZINE AUGUST 2015

day, without interruption, without requiring to, and without being limited to government programing. And so their usage expanded, and these dishes were increasingly visible from the streets. Eventually, the use of satellite dishes became a matter of contention in Iranian mass media. A public conversation ensued: ‘just what is this new technology and what implications does it have for our society?’ It had its detractors and its protagonists, and they had their reasons. Finally, in 1994, it was a conservative-led Parliament that banned their use. The government asked people to voluntarily hand over their receivers to the police. Some complied, but others chose to tuck away their dishes and receivers until the controversy died down. A few months passed and satellite dishes were once again a fixture on the rooftops, only this time they were covered with sheets. The satellite dish made a significant impression on Iranian society in those years. It was an accessible window into other worlds. Iranians could glimpse the social lives of other peoples through its programs; learn of the latest consumer goods through its advertisements; and follow life-style channels. On the whole, the satellite dish helped cultivate a more aesthetic sensibility toward everyday life; which was not tenable while the war was going on. In many ways, it enabled conceptions of self to shift from being rooted in faith to being rooted in consumption. A milestone came in 1999 when viewers tuned into the first Persian-language satellite channel, NITV. It came from abroad. This was such an uncanny affair that even its own producers seemed to require convincing. On one occasion, when a viewer in Isfahan called into one of its shows, the anchor held up a prop-fruit and asked him to confirm what kind it was. Opposition groups abroad were quick to realize the potential of this technology for directly communicating with Iranians. In the first five years following this milestone, Persian-language broadcasters proliferated; mostly led by such opposition groups abroad. A discourse of excitement emanating from outside the country inundated Iranian airwaves, and met with a locally produced discourse of fear and anxiety.

In those years their programming was only studiobased talk shows. A host—usually also the owner of the network—would receive calls from viewers. It was common to hear the phrase “Hello you’re on the air!” (using the English word for “air”). TV, in other words, was functioning like radio with visual aid. Such content eventually grew repetitive and tired. Soon Western governments also began broadcasting. The US government launched a Persian version of Voice of America, and the British did the same with BBC Persian. By this point there was so much programming to choose from that users begin compiling them into “favorite channels”, and ignoring the rest. Then came another milestone: the launch of PMC, the first professionally produced Iranian music channel. Entertainment programming took on a new dimension, and beginning in 2005 amateurishly produced channels were sidelined. Better programming stirred the excitement of audiences once again, and expanded their tastes. Among such Persian networks were BBC Persian for news, Manoto for general entertainment, and Farsi 1 for dubbed TV serials. Together they evolved Iranian satellite television, and since 2010 standards of production have been more polished than ever. Eventually there emerged giants in this diverse landscape looking to satisfy the ever-growing tastes of Iranian audiences. The GEM group of channels is worth noting...Their programming has partly had the effect of ‘depoliticizing’ television for family audiences, especially since the political turmoil of 2009. This cultural bent of mass media in Iran has come in phases. Back when videotape players were common, for example, it was Indian films that were popular. With the coming of satellite television, this cultural content has gone through Arabic, European and American waves. Today it’s Turkish serials that are popular…and even working to draw Iranian tourists to Turkey. It’s fair to say that all segments of Iranian society today are more or less tuned into satellite TV. Signal receivers (LNB) continue to rotate on the rooftops. One day they turn toward Yahasat, the next toward Eutelsat, and the day after toward Turksata (various satellite networks). Will they ever turn toward ‘home-grown’ content? TIRGAN MAGAZINE AUGUST 2015

ARTEFACTS

By Sara Lenehan

nose the

SARA LENEHAN studies social anthropology at the London School of Economics, and is a graduate of the University of Oxford. She is interested in globalization, consumption and family life the Middle East. Her research is based on fieldwork in Iran.”

Nose jobs are a lucrative business in Iran, so much so that Tehran is frequently referred to as the “nose job capital of the world”. A recent report commissioned by the International Society of Aesthetic Plastic Surgery (ISAPS) claims that more than 37,000 nose jobs were carried out in Iran in 2013. Other sources suggest that the figure is much higher, but even going by ISAPS’s estimate Iran is the world’s fourth largest nose job market in absolute terms (surpassed only by the USA, Brazil and Mexico). Iranians not only show a comparatively higher preference for nose jobs (medically termed ‘rhinoplasty’) than the world’s other big cosmetic surgery markets, but they also follow a particular aesthetic. The tendency in Iranian nose jobs is to remove bumps and to reduce or lift the tip of the nose. Iranian surgeons advertise this look through before and after pictures on their websites and in magazines. At the same time, patients’ casual use of terms such as ostokhooni (bony) and gooshti (meaty) to describe crooked and large noses, respectively, indicate strikingly how codified these aesthetic preferences have become. Patients and surgeons often talk about these preferences matter-of-factly; as if they approximate universal standards of beauty. But uncomfortable questions regarding race and ethnicity quickly emerge. Why do so many Iranians view their noses to be in need of repair? We know that the plastic surgery literature singles out the ‘Middle Eastern’ nose as particularly prone to what it calls ‘bony humps’ and ‘ill-defined’ tips. But even if TIRGAN MAGAZINE AUGUST 2015

this is true—and there are actually many Middle Eastern, including Iranian, noses that do not fit this description— then why is it such a bad thing? One argument runs that small straight noses are not inherently more attractive. Rather, the aesthetic is a beauty ideal that originated in Europe and America as a way of distinguishing and privileging ‘white’ identity. Historical records do show that the modern practice of rhinoplasty began in Europe at the end of the 19th century, and that the practice was particularly popular amongst immigrants to the United States and German Jews who wished to escape racial stigma. Feminist academics have extrapolated from this history to analyse ‘ethnic’ cosmetic surgery more generally, such as why so many Chinese, Japanese and Korean women choose to increase the size of their noses and widen the shape of their eyes. Some argue that the cultural power of the West (upheld in part by the capitalist system) promotes these Western beauty norms through film and visual media. Almost ironically, a variant of this thesis can be found in more jubilant media reports that Iranian rhinoplasty reveals Iranians’ rebellious love of the West. The history of Iranian rhinoplasty does, in part, point to Western influence. It seems that rhinoplasty was first popularised in Iran amongst wealthy Iranian women during the time of the Shah. These women, who were more exposed to Western culture, are rumoured to have started travelling abroad to receive rhinoplasty as early as the 1950s. Around the same time, a surgeon named Dr Cyrus Ossanlou established the first Iranian centre for plastic surgery. Ossanlou and his students drew increasing numbers of patients through the 1960s and 1970s, after which the industry grew into what it is today. While this history might help explain the development of Iran’s rhinoplasty aesthetic, it doesn’t really prove that rhinoplasty is uniformly motivated by a desire to look ‘more Western’ or ‘less Iranian’. As fashions move cross-culturally, their significance can change too. Iranian women in the 1960s could not reasonably have felt the daily discrimination that ethnic minorities in the

USA were apparently seeking to escape, even if those women did follow Western beauty ideals glamourized by Hollywood. And so the ethnic significance of rhinoplasty was blunted in the Iranian context. Instead, rhinoplasty took on added meaning as a sign of wealth and social distinction as it was primarily practiced amongst affluent upper class women. Over time, it seems the ethnic significance of rhinoplasty decreased further, as the practice became more embedded in class and gender expectations. These days, nose jobs are relatively more affordable in Iran, but continue to be most prevalent amongst Iran’s more affluent middle and upper classes. The majority of patients are young women, for whom personal appearances factor more heavily in their life prospects, but many men undergo the procedure too. For both genders, an ‘illproportioned’ nose can not only be unattractive but also indicate a lack of resourcefulness and sophistication. Given these standards and the prevalence of rhinoplasty, choosing not to ‘correct’ an undesirable looking nose can sometimes be more difficult than opting for the procedure. The most common reasons I have heard for nose jobs are patients’ own desires to boost confidence and attractiveness. Yet others have also cited encouragement or even intense pressure from family and friends. While some may joke about Iranian noses being larger, few articulate a desire for their bodies to look more European or American. So while it is difficult to disentangle the origins of Iranian rhinoplasty from the West, it is clear that the practice has now taken on a life and meaning of its own. Blanket claims that Iranians seek to ‘Westernise’ their features through rhinoplasty are misleading, especially where they assume values and motivations that people simply might not have. Nevertheless, as with so many forms of plastic surgery practiced all over the world, it is hard to deny that rhinoplasty promotes social conformity at the cost of individuality and sometimes even health. It will be interesting to see whether these and other arguments will in time diminish the popularity of rhinoplasty in Iran.

Photograph By Jeremy Suyker

KR A EY T EWFOARC DT S

the

“ugly persian house”

By Neda Maghbouleh

Photograph By Alseib/Los Angeles Times

NEDA MAGHBOULEH is an Assistant Professor of Sociology at the University of Toronto, specializing in race, ethnicity, and migration. Her first book, The Limits of Whiteness: Iranian Americans and the Everyday Politics of Race, is under contract with Stanford University Press. Born in NYC and raised in Portland (Oregon), she lives in Toronto with her husband and infant daughter, Neelu.

You’re here! Khosh amadid. But please, please, the next time you are here, promise that you will come and stay at my home. We have so much room to spare and you would humble me with your presence. We are ready for you, always. Plaster columns and balustrades will meet you outside; a two-story foyer topped with a chandelier will wink at you from the front door. The carpet still has vacuum marks. You can smell Windex on contact. Please don’t bring anything. Your presence is more than enough. If you lived here, like me, you would take your shoes off. But you’re visiting me, you’re my most treasured guest. So please khahesh mikonam, please rahat bashid, please do not kick off your black suede stiletto TIRGAN MAGAZINE AUGUST 2015

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estekan from a sini, they call it a “Persian Palace”, like that’s a bad thing. They say it’s too big, on a lot too small, it’s too flashy, it doesn’t fit in, and it’s “ruining the neighborhood, one house at a time.” There’s even a blog, “Ugly Persian Houses,” where they post photos of houses like ours. We made the Los Angeles Times, the NBC Nightly News, we are famously infamous. In Beverly Hills, you know, this house isn’t even allowed anymore: they’ve passed city codes, sanctioned architects, denied applications for renovation. But here we are in Toronto now and Canadaiea are more polite, or at least to our faces they are. Here, our Ugly Persian House is another McMansion, no ethnic or national provenance necessary. If you pressed a Canadian, though, earned her trust a little bit, she’d tell you about the ones in North York, or Markham, or Richmond Hill. This one is three above-ground stucco-stippled floors of money pilfered out of Iran; that one, with the splashy water feature and lions guarding the gate, is a cash down-payment from mainland China; there goes the neighborhood. heels with gold snakeskin detail in my marble foyer, Transnational capital from the palms of transnational because your outfit is so beautiful and I wouldn’t want people, making handshake deals with transnational to diminish your beauty in any way. Please make yourself comfortable. My home is yours. lawyers and brokers, earning interest in the greedy and open hands of transnational banks. These things They have a family resemblance, don’t they? Your house and my house. All our curtains pulled back with will happen. They just do. And it’s true, hagh daran, you’ll see for yourself tassels, all our decorative soaps in the washroom, our when you come to stay with me. My home is a big desktop computer mouse pads shaped like Persian house on a small lot. It has to hold a life lived in two carpets gathering dust in the garage. parts. It has to be big enough to contain all of our Your house and my house… wind-swept and dreams. It has to be big enough to host you when you scattered across the diaspora like family. bless us with your next visit. If we were in Los Angeles, you might hear You’ll see for yourself that the house is big and the Amrikaiea talk badly about us. Well, not perhaps us, lot is small. but about your house and my house. This sanctuary, We live in Toronto now, after all. this home in which I am serving you hot chai in an TIRGAN MAGAZINE AUGUST 2015

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HISTORY AND LITERATURE

liteRatuRe, translation and the foolhArdy In conversation with Dick Davis about translating Persian poetry and prose

dick davis

is a scholar and poet. His scholarship focuses on the history of Iranian literature and poetry. He is also widely acknowledged as one of the most important English translators of Iranian literature today. He is participating in Tirgan this year, discussing medieval Iranian poetry and his recent translation of the landmark novel My Uncle Napoleon.

Over the years you’ve translated a variety of masterpieces from Persian into English. What about classical Persian literature and poetry do you think English readers continue to appreciate? Is Rumi’s popularity in the US today for reasons similar to Omar Khayam’s popularity in Victorian England?

but was fairly new in England then due to the recent discoveries of times past, recorded in geology), and also its chafing at sexual repression; Rumi is popular because his verses are seen by many to fit a western New Age kind of spirituality outside of specific religious dogmas (this seems to me to be a real misinterpretation of Rumi, nevertheless it is one that is very common in the West).

I think it’s reasonable to say that the popularity of translations from Rumi is for similar reasons to the popularity of FitzGerald’s Khayyam in Victorian England, in that both speak to the Zeitgeist of English language culture at their respective moments. FitzGerald spoke to the Victorian loss of faith, its discovery of the vast vistas of unrecorded time (an understanding that is pervasive in Khayyam,

In your widely cited essay On Not Translating Hafez you describe the “cultural” challenges involved in translating poetry from Persian into English. Which among these have you found to be especially difficult to reconcile? Is the notion of ‘reconciling’ even appropriate here? TIRGAN MAGAZINE AUGUST 2015

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To what extent has your own poetry been informed by your knowledge and fondness for Persian poetry? Enormously. I learned how to write narrative poems by reading Persian narrative poetry, and even though my own few narrative poems don’t, I think, sound like Persian poems, I’m quite sure I couldn’t have written them if I hadn’t become familiar with Persian narrative techniques. I’ve also adopted Persian technical devices, such as mono-rhyme, for a number of my own poems. I love the intricate technical requirements of medieval Persian verse, and have tried to imitate something of these requirements in English. More generally there is a quality of delicacy and charm—perhaps best expressed by the Persian words latif and letafat—that is rare in English poetry, but which I have tried to introduce into some of my own poems. With how much success it’s not for me to say.

Staying with Hafez, you describe his poetry as “an endlessly dense tissue” of poetic conventions that inhibit successful translation. Yet a few years later you try your hand at it. What caused you to change your mind? Foolhardiness! A wish to make at least an attempt; I knew—and I know—I could not do justice to Hafez, but I thought I might at least be able to produce somewhat better English versions than many others that already exist. I’ve lived intimately with English poetry for well over 50 years, and with Persian poetry for about 40 years; I felt that I might be able to do something with this knowledge and familiarity that might perhaps bring over something of the feel and force of Hafez into English. Only something, of course.

You lived and taught in Tehran for several years until the revolution (1978-79). What was life like for a foreigner, pursuing the study of Iranian culture, in those years? I didn’t really “pursue the study of Iranian culture” whilst I lived in Tehran; I took lessons from private tutors, on both language and literature (the first text my literature teacher had me read was book 1 of Rumi’s Masnavi; which was very hard for a beginner, and I went very slowly!). However, I made my living as a teacher of English. My serious academic study of Persian literature didn’t really start until I returned to England in 1978, and later on became a PhD student in medieval Persian literate at the University of Manchester.

There were three separate reasons for choosing [this work] to translate. One is that when I did the translation Iran had a wholly negative image in the west, and I wanted to show that Iran was as much a country of humor, charm, domestic quarrels and sexual farce as any in the world; that it was not simply a country obsessed with religious self-righteousness and revenge, which is how it was largely seen in the west at the time. The second was to illuminate to some small extent Iran’s deep suspicion of the West, and the paranoia that can sometimes result from this (for example, in the figure of Uncle Napoleon himself). The third reason was technical and personal; I had never translated a modern work before, and I had never translated prose before: it was a challenge, and I wanted to see if I would manage to meet the challenge successfully. The hardest parts were the dialogue, which I often recast many times.

princesses who protest: the women poets of medieval iran by Dick Davis WHEN: August 20-23, 2015 DURATION: 1 Hour LOCATION:

Miss Lou’s, Harbourfront Centre

~ talk/presentation ~

in the lion’s shadow by Dr. Fariborz Mokhtari WHEN: August 20-23, 2015 DURATION: 1 Hour LOCATION: Miss Lou’s, Harbourfront Centre

No doubt a lot of our readers will be unfamiliar with the world of Persian literature and poetry. What suggestions can your offer them about where to begin? What a huge question!! I wouldn’t presume to answer for modern Persian literature, but for medieval or “Classical” literature, I’d say start with Ferdowsi’s Shahnameh (The Book of Kings) It’s long, but read at least the first half, at least till the death of Rostam. Read the Qabus Nameh, a charming book that gives a wonderful picture of medieval Persian court life. Read a romance, either Vis and Ramin or one by Nezami (they’re very different … Vis is sexy, Nezami’s romances are more spiritual); read as much lyrical and epigrammatic verse as you can. See if Rumi speaks to you (but if you’re reading him in English make sure your get real translations, not fake ones, of which there are many about). Break your heart trying to understand Hafez, and then allow him to console your heart when it’s broken. This would be a good start perhaps.

Courtesy of the Metropolitan Museum of Art (2); Courtesy of Mage Publishers

There are specific motifs in Persian literature that are very common (e.g. the opposition of rend and zahed, the many references to pederasty…the allegorical use of wine and winedrinking to indicate mystical aspirations and experience, and so on) but which have virtually no existence in the tradition of poetry in English. It’s very difficult to deal with these in ways that both make sense to an English speaking reader and also do not betray the meaning and tone of the Persian original. A translator can only do his best and hope that something of the original comes across strongly enough to speak in English.

You’re participating in Tirgan this year. In addition to discussing medieval Persian woman poets, you’ll also be talking about your translation of the 20th century landmark novel My Uncle Napoleon. What about the latter work do you find compelling?

~ talk/presentation ~

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HISTORY/LITERATURE

about

a Master

The Life and Times of Ehsan Yarshater

By Mohamad Tavakoli-Targhi â&#x20AC;˘ Translated by Behzad Sarmadi and Samane Tavassoli

Through his personal initiative, foresight, and perseverance, Professor Ehsan Yarshater has advanced the field of Iranian studies by founding such institutions as The Translation and Publication Agency, The Book Club and the Center for Iranian Studies at Columbia University. Among his many scholarly achievements are The Book Directory, Encyclopaedia Iranica, Encyclopaedia of Iran and Islam and a series of specialized publications in Farsi and English.

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HISTORY AND LITERATURE

Yarshater was born in Hamadan, Iran, in 1920. After the death of his mother and father, in 1931 and 1932 respectively, he continued his schooling in Tehran with the help of his uncle Mehdi Misaqieh (the founder of Studio Misaqieh, and Misaqieh Hospital). Upon completing high school, Yarshater finished his secondary education at the pre-college learning institute Daneshsaraye Moqaddamati, before entering the University of Tehran. In 1941 he received his diploma, scoring first place in an examination of Persian literary studies and earning a medal of honour for it. In 1947, he completed his Ph.D. dissertation—Persian Poetry in the Second half of Ninth Century—under the supervision of Ali Asghar Hekmat. That same year he set off for England as he was granted a yearlong fellowship from the British Council. After meeting Walter Bruno Henning (a major scholar of Iranian languages and literature) Yarshater decided to study Pre-Islamic Iranian languages and culture instead of education, and received an M.A. from the University of London in 1952. Upon returning to Iran, he focused on the research of Iranian dialects, and in 1960 successfully defended his second Ph.D. dissertation—The Southern Tati Dialects—under Henning’s supervision. His teaching career began in 1942 at the Elmiyeh School in Tehran. One year later he was appointed as the Deputy Director of the Daneshsaraye Moqaddamati. In 1947 he was elected as Assistant Professor of Persian language and literature in the Faculty of Theology at the University of Tehran. And after returning from London, in May 1953, he was appointed as an Assistant Professor of Old Persian during the “One Hundred and Twenty-Ninth Session of the Council of the Faculty of Literature.” In the spring of the 1958, the Council of the University of Tehran accepted the Faculty of Literature’s suggestion to grant Yarshater leave for one year in order to pursue teaching Persian and Iranian literature at Columbia University (New York). Reporting back to the President of the Faculty of Literature on “my one year mission at Columbia University,” he wrote: “The subjects that I’ve been responsible for, since my invitation in the last academic year, have been: 1) Persian literary texts, 2) the history of Iranian culture and civilization before Islam, and 3) Iranian Heritage. All of these subjects were for graduate studies. From among these, the course on the history of Iranian culture and civilization proved most popular. Following this was the course on Iranian literary texts. In addition to these courses, I’ve also been responsible for teaching about “the languages and peoples of the Soviet Union”; that is, the languages of Iranian peoples of the Soviet Union. Based on the generous conjecture of the some of the members of Columbia University, and its growing focus on the study of Middle Eastern languages and civilization, it seems that they have invited me to teach ancient Persian and Pahlavi…in addition to the above subjects.”

And after describing his research activities, he added:

“An association of Iranian students and enthusiasts of Iranian culture has been organized in New York. The focus of its meetings has been Iranian arts and culture, and they’ve not been without success. In my time here I’ve tried my utmost to meet the university’s expectations, advance the study of Iranian culture and civilization, and strive to cast my country in a positive light; and all in what little time I have, so as not to be regarded as a lackluster representative of the University of Tehran. But my success is not for me to judge, all I can claim is to be committed in my efforts.”

Just as he predicted, Columbia University extended his tenure as an Associate Professor for another year. And so he spent the academic year of 1960-1959 teaching there once more. Following the inauguration of the Hagop Kevorkian Chair in Iranian Studies at Columbia University, a report in the magazine of the Faulty of Literature (University of Tehran) stated: “It’s been for some time that the University of Columbia has wanted to establish an independent Chair for the study of Iranian for Iranian studies (language and literature, history, pre-Islamic languages and arts). This year, their plans have materialized. To fill this position, the university has invited Dr. Yarshater, the resident expert of ancient Iranian languages and the Avesta of the Faculty of Literature. With the approval of the Faculty’s Council and its President, Dr. Yarshater will be travelling to America for this purpose.”

Professor Yarshater was an ideal candidate for this position. In 1953 he had published Avicenna’s Book of Directives and Remarks and Five Treatise, along with his Ph.D. thesis from Tehran. The University of Tehran Press published his Persian Poetry in the Era of Shahrokh in 1955. Saeed Naficy wrote in the introduction of the book: “It is fifty years sine the late Ghazvini imparted to Iranians the new method, by Europeans, for the study of literature. It must be said, in all honesty, that Iranians have employed it so well in these fifty years that they not only no longer require European scholars but that Europeans now require them, and that those days of overreliance on orientalists are now behind us. Yarshater’s book is an excellent example of the advancement of our scholars in this field. The contents of this book are based on the best scientific methodology.” In 1957 his Ancient Persian Stories was published, which received the Royal Award, and 1958 saw his publication of the Stories of the Shahname which went onto win a UNESCO prize. Aside from books and articles in Persian, professor Yarshater had also published articles in English on Iranian dialects (Khalkhali and Tati), the Nowruz celebration, Persian literature in the past 50 years, wine and wine drinking. Teaching and research, however, was just a part of professor Yarshater’s many pursuits. Upon his return from London in 1954 he set about establishing the Translation and Publication Agency(TPA), and assembled a series of collections such as Persian Literature, Iranian Studies, Foreign Literature, Philosophical Works, Literature for Youth, Readings for Children. Through these works and the systematic but graceful editing that they required, he advanced the general education of readers. In a 1957 report issued by the TPA he wrote: “It is no exaggeration to say that this organization is

Previous Page: Photograph by Marcus Yam/New York Times/Redux

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“IN NEW YORK, BEFORE AND AFTER THE REVOLUTION, YARSHATER WAS A FRIEND AND ADVISOR TO ALL WHO WOULD EMBARK ON IRANIAN STUDIES” itself a college from which others can learn and benefit from, and an endeavour as significant as this is something that Persian-speaking peoples throughout the world over should appreciate.” According to available figures, this organization published 146 titles by 1967, nationally ranking just behind the University of Tehran and the Pocket Books Organization. Professor Yarshater’s pioneering publications exceeded even this wide range of subjects. Before he left for New York in 1957, he founded The Book Club in order to “promote useful books, guide enthusiastic readers in their selection of books, and to facilitate the advancement of writing through objective critique.” One of the important fruits of this initiative was the popular magazine The Book Directory (rahnamaye ketab), cataloguing and commenting on texts. Yarshater was the proprietor of this publication, in circulation for twenty-one years until 1979. His writings here gave insight into his intellect and forward-thinking. In one such piece, for example, he called for “the advancement of science” and wrote: “One of the most important tasks ahead of us is the establishment of a library that corresponds with the needs of scientific research…and furthers the accumulation of scientific insights…If we are to pursue the notion of ‘scientific research’ seriously, the first condition must be setting up a well-resourced and well-equipped library.”…Yarshater’s foresight, however, was always accompanied by unstinting effort and determination: “If we hope to have a share in the world of knowledge tomorrow, and avoid ignorance, we have to have a clear plan of action today and commit to it…a plan that would elaborate the future of science in Iran, and render hope for humanity, such a plan does not yet exist.” Equipped with such analytical foresight, Yarshater was deployed to New York in 1961. While he had retained close contact with his colleagues in Iran until 1957 and was heavily

involved in the various institutions he had spearheaded, his energy and attention increasingly began to focus on his work at Columbia University and the advancement of Iranian Studies in the United States. With much effort and persistence he eventually launched the Center for Iranian Studies at Columbia University in 1967. This institution was soon deemed one of the most influential centers at this university, and the most active initiative for the study of Iranian history and culture in the United States. This commitment to furthering Iranian studies has seen Yarshater churn out a range of enduring periodicals, and other works as well. These include: Persian Heritage Studies, Persian Studies Series, Modern Persian Literature, A History of Persian Literature, Columbia Lectures in Iranian Studies, Persian Art Series, Persian Text Series, and an English translation of The History of al-Tabari. The Encyclopedia Iranica is among the notable and far-sighted. It could not have been possible without the insights of an Iranian studies expert such as Yarshater. This foundational work, which was a continuation of the Encyclopedia of Iran and Islam, remains an invaluable and comprehensive resource for scholars of Iranian studies. With is publication on the internet (www.iranicaonline. org) it has emerged as a singular scholarly repository making available all manner of accurate knowledge and documentation about Iranian history, literature, culture and civilization. Its widespread recognition has been the result of the painstaking efforts and scholarly rigor of Yarshater and his colleagues in Iranian studies. In New York, before and after the revolution, Yarshater was a friend and advisor to all who would embark on Iranian studies. It was his council that helped realize the publication of the journals Iranian Studies and Iran Nameh, along with the establishment of the International Society of Iranian Studies, and the American Institute of Iranian Studies. TIRGAN MAGAZINE AUGUST 2015

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AT TIRGAN 2015

AUGUST 20-23, 2015 Workshop

tonbak workshop

music

ceremony

opening speeches music

sarv music academy choir

persian and turkish improvisations

TICKETED

late night dj

TICKETED

FILM

music

hamed nikpay and ensemble featuring karine gonzalez

music

theatre film

window horses the poetic persian epiphany of rosie ming

scarlet stone (mohreye sorkh)

residents of one way street

TICKETED

music

food & drink

music

taste of iran food & drink

tehran tea house

solo ney improvisation

raghs; shanbehzade ensemble featuring dj michael red

Visual arts

views of homeland

MARKET/bazaar

iranian bazaar music

babak amini and houman javid live in concert

film

the snow on the pines + q&a

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AT TIRGAN 2015

Workshop

film

dance workshop

one.two.one + q&a

music

eastern sounds

insou-unsou music

talk/presentation

dance lounge

royal caravanserais in achaemenid era

talk/presentation

dance

a Journey with the hoopoe, bird of hope

azarbaijani dance workshop

recipes from persia

dance

kurdish dance

music

rhythm and vibes

music

tabriz music ensemble

talk/presentation

in the lion’s shadow

iranian immigrant musicians in urban canada

thearte

1001st night, (a play reading) TICKETED

talk/presentation ceremony

short story and photo contest award ceremony

workshop

daf workshop dance

iranian traditional folk dances

the pleasures and problems of translating iraj pezeshkzad’s dai Jan napol’on into english

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AT TIRGAN 2015

AUGUST 20-23, 2015

music

the persis

talk/presentation

wondrous deeds (keramat) and sufism, a logical perspective

film

abbas kiarostami a report + q&a with the director

workshop

animation workshop music

maneli jamal kids dance

kidsâ&#x20AC;&#x2122; programs

TICKETED

workshop

les ballets persans

iranian identity, youth leadership development workshop

toy-making workshop

music

the toronto world music ensemble music

persian piano night tribute

a tribute to prof. ehsan yarshater

film

stop-over

music

solo piano performance

music

darya dadvar and ensemble TICKETED music film

melbourne + q&a with payman maadi

soley ensemble & whirling dervishes of rumi canada

Talk/presentation

organizing within iranian diaspora film

exilic trilogy + q&a and panel discussion

music

dara dar tan music

baarbad ensemble

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AT TIRGAN 2015

music

sohr ab behrad

film

dancing mania talk/presentation talk/presentation

naqsh-e rostam (rostam inscription) a look at the historical identity of iran

the canticle of ’the birds by ’attâr or the art of spiritual flight music

naser masoudi and sarv ensemble

music

bagher moazen

ceremony

closing ceremony workshop

multigenerational and family dialogue

music

bahram aghakhan

Closing Concert

closing concert

film

from tehran to london + q&a

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‫ﭘﯿﺶ از آن ﮐﻪ در ﻣﻘﺎم داﻧﺸﯿﺎر ﻣﻬامن ﺑﻪ ﻧﯿﻮﯾﻮرک ﺑﺮود‪» ،‬اﻧﺠﻤﻦ ﮐﺘﺎب« را ﺑﻨﯿﺎد ﮔﺬاﺷﺖ »ﺗﺎ در ﺗﺮوﯾﺞ‬ ‫ﮐﺘﺐ ﺳﻮدﻣﻨﺪ ﺑﮑﻮﺷﺪ و دوﺳﺘﺪاران ﮐﺘﺎب را در اﻧﺘﺨﺎب ﮐﺘﺐ ﯾﺎری ﮐﻨﺪ و از ﻃﺮﯾﻖ اﻧﺘﻘﺎد ﴏﯾﺢ و‬ ‫ﺑﯽﻃﺮﻓﺎﻧﻪ در اﺻﻼح ﮐﺘﺐ و ﭘﯿﴩﻓﺖ ﮐﺎر ﻧﻮﯾﺴﻨﺪﮔﺎن ﻗﺪم ﻣﻮﺛﺮی ﺑﺮدارد‪ «.‬راﻫﻨامی ﮐﺘﺎب‪ :‬ﻣﺠﻠﻪ ﻣﻌﺮﻓﯽ‬ ‫و اﻧﺘﻘﺎد ﮐﺘﺎب ﯾﮑﯽ از ﻓﺮآوردهﻫﺎی ﻣﻬﻢ اﯾﻦ ﮐﻮﺷﺶ ﺑﻮد‪ .‬اﯾﻦ ﻧﴩﯾﻪ‪ ،‬ﮐﻪ اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﺻﺎﺣﺐ اﻣﺘﯿﺎز‬ ‫آن ﺑﻮد‪ ،‬ﺗﺎ ﺳﺎل ‪ ۱۳۵۸‬ﺑﻪ ﻣﺪت ‪ ۲۱‬ﺳﺎل ﻣﻨﺘﴩ ﺷﺪ‪ .‬ﯾﺎدداﺷﺖﻫﺎی اﺳﺘﺎد‪ ،‬ﮐﻪ ﺻﺎﺣﺐ اﻣﺘﯿﺎز اﯾﻦ ﻣﺠﻠﻪ‬ ‫ﺑﻮد‪ ،‬ﻧﺸﺎندﻫﻨﺪه ذﻫﻨﯽ آﯾﻨﺪهﻧﮕﺮ و ﻣﺸﮑﻞﮔﺸﺎﺳﺖ‪ .‬در ﯾﮑﯽ از اﯾﻦ ﯾﺎدداﺷﺖﻫﺎ‪ ،‬ﻣﺜﻼ‪ ،‬در ﭼﺎرهﺟﻮﯾﯽ‬ ‫»ﺑﺮای ﭘﯿﴩﻓﺖ ﻋﻠﻢ« ﻧﻮﺷﺖ‪» :‬ﯾﮑﯽ از ﻣﻬﻤﱰﯾﻦ ﮐﺎرﻫﺎﯾﯽ ﮐﻪ در ﭘﯿﺶ دارﯾﻢ ﺗﺎﺳﯿﺲ ﮐﺘﺎﺑﺨﺎﻧﻪای اﺳﺖ‬ ‫ﮐﻪ ﺑﻪ ﮐﺎر ﺗﺤﻘﯿﻘﺎت ﻋﻠﻤﯽ ﺑﺨﻮرد‪ ،‬ﮐﺘﺎﺑﺨﺎﻧﻪای ﮐﻪ ﺑﺘﻮاﻧﺪ ﺑﺮای ﺗﺘﺒﻌﺎت ﻋﻠﻤﯽ ﻣﻔﯿﺪ ﺑﺎﺷﺪ‪ ،‬اﮔﺮ ﺑﻨﺎﺳﺖ‬ ‫ﻣﻮﺿﻮع »ﺗﺤﻘﯿﻘﺎت ﻋﻠﻤﯽ« ﺑﻪ ﺻﻮرت ﺟﺪی دﻧﺒﺎل ﺷﻮد‪ ،‬ﴍط اول آن ﺑﺮﻗﺮار ﮐﺮدن ﮐﺘﺎﺑﺨﺎﻧﻪای ﻣﺠﻬﺰ و‬ ‫ﭘُﺮﻣﺎﯾﻪ اﺳﺖ‪ «.‬در ﺷامره دﯾﮕﺮی ﺑﻪ ﺗﺮﺳﯿﻢ »دورمنﺎی آﯾﻨﺪه« ﭘﺮداﺧﺖ‪» :‬آﻧﭽﻪ ﺷﻮق زﻧﺪﮔﯽ را در درون‬ ‫ﻣﺎ زﻧﺪه ﻧﮕﺎه ﻣﯽدارد اﻣﯿﺪ آﯾﻨﺪه اﺳﺖ‪ «.‬اﻣﺎ آﯾﻨﺪهﻧﮕﺮی ﯾﺎرﺷﺎﻃﺮی ﻫﻤﯿﺸﻪ ﺑﺎ ﭘُﺮﺗﻼﺷﯽ و ﺧﺪﻣﺖﮔﺰاری‬ ‫ﺑﯽدرﻧﮓ ﻫﻤﺮاه ﺑﻮد‪» :‬اﮔﺮ اﻣﯿﺪ دارﯾﻢ ﮐﻪ ﻓﺮدا ﻣﺎ ﻧﯿﺰ در ﺟﻬﺎن داﻧﺶ ﺳﻬﻤﯽ داﺷﺘﻪ ﺑﺎﺷﯿﻢ و از ﮔﺮوه‬ ‫ﻏﺎﻓﻼن ﻧﺒﺎﺷﯿﻢ‪ ،‬ﺑﺎﯾﺪ اﻣﺮوز ﺑﺮای آﯾﻨﺪه ﻃﺮﺣﯽ دﻗﯿﻖ و روﺷﻦ ﻓﺮاﻫﻢ ﮐﻨﯿﻢ و »اﮐﻨﻮن« ﺑﻪ آن ﺑﭙﺮدازﯾﻢ‪...‬‬ ‫ﭼﻨﯿﻦ ﻃﺮﺣﯽ ﮐﻪ آﯾﻨﺪه ﻋﻠﻤﯽ اﯾﺮان را روﺷﻦ ﮐﻨﺪ و اﻧﺴﺎن را ﺑﻪ ﻓﺮدای اﻣﯿﺪﺑﺨﺸﯽ ﺧﻮشدل ﺳﺎزد ﻫﻨﻮز‬ ‫وﺟﻮد ﻧﺪارد‪«.‬‬ ‫ﺑﺎ اﯾﻦ آﯾﻨﺪهﻧﮕﺮی ﭘﮋوﻫﺸﯽ و ﺗﻮامنﻨﺪی ﻓﺮﻫﻨﮕﯽ و ﻋﻠﻤﯽ‪ ،‬اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ در ﺳﺎل ‪ ۱۹۶۱‬در ﻧﯿﻮﯾﻮرک‬ ‫ﻣﺴﺘﻘﺮ ﺷﺪ‪ .‬اﮔﺮﭼﻪ ﺗﺎ ﺳﺎل ‪ ۱۳۵۷‬ارﺗﺒﺎط ﻧﺰدﯾﮑﯽ ﺑﺎ ﻫﻤﮑﺎراﻧﺶ در اﯾﺮان داﺷﺖ و از دور و ﻧﺰدﯾﮏ ﺑﺮ‬ ‫ﮐﺎرﻫﺎی ﺑﻨﮕﺎه ﺗﺮﺟﻤﻪ و ﻧﴩ‪ ،‬اﻧﺠﻤﻦ ﮐﺘﺎب‪ ،‬و راﻫﻨامی ﮐﺘﺎب ﻧﻈﺎرت داﺷﺖ و ﺑﻪ ﮐﺎرﻫﺎی ﺑﺰرﮔﯽ ﭼﻮن‬ ‫اﻧﺘﺸﺎر داﻧﺸﻨﺎﻣﻪ اﯾﺮان و اﺳﻼم ﻧﯿﺰ اﻗﺪام ﮐﺮد‪ ،‬اﻣﺎ ﮐﺎراﯾﯽ و ﺗﻮاﻧﺶ ﺑﻪ ﺷﮑﻞ روزاﻓﺰوﻧﯽ در ﺧﺪﻣﺖ‬ ‫داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ و ﮔﺴﱰش داﻣﻨﻪ اﯾﺮانﺷﻨﺎﺳﯽ در آﻣﺮﯾﮑﺎ ﻗﺮار ﮔﺮﻓﺖ‪ .‬ﺑﺎ ﻫﻤﺘﯽ ﺑﻠﻨﺪ و ﺣﻀﻮری ﭘﯿﮕﯿﺮ‪،‬‬ ‫در ﺳﺎل ‪ ۱۹۶۷‬ﻣﺮﮐﺰ اﯾﺮاﻧﺸﻨﺎﺳﯽ داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ را ﺗﺎﺳﯿﺲ ﮐﺮد‪ .‬در اﻧﺪک ﻣﺪﺗﯽ اﯾﻦ ﻣﺮﮐﺰ اﯾﺮاﻧﺸﻨﺎﺳﯽ‬ ‫»ﯾﮑﯽ از ﭘُﺮاﺛﺮﺗﺮﯾﻦ ﻣﺮاﮐﺰ داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ و ﻓﻌﺎلﺗﺮﯾﻦ ﻣﺮﮐﺰ ﺷﻨﺎﺳﺎﻧﺪن ﻓﺮﻫﻨﮓ و ﺗﺎرﯾﺦ اﯾﺮان در اﻣﺮﯾﮑﺎ‬ ‫ﮔﺮدﯾﺪ‪ «.‬ﭘﯿﺎﯾﻨﺪﻫﺎی ﺑﯽﻧﻈﯿﺮ و ﻣﺎﻧﺪﮔﺎری ﭼﻮن »ﻣﺠﻤﻮﻋﻪ ﻣﯿﺮاث اﯾﺮان‪ ،‬ﻣﺠﻤﻮﻋﻪ اﯾﺮاﻧﺸﻨﺎﺳﯽ‪ ،‬ﻣﺠﻤﻮﻋﻪ‬ ‫ادﺑﯿﺎت ﻣﻌﺎﴏ اﯾﺮان‪ ،‬ﺗﺎرﯾﺦ ادﺑﯿﺎت ﻓﺎرﺳﯽ‪ ،‬ﮔﻔﺘﺎرﻫﺎی اﯾﺮاﻧﺸﻨﺎﺳﯽ ﮐﻠﻤﺒﯿﺎ ‪ ،‬ﻣﺠﻤﻮﻋﻪ ﻫرن اﯾﺮان ‪ ،‬ﺗﺮﺟﻤﻪ‬ ‫اﻧﮕﻠﯿﺴﯽ ﺗﺎرﯾﺦ ﻃﱪی و ﻣﺠﻤﻮﻋﻪ ﻣﺘﻮن ﻓﺎرﺳﯽ« ﺟﻠﻮهﻫﺎﯾﯽ از ﺗﻼش ﺧﺴﺘﮕﯽﻧﺎﭘﺬﯾﺮ اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﺑﺮای‬ ‫ﭘﯿﺸﱪد اﯾﺮاﻧﺸﻨﺎﺳﯽ در ﮔﺴﱰهﻫﺎی ﻣﺘﻔﺎوت اﺳﺖ‪.‬‬

‫‪Photograph by Marcus-Yam/New York-Times/Redux‬‬

‫اﻣﺎ اﯾﻦ ﻓﻘﻂ ﮔﻮﺷﻪای از ﻓﻌﺎﻟﯿﺖﻫﺎی ﭼﺸﻤﮕﯿﺮ اﺳﺘﺎد اﺣﺴﺎن ﯾﺎرﺷﺎﻃﺮ ﺑﻮد‪ .‬در ﺳﺎل ‪۱۳۳۳‬و ﭘﺲ‬ ‫از ﺑﺎزﮔﺸﺖ از ﻟﻨﺪن‪» ،‬ﺑﻨﮕﺎه ﺗﺮﺟﻤﻪ و ﻧﴩ ﮐﺘﺎب« را ﺑﻨﯿﺎن ﮔﺬاﺷﺖ و ﻣﺠﻤﻮﻋﻪﻫﺎی ﺑﯽﻧﻈﯿﺮی ﭼﻮن‬ ‫ﻣﺘﻮن ﻓﺎرﺳﯽ‪ ،‬اﯾﺮانﺷﻨﺎﺳﯽ‪ ،‬ادﺑﯿﺎت ﺧﺎرﺟﯽ‪ ،‬آﺛﺎر ﻓﻠﺴﻔﯽ‪ ،‬ادﺑﯿﺎت ﺑﺮای ﺟﻮاﻧﺎن‪ ،‬ﺧﻮاﻧﺪﻧﯽﻫﺎی ﮐﻮدﮐﺎن‬ ‫و ﻣﻌﺎرف ﻋﻤﻮﻣﯽ را در ﺷﮑﻠﯽ ﺑﺮازﻧﺪه و وﯾﺮاﯾﺸﯽ ﺳﺎﻣﺎنﻣﻨﺪ ﺑﻪ ﺧﻮاﻧﻨﺪﮔﺎن ﻋﺮﺿﻪ ﮐﺮد‪ .‬در ﮔﺰارﺷﯽ‬ ‫از ﺑﻨﮕﺎه ﺗﺮﺟﻤﻪ و ﻧﴩ ﮐﺘﺎب ﻣﺠﻠﺔ ﯾﻐام در آذر ‪ ۱۳۳۴‬ﻧﻮﺷﺖ‪» :‬اﻏﺮاق ﻧﯿﺴﺖ اﮔﺮ ﮔﻔﺘﻪ ﺷﻮد ﮐﻪ اﯾﻦ‬ ‫ﻣﺆﺳﺴﻪ‪ ،‬ﺧﻮد داﻧﺸﮕﺎﻫﯽ اﺳﺖ ﺳﯿﺎر ﮐﻪ ﻫﻤﮕﺎن از آن اﻧﺘﻔﺎع و ﺳﻮد ﺗﻮاﻧﻨﺪ ﺑﺮد و ﺑﻪ ﺣﻘﯿﻘﺖ ﺑﺎﯾﺪ از‬ ‫اﻗﺪاﻣﯽ ﺑﺪﯾﻦ ﭘﺎﯾـﻪ ﻣﻮﺛﺮ و ﻣﻔﯿﺪ ﻫﻤﻪ ﻓﺎرﺳﯽزﺑﺎﻧﺎن ﺟﻬﺎن ﻣﻤﻨﻮن و ﺳﭙﺎﺳﮕﺰار ﺑﺎﺷﻨﺪ‪ «.‬ﺑﺮ اﺳﺎس آﻣﺎر‬ ‫ﻣﻮﺟﻮد ﺗﺎ ﺳﺎل ‪ ،۱۳۴۶‬اﯾﻦ ﺑﻨﮕﺎه ‪ ۱۴۶‬ﺟﻠﺪ ﮐﺘﺎب را ﺑﻪ ﭼﺎپ رﺳﺎﻧﺪ ﮐﻪ ﭘﺲ از اﻧﺘﺸﺎرات داﻧﺸﮕﺎه ﺗﻬﺮان‬ ‫و ﺳﺎزﻣﺎن ﮐﺘﺎبﻫﺎی ﺟﯿﺒﯽ در ﻣﻘﺎم ﺳﻮم ﻧﴩ در اﯾﺮان ﻗﺮار داﺷﺖ‪.‬‬ ‫زﻣﯿﻨﻪﻫﺎی ﻧﻮآوری اﻧﺘﺸﺎراﺗﯽ اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﺑﻪ اﯾﻦ ﮔﺴﱰه وﺳﯿﻊ ﻣﺤﺪود ﻧﺒﻮد‪ .‬در ﺳﺎل ‪ ،۱۳۳۶‬ﯾﮏ ﺳﺎل‬

‫»داﻧﺸﻨﺎﻣﻪ« اﯾﺮاﻧﯿﮑﺎ ﯾﮑﯽ دﯾﮕﺮ از ﮐﺎرﻫﺎی ﺑﺮﺟﺴﺘﻪ و دوراﻧﺪﯾﺸﺎﻧﻪای اﺳﺖ ﮐﻪ ﻓﻘﻂ ﺑﺎ ﭘﺸﺘﮑﺎر و‬ ‫ﻣﺪﯾﺮﯾﺖ اﯾﺮانﺷﻨﺎﺳﯽ ﭼﻮن اﺣﺴﺎن ﯾﺎرﺷﺎﻃﺮ ﻋﻤﻠﯽ ﺑﻮد‪ .‬اﯾﻦ ﮐﺎر ﺑﻨﯿﺎدﯾﻦ‪ ،‬ﮐﻪ اداﻣﻪ داﻧﺸﻨﺎﻣﻪ اﯾﺮان‬ ‫و اﺳﻼم ﺑﻮد‪ ،‬ﻣﺮﺟﻌﯽ ﺟﺎﻣﻊ و ﺑﯽﻫﻤﺘﺎ ﺑﺮای اﯾﺮانﺷﻨﺎﺳﺎن و داﻧﺶﭘﮋوﻫﺎن اﺳﺖ‪ .‬ﺑﺎ ﻧﴩ آﻧﻼﯾﻦ‬ ‫‪ ،iranicaonline.org‬داﻧﺸﻨﺎﻣﻪ اﯾﺮاﻧﯿﮑﺎ ﺑﻪ ﺧﻮاﻧﺶﴎای ﺑﯽﻫﻤﺘﺎﯾﯽ ﺑﺮای ﺟﻮﯾﻨﺪﮔﺎن ﻫﻤﻪﮔﻮﻧﻪ‬ ‫داﻧﺴﺘﻨﯽﻫﺎی ﻣﻌﺘﱪ و ﻣﺴﺘﻨﺪ درﺑﺎره ﺗﺎرﯾﺦ و متﺪن و ﻓﺮﻫﻨﮓ و ادﺑﯿﺎت ﺗﺒﺪﯾﻞ ﺷﺪه اﺳﺖ‪ .‬اﯾﻦ اﻋﺘﺒﺎر‬ ‫ﻫﻤﻪﮔﯿﺮ ﭘﯿﺎﻣﺪ دﻗﺖ ﻋﻠﻤﯽ و رﻧﺠﱪیﻫﺎی داﻧﺸﻤﻨﺪاﻧﻪ ﯾﺎرﺷﺎﻃﺮ و ﻫﻤﮑﺎران اﯾﺮاﻧﺸﻨﺎﺳﺶ اﺳﺖ‪.‬‬ ‫در ﻧﯿﻮﯾﻮرک‪ ،‬ﭘﯿﺶ و ﭘﺲ از اﻧﻘﻼب‪ ،‬اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﯾﺎر و ﻣﺸﺎور متﺎﻣﯽ ﮐﺴﺎﻧﯽ ﺑﻮد ﮐﻪ در ﮔﺴﱰه‬ ‫اﯾﺮانﺷﻨﺎﺳﯽ ﮔﺎم ﺑﺮﻣﯽداﺷﺘﻨﺪ‪ .‬ﯾﺎری اﯾﺸﺎن ﺑﺮای اﻧﺘﺸﺎر اﯾﺮاﻧﻨﺎﻣﻪ و ﻣﺠﻠﻪ اﯾﺮاﻧﺸﻨﺎﺳﯽ و ﺗﺎﺳﯿﺲ و ﺗﺤﮑﯿﻢ‬ ‫اﻧﺠﻤﻦ ﺑﯿﻦاﳌﻠﻠﯽ اﯾﺮانﺷﻨﺎﺳﯽ‪ ،‬ﺑﻨﯿﺎد آﻣﺮﯾﮑﺎﯾﯽ اﯾﺮانﺷﻨﺎﺳﯽ و ﻣﺮاﮐﺰ داﻧﺸﮕﺎﻫﯽ‪ ،‬ﭘﮋوﻫﺸﯽ و ﻓﺮﻫﻨﮕﯽ‬ ‫در ﻓﺮاﺳﻮی اﯾﺮان در ﺳﺎلﻫﺎی ﭘﺲ از اﻧﻘﻼب ﺟﻠﻮه دﯾﮕﺮی از ﺧﺪﻣﺎت ارزﻧﺪه و ﭼﻨﺪﺑﻌﺪی اﺳﺘﺎد‬ ‫ﯾﺎرﺷﺎﻃﺮ ﺑﻪ اﯾﺮاﻧﺸﻨﺎﺳﯽ اﺳﺖ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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‫ﺑﺮای اﯾﻦ ﮐﺮﺳﯽ‪ ،‬اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﻧﺎﻣﺰد ﺑﯽﻧﻈﯿﺮی ﺑﻮد‪ .‬در ﮐﻨﺎر ﻣﻘﺎﻻﺗﯽ ﮐﻪ در ﭘﯿﺎم‬ ‫ﻧﻮ‪ ،‬ﯾﻐام‪ ،‬ﻣﻬﺮ‪ ،‬و ﺳﺨﻦ ﺑﻪ ﭼﺎپ رﺳﺎﻧﺪه ﺑﻮد‪ ،‬در ﺳﺎل‪» ،۱۳۳۲‬اﻟﺘﻨﺒﯿﻬﺎت و اﻻﺷﺎرات«‬ ‫و »ﭘﻨﺞ رﺳﺎﻟﻪ اﺑﻦ ﺳﯿﻨﺎ« را ﻣﻨﺘﴩ ﮐﺮده ﺑﻮد و ﭘﺎﯾﺎن ﻧﺎﻣﻪ داﻧﺸﮕﺎه ﺗﻬﺮاﻧﺶ‪ ،‬ﺷﻌﺮ‬ ‫ﻓﺎرﺳﯽ در ﻋﻬﺪ ﺷﺎﻫﺮخ )ﻧﯿﻤﻪ اول ﻗﺮن ﻧﻬﻢ( ﯾﺎ آﻏﺎز اﻧﺤﻄﺎط در ﺷﻌﺮ ﻓﺎرﺳﯽ را‬ ‫اﻧﺘﺸﺎرات داﻧﺸﮕﺎه ﺗﻬﺮان در ﺳﺎل ‪ ۱۳۳۴‬ﺑﻪ ﭼﺎپ رﺳﺎﻧﺪه ﺑﻮد‪ .‬ﺳﻌﯿﺪ ﻧﻔﯿﺴﯽ در‬ ‫ﻣﻌﺮﻓﯽ اﯾﻦ ﮐﺘﺎب ﻧﻮﺷﺖ‪» :‬از روزی ﮐﻪ ﻣﺮﺣﻮم ﻗﺰوﯾﻨﯽ روش ﻧﻮﯾﻦ اروﭘﺎﯾﯽ را در‬ ‫ﺗﺤﻘﯿﻖ درﺑﺎره ادﺑﯿﺎت در ﻣﯿﺎن اﯾﺮاﻧﯿﺎن ﮔﺬاﺷﺖ درﺳﺖ ﭘﻨﺠﺎه ﺳﺎل ﻣﯽﮔﺬرد‪ .‬در‬ ‫اﯾﻦ ﻧﯿﻢ ﻗﺮن ﺑﺎﯾﺪ ﺑﺎ ﮐامل ﴏاﺣﺖ ﮔﻔﺖ اﯾﺮاﻧﯿﺎن اﯾﻦ راه را ﭼﻨﺎن ﺧﻮب ﮐﻮﺑﯿﺪهاﻧﺪ‬ ‫ﮐﻪ ﻧﻪ ﺗﻨﻬﺎ دﯾﮕﺮ ﺣﺎﺟﺘﯽ ﺑﻪ داﻧﺸﻤﻨﺪان اروﭘﺎ ﻧﺪارﻧﺪ‪ ،‬ﺑﻠﮑﻪ داﻧﺸﻤﻨﺪان اروﭘﺎ را‬ ‫ﺑﻪ ﺧﻮد ﻣﺤﺘﺎج ﮐﺮدهاﻧﺪ و آن روزﮔﺎری ﮐﻪ ﻣﺎ درﯾﻮزهﮔﺮ ﺧﺎورﺷﻨﺎﺳﺎن ﺑﻮدﯾﻢ در‬

‫ﻧﻮردﯾﺪه ﺷﺪه اﺳﺖ‪ ...‬ﮐﺘﺎﺑﯽ ﮐﻪ آﻗﺎی دﮐﱰ ﯾﺎرﺷﺎﻃﺮ اﻧﺘﺸﺎر داده منﻮﻧﻪ ﺧﻮﺑﯽ از رﺷﺪ‬ ‫داﻧﺸﻤﻨﺪان ﻣﺎ در اﯾﻦ زﻣﯿﻨﻪ اﺳﺖ‪ .‬در اﯾﻦ ﮐﺘﺎب ﺣﻖ ﻣﻄﻠﺐ ﺑﺎ ﺑﻬﱰﯾﻦ روش ﻋﻠﻤﯽ‬ ‫داده ﺷﺪه اﺳﺖ‪ «.‬داﺳﺘﺎنﻫﺎی اﯾﺮان ﺑﺎﺳﺘﺎن ﻧﯿﺰ‪ ،‬ﮐﻪ در ﺳﺎل ‪۱۳۳۶‬ﭼﺎپ ﺷﺪه ﺑﻮد‪،‬‬ ‫در ﺳﺎل ‪ ۱۹۵۸‬ﺟﺎﯾﺰه ﺳﻠﻄﻨﺘﯽ را درﯾﺎﻓﺖ ﮐﺮده ﺑﻮد‪ .‬در ﺳﺎل ‪ ،۱۳۳۷‬داﺳﺘﺎنﻫﺎی‬ ‫ﺷﺎﻫﻨﺎﻣﻪ را ﭼﺎپ ﮐﺮده ﺑﻮد ﮐﻪ در ﺳﺎل ‪ ۱۹۵۹‬ﺑﺮﻧﺪه ﺟﺎﯾﺰه ﯾﻮﻧﺴﮑﻮ ﺷﺪ‪ .‬در ﮐﻨﺎر‬ ‫ﮐﺘﺎبﻫﺎ و ﻣﻘﺎﻟﻪﻫﺎی ﻓﺎرﺳﯽ‪ ،‬اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﭼﻨﺪﯾﻦ ﻣﻘﺎﻟﻪ ﻧﯿﺰ ﺑﻪ اﻧﮕﻠﯿﺴﯽ درﺑﺎره‬ ‫ﻟﻬﺠﻪﻫﺎی ﺧﻠﺨﺎﻟﯽ و ﺗﺎﺗﯽ ﮐﺠﻞ‪ ،‬ﻧﻮروز‪ ،‬ادﺑﯿﺎت ﻓﺎرﺳﯽ در ‪ ۵۰‬ﺳﺎل اﺧﯿﺮ و ﴍاب و‬ ‫ﴍابﻧﻮﺷﯽ ﭼﺎپ ﮐﺮده ﺑﻮد‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:45 AM‬‬

‫‪82-85-Ehsan Yarshater-EDITED.indd 83‬‬

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‫دﺑﯿﺮی در دﺑﯿﺮﺳﺘﺎن ﻋﻠﻤﯿﻪ‬ ‫اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﺗﺪرﯾﺲ را ﺑﺎ‬ ‫اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﺑﺎ اﺑﺘﮑﺎر‪ ،‬دوراﻧﺪﯾﺸﯽ‪ ،‬دﻗﺖ ﻋﻠﻤﯽ‪ ،‬ﭘﺸﺘﮑﺎر و‬ ‫ﭘﺲ از ﯾﮏ ﺳﺎل ﺗﺪرﯾﺲ در‬ ‫ﺗﻬﺮان در ﺳﺎل ‪ ۱۳۲۱‬آﻏﺎز ﮐﺮد‪.‬‬ ‫ﻣﺪﯾﺮﯾﺘﯽ ﮐﻢﻧﻈﯿﺮ‪ ،‬ﻧﻬﺎدﻫﺎﯾﯽ ﭼﻮن »ﺑﻨﮕﺎه ﺗﺮﺟﻤﻪ و ﻧﴩ ﮐﺘﺎب«‪،‬‬ ‫ﻋﻠﻤﯿﻪ ﺗﻬﺮان‪ ،‬ﺑﻪ ﻣﻌﺎوﻧﺖ داﻧﺸﴪای ﻣﻘﺪﻣﺎﺗﯽ ﻣﻨﺼﻮب ﺷﺪ‪ .‬ﭘﺲ‬ ‫»اﻧﺠﻤﻦ ﮐﺘﺎب«‪ ،‬و »ﻣﺮﮐﺰ اﯾﺮاﻧﺸﻨﺎﺳﯽ ﮐﻠﻤﺒﯿﺎ« را ﺑﺮای ﭘﯿﺸﱪد‬ ‫از درﯾﺎﻓﺖ دﮐﱰا از داﻧﺸﮕﺎه ﺗﻬﺮان‪ ،‬در ﺳﺎل ‪ ۱۳۲۶‬ﺑﻪ داﻧﺸﯿﺎری‬ ‫ﭘﮋوﻫﺶ و ﮔﺴﱰش داﻧﺶ اﯾﺮانﺷﻨﺎﺳﯽ ﺑﻨﯿﺎد ﻧﻬﺎد‪» .‬راﻫﻨامی‬ ‫ﮐﺘﺎب«‪» ،‬داﻧﺸﻨﺎﻣﻪ اﯾﺮان و اﺳﻼم«‪» ،‬داﻧﺸﻨﺎﻣﻪ اﯾﺮاﻧﯿﮑﺎ«‪ ،‬و »ﺳﻠﺴﻠﻪ زﺑﺎن و ادﺑﯿﺎت ﻓﺎرﺳﯽ در داﻧﺸﮕﺎه اﻟﻬﯿﺎت ﺑﺮﮔﺰﯾﺪه ﺷﺪ‪ .‬ﭘﺲ از‬ ‫ﺑﺎزﮔﺸﺖ از ﻟﻨﺪن‪» ،‬در ﯾﮑﺼﺪ و ﺑﯿﺴﺖ و ﻧﻬﻤﯿﻦ ﺟﻠﺴﻪ ﺷﻮرای‬ ‫اﻧﺘﺸﺎرات ﺗﺨﺼﺼﯽ ﻓﺎرﺳﯽ و اﻧﮕﻠﯿﺴﯽ« از ﺟﻤﻠﻪ ﻓﺮآوردهﻫﺎی‬ ‫داﻧﺸﮑﺪه ادﺑﯿﺎت« در اردﯾﺒﻬﺸﺖ ‪» ۱۳۳۲‬ﺻﻼﺣﯿﺖ آﻗﺎی دﮐﱰ‬ ‫داﻧﺶﭘﮋوﻫﯽ و داﻧﺶﮔﺴﱰی اﯾﺸﺎن اﺳﺖ‪.‬‬ ‫اﺣﺴﺎناﻟﻠﻪ ﯾﺎرﺷﺎﻃﺮ ﺑﺮای داﻧﺸﯿﺎری ﮐﺮﺳﯽ زﺑﺎن اوﺳﺘﺎ و ﻓﺎرﺳﯽ‬ ‫ﺑﺎﺳﺘﺎن ﺑﻪ ﺗﺼﻮﯾﺐ رﺳﯿﺪ‪ «.‬در ﺑﻬﺎر ‪ ،۱۳۳۷‬ﺷﻮرای داﻧﺸﮕﺎه ﺗﻬﺮان‬ ‫اﺳــﺘﺎد اﺣﺴﺎن ﯾﺎرﺷﺎﻃﺮ‪ ،‬ﻓﺮزﻧﺪ ﻫﺎﺷــﻢ ﯾﺎرﺷﺎﻃﺮ و روﺣﯿﻪ ﻣﯿﺜﺎﻗﯿﻪ‪،‬‬ ‫ﭘﯿﺸﻨﻬﺎد داﻧﺸﮑﺪه ادﺑﯿﺎت را ﻣﺒﻨﯽ ﺑﺮ اﯾﻦ ﮐﻪ »آﻗﺎی دﮐﱰ اﺣﺴﺎن‬ ‫در ‪ ۱۲‬ﻓﺮوردﯾﻦ ‪۱۲۹۹‬ش‪۱۹۲۰/‬م در ﻫﻤﺪان ﻣﺘﻮﻟﺪ ﺷــﺪ‪ .‬ﭘﺲ از‬ ‫ﯾﺎرﺷﺎﻃﺮ‪ ،‬داﻧﺸﯿﺎر داﻧﺸﮑﺪه ادﺑﯿﺎت‪ ،‬ﺑﺮای ﺗﺪرﯾﺲ زﺑﺎن ﻓﺎرﺳﯽ و‬ ‫درﮔﺬﺷــﺖ ﻣﺎدر و ﭘﺪرش ﺑﻪ ﺗﻮاﻟﯽ در ﺳــﺎلﻫﺎی ‪ ۱۹۳۱‬و ‪۱۹۳۲‬م‪،‬‬ ‫ﻓﺮﻫﻨﮓ و ادﺑﯿﺎت اﯾﺮان در داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ ﺑﺮای ﻣﺪت ﯾﮏﺳﺎل ﺑﻪ‬ ‫ﺑﺎ ﯾﺎری داﯾﯽاش ﻣﻬﺪی ﻣﯿﺜﺎﻗﯿﻪ‪ ،‬ﻣﻮﺳــﺲ اﺳــﺘﻮدﯾﻮ ﻣﯿﺜﺎﻗﯿﻪ و‬ ‫ﺑﻨﯿﺎنﮔﺬار ﺑﯿامرﺳــﺘﺎن ﻣﯿﺜﺎﻗﯿــﻪ‪ ،‬ﺑﺮای اداﻣﻪ ﺗﺤﺼﯿﻞ ﺑﻪ ﺗﻬﺮان رﻓﺖ‪ .‬آﻣﺮﯾﮑﺎ ﺑﺮوﻧﺪ« ﭘﺬﯾﺮﻓﺖ‪ .‬در ﮔﺰارﺷﯽ از »ﻣﺎﻣﻮرﯾﺖ ﯾﮏ ﺳﺎﻟﻪ ﺧﻮد در‬ ‫داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ‪ «،‬دﮐﱰ ﯾﺎرﺷﺎﻃﺮ ﺑﻪ رﯾﺎﺳﺖ داﻧﺸﮑﺪه ادﺑﯿﺎت ﻧﻮﺷﺖ‪:‬‬ ‫دوره دﺑﯿﺮﺳــﺘﺎن را در داﻧﺸـﴪای ﻣﻘﺪﻣﺎﺗﯽ ﺑﻪ ﭘﺎﯾﺎن ﺑﺮد و ﺑﻪ‬ ‫»ﻣﻮادی ﮐﻪ ﺗﺪرﯾﺲ آنﻫﺎ ﺑﺮ ﺣﺴﺐ دﻋﻮت داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ در ﺳﺎل‬ ‫داﻧﺸــﮕﺎه ﺗﻬﺮان راه ﯾﺎﻓﺖ‪ .‬در ﺳــﺎل ‪ ۱۳۲۰‬در اﻣﺘﺤﺎﻧﺎت رﺷﺘﻪ‬ ‫ﺗﺤﺼﯿﻠﯽ ﮔﺬﺷﺘﻪ ﺑﻪ ﻋﻬﺪه اﯾﻨﺠﺎﻧﺐ ﮔﺬاﺷﺘﻪ ﺷﺪه ﺑﻮد ﻋﺒﺎرت ﺑﻮد از‬ ‫ادﺑﯿﺎت ﻓﺎرﺳــﯽ داﻧﺸــﮕﺎه ﺗﻬﺮان »رﺗﺒﻪ اول را ﺣﺎﺋﺰ‪ ،‬و ﺑﻪ درﯾﺎﻓﺖ‬ ‫ﻣــﺪال اول ﻋﻠﻤــﯽ ﻣﻔﺘﺨﺮ« و ﺑﻪ »درﯾﺎﻓﺖ داﻧﺶﻧﺎﻣﻪ ﻣﻮﻓﻖ« ﮔﺮدﯾﺪ‪ .۱ .‬ﻣﺘﻮن ادﺑﯽ ﻓﺎرﺳﯽ؛ ‪ .۲‬ﺗﺎرﯾﺦ ﻓﺮﻫﻨﮓ و متﺪن اﯾﺮان ﭘﺲ از اﺳﻼم؛‬ ‫‪ .۳‬ﻣﯿﺮاث اﯾﺮان‪ .‬ﻫﻤﻪ اﯾﻦ ﻣﻮاد ﻣﺘﻌﻠﻖ ﺑﻪ دورهﻫﺎی ﺑﻌﺪ از ﻟﯿﺴﺎﻧﺲ‬ ‫در ﺳــﺎل ‪ ۱۳۲۶‬ﭘﺎﯾﺎنﻧﺎﻣﻪ دﮐﱰیاش‪» ،‬ﺷــﻌﺮ ﻓﺎرﺳﯽ در ﻧﯿﻤﻪ دوم‬ ‫ﻗﺮن ﻧﻬﻢ‪ «،‬را ﺑﻪ ﴎﭘﺮﺳــﺘﯽ ﻋﻠﯽاﺻﻐﺮ ﺣﮑﻤﺖ ﺑﻪ ﭘﺎﯾﺎن رﺳــﺎﻧﺪ‪ .‬در ﺑﻮده‪ ،‬از اﯾﻦ ﻣﯿﺎن درس ﺗﺎرﯾﺦ ﻓﺮﻫﻨﮓ و متﺪن اﯾﺮان در دورهﻫﺎی‬ ‫ﻫامن ﺳــﺎل‪ ،‬ﺑﺎ درﯾﺎﻓﺖ ﺑﻮرس ﺗﺤﺼﯿﻠﯽ از ﺷــﻮرای ﻓﺮﻫﻨﮕﯽ ﺑﺮﯾﺘﺎﻧﯿﺎ اﺳﻼﻣﯽ ﺑﯿﺶ از ﺳﺎﯾﺮ دروس داﻧﺸﺠﻮ داﺷﺖ‪ .‬ﭘﺲ از آن‪ ،‬درس ﻣﺘﻮن‬ ‫ادﺑﯽ ﻓﺎرﺳﯽ ﺑﯿﺸﱰ ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺖ‪ .‬ﮔﺬﺷﺘﻪ از دروس ﻣﺰﺑﻮر‪،‬‬ ‫ﻋﺎزم اﻧﮕﻠﺴــﺘﺎن ﺷــﺪ‪ .‬ﭘﺲ از آﺷــﻨﺎﯾﯽ ﺑﺎ »واﻟﱰ ﺑﺮوﻧﻮ ﻫﻨﯿﻨﮓ«‪ ،‬ﺑﻪ‬ ‫ﺟﺎی رﺷــﺘﻪ ﺗﻌﻠﯿﻢ و ﺗﺮﺑﯿﺖ‪ ،‬ﺑﻪ آﻣﻮﺧنت زﺑﺎنﻫﺎ و ادﺑﯿﺎت ﺑﺎﺳــﺘﺎﻧﯽ ﺗﺪرﯾﺲ ﻗﺴﻤﺘﯽ از درس »زﺑﺎنﻫﺎ و ﻣﺮدم اﺗﺤﺎد ﺟامﻫﯿﺮ ﺷﻮروی‪«،‬‬ ‫ﯾﻌﻨﯽ زﺑﺎنﻫﺎ و ﻣﺮدم اﯾﺮاﻧﯽ اﺗﺤﺎد ﺟامﻫﯿﺮ ﺷﻮروی‪ ،‬ﺑﻪ ﻋﻬﺪه ﺑـﻨﺪه‬ ‫اﯾﺮان ﭘﺮداﺧﺖ‪ .‬در ﺳــﺎل ‪ ۱۳۳۱‬دوره ﮐﺎرﺷﻨﺎﺳــﯽ ارﺷﺪ را در‬ ‫ﻗـﺮار داﺷﺖ‪ .‬ﺑﺮﺣﺴﺐ ﺣﺴﻦ ﻇﻦ ﺑﺮﺧﯽ از اوﻟﯿﺎی داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ‬ ‫داﻧﺸــﮕﺎه ﻟﻨﺪن ﺑﻪ ﭘﺎﯾﺎن رﺳــﺎﻧﺪ‪ .‬ﭘﺲ از ﺑﺎزﮔﺸﺖ ﺑﻪ اﯾﺮان‪ ،‬اﺳﺘﺎد‬ ‫ﯾﺎرﺷــﺎﻃﺮ ﺑﻪ ﭘﮋوﻫﺶ ﻣﯿﺪاﻧﯽ در ﮔﺴــﱰه ﻟﻬﺠﻪﻫﺎی اﯾﺮاﻧﯽ ﭘﺮداﺧﺖ و ﻫﻤﭽﻨﯿﻦ ﺗﻮﺟﻪ ﺧﺎص داﻧﺸﮕﺎه ﻣﺰﺑﻮر ﺑﻪ ﻓﺮﻫﻨﮓ و زﺑﺎن و متﺪن‬ ‫و در ﺳــﺎل ‪ ۱۳۳۹‬از ﭘﺎﯾﺎنﻧﺎﻣﻪ دﮐﱰیاش‪» ،‬زﺑﺎن ﺗﺎﺗﯽ ﺟﻨﻮﺑﯽ‪ «،‬ﮐﻪ ﮐﺸﻮرﻫﺎی ﺧﺎورﻣﯿﺎﻧﻪ‪ ،‬از اﯾﻨﺠﺎﻧﺐ دﻋﻮت ﺷﺪ ﮐﻪ ﺳﺎل آﯾﻨﺪه ﻧﯿﺰ‪ ،‬در‬ ‫ﺻﻮرت ﺗﺼﻮﯾﺐ ﺷﻮرای داﻧـﺸﮑﺪه‪ ،‬ﺑﻪ ﺗﺪرﯾﺲ ﻣﻮاد ﻓﻮق و ﻫﻤﭽﻨﯿﻦ‬ ‫ﺑﻪ ﴎﭘﺮﺳــﺘﯽ ﻫﻨﯿﻨﮓ ﻧﻮﺷــﺘﻪ ﺑﻮد‪ ،‬ﺑﺎ ﻣﻮﻓﻘﯿﺖ دﻓﺎع ﮐﺮد‪.‬‬

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‫زﺑﺎن ﻓﺎرﺳﯽ ﺑﺎﺳﺘﺎن )دﺳﺘﻮر زﺑﺎن و ﺗﻔﺴﯿﺮ ﮐﺘﯿﺒﻪﻫﺎی ﻫﺨﺎﻣﻨﺸﯽ( و‬ ‫زﺑﺎن ﭘﻬﻠﻮی )آﺛﺎر زرﺗﺸﺘﯽ و ﻣﺎﻧﻮی( ﺑﭙﺮدازم‪.‬‬ ‫اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﭘﺲ از ﴍح ﻓﻌﺎﻟﯿﺖﻫﺎی ﭘﮋوﻫﺸﯽ ﺧﻮﯾﺶ اﻓﺰود‪:‬‬ ‫»در ﻧﯿﻮﯾﻮرک اﻧﺠﻤﻨﯽ از داﻧﺸﺠﻮﯾﺎن اﯾﺮاﻧﯽ و ﺳﺎﯾﺮ دوﺳﺘﺪاران‬ ‫ﻓﺮﻫﻨﮓ و متﺪن اﯾﺮان ﺗﺸﮑﯿﻞ ﺷﺪ‪ .‬ﻣﻈﺎﻫﺮ ﻓﺮﻫﻨﮓ و ﻫرن و ادﺑﯿﺎت‬ ‫و ﺗـﻤﺪن اﯾـﺮان ﻣﻮﺿﻮع ﺑﺤﺚ ﺟﻠﺴﺎت آن ﺑﻮد و روی ﻫﻢ رﻓﺘﻪ‬ ‫ﺟﻠﺴﺎت آن ﺑﯽﺗﻮﻓﯿﻖ ﻧﺒﻮد‪ .‬در ﻣﺪت اﻗﺎﻣﺖ ﺧـﻮد در آﻣﺮﯾﮑﺎ‬ ‫اﯾﻨﺠﺎﻧﺐ ﮐﻮﺷﯿﺪم ﺗﺎ در ﺑﺮآوردن اﻧﺘﻈﺎر داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ و ﺷﻨﺎﺳﺎﻧﺪن‬ ‫ﻓﺮﻫﻨﮓ و متﺪن اﯾﺮان و ﻣﻌﺮﻓﯽ وﺟﻮه ﻣﻄﻠﻮب ﮐﺸﻮر ﺧﻮد در ﺣﺪ‬ ‫ﻣﻘﺪور ﮐﻮﺗﺎﻫﯽ ﻧﺸﻮد و منﺎﯾﻨﺪه ﻧﺎ درﺧﻮری از داﻧﺸﮕﺎه ﺗﻬﺮان‬ ‫ﻧﺒﺎﺷﻢ‪ .‬اﻣﺎ ﺟﺰ ﻣﺪﻋﯽ ﮐﻮﺷﺶ درﯾﻦ ﺑﺎب ﻧﯿﺴﺘﻢ‪«.‬‬ ‫ﻫﻤﭽﻨﺎن ﮐﻪ اﺳﺘﺎد ﯾﺎرﺷﺎﻃﺮ ﭘﯿﺶﺑﯿﻨﯽ ﮐﺮده ﺑﻮد‪ ،‬داﻧﺸﮕﺎه ﮐﻠﻤﺒﯿﺎ‬ ‫ﻗﺮارداد اﯾﺸﺎن را ﺑﺎ ﺳﻤﺖ داﻧﺸﯿﺎر ﻣﻬامن ﯾﮏ ﺳﺎل دﯾﮕﺮ متﺪﯾﺪ ﮐﺮد‬ ‫و ﺳﺎل ﺗﺤﺼﯿﻠﯽ ‪ ۱۹۶۰-۱۹۵۹‬را ﻧﯿﺰ در ﮐﻠﻤﺒﯿﺎ ﺑﻪ ﺗﺪرﯾﺲ ﭘﺮداﺧﺖ‪.‬‬ ‫ﭘﺲ از ﺗﺎﺳﯿﺲ ﮐﺮﺳﯽ ﻫﺎﮐﻮپ ﮐﻮرﮐﯿﺎن در اﯾﺮان ﺷﻨﺎﺳﯽ‪ ،‬ﻣﺠﻠﻪ‬ ‫داﻧﺸﮑﺪه ادﺑﯿﺎت داﻧﺸﮕﺎه ﺗﻬﺮان ﮔﺰارش داد‪:‬‬ ‫داﻧﺸــﮕﺎه ﮐﻠﻤﺒﯿﺎ از ﭼﻨﺪی ﭘﯿﺶ در ﺻﺪد ﺗﺎﺳــﯿﺲ ﮐﺮﺳﯽ ﻣﺴﺘﻘﻠﯽ‬ ‫ﺑﺮای ﻣﻄﺎﻟﻌﺎت اﯾﺮاﻧﯽ )زﺑﺎن و ادﺑﯿﺎت ﻓﺎرﺳــﯽ‪ ،‬ﺗﺎرﯾﺦ اﯾﺮان‪،‬‬ ‫زﺑﺎنﻫﺎ و ادﺑﯿﺎت ﭘﯿﺶ از اﺳــﻼم( ﺑﻮد‪ .‬در ﺳــﺎل ﺟﺎری‪ ،‬اﯾﻦ ﻣﻨﻈﻮر‬ ‫ﺻﻮرت ﻋﻤﻞ ﺑﻪ ﺧﻮد ﮔﺮﻓﺖ و ﮐﺮﺳــﯽ ﻣﺬﮐﻮر ﺗﺎﺳــﯿﺲ ﯾﺎﻓﺖ‪.‬‬ ‫ﺑﺮای ﺗﺼﺪی ﮐﺮﺳــﯽ ﻣﺬﮐﻮر‪ ،‬داﻧﺸــﮕﺎه ﮐﻠﻤﺒﯿﺎ از آﻗﺎی دﮐﱰ اﺣﺴﺎن‬ ‫ﯾﺎرﺷــﺎﻃﺮ اﺳــﺘﺎد زﺑﺎنﻫﺎی ﻓﺎرﺳﯽ ﺑﺎﺳﺘﺎن و اوﺳﺘﺎﯾﯽ داﻧﺸﮑﺪه‬ ‫ادﺑﯿﺎت دﻋﻮت منﻮد و ﺑﺎ ﺗﺼﻮﯾﺐ ﺷــﻮرای داﻧﺸــﮑﺪه و ﻣﻘﺎم رﯾﺎﺳﺖ‬ ‫داﻧﺸــﮑﺪه ادﺑﯿﺎت‪ ،‬آﻗﺎی دﮐﱰ ﯾﺎرﺷــﺎﻃﺮ ﺑﺪﯾﻦ ﻣﻨﻈﻮر ﻗﺮﯾﺒﺎ ﺑﻪ‬ ‫آﻣﺮﯾﮑﺎ ﻣﺴــﺎﻓﺮت ﺧﻮاﻫﻨﺪ منﻮد‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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‫‪E H SA N YA R S H AT E R‬‬

‫ﻣﺤﻤﺪ ﺗﻮﮐﻠﯽ ﻃﺮﻗﯽ‬ ‫ﺗــﻼش و ﺗﺎﺛﯿــﺮ ﭘﺮوﻓﺴــﻮر اﺣﺴــﺎن ﯾﺎرﺷــﺎﻃﺮ‬ ‫در ﻣﻄﺎﻟﻌــﺎت ﺗﺎرﯾﺨــﯽ و اﺟﺘامﻋــﯽ اﯾﺮاﻧﯿــﺎن‬ ‫ﺑــﺮ ﮐﺴــﯽ ﭘﻮﺷــﯿﺪه ﻧﯿﺴــﺖ‪ .‬راﻫــﯽ ﮐــﻪ او‬ ‫ﭘﯿﻤــﻮد‪ ،‬اﻧﮕﯿــﺰهای ﺷــﺪ ﺑــﺮای ﻧﺴــﻞﻫﺎی‬ ‫ﺑﻌــﺪی و ﭘﮋوﻫﺶﮔــﺮان ﭘــﺲ از او‪ .‬در‬ ‫ﻣﻌﺮﻓــﯽ دﺳــﺘﺎوردﻫﺎی دﮐــﱰ ﯾﺎرﺷــﺎﻃﺮ‪،‬‬ ‫ﺑﻬــﱰ داﻧﺴــﺘﯿﻢ از ﻗﻠــﻢ ﯾﮑــﯽ از ﻫﻤﯿــﻦ‬ ‫ﭘﮋوﻫﺶﮔــﺮان‪ ،‬دﮐــﱰ ﻣﺤﻤــﺪ ﺗﻮﮐﻠــﯽ‬ ‫ﻃﺮﻗــﯽ‪ ،‬ﮐــﻪ ﺧــﻮد اﺳــﺘﺎدی ﺑﻪﻧــﺎم در‬ ‫ﻋﺮﺻــﻪ اﯾﺮاﻧﺸﻨﺎﺳﯽﺳــﺖ ﺑﻬــﺮه ﺑﮕﯿﺮﯾــﻢ‪.‬‬ ‫ﺗﯿــﺮﮔﺎن ‪ ۲۰۱۵‬ﺑــﺎ ﺗﻘﺪﯾــﺮ از ﯾــﮏ ﻋﻤــﺮ‬ ‫ﺧﺪﻣــﺖ درﺧﺸــﺎن اﺣﺴــﺎن ﯾﺎرﺷــﺎﻃﺮ‬ ‫ﺑــﻪ اﯾﺮاﻧﯿــﺎن‪ ،‬ﻧــﺎم او را ﺑــﻪ ﻋﻨــﻮان‬ ‫»ﻣﻬــامن اﻓﺘﺨــﺎری ﺟﺸــﻨﻮاره ﭘﻨﺠــﻢ«‬ ‫در ﺗﻘﻮﯾــﻢ ﺧــﻮدش ﺛﺒــﺖ ﺧﻮاﻫــﺪ ﮐــﺮد‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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T I R G A N AFFIL IAT E S S TU D EN T OR GAN IZAT IONS

COM M UNITY & PRO FE SSIONAL GROUP S

Iranian Students' Association of Ryerson University (ISARU) Iranian Association at the University of Toronto (IAUT) Iranian Student Association at York University (ISAYU) McMaster Iranian Students' Association (MISA) Iranian Students Association of Waterloo (ISAW) Nawranj Iranian Association (NIA) Columbia Iranian Students Association (CISA) Iranian Students Association of Queen's University (ISAQU) Persian Students in Stockholm (PerSiS) Iranian Student Association University of Ottawa Fanni Alumni Association of Ontario Iranian Student Association - North Carolina State University Lakehead Iranian Student Association Iranian Association of Laval University Persian Gulf Club Iranian Association at OCAD Iranian Graduate Students' Association

Iranian Canadian Congress Iranian Canadian Real Estate Professionals Canadian Society of Iranian Engineers and Architects Persian Cultural Center - San Diego Persian Cultural Center - North Carolina Iranian Alliances Across Borders American Association of Teachers of Persian Iraniane Toronto Iranian Women's Organization of Ontario COHAN Behnam Foundation of Ontario Magic of Persia Cafe Litt Iranian Legal Professionals of Ontario Yaran Group Professional Iranian Canadian Real Estate Association Iranian American Community Alliance Association of Iranian American Professionals

FO UN D AT ION S

A RTISTIC G ROUPS

Parya Trillium Foundation Persian Cultural Foundation Levantine Cultural Center Hakhamaneshian Farhang Foundation Center For Iranian Modern Art Mehrgan Foundation Iranian American Society of New York NY Persian Parade Inc. Alternate Dreams Edinburgh Iranian Festival Iranian-American Women Foundation May Be Me Tabestoon Festival Noor Iranian Film Festival Persian Arts and Cultural Society of Ottawa IranNameh Iranian Film Festival - San Francisco Child Foundation

Arya Entertainment Inc. American Foundation for Contemporary Iranian Art (AFCIA) Baarbad Music Small World Music Link Music Lab Butterfly Buzz Queen Gallery Diaspora Arts Connection Kajart Vishuddhart New York Persian Culture Centre Sazmanab Center for Contemporary Art EyenĂŠ Photography McMaster Iranian Dance Association

TIRGAN SUPPORTERS INDIVIDUALS Niayesh Afshordi Assistant Professor of Astrophysics, University of Waterloo Majid Ahmadi Professor of Electrical and Computer Engineering, University of Windsor Payam Akhavan Associate Professor, Faculty of Law, McGill University Afsaneh Alavi Clinical Associate and Lecturer, Department of Medicine (Dermatology), University of Toronto Nasser Ashgriz Professor of Mechanical and Industrial Engineering, University of Toronto Farhad Azadifar Professor of Mechanical Engineering, University of Massachusetts Dartmouth Mansoor Barati Associate Professor of Materials Science and Engineering, University of Toronto Mojdeh Baratloo Adjunct Associate Professor of Architecture, University of Colombia Farrokh Bavar CEO & Founder at International Institute for Strategic Studies in Iranian Architecture Sohrab Behdad Professor of Economics, Denison University Cyrus Bina Professor of Economics, University of Minnesota Mehrzad Boroujerdi Professor and Chair of Political Sciences Department Touraj Daryaee Professor of History, University of California Minoo Derayeh Associate Professor of Equity Studies, York University Ali G. Dizboni Associate Professor of Politics, Royal Military College of Canada Ali Dolatabadi Professor of Mechnical Engineering , Concordia University Nazila Fathi Reporter at New York Times Saeed Gazor Professor of Electrical and Computer Engineering, Queen's University Fariborz Haghighat Professor, Graduate Program Director, Energy and Environment, Concordia University Shahla Haeri Associate Professor, Boston University Ramin Jahanbegloo Professor of Political Science, University of Toronto Mona Jarrahi Associate Professor of Electrical Engineering at the University of California Los Angeles Mehdi Javanfar Musician, University of Toronto Yahya Kamalipour Professor and head, Department of Communication, Purdue University Calumet Korosh Khalili Associate Professor, University of Toronto Hepatobiliary imaging lead, Department of Medical Imaging, University Health Network and Mount Sinai Hospital Mohammad Mehdi Khorrami Professor of Persian Studies, New York University Mariam Khosravani Founder & President, Iranian-American Women Foundation Sheldon Levy President, Ryerson University Hadi Mahabadi President, CanWin Consulting Inc. Ali-Akbar Mahdi Emeritus Professor of Sociology, Ohio Wesleyan University Bita Milanian Executive Director, Farhang Foundation Pardis Minuchehr Assistant Professor of Persian Studies, George Washington University Ali Moayedian Founder of Payvand.com Bagher Moazen Iranian-Canadian classical guitarist and composer Haideh Moghissi Professor of Sociology, York University Fariborz Mokhtari Professor of Political Science, National Defense University in Washington DC Ali Reza Montazemi Professor of Information Systems, McMaster University Firooz Naderi Director for Solar System Exploration, NASA's Jet Propulstion Lab Ali Nayeri Assistant Professor of Physics, Faculty of Physics, Chapman University Nima Naghibi Associate Professor of English, Ryerson University Nader Namazi Professor of Electrical Engineering and Computer Science, The Catholic University of America Gholamhossein Nami Visual Artist Arzoo Osanloo Associate Professor of Law, University of Washington Nasrin Rahimieh Professor of Comparative Literature, University of California Saeed Rahnema Professor, York University Behzad Razavi Professor of Electrical Engineering, University of California Pardis Sabeti Associate Professor of Organismic and Evolutionary Biology, Harvard University Ehsan Yarshater Professor Emeritus of Iranian Studies, Colombia University Shahram Yousefi Professor and Acting Head, Electrical and Computer Engineering, Queen's University Negin Zand Celebrity Colorist Farrokh Zandi Professor of Economics, York University

‫‪FESTIVAL‬‬

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‫‪Iranian Alliances‬‬ ‫‪Across Borders‬‬ ‫»اﺗﺤﺎدﯾــﻪ اﯾﺮاﻧﯿــﺎن ﺑﺮونﻣــﺮز« ﺑﺰرﮔﱰﯾــﻦ ﺳــﺎزﻣﺎن ﻣﺮدمﻧﻬــﺎد اﯾﺮاﻧﯽ‪-‬آﻣﺮﯾﮑﺎﯾﯽﺳــﺖ ﻛــﻪ ﺑــﻪ ﺗﺸــﻜﻴﻞ »ﺟﺸــﻨﻮاره اﯾﺮاﻧــﯽ ادﯾﻨﺒــﻮرگ« اﻣﯿــﺪوار اﺳــﺖ ﺑﺘﻮاﻧــﺪ ﻗﻠــﺐ و روح اﯾــﺮان را‪ ،‬از ﻫــرن و‬ ‫اﺟﺘامﻋــﺎت و ﺗﻮامنﻨﺪﺳــﺎزی ﺟﻮاﻧــﺎن ﻣﻰﭘــﺮدازد‪ .‬اﻳــﻦ ﺳــﺎزﻣﺎن ﭘﯿﻮﻧﺪﻫــﺎی دﯾﺎﺳــﭙﻮرای اﯾﺮاﻧــﯽ را ﺑﻪ واﺳــﻄﻪ ﻣﻮﺳــﯿﻘﯿﺶ ﮔﺮﻓﺘــﻪ ﺗــﺎ ﺗﺎرﯾﺨﭽــﻪ و ﻏــﺬای آن را ﺑــﻪ اﺳــﮑﺎﺗﻠﻨﺪ ﻣﻌﺮﻓــﯽ ﮐﻨــﺪ‪ .‬آن ﻫــﻢ در‬ ‫راﻫﻨامﻳﯽﻫــﺎ و ﺑﺮﻧﺎﻣﻪﻫــﺎی آﻣﻮزﺷــﯽ و ﻫﺪاﯾﺖﮔــﺮ اﺳــﺘﺤﻜﺎم ﻣﻰﺑﺨﺸــﺪ و ﺑــﻪ ﻫﻤــﮑﺎری و ﻫﻤﺒﺴــﺘﮕﯽ زﻣﺎﻧــﻪای ﮐــﻪ اﯾــﺮان ﻣــﺪام در ﺻــﺪر ﺧﱪﻫﺎﺳــﺖ‪ ،‬اﻟﺒﺘــﻪ ﺑــﻪ ﻧــﺪرت ﺑﺎﺑــﺖ ﻣﯿــﺮاث و ﺧﻼﻗﯿﺘــﺶ‪.‬‬ ‫ﺑــﺎ ﺟﻮاﻣــﻊ »آن ﺳــﻮی ﻣﺮزﻫــﺎ« ﺗﺮﻏﻴــﺐ ﻣﻰﻛﻨــﺪ‪ .‬اﯾــﻦ ﺳــﺎزﻣﺎن ﻏﯿﺮاﻧﺘﻔﺎﻋــﯽ در ﺳــﺎل ‪ ۲۰۰۳‬ﺗﻮﺳــﻂ‬ ‫داﻧﺸــﺠﻮﯾﺎن در ﻧﯿﻮﯾــﻮرک ﺗﺎﺳــﯿﺲ ﺷــﺪ و از ﻃﺮﯾــﻖ ﺑﺮﻧﺎﻣﻪﻫــﺎی آﻣﻮزﺷــﯽ‪ ،‬ﺑــﻪ ﺟﻮاﻧــﺎن ﮐﻤــﮏ ﻣﯽﮐﻨــﺪ ﻫــﺪف »ﺟﺸــﻨﻮاره ادﯾﻨﺒــﻮرگ«‪ ،‬ﺑﺮﮔــﺰاری ﺟﺸــﻨﻮارهای دوﺳــﺎﻻﻧﻪ اﺳــﺖ ﮐــﻪ ﺑــﻪ دور از ﺟﺎﻧﺒــﺪاری‬ ‫ﺗــﺎ ﭘﯿﻮﻧﺪﻫﺎﯾﺸــﺎن ﺑــﺎ ﺟﻮاﻣــﻊ ﺟﺪﯾــﺪ را اﻓﺰاﯾــﺶ دﻫﻨــﺪ‪ .‬متﺎﻣــﯽ ﻓﻌﺎﻟﯿﺖﻫــﺎی اﻳــﻦ ﺳــﺎزﻣﺎن ﺧﻮدﮔــﺮدان ﺳﯿﺎﺳــﯽ و ﻣﺬﻫﺒــﯽ‪ ،‬ﺑﻬﱰﯾﻦﻫــﺎی ﻓﺮﻫﻨــﮓ و ﺗﺎرﯾــﺦ اﯾــﺮان را ﺑــﻪ ﺳــﺎﮐﻨﺎن اﺳــﮑﺎﺗﻠﻨﺪ و اﯾﺮاﻧﯿــﺎن‬ ‫اﺳــﺖ و ﺑــﺎ ﻛﻤﮏﻫــﺎی ﻣﺮدﻣــﻰ و ﺑــﺎ ﺗﮑﯿــﻪ ﺑــﺮ ﺗــﻼش ﮔﺮوﻫــﯽ از ﮐﺎرﮐﻨــﺎن و داوﻃﻠﺒﺎﻧــﺶ اداره ﻣﯽﺷــﻮد‪ .‬ﻣﻬﺎﺟــﺮ ﺑــﻪ ﻃــﻮر ﯾﮑﺴــﺎن ﻧﺸــﺎن دﻫــﺪ‪ .‬ﻫﺮﭼﻨــﺪ ﻫﻤــﻪ ﻣﯽداﻧﻨــﺪ ﮐــﻪ اﯾ ـﺮان در زﻣﯿﻨــﻪ ﺷــﻌﺮ و ﺗﺎرﯾــﺦ‬ ‫دارای ﻋﻤــﺮ ﻓﺮﻫﻨﮕــﯽ ﺷﮕﻔﺖاﻧﮕﯿﺰیﺳــﺖ؛ آﻧﭽﻨــﺎن ﮐــﻪ ﺳــﯿﻨامی ﻗﺎﺑــﻞ ﺗﺤﺴــﯿﻦ و ﺟﺎﻣﻌــﻪ ﻫــرنی‬ ‫‪ IAAB‬در رﻓــﻊ ﻧﯿﺎزﻫــﺎی اﯾﺮاﻧﯿــﺎن دﯾﺎﺳــﭙﻮرا ﺑــﻪ وﯾــﮋه ﻧﺤــﻮه رﺳــﯿﺪﮔﯽ ﺑــﻪ ﻣﺸــﮑﻼت ﺟﻮاﻣــﻊ ﻣﺨﺘﻠــﻒ ﻣﻮﻓﻘــﺶ اﻣــﺮوز در ﻋﺮﺻــﻪ ﺟﻬﺎﻧــﯽ ﻣﯽدرﺧﺸــﺪ‪ .‬ﺑــﺎ اﯾــﻦ ﺣــﺎل اﯾــﻦ ﺟﺸــﻨﻮاره ادﯾﻨﺒــﻮرگ اﻣﯿــﺪوار‬ ‫از ﻃﺮﯾــﻖ آﻣــﻮزش و ﺗﻮامنﻨﺪﺳــﺎزی اﻋﻀــﺎ ﺗﺨﺼــﺺ دارد‪ .‬ﺑﺮﻧﺎﻣﻪﻫــﺎی آﻣﻮزﺷــﯽ اﯾــﻦ ﻣﺠﻤﻮﻋــﻪ‪ ،‬ﻓﻌــﺎﻻن اﺳــﺖ ﺗــﺎ درک و ﺑﺤــﺚ درﺑــﺎره ﻓﺮﻫﻨــﮓ و ﻣــﺮدم اﯾــﺮان را ارﺗﻘــﺎ دﻫــﺪ‪ .‬اﯾــﻦ ﺟﺸــﻨﻮاره ﻣﯽﺧﻮاﻫــﺪ‬ ‫داﻧﺸــﺠﻮﯾﯽ را ﺗﺸــﻮﯾﻖ ﻣﯽﮐﻨــﺪ ﺗــﺎ ﺑــﻪ ﻧﻘــﺶ و ﻣﻮﻗﻌﯿﺖﺷــﺎن ﺑــﻪ ﻋﻨــﻮان ﻣﺪﯾــﺮان و رﻫﱪاﻧــﯽ ﮐــﻪ ﻫﻤــﻪ اﯾﻦﻫــﺎ را ﺑــﻪ واﺳــﻄﻪ ﺟﺸــﻨﯽ ﮐــﻪ ﺑــﺎ ﺑﯿــﺶ از ‪ ۵۰۰۰‬اﯾﺮاﻧــﯽ ﺳــﺎﮐﻦ اﺳــﮑﺎﺗﻠﻨﺪ ﺑﺮﭘــﺎ ﻣﯽﮐﻨــﺪ‪،‬‬ ‫ﻗــﺎدر ﺑــﻪ ﺗﺸــﮑﯿﻞ و ﺣﺮﮐــﺖ ﺟﺎﻣﻌــﻪ رو ﺑــﻪ ﺟﻠــﻮ ﻫﺴــﺘﻨﺪ‪ ،‬ﺗﻮﺟــﻪ و متﺮﮐــﺰ ﮐﻨﻨــﺪ و ﻫﻤﺰﻣــﺎن درﺑــﺎره ﺑــﻪ منﺎﯾــﺶ ﺑﮕــﺬارد و ﮐﺠــﺎ ﺑﻬــﱰ از ادﯾﻨﺒــﻮرگ ﮐــﻪ ﺑــﻪ ﺧﺎﻃــﺮ ﺳــﻨﺖﻫﺎی ﺑﺮﮔــﺰاری روﯾﺪادﻫــﺎی‬ ‫وﺿﻌﯿــﺖ ﺟﺎﻣﻌــﻪ و ﺗﻮﺳــﻌﻪ اﺑﺰارﻫــﺎی ﻣــﻮرد ﻧﯿﺎزﺷــﺎن ﮔﻔــﺖ و ﺷــﻨﻮد و ﻫﻢاﻧﺪﯾﺸــﯽ داﺷــﺘﻪ ﺑﺎﺷــﻨﺪ‪ .‬ﻓﺮﻫﻨﮕــﯽ در ﭘﺎﯾﺘﺨــﺖ‪ ،‬در ﺟﻬــﺎن ﺷــﻬﺮه اﺳــﺖ و ﺣﻘﯿﻘﺘــﺎ ﺧﺎﻧــﻪ ﻣﺴــﻠﻢ اﯾــﻦ ﺟﺸــﻨﻮاره ﺷــﺪه‪.‬‬ ‫ﺟﺸــﻨﻮاره ادﯾﻨﺒــﻮرگ ﻫــﺮ دو ﺳــﺎل ﺑﺮﮔــﺰار ﻣﯽﺷــﻮد و آﺧﺮﯾــﻦ ﺑــﺎر در ﻓﻮرﯾــﻪ ‪ ۲۰۱۵‬ﻣﺠﻤﻮﻋــﻪای‬ ‫در ﻫﻤﯿــﻦ ﻣــﺎه ﺟــﻮﻻی‪ ،‬اﺗﺤﺎدﯾــﻪ اﯾﺮاﻧﯿــﺎن ﺑﺮونﻣــﺮز دﻫﻤﯿــﻦ ﺳــﺎﻟﮕﺮد »ﮐﻤــﭗ آﯾﻨــﺪه«‪ ،‬از ﺑﺮﻧﺎﻣﻪﻫــﺎی ﻣﺘﻨــﻮع ﻓﺮﻫﻨﮕــﯽ و ﻫــرنی را در ﴎاﴎ ﺳــﺎﻟﻦﻫﺎی ادﯾﻨﺒــﻮرگ ﺑــﻪ منﺎﯾــﺶ‬ ‫ﻧﺨﺴــﺘﯿﻦ و ﺗﻨﻬــﺎ ﮐﻤــﭗ دﺑﯿﺮﺳــﺘﺎﻧﯽ در ﻧــﻮع ﺧــﻮد را ﺟﺸــﻦ ﮔﺮﻓــﺖ‪ .‬ﮐﻤــﭗ آﯾﻨــﺪه ﮐــﻪ در ﮔﺬاﺷــﺖ‪ .‬ﻣﺮاﺳــﻢ اﻓﺘﺘﺎﺣﯿــﻪ ﺑــﺎ اﺟــﺮای »ارﮐﺴــﱰ ﺳــﻤﻔﻮﻧﯿﮏ آرزو« ﺑــﻪ رﻫــﱪی »ﻫــﺎدی اﻣﯿــﻦ‬ ‫ﺳــﺎل ‪ ۲۰۰۶‬ﺗﺎﺳــﯿﺲ ﺷــﺪ ﺑﯿــﺶ از ‪ ۱۰۰۰‬رﻫــﱪ داﻧﺸــﺠﻮﯾﯽ از ﺑﯿــﺶ از ‪ ۳۰‬اﯾﺎﻟــﺖ‪ ،‬ﻫﻔــﺖ ﮐﺸــﻤﯿﺮی« آﻏــﺎز ﺷــﺪ و ﺳــﭙﺲ ﺣــﺎﴐان از ﺷــﻌﺮﺧﻮاﻧﯽ »رب وﯾﻠﺴــﻮن«‪ ،‬ﺷــﺎﻋﺮی ﮐــﻪ ﺷــﻌﺮ‬ ‫ﮐﺸــﻮر‪ ،‬و ﭼﻬــﺎر ﻗــﺎره را ﺗﺤــﺖ ﺗﺎﺛﯿــﺮ ﻗــﺮار داده اﺳــﺖ‪ IAAB .‬ﺑــﺎ اﻟﻬــﺎم از اﯾــﻦ ﻣﻮﻓﻘﯿــﺖ‪ ،‬ﮐﻼﺳــﯿﮏ ﻓﺎرﺳــﯽ ﻋﻤــﺮ ﺧﯿــﺎم را از ﻓﺎرﺳــﯽ ﺑــﻪ اﺳــﮑﺎﺗﻠﻨﺪی ﺗﺮﺟﻤــﻪ ﮐــﺮده ﻟــﺬت ﺑﺮدﻧــﺪ‪.‬‬ ‫ﮐﻤــﭗ ﺳــﺎﻻﻧﻪ راﻫﻨامﯾــﯽ را ﺗﺤــﺖ ﻋﻨــﻮان »ﮐﻤــﭗ ﺟــﻮان« در ﺳــﺎل ‪ ۲۰۱۱‬راهاﻧــﺪازی ﮐــﺮد‪.‬‬ ‫»منﺎﯾﺸــﮕﺎه ﻫــرن« و »منﺎﯾــﺶ ﻣــﺪ« ﮐــﻪ ﺑــﺎ ﻋﻨــﻮان »ﺷــﯿﮏ ﭘﻮﺷــﯽ اﯾﺮاﻧــﯽ« در »ﮔﺮاﻧــﺪ ﮔﺎﻟــﺮی« ﻣــﻮزه‬ ‫ﮐﻤــﭗ آﯾﻨــﺪه و ﮐﻤــﭗ ﺟــﻮان ﻓﻀﺎﯾــﯽ ﻣﺜﺒــﺖ و ﺟﺎﻣــﻊ را ﺗﺮوﯾــﺞ ﻣﯽدﻫﻨــﺪ ﮐــﻪ در آن اﻋﻀــﺎی اﯾــﻦ ﻣﻠــﯽ اﺳــﮑﺎﺗﻠﻨﺪ ﺑﺮﮔ ـﺰار ﺷــﺪ از ﺑﺨﺶﻫــﺎی ﭘﺮﻃﺮﻓــﺪار ﺟﺸــﻨﻮاره اﻣﺴــﺎل ادﯾﻨﺒــﻮرگ ﺑﻮدﻧــﺪ‪ .‬اﯾــﻦ اوﻟﯿــﻦ‬ ‫ﮐﻤﭗﻫــﺎ درک ﻋﻤﯿﻖﺗــﺮی از ﻓﺮﻫﻨــﮓ و ﻫﻮﯾــﺖ ﺑــﻪ ﻋﻨــﻮان ﺟﻮاﻧــﺎن اﯾﺮاﻧــﯽ ﺧــﺎرج از ﮐﺸــﻮر ﺑــﻪ ﺑــﺎر ﺑــﻮد ﮐــﻪ »ﻣــﺪ«‪ ،‬ﺑﺨﺸــﯽ از ﺑﺮﻧﺎﻣﻪﻫــﺎی ﺟﺸــﻦ ادﯾﺒﻨــﻮرگ ﺑــﻮد و ﺑــﺎ رﻧﮓﻫــﺎی ﭼﺸــﻢﻧﻮاز و‬ ‫دﺳــﺖ ﻣﯽآورﻧــﺪ و ﺑــﺎ اﺣﺴــﺎس ﻣﺴــﺌﻮﻟﯿﺖ ﺑﯿﺸــﱰی ﻧﺴــﺒﺖ دﯾﮕ ـﺮان ﻣﻬﺎرتﻫــﺎی ﻻزم ﺑ ـﺮای رﻫــﱪی ﻃــﺮح ﭘﺎرﭼﻪﻫــﺎی ﻣﺮﻏــﻮب‪ ،‬ﻫــﻢ ﺗﺮﮐﯿﺒــﯽ از ﺳــﻨﺖ و ﻣﺪرﻧﯿﺘــﻪ ﺑــﻪ ﻣﺨﺎﻃﺒــﺎن اراﯾــﻪ ﮐــﺮد‪ ،‬و ﻫــﻢ‬ ‫ﻓﻌﺎﻟﯿﺖﻫــﺎی اﺟﺘامﻋــﯽ را ﮐﺴــﺐ ﻣﯽﮐﻨﻨــﺪ‪ .‬اﺧﯿــﺮا‪ IAAB ،‬از ﻃﺮﯾــﻖ ﻫﺪاﯾــﺖ ﺧﺎﻧﻮادهﻫــﺎ و ﻣﺮﺑﯿــﺎن اﻧﻌﮑﺎسدﻫﻨــﺪه ﻓﻀــﺎی ﺟﺪﯾــﺪی در ﻣــﺪ اﯾــﺮان ﺑــﻮد‪ .‬ﮐﺎرﻫــﺎ آﻧﭽﻨــﺎن زﯾﺒــﺎ ﺑــﻮد ﮐــﻪ ﻧــﻪ ﺗﻨﻬــﺎ ﻣــﻮزه‬ ‫ﻣﺪرﺳــﻪ ﻓﺎرﺳــﯽ‪ ،‬ﭼﺎﻟــﺶ »ﺟﻮاﻧــﺎن« را در دﺳــﺘﻮر ﮐﺎر ﺧــﻮدش ﻗـﺮار داده ﺗــﺎ از آنﻫــﺎ ﺑﻬــﱰ ﺣامﯾﺖ ﺷــﻮد‪ .‬اﺳــﮑﺎﺗﻠﻨﺪ از ﻫــﺮ ﯾــﮏ از ﻃﺮاﺣــﺎن ﯾــﮏ دﺳــﺖ ﻟﺒــﺎس ﺑ ـﺮای آرﺷــﯿﻮش ﺧﺮﯾــﺪاری ﮐــﺮد‪ ،‬ﺑﻠﮑــﻪ ﺑﺴــﯿﺎری‬ ‫از ﻃﺮحﻫــﺎ ﺑــﺎ ﻫﻤــﮑﺎری ﯾﮑــﯽ از ﻓﺮوﺷــﮕﺎهﻫﺎی آﻧﻼﯾــﻦ ﻫــرنی ﺑــﻪ ﺻــﻮرت ﻣﺠــﺎزی ﻓﺮوﺧﺘــﻪ ﺷــﺪ‪.‬‬ ‫در ﺗﻼﺷــﯽ ﺑــﺮای ﺑــﻪ ﺑﺤــﺚ ﮐﺸــﯿﺪن ﭼﺎﻟﺶﻫــﺎ و ﻧﯿﺎزﻫــﺎی ﺟﺎﻣﻌــﻪ ﺟﻬﺎﻧــﯽ‪ ،‬ﻫامﯾﺶﻫــﺎی ﺑﺮﮔــﺰاری اﯾــﻦ ﺟﺸــﻨﻮاره در »ﺳــﺎﻣﺮﻫﺎل« ﮐــﻪ ﯾﮑــﯽ از ﮔﺎﻟﺮیﻫــﺎی ﺑﺮﺟﺴــﺘﻪ ادﯾﻨﺒــﻮرگ اﺳــﺖ‬ ‫ﺑﯿﻦاﳌﻠﻠــﯽ اﺗﺤﺎدﯾــﻪ اﯾﺮاﻧﯿــﺎن ﺑﺮونﻣــﺮز درﺑــﺎره دﯾﺎﺳــﭙﻮرای اﯾﺮاﻧــﯽ ﺑــﻪ ﻋﻨــﻮان اﻧﺠﻤﻨــﯽ اﻣــﮑﺎن ﺑﯿﺸــﱰی ﺑــﺮای منﺎﯾــﺶ آﺛــﺎر در اﺧﺘﯿــﺎر ﻫرنﻣﻨــﺪان اﯾﺮاﻧــﯽ ﻗــﺮار داد و ﻣــﻮرد اﺳــﺘﻘﺒﺎل‬ ‫ﺧــﻼق ﺑــﺮای اﻋﻀــﺎی ﺟﺎﻣﻌــﻪای ﺑﺰرﮔــﱰ ﺑﺮﮔــﺰار ﻣﯽﺷــﻮد‪ .‬ﺗــﺎ ﺑــﻪ ﺣــﺎل ﺻﺪﻫــﺎ ﻧﻔــﺮ از ﺑﯿﺸــﱰی از ﺳــﻮی ﻣﺨﺎﻃﺒــﺎن ﻗــﺮار ﮔﺮﻓــﺖ‪ .‬اﯾــﻦ اوﻟﯿــﻦ ﺑــﺎری ﺑــﻮد ﮐــﻪ ﺧﯿﻠــﯽ از ﻫرنﻣﻨــﺪان‬ ‫ﮐﺎرﺷﻨﺎﺳــﺎن از اروﭘــﺎ‪ ،‬ﺧﺎورﻣﯿﺎﻧــﻪ‪ ،‬اﺳــﱰاﻟﯿﺎ و آﺳــﯿﺎ در اﯾــﻦ ﻫامﯾﺶﻫــﺎ ﴍﮐــﺖ ﮐﺮدهاﻧــﺪ اﯾﺮاﻧــﯽ آﺛﺎرﺷــﺎن را در ﺧــﺎرج از اﯾــﺮان و در اﯾــﻦ ﺳــﻄﺢ ﺑــﺮای ﻓــﺮوش ﻋﺮﺿــﻪ ﻣﯽﮐﺮدﻧــﺪ‪.‬‬ ‫ﮐــﻪ دﯾﺪﮔﺎﻫــﯽ ﺑــﻪ متــﺎم ﻣﻌﻨــﺎ »ﺟﻬﺎﻧــﯽ« ﺑــﻪ ﻓﻌﺎﻟﯿﺖﻫــﺎ و ﻣﻮﻗﻌﯿــﺖ آن ﻣﯽﺑﺨﺸــﺪ‪.‬‬ ‫ﺳــﺎرا ﺧﺮدﻣﻨــﺪ‪ ،‬ﻣﻮﺳــﺲ و ﻣﺪﯾــﺮ ﺟﺸــﻨﻮاره ﻃــﯽ ﭘﻨــﺞ ﺳــﺎل ﮔﺬﺷــﺘﻪ از ﻧﺰدﯾــﮏ ﺷــﺎﻫﺪ رﺷــﺪ‬ ‫ﺟﺪﯾﺪﺗﺮﯾــﻦ ﺑﺮﻧﺎﻣــﻪ ‪» ،IAAB‬ﻣﻮﺳﺴــﻪ ﯾــﺎر«‪ ،‬ﺑــﺎ متﺮﮐــﺰ ﺑــﺮ »ﺗﻮﺳــﻌﻪ ﭘﮋوﻫــﺶ ﺟﻮاﻧــﺎن« اﺳــﺖ‪ .‬ﯾــﮏ ﭘــﺮوژه داﻧﺸــﺠﻮﯾﯽ ﻧﺴــﺒﺘﺎ ﻣﺨﺘــﴫ ﺗــﺎ ﯾــﮏ ﺑﺮﻧﺎﻣــﻪ ﮔﺴــﱰده و ﺑﺴــﯿﺎر ﻫﯿﺠــﺎن اﻧﮕﯿــﺰ‬ ‫اﯾــﻦ اوﻟﯿــﻦ ﺑﺮﻧﺎﻣــﻪ ﻣﻄﺎﻟﻌﺎﺗــﯽ ﺧــﺎرج از ﮐﺸــﻮر اﺳــﺖ ﮐــﻪ ﺑــﺎ ﻫــﺪف اﯾﺠــﺎد ﻧﺴــﻞ ﺟﺪﯾــﺪی از ﺑــﻮده‪ ،‬ﮐــﻪ اﻣــﺮوز ﺑــﺎ ﻋﻨــﻮان »ﺟﺸــﻨﻮاره ادﯾﻨﺒــﻮرگ« ﻣﯽﺷﻨﺎﺳــﯿﻢ‪ .‬اﯾــﻦ ﭘﯿﴩﻓــﺖ و ﻣﻮﻓﻘﯿــﺖ‬ ‫رﻫــﱪان آﮔﺎه در ﺳــﭙﻬﺮ اﺟﺘامﻋــﯽ اﯾــﺮان ﺗﺸــﮑﯿﻞ ﺷــﺪه و ﻓﻌﺎﻟﯿــﺖ ﻣﯽﮐﻨــﺪ‪ .‬اﻋﻀــﺎی »ﯾــﺎر« در ﺟﺸــﻨﻮاره ﺑﯿــﺶ از ﻫﻤــﻪ ﺣﺎﺻــﻞ ﺗــﻼش ﻣﺪﯾــﺮان و روﺷــﻨﻔﮑﺮی ﻣــﺮدم اﺳــﮑﺎﺗﻠﻨﺪ اﺳــﺖ و‬ ‫ﮐﻼسﻫــﺎی ﻣﺠــﺎزی ﺗﻮﺳــﻂ ﻣﺤﻘﻘــﺎن اﯾﺮاﻧــﯽ و ﻧﯿــﺰ ﯾــﮏ ﺳــﻔﺮ ﺳــﻪ ﻫﻔﺘــﻪای ﺑــﻪ اﯾــﺮان آﻣــﻮزش ﻧﺘﯿﺠــﻪ ﮐﺎر داوﻃﻠﺒﺎﻧــﻪ و ﺗــﻼش ﺑﯽدرﯾــﻎ ﮔــﺮوه ﮐﻮﭼﮑــﯽ از دوﺳــﺘﺪاران ﻓﺮﻫﻨــﮓ و ﻫــرن اﯾــﺮان‪.‬‬ ‫داده ﻣﯽﺷــﻮﻧﺪ‪ .‬اﻋﻀــﺎی ﯾــﺎر ﭘﺮوژهﻫــﺎی رﺳــﺎﻧﻪای راهاﻧــﺪازی ﻣﯽﮐﻨﻨــﺪ و در آن اﯾﺪهﻫــﺎ اﯾــﻦ ﺟﺸــﻨﻮاره ﺑــﻪ ﻋﻨــﻮان ﯾــﮏ ﻣﻮﺳﺴــﻪ ﺧﯿﺮﯾــﻪ ﺛﺒــﺖ ﺷــﺪه و روﻧــﺪ رو ﺑــﻪ رﺷــﺪ آن ﻣﺪﯾــﻮن‬ ‫و ﺗﻮاﻧﺎﯾﯽﻫﺎﯾﺸــﺎن را ﺗﻮﺳــﻌﻪ ﻣﯽدﻫﻨــﺪ‪ .‬اﯾــﻦ ﻣﻬــﻢ ﺑــﻪ درک ﻣــﺎ از ﺟﺎﻣﻌــﻪ اﯾــﺮان و ﻣﺮدﻣــﺶ در ﭘﺸــﺘﯿﺒﺎﻧﯽ ﺣﺎﻣﯿــﺎن ﻣﺎﻟــﯽ آن اﺳــﺖ‪ .‬ﺟﺸــﻨﻮاره اﯾﺮاﻧــﯽ ادﯾﻨﺒــﻮرگ در ﺳــﺎل ‪ ۲۰۱۵‬ﺑــﺎ ﺣامﯾــﺖ‬ ‫ﯾــﮏ ﻣﻘﻄــﻊ ﺑﺴــﯿﺎر ﻣﻬــﻢ در رواﺑــﻂ اﯾــﺮان و آﻣﺮﯾــﮑﺎ ﮐﻤــﮏ ﺷــﺎﯾﺎﻧﯽ ﻣﯽﮐﻨــﺪ و آﮔﺎﻫــﯽ ﻣﯽدﻫــﺪ‪ .‬ﺷــﻮرای ﻓﺮﻫﻨﮕــﯽ ﺑﺮﯾﺘﺎﻧﯿــﺎ ﺑــﻪ ﻋﻨــﻮان ﺑﺨﺸــﯽ از ﺟﺸــﻨﻮاره ﻓﺮﻫﻨﮕــﯽ اﯾﺮان‪-‬ﺑﺮﯾﺘﺎﻧﯿــﺎ ﺑﺮﮔــﺰار ﺷــﺪ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:10 AM‬‬

‫‪88-91-Festival-EDITED.indd 88‬‬

‫‪FESTIVAL‬‬

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‫»ﺑﮕــﺬار ﺗــﺎ ﻧــﻮر ﺑﺘﺎﺑــﺪ«‪ ،‬اﺻﻄﻼﺣﯽﺳــﺖ ﮐــﻪ اﻏﻠــﺐ ﺑــﺮای ﺷــﻨﺎﺧﺖ ﺣﻘﯿﻘــﺖ و‬ ‫زدودن اﻃﻼﻋــﺎت ﻏﻠــﻂ ﺑــﻪ ﮐﺎر ﻣــﯽرود؛ »ﺟﺸــﻨﻮاره ﻓﯿﻠــﻢ ﻧــﻮر« ﺗــﻼش دارد ﺗــﺎ‬ ‫ﺑــﻪ اﯾــﻦ ﻣﻬــﻢ ﺑﺮﺳــﺪ‪ .‬اﯾــﻦ ﺟﺸــﻨﻮاره از زﻣــﺎن ﴍوع ﮐﺎرش در ﺳــﺎل ‪ ۲۰۰۷‬ﻋــﻼوه‬ ‫ﺑــﺮ ﺗــﻼش ﻣﺴــﺘﻤﺮ در ﺷﻨﺎﺳــﺎﻧﺪن ﻓﺮﻫﻨــﮓ اﯾ ـﺮان ﺑــﻪ واﺳــﻄﻪ ﺳــﯿﻨام‪ ،‬ﻫﻤــﻮاره ﺑــﻪ‬ ‫ﻧﻮﯾﺴــﻨﺪﮔﺎن و ﺳــﯿﻨامﮔﺮان ﻣﺸــﺎوره و ﭘﺸــﺘﯿﺒﺎﻧﯽﻫﺎی ﺧﻮﺑــﯽ داده ﺗــﺎ ﺗﺼﻮﯾﺮﮔــﺮ‬ ‫رواﯾﺖﻫﺎﯾــﯽ از اﯾــﺮان ﺑﺎﺷــﻨﺪ ﮐــﻪ در ﺳــﯿﻨامی ﺟﻬــﺎن ﮐﻤــﱰ دﯾــﺪه ﺷــﺪه‪.‬‬

‫»ﺗﺎﺑﺴــﺘﻮن«‪ ،‬ﺟﺸــﻨﻮاره ﻫــرن‪ ،‬ﻣﻮﺳــﯿﻘﯽ و ﻓﺮﻫﻨــﮓ ﻣﻌــﺎﴏ اﯾﺮاﻧﯽﺳــﺖ ﮐــﻪ ﺑــﺮای‬ ‫اوﻟﯿــﻦ ﺑــﺎر در ﺟــﻮﻻی ‪ ۲۰۱۴‬درﻏــﺮب ﮐﺎﻧــﺎدا‪ ،‬ﺷــﻬﺮ ﮐﻠﮕــﺮی ﺑﺮﮔـﺰار ﺷــﺪ‪» .‬ﺟﺸــﻨﻮاره‬ ‫ﺗﺎﺑﺴــﺘﻮن« ﺣﺎﺻــﻞ ﺧﻼﻗﯿــﺖ ﮔﺮوﻫــﯽ از ﺟﻮاﻧــﺎن ﻓﻌــﺎل و ﻫــرن دوﺳــﺖ اﯾﺮاﻧــﯽ‪-‬‬ ‫ﮐﺎﻧﺎداﯾــﯽ در ﮐﻠﮕــﺮی اﺳــﺖ ﮐــﻪ ﺗﺤــﺖ ﻧــﺎم »ﺑﻨﯿــﺎد ﺧﻠﯿــﺞ ﻓــﺎرس« ﻓﻌﺎﻟﯿــﺖ ﻣﯽﮐﻨﻨــﺪ‪.‬‬ ‫اﯾــﻦ ﺑﻨﯿــﺎد ﻏﯿﺮاﻧﺘﻔﺎﻋــﯽ در ﺳــﺎل ‪ ۲۰۱۴‬ﺗﺎﺳــﯿﺲ ﺷــﺪه و ﻣﯽﮐﻮﺷــﺪ ﺗــﺎ ﺑــﺎ ﺑﺮﮔ ـﺰاری‬ ‫ﺑﺮﻧﺎﻣﻪﻫــﺎی ﻓﺮﻫﻨﮕــﯽ و ﻫــرنی‪ ،‬ﺑﺴــﱰی ﺑ ـﺮای رﺷــﺪ و ﺑــﺎروری ارزشﻫــﺎی ﻣــﺪرن و‬ ‫ﺳــﻨﺘﯽ اﯾﺮاﻧﯿــﺎن ﻣﻘﯿــﻢ ﮐﺎﻧــﺎدا ﻓﺮاﻫــﻢ ﺳــﺎزد‪ .‬در ﻋﯿــﻦ ﺣــﺎل ﭼﻬــﺮهای ازﻋﻼﯾــﻖ ﻣﻌــﺎﴏ‬ ‫ﻧﺴــﻞﻫﺎی ﺟــﻮان اﻣــﺮوز اﯾــﺮان را ﺑــﺮای ﺟﺎﻣﻌــﻪ ﮐﺎﻧﺎداﯾــﯽ ﺑــﻪ ﺗﺼﻮﯾــﺮ ﺑﮑﺸــﺪ‪.‬‬

‫اﯾــﻦ ﺟﺸــﻨﻮاره ﺗــﺎ ﺑــﻪ ﺣﺎل ﺑﺎ ﺟﻮاﯾــﺰی از »رﺿﺎ ﺑﺪﯾﻌــﯽ«‪ ،‬ﮐﺎرﮔﺮدان ﻓﯿﻠــﻢ و ﴎﯾﺎلﻫﺎی‬ ‫ﻫﺎﻟﯿــﻮودی و »ﺑــﺎب ﯾــﺎری«‪ ،‬ﺗﻬﯿﻪﮐﻨﻨــﺪه اﯾﺮاﻧــﯽ‪ -‬آﻣﺮﯾﮑﺎﯾــﯽ ﺳــﯿﻨامی ﻫﺎﻟﯿــﻮود ﺗﻘﺪﯾﺮ‬ ‫ﮐــﺮده اﺳــﺖ‪ .‬ﺟﺸــﻨﻮاره ﻧــﻮر ﭘــﺲ از درﮔﺬﺷــﺖ ﺑﺪﯾﻌــﯽ در ﺳــﺎل ‪ ،۲۰۱۱‬ﺟﺎﯾــﺰهای ﺑــﻪ‬ ‫ﻧــﺎم او اﺧﺘﺼــﺎص داد ﮐــﻪ اوﻟﯿــﻦ ﺑــﺎر در ﺳــﺎل ‪ ۲۰۱۳‬ﺑﻪ »ﺷــﻬﺮه آﻏﺪاﺷــﻠﻮ« اﻫﺪا ﺷــﺪ‪.‬‬ ‫»ﺷــﺎن ﻃــﻮب«‪ ،‬ﺑﺎزﯾﮕــﺮ ﺳــﯿﻨام و ﴎﯾﺎلﻫــﺎی ﺗﻠﻮﯾﺰﯾﻮﻧــﯽ آﻣﺮﯾــﮑﺎ در ﺳــﺎل ‪۲۰۱۴‬‬ ‫ﯾﮑــﯽ دﯾﮕــﺮ از ﺳــﺘﺎرﮔﺎن ﺳﯿﻨامﺳــﺖ ﮐــﻪ »ﺟﺎﯾــﺰه ﺑﺪﯾﻌــﯽ« را ﺑــﻪ ﺧﺎﻧــﻪ ﺑــﺮده اﺳــﺖ‪.‬‬

‫اﯾــﻦ ﺟﺸــﻨﻮاره ﺑــﺎ ﺑﯿــﺶ از ‪ ۱۰۰‬داوﻃﻠــﺐ در ﺟــﺬب ﺣامﯾــﺖ ﻣﺎﻟــﯽ‪ ،‬ﺑﺎزارﯾﺎﺑــﯽ‪،‬‬ ‫ﻃﺮاﺣــﯽ ﻫــرنی‪ ،‬و ﺑﺮﻧﺎﻣﻪرﯾــﺰی اﺟﺮاﯾــﯽ ﺑـﺮای ﻣﻮﻓﻘﯿــﺖ ﺟﺸــﻨﻮارهای ﺑــﺰرگ ﺑــﺎ ﺣﻀﻮر‬ ‫ﻫرنﻣﻨــﺪان ﺑﯿﻦاﳌﻠﻠــﯽ ﺗــﻼش ﻣﯽﮐﻨــﺪ و ﻋــﻼوه ﺑــﺮ ﭘﻮﺷــﺶﻫﺎی ﺧــﱪی ﻣﺘﻌــﺪد در‬ ‫رﺳــﺎﻧﻪﻫﺎ‪ ،‬ﺗﻮاﻧﺴــﺘﻪ ﺣامﯾــﺖ ﭼﻬﺮهﻫــﺎی ﴎﺷﻨﺎﺳــﯽ ﻣﺜــﻞ »ﻧﺎﻫﯿــﺪ ﻧﻨﺸــﯽ«‪ ،‬ﺷــﻬﺮدار‬ ‫ﮐﻠﮕــﺮی را ﺟﻠــﺐ ﮐﻨــﺪ‪ .‬اﺳــﺘﻘﺒﺎل ﺗﻘﺮﯾﺒــﺎ ﻫﺸــﺖ ﻫـﺰار ﻧﻔــﺮی از ﺟﺸــﻨﻮاره ﺗﺎﺑﺴــﺘﻮن‬ ‫ﺑــﺎ ﻣﻬامﻧﺎﻧــﯽ از ﺗﻮرﻧﺘــﻮ‪ ،‬ﺳﺎﻧﻔﺮاﻧﺴﯿﺴــﮑﻮ و ﻧﯿﻮﯾــﻮرک ﻧﺸــﺎن از ﺑــﻪ مثــﺮ ﻧﺸﺴــنت‬ ‫ﺗﻼشﻫــﺎی داوﻃﻠﺒــﺎن و ﻣﺪﯾـﺮان اﯾــﻦ ﺟﺸــﻨﻮاره و ﺣﺎﻣﯿــﺎن ﻣــﺎدی و ﻣﻌﻨــﻮی آن دارد‪.‬‬

‫ﺟﺸــﻨﻮاره ﻓﯿﻠــﻢ ﻧــﻮر ﺑ ـﺮای ﺟﻮاﻧــﺎن اﯾﺮاﻧــﯽ ﮐــﻪ ﻋﺎﺷــﻖ ﻓﯿﻠﻢﺳــﺎزی و ﺑــﻪ دﻧﺒــﺎل‬ ‫ﺣﺮﻓــﻪ ﺳــﯿﻨام ﻫﺴــﺘﻨﺪ‪ ،‬ﻓﺮﺻــﺖ درﺧﺸﺎﻧﯽﺳــﺖ ﺗــﺎ ﺑــﻪ ﺻــﻮرت ﺟــﺪی و ﺑــﺮای‬ ‫اوﻟﯿــﻦ ﺑــﺎر آﺛﺎرﺷــﺎن را ﺗﻮﻟﯿــﺪ و ﺑــﻪ منﺎﯾــﺶ ﺑﮕﺬارﻧــﺪ‪ .‬ﺑﺴــﯿﺎری از اﯾــﻦ اﺳــﺘﻌﺪادﻫﺎ »ﺑﻨﯿــﺎد ﺧﻠﯿــﺞ ﻓــﺎرس«‪ ،‬ﺗــﻼش دارد از ﻃﺮﯾــﻖ اﯾﺠــﺎد ﻓﻀﺎﯾــﯽ ﻣﻨﺎﺳــﺐ ﺑـﺮای ﺗﺒــﺎدﻻت‬ ‫ﺑــﺎ ﺗﺤﺴــﯿﻦ ﻣﻨﺘﻘــﺪان روﺑــﻪ رو ﻣﯽﺷــﻮﻧﺪ و اﯾــﻦ ﺑــﻪ »رﺳــﻤﯿﺖ ﺷــﻨﺎﺧﺘﻪ ﺷــﺪن« ﺳــﺎزﻧﺪه ﻓﺮﻫﻨﮕــﯽ‪ ،‬ﺳــﺎﺧنت ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ ﺷــﺎد و ﺑــﺎ ﻧﺸــﺎط و ﭘﻮﯾــﺎ در دل ﺟﺎﻣﻌــﻪ‬ ‫ﻣﯽﺗﻮاﻧــﺪ ﺟﺮﻗــﻪ اﻣﯿــﺪی ﺑﺎﺷــﺪ ﺑـﺮای ﺷــﻐﻠﯽ مثﺮﺑﺨــﺶ در ﺣﺮﻓــﻪای ﺟﺪﯾــﺪ و ﻣﻌﺘــﱪ‪ .‬ﮐﺎﻧﺎداﯾــﯽ را ﺑــﻪ ﻋﻨــﻮان ﻫــﺪف دﻧﺒــﺎل ﮐﻨــﺪ‪ .‬ﮔــﺮوه ﺟــﻮان‪ ،‬ﺑــﺎ اﺳــﺘﻌﺪا و ﭘﺮاﻧــﺮژی‬ ‫اﯾــﻦ ﺑﻨﯿــﺎد ﺑــﺎ ﻣﻌﺮﻓــﯽ و ﭘﺸــﺘﯿﺒﺎﻧﯽ از ﻫرنﻫــﺎی ﺳــﻨﺘﯽ و ﻣﻌــﺎﴏ اﯾﺮاﻧــﯽ و ﺗﺸــﻮﯾﻖ‬ ‫ﺳــﯿﺎﻣﮏ ﻗﻬﺮﻣﺎﻧــﯽ‪ ،‬ﭘﺎﯾﻪﮔــﺬار و ﺑﺮﮔﺰارﮐﻨﻨــﺪه اﯾــﻦ ﺟﺸــﻨﻮاره از آن ﮐــﻪ »ﻧﻮر« ﺗﻮاﻧﺴــﺘﻪ ﻓﺮﻫﻨــﮓ ﻣﺸــﺎرﮐﺖ اﺟﺘامﻋــﯽ‪ ،‬در ﺟﻬــﺖ ﺗﻮامنﻨﺪﺳــﺎزی ﺟﺎﻣﻌــﻪ ﻣﺪﻧــﯽ ﮔﺎم ﺑﺮﻣــﯽدارد‪.‬‬ ‫ﺧﻼﻗﯿــﺖ و ﻓﺮﻫﻨــﮓ ﯾــﮏ ﻣﻠــﺖ را ﺑــﺮای ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ ﺑــﻪ ﻫﻤــﺮاه ﺑﯿــﺎورد‪ ،‬ﺑــﻪ‬ ‫ﻋﻨــﻮان دﺳــﺘﺎوردی اﻟﻬﺎمﺑﺨــﺶ ﯾــﺎد ﻣﯽﮐﻨــﺪ‪ .‬ﺑــﻪ اﻋﺘﻘــﺎد او اﯾـﺮان ﯾــﺎ در رﺳــﺎﻧﻪﻫﺎی آﻏــﺎز ﻓﻌﺎﻟﯿــﺖ »ﺑﻨﯿــﺎد ﺧﻠﯿــﺞ ﻓــﺎرس« ﺑــﻪ ﻓﻌﺎﻟﯿــﺖ اﻧﺠﻤــﻦ داﻧﺸــﺠﻮﯾﯽ ﺑــﺎ ﻫﻤﯿــﻦ ﻧــﺎم‬ ‫ﮐﻼن ﺧﯿﻠــﯽ ﻣﺘﻔــﺎوت از واﻗﻌﯿــﺖ ﻧﺸــﺎن داده ﺷــﺪه‪ ،‬و ﯾــﺎ در رﺳــﺎﻧﻪﻫﺎی ﻋﻮام ﭘﺴــﻨﺪ‪ ،‬ﺑــﺮ ﻣﯽﮔــﺮدد ﮐــﻪ در ﺳــﺎل ‪ ۲۰۱۱‬در داﻧﺸــﮕﺎه ﮐﻠﮕــﺮی ﺑــﻪ ﺛﺒــﺖ رﺳــﯿﺪه ﺑــﻮد‪ .‬ﺑﺮﮔﺰاری‬ ‫ﺧﯿﻠــﯽ ﭘــﺮ زرق و ﺑــﺮق‪ .‬از اﯾــﻦ رو ﺑــﻪ رﺳــﺎﻧﻪ ﺟﺪﯾــﺪی ﻧﯿــﺎز دارﯾــﻢ ﮐــﻪ »ﺧﻮدﻣــﺎن« ﺑﺮﻧﺎﻣﻪﻫــﺎی ﺧﻼﻗﺎﻧــﻪ ﺑــﺮای ﺣامﯾــﺖ از داﻧﺸــﺠﻮﯾﺎن اﯾﺮاﻧــﯽ‪ ،‬ﻧــﴩ ﻣﺠﻠــﻪ ﻫــرنی‬ ‫را ﻧﺸــﺎن دﻫــﺪ و »ﻓﯿﻠــﻢ« آن رﺳــﺎﻧﻪ ﺑــﻮد‪ .‬ﺑــﺎ ﻫﻤﯿــﻦ ﺑﯿــﺎن ﺧــﻼق در ﺳﯿﻨامﺳــﺖ ﮐــﻪ ﭘﯿﺸــامره‪ ،‬ﻣﯿﺰﺑﺎﻧــﯽ ﻫرنﻣﻨــﺪان و روﺷــﻨﻔﮑﺮان‪ ،‬ﻣﯿﺰﺑﺎﻧــﯽ ﺧﺎﻧــﻪ اﯾ ـﺮان در ﺟﺸــﻨﻮاره‬ ‫اﯾﺮاﻧﯿــﺎن ﻣﯽﺗﻮاﻧﻨــﺪ »ﺧﻮدﺷــﺎن« را در ﻫﻤــﻪ زﻣﯿﻨﻪﻫــﺎی ارزﺷﻤﻨﺪﺷــﺎن ﺑــﻪ ﺟﻬــﺎن »ﮔﻠﻮﺑــﺎل ﻓﺴــﺖ ﮐﻠﮕــﺮی« ﺑـﺮای ﭼﻬﺎر ﺳــﺎل و اﺟﺮای زﻧﺪه ﻣﻮﺳــﯿﻘﯽ ﺗﻮﺳــﻂ ﻫرنﻣﻨﺪان‬ ‫ﻣﻌﺮﻓــﯽ ﮐﻨﻨــﺪ‪ .‬ﺳــﯿﺎﻣﮏ ﻗﻬﺮﻣﺎﻧــﯽ ﺟﺸــﻨﻮاره ﻓﯿﻠــﻢ ﻧــﻮر را در ﺳــﺎل ‪ ۲۰۰۷‬ﺑــﺎ ﺣامﯾــﺖ ﻣﻄــﺮح ﺑﺨﺸــﯽ از ﻓﻌﺎﻟﯿﺖﻫــﺎی اﯾــﻦ ﻣﺠﻤﻮﻋــﻪ در ﭼﻬــﺎر ﺳــﺎل ﮔﺬﺷــﺘﻪ ﺑــﻮده اﺳــﺖ‪.‬‬ ‫دوﺳــﺘﺎن‪ ،‬ﺧﺎﻧــﻮاده و ﻫﻤﻔﮑﺮاﻧــﺶ در ﺟﺎﻣﻌــﻪ اﯾﺮاﻧﯽ‪-‬آﻣﺮﯾﮑﺎﯾــﯽ »ﻟﻮسآﻧﺠﻠــﺲ« ﺟﻤــﻊآوری ﺑﯿــﺶ از ‪ ۶۵‬ﻫــﺰار دﻻر از ﻣﺤــﻞ ﮐﻤﮏﻫــﺎی ﻣﺮدﻣــﯽ ﺑــﺮای ﺗﺤﺼﯿــﻞ‬ ‫راهاﻧــﺪازی ﮐــﺮد و از آن زﻣــﺎن ﺑﺮﻧﺎﻣﻪرﯾــﺰی و ﺗــﻼش ﺗﺤﺴــﯿﻦﺑﺮاﻧﮕﯿﺰی ﺑــﺮای ﮐــﻮدﮐﺎن ﻧﯿﺎزﻣﻨــﺪ در اﯾ ـﺮان از ﺟﻤﻠــﻪ ﻓﻌﺎﻟﯿﺖﻫــﺎی اﯾــﻦ ﺗﯿــﻢ ‪ ۳۰‬ﻧﻔــﺮه ﺳــﺨﺖﮐﻮش‬ ‫ﭘﺎﺳــﺦ ﺑــﻪ اﯾــﻦ ﺣامﯾــﺖ ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ‪ -‬آﻣﺮﯾﮑﺎﯾــﯽ از ﺧــﻮد ﻧﺸــﺎن داده اﺳــﺖ‪ .‬و ﻣﺘﻌﻬــﺪ اﺳــﺖ ﮐــﻪ ﺑﺮﻧﺎﻣﻪرﯾــﺰی ﺟﺸــﻨﻮاره ﺗﺎﺑﺴــﺘﻮن را ﻫــﻢ ﺑــﺮ ﻋﻬــﺪه دارﻧــﺪ‪.‬‬

‫در ﻣﯿــﺎن داوران اﯾــﻦ ﺟﺸــﻨﻮاره‪ ،‬ﻧﺎمﻫــﺎی ﴎﺷــﻨﺎس ﻫﺎﻟﯿــﻮودی ﻣﺎﻧﻨــﺪ‬ ‫»رﯾــﻦ وﯾﻠﺴــﻦ«‪» ،‬ﻓﺮﻧﺴــﯿﺲ ﻓﯿــﴩ«‪ ،‬و »دﻧﯿــﺲ ﻫﯿﺰﺑــﺮت« ﺑــﻪ ﭼﺸــﻢ‬ ‫ﻣﯽﺧــﻮرد‪ .‬ﻫﻤﭽﻨﯿــﻦ از اﺳــﺎﻣﯽ ﺷــﻨﺎﺧﺘﻪ ﺷــﺪه ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ‪-‬‬ ‫آﻣﺮﯾﮑﺎﯾــﯽ در ﻣﯿــﺎن داوران ﺟﺸــﻨﻮاره ﻣﯽﺗــﻮان از »ﻧﻮﯾــﺪ ﻧﮕﻬﺒــﺎن«‪،‬‬ ‫»ﻣﺎرﺷــﺎل ﻣﻨــﺶ«‪» ،‬ﻣــﺎز ﺟﱪاﻧــﯽ« و »ﻣﻬﻨــﺎز اﻓﺸــﺎر« از اﯾــﺮان ﻧــﺎم ﺑــﺮد‪.‬‬

‫ﻋــﻼوه ﺑﺮﻣﻮﺳــﯿﻘﯽ راک اﯾﺮاﻧــﯽ و ﻣﻮﺳــﯿﻘﯽ ﺗﻠﻔﯿﻘــﯽ ﻣﺤﻠــﯽ‪ ،‬ﺟﺸــﻨﻮاره ﺗﺎﺑﺴــﺘﻮن‬ ‫ﻣﯿﺰﺑــﺎن ﻫرنﻣﻨﺪاﻧــﯽ از آﳌــﺎن‪ ،‬اﻧﮕﻠﺴــﺘﺎن‪ ،‬آﻧﺘﺎرﯾــﻮ و آﻟﱪﺗــﺎ ﺑــﻮد ﮐــﻪ ﺑــﺎ اﺟــﺮای‬ ‫ﻣﻮﺳــﯿﻘﯽ زﻧــﺪه‪ ،‬ﺗﺌﺎﺗــﺮ ﺧﯿﺎﺑﺎﻧــﯽ‪ ،‬رﻗــﺺ ﻣﺤﻠــﯽ و ﺳــامع‪ ،‬و ﻧﯿــﺰ ﺑــﺎ آراﺳــنت‬ ‫ﻏﺮﻓــﻪ ﺳــﻨﺘﯽ اﯾﺮاﻧــﯽ و دهﻫــﺎ ﺑﺮﻧﺎﻣــﻪ دﯾﮕــﺮ ﺑــﻪ ﻫرنمنﺎﯾــﯽ ﭘﺮداﺧﺘﻨــﺪ‪ .‬ﮐﻠﮕــﺮی در‬ ‫ﺳــﺎل ‪ ۲۰۱۶‬دوﺑــﺎره ﻣﯿﺰﺑــﺎن ﺟﺸــﻨﻮاره ﺗﺎﺑﺴــﺘﻮن و ﺑﺮﻧﺎﻣﻪﻫــﺎی ﻣﺘﻨــﻮع دﯾﮕــﺮی‬ ‫ﺑــﺎ ﻫــﺪف ﭘﻮﯾﺎﯾــﯽ و ﴎزﻧﺪﮔــﯽ ﻓﺮﻫﻨــﮓ و ﻫــرن ﻣﻌــﺎﴏ اﯾــﺮان ﺧﻮاﻫــﺪ ﺑــﻮد‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:10 AM‬‬

‫‪88-91-Festival-EDITED.indd 89‬‬

‫‪FESTIVAL‬‬

‫‪90‬‬

‫ﺗــﺎ ﻫﺸــﺖ ﺳــﺎل ﭘﯿــﺶ‪ ،‬در ﺣﺎﻟــﯽ ﮐــﻪ »ﻟﺲآﻧﺠﻠــﺲ« ﺧﺎﻧــﻪای ﺷــﺪه ﺑــﻮد ﺑــﺮای ﺟﺎﻣﻌــﻪ ﭘــﺮ‬ ‫ﺟﻨــﺐ و ﺟــﻮش اﯾﺮاﻧــﯽ‪ -‬آﻣﺮﯾﮑﺎﯾــﯽ‪ ،‬اﻣــﺎ ﺟــﺎی ﺧﺎﻟــﯽ ﯾــﮏ ﺳــﺎزﻣﺎن ﺑﺮﺟﺴــﺘﻪ ﻓﺮﻫﻨﮕــﯽ ﮐــﻪ‬ ‫ﺑﺎﻧــﯽ ﺑﺮﮔــﺰاری ﻣﺮاﺳــﻢ ﻓﺮﻫﻨــﮓ اﯾﺮاﻧــﯽ ﺑﺎﺷــﺪ اﺣﺴــﺎس ﻣﯽﺷــﺪ‪ .‬ﺧﻮﺷــﺒﺨﺘﺎﻧﻪ اﯾــﻦ ﻣﻬــﻢ‬ ‫از ﻧــﮕﺎه اﻋﻀــﺎی ﺑــﺎ ﻧﻔــﻮذ ﺟﺎﻣﻌــﻪ اﯾﺮاﻧﯽ‪-‬آﻣﺮﯾﮑﺎﯾــﯽ دور منﺎﻧــﺪ و در ﺳــﺎل ‪» ۲۰۰۸‬ﺑﻨﯿــﺎد‬ ‫ﻓﺮﻫﻨــﮓ« را راه اﻧﺪاﺧﺘﻨــﺪ‪ .‬ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ اﻣــﺮوز دﯾﮕــﺮ ﯾﮑــﯽ از ﺑﺮﺟﺴــﺘﻪﺗﺮﯾﻦ ﺳــﺎزﻣﺎنﻫﺎی‬ ‫ﻓﺮﻫﻨﮕــﯽ در ﺟﻨــﻮب ﮐﺎﻟﯿﻔﺮﻧﯿﺎﺳــﺖ ﮐــﻪ ﺑــﺎ ﺑﯿــﺶ از ‪ ۱۳‬ﻋﻀــﻮ ﻫﯿــﺎت اﻣﻨــﺎ و ‪ ۷۰‬ﻋﻀــﻮ ﺷــﻮرا ﺑــﻪ‬ ‫ﺗﺮوﯾــﺞ و ﺑﺮﮔــﺰاری ﻣﺮاﺳــﻢ ﻓﺮﻫﻨﮕــﯽ و ﻫــرنی اﯾــﺮان در ﺟﺎﻣﻌــﻪ اﯾﺮاﻧﯽ‪-‬آﻣﺮﯾﮑﺎﯾــﯽ ﻣﯽﭘــﺮدازد‪.‬‬ ‫ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ ﺑــﺎ ﺣامﯾــﺖ ﺻﺪﻫــﺎ داوﻃﻠــﺐ و ﮐﻤــﮏ ﮐﻨﻨــﺪه ﺑــﻪ اداﻣــﻪ ﻣﺴــﯿﺮ ﻣﻮﻓﻘﯿﺖﻫﺎﯾــﺶ در‬ ‫آﯾﻨــﺪه ﻣﺼﻤــﻢ اﺳــﺖ و ﻓــﺎرغ از ﺟﺎﻧﺒــﺪاری ﺳﯿﺎﺳــﯽ و ﻣﺬﻫﺒــﯽ‪ ،‬متــﺎم ﺗﻼﺷــﺶ را ﺗﻨﻬــﺎ در ﺣﻔــﻆ و ﭘﯿﺸــﱪد‬ ‫ﻣﯿ ـﺮاث ﻓﺮﻫﻨﮕــﯽ اﯾ ـﺮان ﻣﺘﻤﺮﮐــﺰ ﮐــﺮده اﺳــﺖ‪ .‬اﯾــﻦ ﺑﻨﯿــﺎد اﻣﺴــﺎل ﻧﯿــﺰ ﺑ ـﺮای ﻫﻔﺘﻤﯿــﻦ ﺳــﺎل ﻣﺘﻮاﻟــﯽ‬ ‫ﻧــﻮروز را در »ﻣــﻮزه ﻫــرن ﻟﺲآﻧﺠﻠــﺲ« ﻫﻤـﺮاه ﺑــﺎ اوﻟﯿــﻦ اﺟـﺮای ﮐﻨــﴪت »آوای ﯾــﮏ ﺑﻬــﺎر اﯾﺮاﻧــﯽ« زﻫﺮه‬ ‫ﺟﻮﯾــﺎ و ﮐﻨــﴪت ﮔــﺮوه ﻣﻮﺳــﯿﻘﯽ ﮐﯿﻮﺳــﮏ در ﻓﻀــﺎی ﺑــﺎز ﺟﺸــﻦ ﮔﺮﻓــﺖ‪ .‬اﯾــﻦ ﻣﺮاﺳــﻢ ﺑﺎﺷــﮑﻮهﺗﺮﯾﻦ‬ ‫ﻣﺮاﺳــﻢ »ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ« ﺗــﺎ ﺑــﻪ اﻣــﺮوز ﺑــﻮده ﮐــﻪ ‪۱۵‬ﻫـﺰار ﻧﻔــﺮ را ﺑــﻪ ﻣــﻮزه ﻫــرنی ﻟﺲآﻧﺠﻠــﺲ ﮐﺸــﺎﻧﺪ‪.‬‬ ‫ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ ﺑــﺎ ﺗﻮﺟــﻪ ﺑــﻪ ﺗﻘﺎﺿﺎی ﻣﺮدم ﺑﺮﻧﺎﻣﻪ ﺟﺸــﻦ ﯾــﮏ روزه ﻧﻮروزی ﺧــﻮدش را ﺑــﻪ »اورﻧﺞ ﮐﺎﻧﺘﯽ«‬ ‫ﻫــﻢ ﺑــﺮده اﺳــﺖ‪ .‬ﻣﺤﺒﻮﺑﯿــﺖ ﺑﺮﻧﺎﻣﻪﻫــﺎی ﻧــﻮروزی ﻓﺮﻫﻨــﮓ ﺑﺎﻋــﺚ ﺷــﺪ ﮐــﻪ ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ ﺟﺸــﻦﻫﺎی‬ ‫دﯾﮕــﺮی از ﻓﺮﻫﻨــﮓ اﯾـﺮان را ﻧﯿــﺰ ﺗﺠﺮﺑــﻪ ﮐﻨــﺪ و در ﺳــﺎل ‪ ۲۰۱۳‬ﺳــﻨﺖ دﯾﺮﯾﻨــﻪ »ﺷــﺐ ﯾﻠــﺪا« را ﺟﺸــﻦ‬ ‫ﮔﺮﻓــﺖ‪ .‬ﮔﺬﺷــﺘﻪ از اﯾــﻦ ﺟﺸــﻦﻫﺎ‪ ،‬ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ در ﯾﮑــﯽ از ﻣﻬﻢﺗﺮﯾــﻦ ﻫﻤﮑﺎریﻫﺎﯾــﺶ‪» ،‬آﻣــﻮزش‬ ‫زﺑــﺎن ﻓﺎرﺳــﯽ« را در داﻧﺸــﮕﺎه ﮐﺎﻟﯿﻔﺮﻧﯿــﺎی ﺟﻨﻮﺑــﯽ ﺑــﺎ ﺗﻼشﻫــﺎی ﻣﺮدﻣــﯽ ﺑﻨــﺎ ﻧﻬــﺎد و در ﺗــﻼش اﺳــﺖ ﺗــﺎ ﻧــﺎم »آزادی‪ :‬ﯾــﮏ اﻣﯿــﺪ ﻣﺸــﱰک« ﺧــﱪ داد‪ .‬اﺛــﺮ ﻧﺨﺴــﺖ اﯾــﻦ رﻗﺎﺑــﺖ از ﻃــﺮف ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ ﺑــﻪ‬ ‫رﺷــﺘﻪ »ﻣﻄﺎﻟﻌــﺎت اﯾـﺮان« در ﻣﻘﻄــﻊ ﻟﯿﺴــﺎﻧﺲ را ﺑــﺎ ﺗﺎﻣﯿــﻦ ﺑﻮدﺟــﻪ ﻻزم در اﯾــﻦ داﻧﺸــﮕﺎه اﯾﺠــﺎد ﮐﻨــﺪ‪ .‬منﺎﯾﻨﺪﮔــﯽ از ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ‪ -‬آﻣﺮﯾﮑﺎﯾــﯽ ﺑــﻪ ﺷــﻬﺮ ﻟﺲآﻧﺠﻠــﺲ اﻫــﺪا ﺧﻮاﻫــﺪ ﺷــﺪ و ﺑــﻪ ﻃــﻮر داﺋــﻢ در‬ ‫ﻣﮑﺎﻧــﯽ ﻋﻤﻮﻣــﯽ در ﻟﺲآﻧﺠﻠــﺲ ﻧﺼــﺐ ﻣﯽﺷــﻮد‪ .‬منﺎﯾﺸــﮕﺎه »ﻓﻮﮐــﻮس اﯾ ـﺮان‪ :‬ﻋﮑﺎﺳــﯽ و وﯾﺪﯾﻮﮔﺮاﻓــﯽ‬ ‫در ﺳــﺎل ‪ ،۲۰۱۳‬ﻣﻨﺸــﻮر ﮐــﻮرش ﺑــﻪ ﭘﻨــﺞ ﺷــﻬﺮ ﻣﻬــﻢ اﯾــﺎﻻت ﻣﺘﺤــﺪه‪ ،‬ﺗﺤــﺖ منﺎﯾﺸــﮕﺎﻫﯽ ﻣﻌــﺎﴏ« ﻧﯿــﺰ ﮐــﻪ از ﻃــﺮف ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ ﺑــﺎ ﻫﻤــﮑﺎری ﻣــﻮزه ﺻﻨﺎﯾــﻊ دﺳــﺘﯽ و ﻫرنﻫــﺎی ﻓﻮﻟﮑﻮرﯾــﮏ‬ ‫ﺑــﺎ ﻧــﺎم »ﻣﻨﺸــﻮر ﮐــﻮروش و اﯾــﺮان ﺑﺎﺳــﺘﺎن‪ :‬آﻏــﺎزی ﻧﻮﯾــﻦ« ﺳــﻔﺮ ﮐــﺮد‪ .‬ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ ﺑﺮﮔــﺰار ﺷــﺪ‪ ،‬ﺑــﺎ درﯾﺎﻓــﺖ ‪ ۶۱۵‬اﺛــﺮ ارﺳــﺎﻟﯽ رﮐــﻮرد ﺷﮑﺴــﺖ و ﯾﮑــﯽ از ﻣﻮﻓﻖﺗﺮﯾــﻦ منﺎﯾﺸــﮕﺎهﻫﺎی‬ ‫ﺗﻨﻬــﺎ ﺣﺎﻣــﯽ ﻣﺎﻟــﯽ و ﭘﺸــﺘﯿﺒﺎن ﻣﻘﺼــﺪ ﻧﻬﺎﯾــﯽ اﯾــﻦ ﺗــﻮر منﺎﯾﺸــﮕﺎﻫﯽ در ﻟﺲآﻧﺠﻠــﺲ ﺑــﻮد‪ .‬ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ ﺷــﺪ‪ .‬ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ »ﺟﺎﯾــﺰه ﻣﯿ ـﺮاث« ﺧــﻮد را در ﺳــﺎل ‪ ۲۰۱۵‬ﺑــﻪ ﺷــﯿﺮﯾﻦ ﻧﺸــﺎط ﺑــﻪ‬ ‫اﯾــﻦ ﻣﻨﺸــﻮر ﻫﻤــﺮاه ﺑــﺎ ‪ ۱۶‬اﺛــﺮ ﺗﺎرﯾﺨــﯽ دﯾﮕــﺮ در »ﮔﺘــﯽ وﯾــﻼ« ﺑــﻪ منﺎﯾــﺶ ﮔﺬاﺷــﺘﻪ ﺧﺎﻃــﺮ »ﻫﻤﺪﻟــﯽ ﺟﺎﻣﻌــﻪ ﺑــﻪ واﺳــﻄﻪ ﻓﻌﺎﻟﯿﺖﻫــﺎی ﻫــرنی ﻗﺎﺑــﻞ ﺗﻮﺟــﻪاش در ﺟﻬــﺎن« اﻫــﺪا ﮐــﺮد‪.‬‬ ‫ﺷــﺪ‪ ،‬ﮐــﻪ ﺑــﺎ ﺑﯿــﺶ از ‪ ۷۵‬ﻫــﺰار ﺑﺎزدﯾﺪﮐﻨﻨــﺪه رﮐــﻮرد ﺑﺎزدﯾﺪﮐﻨﻨــﺪﮔﺎن منﺎﯾﺸــﮕﺎه را ﺷﮑﺴــﺖ‪.‬‬ ‫ﻋــﻼوه ﺑــﺮ ﺑﺮﻧﺎﻣﻪﻫــﺎی ﺑﺮﺟﺴــﺘﻪای ﮐــﻪ در ﺑــﺎﻻ آﻣــﺪ‪ ،‬ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ از زﻣﺎن ﺗﺎﺳــﯿﺲ ﺧــﻮد ﺑﯿــﺶ از دهﻫﺎ‬ ‫ﻣﻮﻓﻘﯿــﺖ ﭼﺸــﻢﮔﯿﺮ اﯾــﻦ منﺎﯾﺸــﮕﺎه‪ ،‬ﺑﻨﯿــﺎد ﻓﺮﻫﻨــﮓ را ﻣﺼﻤــﻢ ﮐــﺮد ﺗــﺎ ﺑــﻪ ﺑﺮﮔــﺰاری ﺑﺮﻧﺎﻣﻪﻫــﺎی منﺎﯾﺸــﮕﺎه ﻫــرنی‪ ،‬ﺳــﺨرناﻧﯽ ﻋﻠﻤــﯽ‪ ،‬ﺑﺮﻧﺎﻣــﻪ و روﯾــﺪاد ﻓﺮﻫﻨﮕــﯽ را ﻣــﻮرد ﺣامﯾــﺖ ﻗـﺮار داده و ﻫﺮﺳــﺎﻟﻪ‬ ‫ﻣﺮﺑــﻮط ﺑــﻪ »ﻣﯿــﺮاث ﮐــﻮروش ﺑــﺰرگ« اداﻣــﻪ دﻫــﺪ و در ﻣــﺎه ﻣــﻪ ‪ ۲۰۱۴‬از ﯾــﮏ رﻗﺎﺑــﺖ ﻫــرنی ﺑــﺎ ﺑﯿــﺶ از ‪ ۲۰‬ﺑﺮﻧﺎﻣــﻪ ﻓﺮﻫﻨﮕــﯽ ﺑــﺎ ﻣﻀﻤــﻮن اﯾـﺮان را در ﺗﻘﻮﯾــﻢ ﻓﺮﻫﻨﮕــﯽ ﮐﺎﻟﯿﻔﺮﻧﯿﺎی ﺟﻨﻮﺑﯽ ﺟــﺎی ﻣﯽدﻫﺪ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:10 AM‬‬

‫‪88-91-Festival-EDITED.indd 90‬‬

FESTIVAL

TIRGAN MAGAZINE AUGUST 2015

88-91-Festival-EDITED.indd 91

2015-08-05 5:10 AM

‫‪BAZAAR‬‬

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‫ﻫﻢ ﻣﺸﻐﻮل آﻣﺎده ﮐﺮدن ﺗﯿﻤﯽ ﺑﻮدم ﮐﻪ ﻃﺮاﺣﯽ رو اﺟﺮا ﮐﻨﻪ‪.‬‬ ‫اﻣﺴﺎل ﻫﻢ ﻣﻨﺘﻈﺮ ﻣﺮاﺳﻤﯽ ﻫﺴﺘﻢ ﮐﻪ ﻣﯽﺧﻮام در »دﻧﻮر ﮐﻠﻮرادو«‬ ‫وﺳﻂ ﻧﺎﮐﺠﺎآﺑﺎدی ﺑﺪون آب و ﺑﺮق راه ﺑﻨﺪازم‪ .‬ﭼﺎﻟﺶﻫﺎی‬ ‫ﻟﺠﺴﺘﯿﮑﯽ ﮐﻪ ﻫﻤﺮاﻫﺶ ﻫﺴﺖ اون رو ﺗﺒﺪﯾﻞ ﺑﻪ ﻣﺮاﺳﻤﯽ ﻣﯽﮐﻨﻪ‬ ‫ﮐﻪ ﺑﯽﺻﱪاﻧﻪ ﻣﻨﺘﻈﺮﺷﻢ‪.‬‬

‫آﯾــﺎ ﻓﮑﺮ ﮐﺮدی ﮐﻪ ﺑــﺎ راه اﻧﺪاﺧنت اﯾﻦ ﺣﺮﻓﻪ در‬ ‫»ﻟﻮسآﻧﺠﻠــﺲ« ﮐﻪ اﯾﺮاﻧﯽﻫــﺎی زﯾﺎدی داره ﺗﮑﯿﻪﮔﺎه‬ ‫ﻣﺤﮑﻤﯽ ﺑﺮای ﺷــﻐﻠﺖ ﻓﺮاﻫﻢ ﻣﯽﺷــﻪ؟‬

‫ﻣﻦ ﮐﺎرم رو ‪ ۱۷‬ﺳﺎل ﭘﯿﺶ ﴍوع ﮐﺮدم و اون ﻣﻮﻗﻊ اﯾﻦ ﺳﺒﮏ ﻫرن‬ ‫و ﺧﺪﻣﺎت در ﮔﻔﺘامن ﭘﺬﯾﺮﻓﺘﻪ ﺷﺪه ﻋﺎدی اﯾﺮاﻧﯽﻫﺎ ﺟﺎﯾﯽ ﻧﺪاﺷﺖ‪٬‬‬ ‫ﺑﻨﺎﺑﺮاﯾﻦ اﮐرث ﺣﺎﻣﯿﺎن ﻣﻦ آﻣﺮﯾﮑﺎﯾﯽﻫﺎﯾﯽ ﺑﻮدﻧﺪ ﮐﻪ ﺑﻪ ﻫرن ﺑﺮﮔﺰاری‬ ‫ﻣﺮاﺳﻢ اﻫﻤﯿﺖ ﺑﯿﺸﱰی ﻣﯽدادن‪ .‬ﻫﺮﭼﻨﺪ ﺣﺎﻻ از اﯾﻦ ﮐﻪ ﯾﮏ ﻣﻮﺳﺲ‬ ‫اﯾﺮاﻧﯽ ﻫﺴﺘﻢ ﮐﻪ ﻫرن و ﺗﺠﺎرت رو ﺑﺎﻫﻢ ادﻏﺎم ﮐﺮده اﺣﺴﺎس ﻏﺮور‬ ‫ﻣﯽﮐﻨﻢ و ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ ﻫﻢ ﺑﻪ ﻣﻦ ﺑﺴﯿﺎر اﻓﺘﺨﺎر ﻣﯽﮐﻨﻪ‪ .‬ﺑﻬﱰﯾﻦ‬ ‫وﺟﻪ اﯾﻦ ﺣامﯾﺖ اﯾﻨﻪ ﮐﻪ اﯾﻦ ﻣﻮﻓﻘﯿﺖ ﮔﺮاﯾﺶﻫﺎی ﻣﺬﻫﺒﯽ و‬ ‫ﺳﯿﺎﺳﯽ رو ﮐﻨﺎر زده‪ .‬ﻣﺸﱰیﻫﺎی ﻣﻦ ﻣﺴﻠامن‪ ٬‬ﯾﻬﻮدی‪ ٬‬ﻣﺴﯿﺤﯽ و‬ ‫ﺑﻬﺎﯾﯽ ﻫﺴﺘﻨﺪ و ﻫﻤﻪ ﺑﺎ دﯾﺪن ﻣﻮﻓﻘﯿﺖ زﻧﯽ از اﯾﺮان اﺣﺴﺎس اﻓﺘﺨﺎر‬ ‫ﻣﯽﮐﻨﻦ و اﯾﻦ ﻗﻠﺒﻢ رو ﮔﺮم ﻣﯽﮐﻨﻪ ﭼﻮن اول و آﺧﺮش ﻣﺎ ﻫﻤﻪ اﯾﺮاﻧﯽ‬ ‫ﻫﺴﺘﯿﻢ‪.‬‬

‫درﺑــﺎره ﺗﺠﺮﺑﯿﺎت ﺷــﺨﺼﯽ و ﺣﺮﻓﻪای ﮐﻪ در »دﺑﯽ«‬ ‫داﺷــﺘﯽ ﺑﺮاﻣــﻮن ﺑﮕﻮ؛ ﺑﻪ ﺧﺼــﻮص اﯾﻦ ﮐﻪ در ﭼﻨﯿﻦ‬ ‫ﻓﻀﺎﯾــﯽ ﺑــﺎ ﻫﻤﻮﻃﻨﺎن و ﻫرنﻣﻨــﺪان اﯾﺮاﻧﯽ اﻣﮑﺎن ارﺗﺒﺎط و‬ ‫ﻫﻤﮑﺎری ﺑﯿﺸــﱰی ﻫﺴﺖ‪.‬‬

‫از ﻫﻤﻪ ﺑﯿﺸﱰ ﺑﻪ اﯾﻦ ﺧﺎﻃﺮ از ﻓﻌﺎﻟﯿﺖ در دﺑﯽ ﺧﻮﺷﺤﺎمل ﮐﻪ‬ ‫در ﯾﮏ زﻣﺎن ﻣﺠﺒﻮر ﺷﺪم ﻫﻢ ﺑﺮ ﭼﺎﻟﺶﻫﺎی ﺷﺨﺼﯽ و ﻫﻢ ﺑﺮ‬ ‫ﻣﻮاﻧﻊ ﮐﺎری و ﻟﺠﺴﺘﯿﮑﯽ ﻏﻠﺒﻪ ﮐﻨﻢ‪ .‬ﻣﺎ اﯾﺮاﻧﯽﻫﺎ در ﺣﯿﻄﻪ رواﺑﻂ‬ ‫ﺧﻮدﻣﻮن ارﺗﺒﺎط ﻣﺤﮑﻢ و ﻣﻌﻨﺎداری ﺑﺎ زﻧﺪﮔﯽ دارﯾﻢ و ﺑﻬﱰه ﮐﻪ‬ ‫اﯾﻦ روﺣﯿﻪ و اﺣﺴﺎس رو ﺑﻪ ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ اﯾﺮاﻧﯽ ﻫﻢ ﻣﻨﺘﻘﻞ ﮐﻨﯿﻢ‪.‬‬ ‫ﺗﻮﺟﻪ ﺑﻪ ارزشﻫﺎی ﺟﻤﻌﯽ ﻣﺎ ﻣﯽﺗﻮﻧﻪ ﺣامﯾﺖ ﺧﻮﺑﯽ ﺑﺎﺷﻪ از‬ ‫ﻫﻤﻮﻃﻨﺎﻣﻮن و راه رو ﺑﺮای ﭘﯿﴩﻓﺖ ﻫرنﻣﻨﺪان ﺧﻼق و ﺑﺎ اﺳﺘﻌﺪاد‬ ‫اﯾﺮاﻧﯽ در ﺑﺎزارﻫﺎی ﺟﻬﺎﻧﯽ ﺑﺎز ﮐﻨﻪ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﺑﻌﺪ از ﺳﺎلﻫﺎ‬ ‫ﺗﻼش ﻧﻬﺎﯾﺘﺎ ﻣﯽﺑﯿﻨﻢ ﮐﻪ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ ﻫﻢ داره از ﺗﻼﺷﻢ ﺗﻘﺪﯾﺮ‬ ‫ﻣﯽﮐﻨﻪ اﻣﺎ ﻣﻬﻤﱰﯾﻦ ﭼﺎﻟﺶ ﻓﻌﺎﻟﯿﺖ در دﺑﯽ رو ﻫﻢ ﺑﺮﻣﯽﮔﺮده ﺑﻪ‬ ‫ﻓﻘﺪان درک و ارزش ﮔﺬاﺷنت ﺑﻪ زﻣﺎن و ﺧﻼﻗﯿﺖ ﻫرنی‪.‬‬

‫ﺑﻪ ﻋﻨﻮان ﯾﮏ اﯾﺮاﻧﯽ‪-‬آﻣﺮﯾﮑﺎﯾﯽ و ﯾﮏ ﻣﻮﺳﺲ ﮐﻪ در‬ ‫ﺻﻨﻌﺖ »ﻣﺪﯾﺮﯾﺖ ﻣﺮاﺳﻢ« ﺧﻮدش رو ﺗﺜﺒﯿﺖ ﮐﺮده ﭼﻪ‬ ‫ﺗﻮﺻﯿﻪای ﺑﺮای ﻫﻤﻮﻃﻨﺎن اﯾﺮاﻧﯽ ﺧﻮدت داری ﮐﻪ ﺑﻪ دﻧﺒﺎل‬ ‫ﴎﻣﺎﯾﻪﮔﺬاری در ﺧﻮﻧﻪ ﺟﺪﯾﺪﺷﻮن ﻫﺴنت؟‬

‫ﻃﻮری رﻓﺘﺎر ﮐﻨﯿﻢ ﮐﻪ اﻧﮕﺎر ﭼﯿﺰی ﺑﺮای از دﺳﺖ دادن ﻧﺪارﯾﻢ‪.‬‬ ‫رﯾﺴﮏﻫﺎی ﺧﻼق ﮐﻨﯿﻦ‪ ٬‬ﻫﻤﯿﺸﻪ ﻋﺎدل ﺑﺎﺷﯿﻦ )ﺣﺘﺎ اﮔﻪ ﭘﻮل از دﺳﺖ‬ ‫دادﯾﻦ( ﭼﻮن اﺳﺘﻌﺪاد و ﭘﺸﺘﮑﺎرﺗﻮن اوﻧﻮ ﺟﱪان ﻣﯽﮐﻨﻪ‪ .‬ﻫﻤﭽﻨﯿﻦ‬ ‫ﺣﺮﻓﻪﺗﻮن رو از ﻣﻨﻈﺮ ﻋﻘﻞ و دراﯾﺖ ﻣﻨﺤﴫ ﺑﻪ ﻓﺮد ﺧﻮدﺗﻮن‬ ‫ﻫﺪاﯾﺖ ﮐﻨﯿﻦ و اﮔﺮ در ﻃﻮل راه ﻫﻢ ﭼﻨﺪ ﻧﻔﺮ رو ﻧﺎراﺣﺖ ﮐﺮدﯾﻦ‬ ‫اﯾﺮادی ﻧﺪاره‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:49 AM‬‬

‫‪92-93-Bazaar-Sani Ravanbakhch-EDITED.indd 92‬‬

‫‪BAZAAR‬‬

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‫در ﻓﻀﺎﯾــﯽ ﭘــﺮ از ﻫﯿﺎﻫــﻮ و اﻧــﺮژی ﺧﻼﻗﺎﻧــﻪ در ﺳــﺎﺧﺖ ﺑﺮﻧﺎﻣﻪﻫــﺎی ﺗﻠﻮﯾﺰﯾﻮﻧــﯽ ﺳﺒﮏ ﮐﺎرت ﭼﻪ ﻃﻮر رو ﺗﻮﺻﯿﻒ ﻣﯽﮐﻨﯽ؟ دﯾﺪ و زﯾﺒﺎﺷﻨﺎﺧﺘﯽ ﻃﺮاﺣﯽات‬ ‫زﻧــﺪه ﺑــﻮد ﮐــﻪ اوﻟﯿــﻦ ﺟﺮﻗﻪﻫــﺎی ﺧﻼﻗﯿــﺖ ﻫــرنی در ذﻫــﻦ ﮐﻮدﮐﺎﻧــﻪ ﺳــﺎﻧﺎز زده ﺷــﺪ‪ .‬ﺑﺮای آﯾﻨﺪه ﭼﯿﻪ؟‬

‫~ ‪~ bazaar‬‬

‫‪iranian‬‬ ‫‪bazaar‬‬ ‫‪WHEN:‬‬

‫‪Friday, 21 August 6:00pm‬‬ ‫‪Saturday, 22 August 10:00am‬‬ ‫‪Sunday, 23 August 10:00am‬‬ ‫‪DURATION:‬‬ ‫‪Friday: All Day until 11:00 pm‬‬ ‫‪Saturday: All Day until 12:00 am‬‬ ‫‪Sunday: All Day until 5:00pm‬‬ ‫‪LOCATION:‬‬ ‫‪Internatinal Market‬‬ ‫‪Harbourfront Centre‬‬

‫او در ﻣﺤﯿــﻂ ﮐﺎر ﻣــﺎدرش ﺑــﺎ ﺟــﺎدوی ﺗﺼﻮﯾــﺮ و ﻃﺮاﺣــﯽ و روﯾﺎﺳــﺎزی آﺷــﻨﺎ ﺷــﺪ ﺗــﺎ‬ ‫اﯾــﻦ ﮐــﻪ ﺳــﺎلﻫﺎ ﺑﻌــﺪ ﯾﮑــﯽ از ﺑﻬﱰﯾــﻦ ﻃﺮاﺣــﺎن ﻫــرنی ﻣﺮاﺳــﻢ ﺷــﻮد‪ .‬او ﺑﯿــﺶ از ‪١٧‬‬ ‫ﺳــﺎل در ﺻﻨﻌــﺖ ﻃﺮاﺣــﯽ ﻣﺮاﺳــﻢ ﺑــﻪ ﻋﻨــﻮان ﻃ ـﺮاح ﻫــرنی و ﻣﻮﺳــﺲ ﮐﺎر ﮐــﺮده و‬ ‫ﻣﺪﯾــﺮ اﺟـﺮای ﻣﺮاﺳﻤﯽﺳــﺖ ﮐــﻪ ﻣﻬــامن ﻫــﺎ را ﺑــﺎ دﻗــﺖ و ﺳــﻠﯿﻘﻪ زﯾــﺎد و ﺑــﺎ رﻋﺎﯾــﺖ‬ ‫رﯾﺰﺗﺮﯾــﻦ ﻧــﮑﺎت ﺑــﻪ ﻣﺤﯿﻄــﯽ زﯾﺒــﺎ و روﯾﺎﯾــﯽ دﻋــﻮت ﻣﯽﮐﻨــﺪ‪ .‬ﺑﺮداﺷــﺖ ﺳــﺎﻧﺎز از‬ ‫ﻫــرن ﮐــﻪ ﺗﺮﮐﯿﺒــﯽ از ﻓﺮﻫﻨﮓﻫــﺎی ﻣﺨﺘﻠــﻒ ﴍق و ﻏــﺮب و زﻧﺪﮔــﯽ در ﺟﻮاﻣــﻊ‬ ‫ﻣﻬﺎﺟﺮﻧﻬــﺎد ﻣﺜــﻞ آﻣﺮﯾﮑﺎﺳــﺖ اﺳــﺎس ﭼﺸــﻢاﻧﺪاز »‪ «White Lilac‬اﺳــﺖ‪ .‬ﻣﻔﺎﻫﯿــﻢ‬ ‫اﺑﺘــﮑﺎری ﮐﺎرﻫــﺎی »‪ «White Lilac‬ﺣﺎﺻــﻞ ﮐﺎر و ﺗــﻼش ﻣــﺪاوم ﻫــرنی و ارﺗﺒــﺎط‬ ‫ﻓﺮﻫﻨﮕــﯽ ﺑــﺎ ﺟﻮاﻣــﻊ ﮔﻮﻧﺎﮔــﻮن اﺳــﺖ و ﺗﻮاﻧﺴــﺘﻪ ﻫــرن زﯾﺒــﺎی ﺳــﺎﻧﺎز رواﻧﺒﺨــﺶ را‬ ‫از ﮐﺎﻟﯿﻔﺮﻧﯿــﺎ ﺗــﺎ ﮐﺮاﻧــﻪ ﺧﻠﯿــﺞ ﻓــﺎرس رواﻧــﻪ ﺳــﻔﺮی ﭘﺮﻣﺎﺟـﺮا ﮐﻨــﺪ‪ .‬از ﺳــﺎﻧﺎز در ﻣــﻮرد‬ ‫ﺗﺠﺮﺑــﻪ ﻫــرنی او در ﺑــﺎزار ﺟﻬﺎﻧــﯽ ﭘﺮﺳــﯿﺪهاﯾﻢ‪ ،‬راﻫــﯽ ﮐــﻪ ﺷــﺎﯾﺪ ﭘﯿــﺶ روی ﺑﺴــﯿﺎری‬ ‫از ﻫرنﻣﻨــﺪان ﻣﻬﺎﺟــﺮ اﯾﺮاﻧــﯽ ﺑﺎﺷــﺪ‪:‬‬

‫درﺑﺎره ﴍوع ﻓﻌﺎﻟﯿﺖﻫﺎت ﺑﺮای ﻣﺎ ﺑﮕﻮ‪ .‬ﮐﯽ ﻣﺘﻮﺟﻪ ﺷﺪی ﮐﻪ ﻗﺼﺪ داری‬ ‫ﻃﺮاﺣﯽ ﻣﺮاﺳﻢ رو ﺑﻪ ﺻﻮرت ﺟﺪی دﻧﺒﺎل ﮐﻨﯽ؟‬

‫ﻣﻦ اﯾﺮان ﺑﺰرگ ﺷﺪم و اﯾﻦ ﺟﺎدو از رادﯾﻮ ﺗﻠﻮﯾﺰﯾﻮن ﺗﻬﺮان ﴍوع ﺷﺪ‪ .‬ﻣﺎدرم ﺑﺎ‬ ‫ﭼﻨﺪ ﻧﻔﺮ از دوﺳﺘﺎﻧﺶ اوﻟﯿﻦ زنﻫﺎﯾﯽ ﺑﻮدﻧﺪ ﮐﻪ در اﯾﻦ ﺻﻨﻌﺖ ﴍوع ﺑﻪ ﺗﻮﻟﯿﺪ‬ ‫ﺑﺮﻧﺎﻣﻪ ﮐﺮدﻧﺪ‪ .‬ﻣﻦ ﻫﻢ ﮐﺎرﻫﺎی او و ﺗﯿﻤﺶ رو ﮐﻪ اواﺳﻂ اﻧﻘﻼب ‪ ۵۷‬ﻣﺠﻤﻮﻋﻪﻫﺎی‬ ‫ﺗﻠﻮﯾﺰﯾﻮﻧﯽ ﻓﻮقاﻟﻌﺎده ﻣﯽﺳﺎﺧﺘﻨﺪ متﺎﺷﺎ ﻣﯽﮐﺮدم و ﺗﻨﻬﺎ راه ﻓﺮارم‪ ،‬ﺗﺨﯿﻞ و رﻓنت ﺑﻪ‬ ‫ﴎ ﮐﺎرش ﺑﻮد‪ ٬‬ﺟﺎﯾﯽ ﮐﻪ زﻣﺎن ﻣﯽاﯾﺴﺘﺎد و ﻫﻤﻪ ﭼﯿﺰ ﺗﺎ اﺑﺪ زﯾﺒﺎ و ﺟﺎدوﯾﯽ ﻣﯽﺷﺪ‪.‬‬

‫ﻣﯽﺗﻮﻧﻢ ﺑﮕﻢ ﺳﺒﮏ ﮐﺎرم اﻟﺘﻘﺎﻃﯿﻪ‪ .‬ﻣﻦ از دﯾﺪ ﻣﺸﱰی و ﺗﺮﮐﯿﺒﺶ ﺑﺎ زﯾﺒﺎﺷﻨﺎﺧﺘﯽ‬ ‫ﺷﺨﺼﯿﻢ‪ ٬‬ﮐﻪ از ﻋﺸﻘﻢ ﺑﻪ ادﺑﯿﺎت و ﺗﺌﻮری ﻫرنی ﺑﺮﻣﯽآد‪ ٬‬اﻟﻬﺎم ﻣﯽﮔﯿﺮم‪ .‬ﺳﻌﯽ‬ ‫ﻣﯽﮐﻨﻢ ﮔﻮﺷﻪﻫﺎﯾﯽ از ﺟﺎدو رو ﺑﻪ ﯾﮏ ﻓﻀﺎی زﻧﺪﮔﯽ ﺑﯿﺎرم‪ ٬‬دﻗﯿﻘﺎ ﻫﻤﻮن ﮐﺎری ﮐﻪ‬ ‫ﻧﻮﯾﺴﻨﺪهﻫﺎ ﺑﺎ ﻧﻮﺷنت داﺳﺘﺎن ﻣﯽﮐﻨﻦ‪ ٬‬ﯾﻌﻨﯽ ﺟﺬب ﺑﺨﺶﻫﺎﯾﯽ از اﻟﻬﺎم ﺑﯽﭘﺎﯾﺎن و‬ ‫اﯾﺠﺎد ﻓﻀﺎﯾﯽ ﻣﻨﺴﺠﻢ و ﻧﻬﺎﯾﺘﺎ ﺗﻌﺮﯾﻒ داﺳﺘﺎن‪.‬‬

‫ﺑﻪ ﻧﻈﺮت ﭼﻪ ﻣﻬﺎرت ﺧﺎﴅ ﻻزﻣﻪ ﻛﻪ ﻳﮏ ﻃﺮاح ﻣﺮاﺳﻢ ﺑﴙ؟‬

‫اوﻟني ﻣﻬﺎرﺗﯽ ﻛﻪ ﻻزﻣﻪ ﻳﮏ ﻃﺮاح داﺷﺘﻪ ﺑﺎﺷﻪ‪ ،‬ﺗﻮاﻧﺎﻳﯽ ﺗﺠﺴﻢ ﻳﮏ ﻓﻀﺎی زﻧﺪﮔﻰ و‬ ‫ﺑﻌﺪش رو ﺑﻪ ﮔﺬﺷﺘﻪ ﻛﺎرﻛﺮدﻧﻪ ﺗﺎ ﺑﺘﻮﻧﻪ اون رو زﻧﺪه ﻛﻨﻪ‪ .‬اﻳﻦ ﻓﻀﺎﻳﯽ ﻛﻪ ﻣﻦ ﻣﯽﺑﯿﻨﻢ‪٬‬‬ ‫ﺗﻮ ذﻫﻨﻢ ﺑﺎ رﻧﮓ و ﺻﺪا و ﺧﻠﻖ و ﺧﻮ ﻫﻤﺮاﻫﻪ و ﺑﻪ ﺟﺰﯾﯿﺎﺗﯽ ﺑﻪ اﻧﺪازه ﻳﮏ منﺎد‬ ‫ﻛﻮﭼﻴﮏ روی اﺷﯿﺎ ﺣﺘﯽ ﺑﻪ ﻛﻮﭼﻜﯽ ﻳﮏ ﻓﻬﺮﺳﺖ ﻏﺬا ﺗﻮﺟﻪ ﮐﺮده‪ .‬ﺑﻌﺪ از اﯾﻦ ﻣﺮﺣﻠﻪ‬ ‫ﺗﻴﻢ اﺟﺮاﯾﯽ ﻣﺎ متﺎم اﻳﻦ ﺟﺰﻳﻴﺎت رو روی ﻳﮏ ﻣﺤﻴﻂ ﻃﺮاﺣﯽ ﺷﺪه ﭘﻴﺎده ﻣﯽﻛﻨﻪ‪.‬‬

‫ﻣﻮﻓﻖﺗﺮﻳﻦ ﻣﺮاﺳﻤﯽ ﻛﻪ در ﮔﺬﺷﺘﻪ ﻃﺮاﺣﻰ ﻛﺮدی ﮐﺪام ﺑﻮده؟‬

‫ﻫﺮﺳﺎل ﻣﻮﻓﻖﺗﺮﻳﻦ ﻣﺮاﺳﻤﯽ ﮐﻪ ﻃﺮاﺣﯽ ﮐﺮدم ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻴﺰان ﺳﺨﺘﯽ و ﭼﺎﻟﴙ ﻛﻪ‬ ‫ﺑﺮای زﻧﺪه ﻛﺮدﻧﺸﻮن ﺑﺎﻫﺎش ﻣﻮاﺟﻪ ﻫﺴﺘﻢ ﺗﻐﻴري ﻣﯽﻛﻨﻪ‪ .‬ﭼﻨﺪ ﺳﺎل ﻗﺒﻞ ﻣﺮاﺳﻤﯽ‬ ‫ﺑﺮای »‪ «Louis Vuitton‬آﻣﺎده ﮐﺮدﯾﻢ‪ ٬‬ﮐﻪ ﺑﺮای ﺳﺎﺧﺖ و ﻃﺮاﺣﯽ ﯾﮏ ﻓﺮوﺷﮕﺎه‬ ‫ﻏﯿﺮﻣﻨﺘﻈﺮه ﯾﮏ ﻓﺮﺻﺖ زﻣﺎﻧﯽ ﭘﺮ اﺳﱰس ﭘﻨﺞ روزه داﺷﺘﻢ‪ .‬ﺳﺎل ﮔﺬﺷﺘﻪ ﻫﻢ اوﻟﯿﻦ‬ ‫ﻣﺮاﺳﻢ ﺑﺰرﮔﯽ ﺑﻮد ﮐﻪ در »دﺑﯽ« ﺑﺮای ‪ ۳۵۰۰‬ﻧﻔﺮ آﻣﺎده ﮐﺮدم‪ .‬از ﭼﺎﻟﺶ ﺣﻤﻞ و ﻧﻘﻞ‬ ‫و ﺳﺎﺧﺖ ﺗﺠﻬﯿﺰات ﺗﺎ ﺿامﻧﺖ ﺑﻪ ﻣﻮﻗﻊ رﺳﯿﺪن ﺑﺎ ﻫﻤﻪ ﭼﯿﺰ روﺑﺮو ﺑﻮدﯾﻢ و از ﻃﺮﻓﯽ‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:49 AM‬‬

‫‪92-93-Bazaar-Sani Ravanbakhch-EDITED.indd 93‬‬

‫‪SPORT‬‬

‫ﻣﻬــﺪی رﺳــﺘﻢﭘﻮر ﮐﺸــﺘﯽﮔﯿﺮ‪ ،‬ﺗﺤﻠﯿﻞﮔــﺮ و ﻧﻮﯾﺴــﻨﺪه ورزﺷــﯽ و ﻣﺠــﺮی‬ ‫ﺳــﺎﺑﻖ ﺑﺮﻧﺎﻣﻪﻫــﺎی ورزﺷــﯽ ﺻــﺪا و ﺳــﯿام اﺳــﺖ‪ .‬او در ﺳــﺎل ‪۲۰۰۹‬‬ ‫ﺑــﻪ ﻫﻤ ـﺮاه ﺗﯿــﻢ ﮐﺸــﺘﯽ اﯾ ـﺮان ﺑ ـﺮای ﴍﮐــﺖ در ﻣﺴــﺎﺑﻘﺎت ﺟﻬﺎﻧــﯽ‪ ،‬ﺑــﻪ‬ ‫دامنــﺎرک اﻋ ـﺰام ﺷــﺪ‪ ،‬اﻣــﺎ ﭘــﺲ از ﭘﺎﯾــﺎن ﻣﺴــﺎﺑﻘﺎت ﺑــﺎ ﺗــﺮک اردوی ﺗﯿــﻢ‬ ‫اﯾــﺮان‪ ،‬از ﮐﺸــﻮر دامنــﺎرک ﺗﻘﺎﺿــﺎی ﭘﻨﺎﻫﻨﺪﮔــﯽ ﺳﯿﺎﺳــﯽ ﮐــﺮد‪ .‬ﻣﻬــﺪی‬ ‫رﺳــﺘﻢﭘﻮر در ﺑﺮﺧــﯽ روزﻧﺎﻣﻪﻫــﺎی ﭼــﺎپ اﯾ ـﺮان از ﺟﻤﻠــﻪ روزﻧﺎﻣــﻪ ﴍق‪،‬‬ ‫روزﻧﺎﻣــﻪ اﻋﺘــامد‪ ،‬روزﻧﺎﻣــﻪ اﻋﺘــامد ﻣﻠــﯽ‪ ،‬روزﻧﺎﻣــﻪ ﺧــﱪ‪ ،‬روزﻧﺎﻣــﻪ ﻧــﻮد‪،‬‬ ‫روزﻧﺎﻣــﻪ ﮐﯿﻬــﺎن ورزﺷــﯽ‪ ،‬روزﻧﺎﻣــﻪ ﺟــﺎم ﺟــﻢ‪ ،‬روزﻧﺎﻣــﻪ ﺧــﱪ ورزﺷــﯽ‬ ‫و روزﻧﺎﻣــﻪ اﯾــﺮان ورزﺷــﯽ ﻗﻠــﻢ زده اﺳــﺖ‪ .‬او از ﺷــﻬﺮﯾﻮر ‪ ۱۳۸۸‬ﺑــﻪ‬ ‫ﺑﻌــﺪ ﺑــﺎ رادﯾﻮﻓــﺮدا و ﺑﯽﺑﯽﺳــﯽ‪ ،‬ﻫﻤﭽﻨﯿــﻦ دوﯾﭽــﻪ وﻟــﻪ ﻓﺎرﺳــﯽ‬ ‫ﻫﻤــﮑﺎری ﮐــﺮده و در ﺣــﺎل ﺣــﺎﴐ ﻣﻘﯿــﻢ ﮐﭙﻨﻬــﺎگ اﺳــﺖ‪ .‬او آن ﺟــﺎ‬ ‫ﻫــﻢ ﺟﻠﺴــﻪ ﻧﻘــﺪ داﺳــﺘﺎن دارد و ﻏﯿــﺮ از ﻧﻮﯾﺴــﻨﺪﮔﯽ و ﻓﻌﺎﻟﯿﺖﻫــﺎی‬ ‫اﺳﺖ‪ .‬ورزﺷﮑﺎران‪ ،‬ﭼﻪ زن و ﭼﻪ ﻣﺮد‪ ،‬ﴍاﯾﻂ‬ ‫رﺳــﺎﻧﻪای‪ ،‬ﻣﺮﺑﯿﮕــﺮی ﻫــﻢ ﻣﯽﮐﻨــﺪ‪ .‬ﻫﺪاﯾــﺖ ﺑﺎﺷــﮕﺎه »ﮐﺮﯾﺴــﺘﺎﻧﺲﻫﺎون ﻗﻀﯿﻪ ﺳﺎده‬ ‫ﺑﺎ ﺧﺎرج ﻣﻘﺎﯾﺴﻪ ﻣﯽﮐﻨﻨﺪ ﮐﻪ اﯾﻦ ﻗﯿﺎس‪،‬‬ ‫ﮐﭙﻨﻬــﺎگ« ﺑﺮﻋﻬــﺪه اوﺳــﺖ و در ﻣﺴــﺎﺑﻘﺎت »ﻧﻮردﯾــﮏ ‪ «۲۰۱۳‬ﴎﻣﺮﺑــﯽ داﺧﻞ ﮐﺸﻮر را‬ ‫ﺧﺘﻢ ﻣﯽﺷﻮد‪.‬‬ ‫ﺗﯿــﻢ ﻣﻠــﯽ ﮐﺸــﺘﯽ زﻧــﺎن دامنــﺎرک ﺷــﺪ‪ .‬ﮐﺘــﺎب ﭘﺮﻃﺮﻓــﺪار »ذوزﻧﻘــﻪ ﮔﺎﻫﯽ ﺑﻪ ﻣﻬﺎﺟﺮت‬ ‫ﺗﺠﺮﯾــﺶ«‪ ،‬رواﻳــﺖ ﺷــﻨﯿﺪﻧﯽ از روﻧــﺪ ﭼــﺎپ ﻳــﮏ ﻛﺘــﺎب و داﺳــﺘﺎنﻫﺎﯾﯽ‬ ‫ﺑﺮای ورزﺷﮑﺎران و ﻣﺮﺑﯿﺎن‬ ‫از زﻧﺪﮔــﯽ در ﺗﻬــﺮان اﺳــﺖ ﮐــﻪ ﺑــﻪ ﻗﻠــﻢ او ﺑــﻪ ﭼــﺎپ رﺳــﯿﺪه‪ .‬ﭼﺎﻟﺶﻫﺎی اﺻﻠﯽ ﻣﻬﺎﺟﺮت‬

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‫ﺗﺼﻮﯾــﺮ ﮐﺎذب را ﺗﻌﺪﯾﻞ ﻣﯽﮐﻨﻨﺪ‪.‬‬

‫از ورزش‬

‫ﻗﻬﺮﻣﺎﻧﯽ ﺗﺎ ذوزﻧﻘﻪ ﺗﺠﺮﯾﺶ ﭼﻘﺪر راه اﺳﺖ؟‬

‫ﻣﺠﺰا ﻫﺴﺘﻨﺪ‪ .‬ﺧﺎﻧﻢ ﯾﺎ آﻗﺎی رﻣﺎنﻧﻮﯾﺲ ﻣﻤﮑﻦ‬ ‫دو اﻗﻠﯿﻢ‬ ‫ﭘﺰﺷﮏ‪ ،‬وﮐﯿﻞ‪ ،‬ﺧﺎﻧﻪ دار‪ ،‬ﻣﻌﻠﻢ ﻣﺪرﺳﻪ ﯾﺎ‬ ‫اﺳﺖ ﻧﺠﺎر‪،‬‬ ‫اﯾﺮاﻧﯽ در ﺧﺎرج ﮐﺸﻮر ﭼﻪ‬ ‫ﺑﺎﺷﺪ‪ .‬اﺣﺘامل اﯾﻨﮑﻪ روزﻧﺎﻣﻪﻧﮕﺎر ﺑﻮده‬ ‫ﻫﺴﺖ و آﯾﺎ اﻧﮕﯿﺰه ﻗﻬﺮﻣﺎﻧﺎن راﻧﻨﺪه ﺗﺎﮐﺴﯽ‬ ‫ﮔﺬﺷﺘﻪ ﺗﻔﺎوﺗﯽ ﮐﺮده؟‬ ‫ﺑﺮای ﻣﻬﺎﺟﺮت در ﺳﻪ دﻫﻪ‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺠﺮﺑﻪ ﺷام در ورزش زﻧﺎن اروﭘﺎ‪ ،‬دﺷﻮاریﻫﺎی‬ ‫ﺑﺎﺷﺪ ﻫﻢ زﯾﺎد اﺳﺖ!‬ ‫زودﮔﺬر اﺳﺖ‪ .‬در‬ ‫دوران ﻗﻬﺮﻣﺎﻧﯽ ﺑﺴﯿﺎر ﮐﻮﺗﺎه و‬ ‫ﭘﯿﺶ روی زﻧﺎن اﯾﺮان ﺑﺮای ﺣﻀﻮر در ﻟﯿﮓﻫﺎی دﺳﺘﻪ اول‬ ‫ﺳﺎﺑﻘﻪ روزﻧﺎﻣﻪﻧﮕﺎری ﻫﻢ دارﻧﺪ‪،‬‬ ‫ﺗﻌﺪاد ﻧﻮﯾﺴﻨﺪﮔﺎﻧﯽ ﮐﻪ‬ ‫ﺟﻬﺎن را ﭼﮕﻮﻧﻪ ﻣﯽﺑﯿﻨﯿﺪ؟‬ ‫ﯾﮏ رزﻣﯽ ﮐﺎر‬ ‫ﺑﻬﱰﯾﻦ ﺣﺎﻟﺖ اﮔﺮ ﻣﺼﺪوﻣﯿﺖ ﮔﺮﯾﺒﺎﻧﮕﯿﺮ‬ ‫ﺣﻮزه ورزش‪» .‬اﻓﻼﻃﻮن«‬ ‫ﭼﺸﻢﮔﯿﺮ اﺳﺖ‪ .‬ﺣﺘﯽ در‬ ‫اﮔﺮ ﭘﯿﺸﻨﻬﺎد ﺣﺮﻓﻪای ﺑﺮﺳﺪ و ﺳﭙﺲ ورزﺷﮑﺎر‪ ،‬ﺗﺤﺖ ﺣامﯾﺖ و‬ ‫ﻣﯽﺗﻮاﻧﺪ در‬ ‫ﯾﺎ ﮐﺸﺘﯽ ﮔﯿﺮ ﻧﺸﻮد‪ ،‬ﺣﺪود ﺷﺶ ﺳﺎل‬ ‫در ﻣﺴﺎﺑﻘﺎت ﺑﺮده‪» .‬رﯾﻨﮓ‬ ‫ﮐﺸﺘﯽﮔﯿﺮ ﺑﻮده و ﺟﺎﯾﺰهای ﻫﻢ‬ ‫ﻗﺮارداد ﺑﺎﺷﮕﺎه ﯾﺎ ﻓﺪراﺳﯿﻮن ﺧﺎرﺟﯽ از اﯾﺮان ﺧﺎرج ﺷﻮد‪ ،‬ﺑﺴﯿﺎر‬ ‫ﻋﻤﺮش‪،‬‬ ‫اوج ﺑﺎﺷﺪ‪ .‬ﮐﯿﻔﯿﺖ زﻧﺪﮔﯽ او در ﺑﻘﯿﻪ دوران‬ ‫ﻧﻮﯾﺴﻨﺪﮔﯽ اﺳﺖ و در‬ ‫ﻻردﻧﺮ« ﮐﻪ از اﻟﮕﻮﻫﺎی ﺳﻠﯿﻨﺠﺮ در‬ ‫دارد‪.‬‬ ‫ﺧﻮب اﺳﺖ‪ .‬ﺗﺠﺮﺑﻪایﺳﺖ ﮐﻪ ﺷﺎﻣﻞ اﻣﮑﺎﻧﺎت و ﻣﺰاﯾﺎ ﻫﻢ ﻣﯽﺷﻮد‪ .‬ﺑﺴﺘﮕﯽ ﺑﻪ اﻧﺪوﺧﺘﻪﻫﺎﯾﺶ در اﯾﻦ ﺷﺶ ﺳﺎل‬ ‫اﺑﺘﺪا ورزﺷﯽ ﻧﻮﯾﺲ‬ ‫»ﻧﺎﻃﻮر دﺷﺖ« ﻫﻢ از او ﯾﺎد ﻣﯽﮐﻨﺪ‬ ‫اﻣﺎ ﮔﺎﻫﯽ ﺧﻮد ورزﺷﮑﺎر‪ ،‬ﮐﺸﻮر را در ﺟﺴﺘﺠﻮی وﺿﻌﯿﺘﯽ ﺑﻬﱰ در‬ ‫ﺑﻠﻪ‪ ،‬ورزﺷﮑﺎراﻧﯽ ﻣﺜﻞ ﻫﺎدی ﺳﺎﻋﯽ‪ ،‬ﺣﺴﯿﻦ رﺿﺎزاده‪،‬‬ ‫ﮔﺮﻓﺘﻪ ﺗﺎ‬ ‫ﻋﻠﯿﺮﺿﺎ ﺑﻮده‪ .‬از »ﻧﯿﮏ ﻫﻮرﻧﺒﯽ« و »ﻫﻤﯿﻨﮕﻮی«‬ ‫اروﭘﺎ ﯾﺎ آﻣﺮﯾﮑﺎ ﺗﺮک ﻣﯽﮐﻨﺪ‪ ،‬ﮐﻪ ﺧﺐ اﯾﻦ روش ﻫﻢ ﻣﻤﮑﻦ اﺳﺖ ﺑﻪ دﺑﯿﺮ‪ ،‬ﻋﻠﯿﺮﺿﺎ ﺣﯿﺪری و ﻋﺒﺎس ﺟﺪﯾﺪی ﻣﯿﻠﯿﺎردر ﺷﺪهاﻧﺪ‪.‬‬ ‫»ﻧﺎﺑﺎﮐﻮف« و‬ ‫»آﭘﺪاﯾﮏ«‪» ،‬آﻟﱪ ﮐﺎﻣﻮ«‪» ،‬ﺟﻮرج اورول«‪،‬‬ ‫ﻣﻮﻓﻘﯿﺖ ﺑﯿﺎﻧﺠﺎﻣﺪ اﻣﺎ رﯾﺴﮏ ﺑﺎﻻﯾﯽ دارد‪ .‬وﻗﺘﯽ ﺑﺎ اﯾﻦ ﺷﯿﻮه اﯾﺮان اﻣﺎ ﺑﻘﯿﻪ ﭼﻪﻃﻮر؟ ﺻﺪﻫﺎ ورزﺷﮑﺎر دارﯾﻢ ﮐﻪ ﻣﺪالﻫﺎی ارزﻧﺪه‬ ‫ورزﺷﮑﺎر‬ ‫»اﺑﺮاﻫﯿﻢ ﮔﻠﺴﺘﺎن و ﺟامل ﻣﯿﺮﺻﺎدﻗﯽ« ﺧﻮدﻣﺎن‪،‬‬ ‫را ﺗﺮک ﻣﯽﮐﻨﯽ‪ ،‬دﺳﺖ ﮐﻢ ﭼﻨﺪ ﻣﺎه را ﺑﺮای ﻣﺴﺎﺋﻞ ﻣﻌﯿﺸﺘﯽ‪ ،‬اﺳﮑﺎن‪ ،‬ﺑﯿﻦاﳌﻠﻠﯽ دارﻧﺪ اﻣﺎ از وﺿﻌﯿﺖ اﻗﺘﺼﺎدی ﻣﻨﺎﺳﺒﯽ ﺑﺮﺧﻮردار‬ ‫ﺑﺎﻫﻢ‪.‬‬ ‫ﺑﻮدهاﻧﺪ ﯾﺎ داﺳﺘﺎنﻫﺎی ورزﺷﯽ ﻧﻮﺷﺘﻪاﻧﺪ‪ ،‬ﯾﺎ ﻫﺮ دو‬ ‫زﺑﺎن‪ ،‬ﻣﺪارک اﻗﺎﻣﺖ و ﻏﯿﺮه از دﺳﺖ ﻣﯽدﻫﯽ و منﯽﺗﻮاﻧﯽ متﺮﮐﺰ‬ ‫ﻧﯿﺴﺘﻨﺪ‪ .‬ﭼﮑﺎر ﺑﺎﯾﺪ ﺑﮑﻨﻨﺪ؟ ﻣﻬﺎﺟﺮت ﯾﮑﯽ از راهﻫﺎﺳﺖ‪ .‬راﻫﯽ ﮐﻪ‬ ‫ﮐﻪ‬ ‫ﯾﺎ اﯾﻨﮑﻪ ﻣﺜﻞ »ه‪.‬اﻟﻒ ﺳﺎﯾﻪ« ﻫﻮادار ﴎﺳﺨﺖ ورزش‪،‬‬ ‫ﮐﻨﯽ روی متﺮﯾﻨﺎت‪ .‬ﻣﺸﮑﻼت روﺣﯽ‪ -‬رواﻧﯽ ﻧﺎﺷﯽ از ﻣﻬﺎﺟﺮت را ﻫﻢ ﻣﻤﮑﻦ اﺳﺖ ﺑﻪ ﻣﻮﻓﻘﯿﺖ ﺑﯿﺎﻧﺠﺎﻣﺪ اﻣﺎ ﺗﻀﻤﯿﻨﯽ وﺟﻮد ﻧﺪارد‪.‬‬ ‫ﺑﺎ‬ ‫ﻣﺜﻼ ﺑﺮای ﻣﺴﺎﺑﻘﺎت ﺟﻬﺎﻧﯽ ‪١٩٧١‬‬ ‫ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ اﯾﺮاﻧﯽ ﻫﺮﭼﻨﺪ از راهﻫﺎی ﮔﻮﻧﺎﮔﻮن ﭘﯿﻮﻧﺪ‬ ‫منﯽﺗﻮان ﻧﺎدﯾﺪه ﮔﺮﻓﺖ‪.‬‬ ‫ﻫﺰﯾﻨﻪ ﺧﻮدش راه ﻣﯽاﻓﺘﺎده ﺗﺎ در ﺑﻠﻐﺎرﺳﺘﺎن‪،‬‬ ‫ﺧﻮد را ﺑﺎ وﻃﻦ زﻧﺪه ﻧﮕﻪ ﻣﯽدارد اﻣﺎ ﻫﻤﯿﺸﻪ در ﻣﯿﺪانﻫﺎی‬ ‫ﻣﺴﺎﺑﻘﺎت را از ﻧﺰدﯾﮏ ﺑﺒﯿﻨﺪ!‬

‫‪Photograph by John Pryke/Getty Images‬‬

‫ﺣﻀﻮر ورزﺷﮑﺎران زن اﯾﺮاﻧﯽ در ﮐﺸﻮرﻫﺎﯾﯽ ﻣﺜﻞ ﻋﺮاق و‬ ‫آذرﺑﺎﯾﺠﺎن ﻧﺸﺎن از ﻇﻬﻮر ﻓﺮﺻﺖﻫﺎی ﺗﺎزه ﺑﺮای زﻧﺎن دارد ﯾﺎ‬ ‫از دﺳﺖ رﻓنت اﺳﺘﻌﺪادﻫﺎ؟‬

‫ﺟﻬﺎﻧﯽ ﺑﺮای ﺣامﯾﺖ ورزش اﯾﺮان ﺣﻀﻮر داﺷﺘﻪ‪ .‬ﻣﯽﺗﻮان‬ ‫ورزش را ﻋﺮﺻﻪ دﯾﺎﻟﻮگ ﺟﻤﻌﯽ ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ ﺑﺎ »وﻃﻦ«‬ ‫داﻧﺴﺖ؟‬

‫واﻗﻌﯿﺖ اﯾﻦ اﺳــﺖ ﮐﻪ ﺗﯿﻢﻫﺎی ﻣﻠﯽ اﯾﺮان در رﺷــﺘﻪﻫﺎی‬ ‫در ﻋﺮاق ﻣﻮردی ﻧﺪاﺷﺘﯿﻢ ﺗﺎ ﺣﺎﻻ ﺟﺰ دﻋﻮت از »ﺷﻬﺮزاد ﻣﻈﻔﺮ«‬ ‫ﻣﺨﺘﻠــﻒ‪ ،‬ﺗﺼﻮﯾﺮ زﯾﺒﺎﯾﯽ از ﮐﺸــﻮرﻣﺎن ﺑــﻪ منﺎﯾﺶ ﻣﯽﮔﺬارﻧﺪ‪.‬‬ ‫ﺑﻪ ﻋﻨﻮان ﻣﺪرس ﻓﯿﻔﺎ ﺑﺮای ﺗﺪرﯾﺲ‪ .‬اﻣﺎ آذرﺑﺎﯾﺠﺎن دارد ﺑﺎﻧﻮان‬ ‫اﺧﺒــﺎر ﺗﻠﻮﯾﺰﯾﻮنﻫــﺎی ﺟﻬﺎن‪ ،‬ﭼﻬــﺮه ﭼﻨﺪ آﺧﻮﻧﺪ ﯾﺎ ﴎدار را ﻣﺪام‬ ‫ﺗﮑﻮاﻧﺪوی اﯾﺮان را ﺟﺬب ﻣﯽﮐﻨﺪ‪ .‬ﭼﻨﺪ دﺧﱰ ﻓﻮﺗﺒﺎﻟﯿﺴﺖ ﻫﻢ‬ ‫ﭘﺒﺸﻨﻬﺎداﺗﯽ از اروﭘﺎ دارﻧﺪ‪ .‬ﯾﮑﯽ از ﺑﺎﻧﻮان ﺗﯿﻢ ﻣﻠﯽ ﻗﺎﯾﻘﺮاﻧﯽ در آﳌﺎن ﭘﺨــﺶ ﻣﯽﮐﻨﻨــﺪ ﮐﻪ در ذﻫﻦ ﺑﯿﻨﻨﺪﮔﺎن ﻏﺮﺑﯽ رﺳــﻮب ﮐﺮده‪ .‬وﻗﺘﯽ‬ ‫ﺗﯿﻢ ﻣﻠﯽ ﻓﻮﺗﺒﺎل ﺑﻪ اﺳــﱰاﻟﯿﺎ ﯾﺎ ﺳــﻮﺋﺪ ﻣﯽرود‪ ،‬ﮐﺸــﺘﯽﮔﯿﺮان در‬ ‫ﻓﻌﺎﻟﯿﺖ ﻣﯽﮐﻨﺪ؛ و دﯾﮕﺮی در آﻣﺮﯾﮑﺎ‪ .‬ﻋﺪهای از ﺑﺎﻧﻮان ورزﺷﮑﺎر‬ ‫ﻟﺲآﻧﺠﻠــﺲ روی ﺗﺸــﮏ ﻣﯽروﻧﺪ‪ ،‬واﻟﯿﺒﺎﻟﯿﺴــﺖﻫﺎ در اﯾﺘﺎﻟﯿﺎ‪ ،‬اﯾﻦ‬ ‫ﻫﻢ ﮐﻪ اﺻﻼ ﻣﻬﺎﺟﺮ ﺑﻮدهاﻧﺪ و ﺳﭙﺲ ﺑﻪ ﺗﯿﻢ ﻣﻠﯽ اﯾﺮان ﭘﯿﻮﺳﺘﻪاﻧﺪ‪.‬‬

‫ﺗﺠﺮﯾﺶ« ﻧﺨﺴﺘﯿﻦ ﮐﺘﺎب ﻣﻦ اﺳﺖ ﮐﻪ در‬ ‫»ذوزﻧﻘﻪ‬ ‫داﺳﺘﺎﻧﯽ ﻗﺮار ﻣﯽﮔﯿﺮد‪ .‬ﯾﮏ ﺳﺎﻟﯽ ﻫﺴﺖ ﮐﻪ‬ ‫ﺣﻮزه ادﺑﯿﺎت‬ ‫ﺧﻮﺷﺒﺨﺘﺎﻧﻪ ﻫﻨﻮز در ﺳﺎﯾﺖ ﻧﺎﴍ‪ ،‬ﻧﴩ‬ ‫ﻣﻨﺘﴩ ﺷﺪه و‬ ‫ﻓﻬﺮﺳﺖ ﭘﺮﻓﺮوشﻫﺎﺳﺖ‪ .‬ﻣﺠﻤﻮﻋﻪ‬ ‫ﻧﺎﮐﺠﺎ‪ -‬ﭘﺎرﯾﺲ‪ ،‬در‬ ‫ﮐﻪ دوﺳﺖ دارم در اﯾﺮان ﻣﻨﺘﴩ‬ ‫داﺳﺘﺎﻧﯽ ﻫﻢ آﻣﺎده دارم‬ ‫ﺧﺎرج‪ ،‬آزادی ﺑﯽ ﻗﯿﺪ و ﴍط‬ ‫ﺷﻮد‪ .‬ﻣﺰﯾﺖ ﭼﺎپ ﮐﺘﺎب در‬ ‫ﭼﺸﻢﮔﯿﺮی از ﻣﺨﺎﻃﺐ را از‬ ‫ﻧﻮﺷﺘﺎر اﺳﺖ اﻣﺎ ﺧﺐ ﮔﺴﱰه‬ ‫دﺳﺖ ﻣﯽدﻫﯽ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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‫ﻧﺎدر ﺟﻬﺎﻧﻔﺮد‬ ‫ﻧﻮﯾﺴــﻨﺪه آزاد ورزﺷــﯽ ﻣﻘﯿــﻢ آﻣﺮﯾﮑﺎﺳــﺖ‪.‬‬ ‫او ﮐﺎر ﺣﺮﻓــﻪای ﺧــﻮد را در زﻣﯿﻨــﻪ ورزش از‬ ‫ﺳــﺎل ‪ ۱۹۹۷‬آﻏــﺎز ﮐــﺮد و در ﺳــﺎل ‪ ۲۰۰۶‬و ﺟﺎم‬ ‫ﺟﻬﺎﻧــﯽ آﳌــﺎن ﺑــﻪ ﻋﻨــﻮان ﯾﮑــﯽ از منﺎﯾﻨــﺪﮔﺎن‬ ‫رﺳــﻤﯽ ورزﺷﯽﻧﻮﯾﺴــﺎن آﻣﺮﯾــﮑﺎ در آﳌــﺎن‬ ‫ﺣﻀــﻮر داﺷــﺖ‪ .‬در ﻃــﻮل اﯾــﻦ ﺳــﺎلﻫﺎ‬ ‫ﻣﻘــﺎﻻت و ﻣﺼﺎﺣﺒﻪﻫــﺎی ﻣﺘﻌــﺪدی از او در‬ ‫روزﻧﺎﻣﻪﻫــﺎ و ﻧﴩﯾــﺎت داﺧﻠــﯽ و ﺧﺎرﺟــﯽ‬ ‫ﻣﻨﺘــﴩ ﺷــﺪه اﺳــﺖ‪ .‬ﻧــﺎدر ﺟﻬﺎﻧﻔــﺮد ﮐﺘــﺎب‬ ‫»ﻫﻤــﻪ ﭼﯿﺰﻫﺎﯾــﯽ را ﮐــﻪ در زﻧﺪﮔــﯽ ﺑﺎﯾــﺪ‬ ‫ﻣﯽآﻣﻮﺧﺘــﻢ‪ ،‬از ﻓﻮﺗﺒــﺎل آﻣﻮﺧﺘــﻢ« را در ﺳــﺎل‬ ‫‪ ۲۰۰۹‬در ﻧﯿﻮﯾــﻮرک ﺑــﻪ ﭼــﺎپ رﺳــﺎﻧﺪه و در‬ ‫ﺣــﺎل ﺣــﺎﴐ ﻋﻀــﻮ رﺳــﻤﯽ »اﻧﺠﻤــﻦ ورزﺷــﯽ‬ ‫ﻧﻮﯾﺴــﺎن اﯾــﺎﻻت ﻣﺘﺤــﺪه آﻣﺮﯾــﮑﺎ« )‪(NSSA‬‬ ‫و »اﻧﺠﻤــﻦ ﻣﻄﺒﻮﻋــﺎت و ورزﺷــﯽ ﻧﻮﯾﺴــﺎن‬ ‫ﺑﯿﻦاﳌﻠﻠــﯽ« )‪ (AIPS‬اﺳــﺖ‪.‬‬

‫از اوﻟﯿﻦ ﺑﺎری ﮐﻪ ﯾﮏ ﻓﻮﺗﺒﺎﻟﯿﺴﺖ اﯾﺮاﻧﯽ ﺑﺮای ﺗﯿﻤﯽ در ﺧﺎرج از اﯾﺮان ﺗﻮپ زد‪،‬‬ ‫ﻧﺰدﯾﮏ ﺑﻪ ﺻﺪ ﺳﺎل ﻣﯽﮔﺬرد‪ .‬ﺣﺴﯿﻦ ﺻﺪﻗﯿﺎﻧﯽ‪ ،‬ﺑﻨﯿﺎن ﮔﺬار ﺗﯿﻢ ﻣﻠﯽ ﻓﻮﺗﺒﺎل وﻧﺨﺴﺘﯿﻦ‬ ‫ﴎﻣﺮﺑﯽ ﺗﯿﻢ ﻣﻠﯽ ﻓﻮﺗﺒﺎل اﯾﺮان در ﺗﯿﻢﻫﺎی »ﻓرنﺑﺎﻏﭽﻪ« ﺗﺮﮐﯿﻪ و »ﺷﺎرﻟﺮوای« ﺑﻠﮋﯾﮏ‬ ‫در ﻧﻘﺶ ﻓﻮروارد ﺧﻮدمنﺎﯾﯽ ﮐﺮد‪ .‬اﻣﺎ ﺣﺎل و ﻫﻮای ﻓﻮﺗﺒﺎل و ﮐﻼ ورزش ﻗﺒﻞ از اﻧﻘﻼب‬ ‫‪ ۵۷‬ﺑﺎ اﯾﻦ روزﻫﺎ زﻣﯿﻦ ﺗﺎ آﺳامن ﺗﻔﺎوت داﺷﺖ و ورزﺷﮑﺎران ﻣﺎ ﺑﻪ ﺻﻮرت آﻣﺎﺗﻮر در‬ ‫ﻣﯿﺎدﯾﻦ داﺧﻠﯽ و ﺧﺎرﺟﯽ ﻧﻘﺶآﻓﺮﯾﻨﯽ ﻣﯽﮐﺮدﻧﺪ و اﮐرث آنﻫﺎ اﻣﻮر زﻧﺪﮔﯽ ﺧﻮد را‬ ‫از ﻃﺮﯾﻖ ﺷﻐﻞﻫﺎی ﻏﯿﺮ ورزﺷﯽ و ﯾﺎ ﺑﺎ اﺗﮑﺎ ﺑﻪ ﭘﺸﺘﻮاﻧﻪ ﺗﺤﺼﯿﻠﯽﺷﺎن ﻣﯽﮔﺬراﻧﺪﻧﺪ‪.‬‬ ‫ﺑﻌﺪ از اﻧﻘﻼب اﻣﺎ ﺑﺮای ﻋﻘﺐ منﺎﻧﺪن از ﺳﯿﺴﺘﻢ راﯾﺞ در اﻏﻠﺐ ﮐﺸﻮرﻫﺎی ﭘﯿﴩﻓﺘﻪ‬ ‫و ﺻﺎﺣﺐ ﻧﺎم در ورزش‪ ،‬ﺳﯿﺴﺘﻢ ورزﺷﯽ اﯾﺮان دﮔﺮﮔﻮن ﺷﺪ و ﺑﺎ ﻣﻌﺮﻓﯽ ﻟﯿﮓﻫﺎی‬ ‫ﺣﺮﻓﻪای در ﺳﻄﺢ ﮐﺸﻮر ﺑﺎزﯾﮑﻨﺎن اﯾﺮاﻧﯽ ﺣﺮﻓﻪای و ﺣﻘﻮقﺑﮕﯿﺮ ﺷﺪﻧﺪ‪.‬‬ ‫اواﺳﻂ دﻫﻪ ﻧﻮد ﻣﯿﻼدی و ﺑﻌﺪ از ﭘﺎﯾﺎن ﺟﻨﮓ ﺑﺎ ﻋﺮاق ﮐﻪ ﺑﻪ دوران ﻃﻼﯾﯽ ﻓﻮﺗﺒﺎل‬ ‫اﯾﺮان ﺑﻌﺪ از اﻧﻘﻼب ﺷﻬﺮت دارد‪ ،‬ﺧﯿﻞ ﻋﻈﯿﻤﯽ از ﻓﻮﺗﺒﺎﻟﯿﺴﺖﻫﺎی ﻧﺎمآور ﮐﺸﻮرﻣﺎن‬ ‫در ﻟﯿﮓﻫﺎی اروﭘﺎﯾﯽ و آﺳﯿﺎﯾﯽ ﻇﻬﻮر ﭘﯿﺪا ﮐﺮدﻧﺪ و ﺑﻪ ﻗﻮﻟﯽ ﺑﺎزار ﻟﮋﯾﻮﻧﺮﻫﺎی ﮐﺸﻮرﻣﺎن‬ ‫در آن ﺳﺎلﻫﺎ ﺳﮑﻪ ﺷﺪ‪ .‬از ﻋﻠﯽ داﯾﯽ‪ ،‬ﮐﺮﯾﻢ ﺑﺎﻗﺮی و ﺧﺪاداد ﻋﺰﯾﺰی ﻣﯽﺗﻮان ﺑﻪ‬ ‫ﻋﻨﻮان ﭘﯿﺸﮕﺎﻣﺎن ﻟﮋﯾﻮﻧﺮ ﮐﻪ راه را ﺑﺮای ﺑﻘﯿﻪ ﻓﻮﺗﺒﺎﻟﯿﺴﺖﻫﺎی وﻃﻨﯽ ﻫﻤﻮار ﮐﺮدﻧﺪ‬ ‫ﻧﺎم ﺑﺮد‪ .‬ﺑﺎ ﻫﻤﻪ اﯾﻦ اﺣﻮال و ﺣﺘﯽ ﺑﻌﺪ از ﻗﻮاﻧﯿﻦ ﺟﺪﯾﺪ ﺣﺮﻓﻪایﮔﺮی و ﻣﺎﻧﯿﻔﺴﺖ‬ ‫ﻧﻮﺷﺘﻪ ﺷﺪه در اﯾﻦ ﻣﻮرد‪ ،‬ﺑﺴﯿﺎری از ﻧﮑﺎت اوﻟﯿﻪ ﺣﺮﻓﻪای ﺑﻮدن در اﯾﺮان ﺑﻪ اﺟﺮا در‬ ‫ﻧﯿﺎﻣﺪ‪ .‬ﻧﺪاﺷنت ورزﺷﮕﺎهﻫﺎی ﺧﺼﻮﺻﯽ‪ ،‬ﻋﺪم ﻣﺪﯾﺮﯾﺖ ﺻﺤﯿﺢ‪ ،‬ﻧﺒﻮد ﭘﺎﯾﻪرﯾﺰی ﻫﺎی‬ ‫اﺻﻮﻟﯽ‪ ،‬ﭘﻮﺷﺶﻫﺎی ﺑﯿﻤﻪای ﻏﯿﺮ اﺳﺘﺎﻧﺪارد‪ ،‬ﴍاﯾﻂ ﮐﻠﯽ و اﻗﺘﺼﺎدی ﻧﺎﺑﺴﺎﻣﺎن‪ ،‬ﮐﻮﺗﺎﻫﯽ‬ ‫در ﺷﻨﺎﺧﺖ اﺳﺘﻌﺪادﻫﺎ‪ ،‬دﻧﺒﺎل ﻧﮑﺮدن ﻣﺎﻧﯿﻔﺴﺖ ﺣﺮﻓﻪای و دﺧﺎﻟﺖ ﺳﯿﺎﺳﯿﻮن و ﻏﯿﺮ‬ ‫ورزﺷﯽﻫﺎ در اﻣﻮر ورزش ﮐﺎر را ﺑﻪ ﻣﺮﺣﻠﻪای رﺳﺎﻧﺪ ﮐﻪ ﺑﺴﯿﺎری از ﺳﺘﺎرﮔﺎن ورزش ﻣﺎ‬ ‫ﺑﺮای ﺳﺎﺧنت زﻧﺪﮔﯽ ﺑﻬﱰ ﻣﺠﺒﻮر ﺑﻪ ﺟﻼی وﻃﻦ ﺷﺪﻧﺪ‪.‬‬ ‫ﺗﻌﺪاد ﮐﺜﯿﺮی از ﻓﻮق ﺳﺘﺎره‌ﻫﺎی ﻓﻮﺗﺒﺎلﻣﺎن ﺑﻪ اروﭘﺎ و ﺗﻌﺪاد زﯾﺎدی از اﺳﺘﻌﺪادﻫﺎی‬ ‫ذاﺗﯽ و ﮔﻞﻫﺎی ﺧﻮدرو ﺑﻪ ﮐﺸﻮرﻫﺎی ﻋﺮﺑﯽ ﺣﺎﺷﯿﻪ ﺧﻠﯿﺞ ﻓﺎرس ﻧﻘﻞ ﻣﮑﺎن ﮐﺮدﻧﺪ‬ ‫ﺗﺎ زﻧﺪﮔﯽ و آﯾﻨﺪه ﺑﻬﱰی را ﺑﺮای ﺧﻮد و ﺧﻮاﻧﻮادهﺷﺎن ﭘﺎﯾﻪرﯾﺰی ﮐﻨﻨﺪ‪ .‬در اﯾﻦ ﻣﯿﺎن‬ ‫ورزﺷﮑﺎران ﻏﯿﺮ ﻓﻮﺗﺒﺎﻟﯽ ﺑﻪ ﺧﺎﻃﺮ ﴍاﯾﻂ ﻏﯿﺮ ﺣﺮﻓﻪای در ﻣﻮﻗﻌﯿﺖ ﺑﺴﯿﺎر ﺑﺪﺗﺮی از‬ ‫ﺳﺎﯾﺮﯾﻦ ﻗﺮار ﮔﺮﻓﺘﻨﺪ‪ .‬ﮐﺸﺘﯽﮔﯿﺮﻫﺎ و وزﻧﻪﺑﺮداران و ﺗﻌﺪاد زﯾﺎدی از ورزﺷﮑﺎران رزﻣﯽ‬ ‫ﮐﺸﻮرﻣﺎن ﺑﺎ ﭘﯿﺸﻨﻬﺎدﻫﺎی ﻣﯿﻠﯿﻮﻧﯽ ﮐﺸﻮرﻫﺎی ﻣﻨﻄﻘﻪ ﻣﻮاﺟﻪ ﺷﺪﻧﺪ وﻟﯽ ﴍط ﻣﻬﻢ‬ ‫ﻗﺮارداد ﺑﺎ آنﻫﺎ ﺗﻐﯿﯿﺮ ﺗﺎﺑﻌﯿﺖ و ﻣﺪالآوری ﺑﺮای ﮐﺸﻮرﻫﺎی ﭘﯿﺸﻨﻬﺎد دﻫﻨﺪه ﺑﻮد‪ .‬اﯾﻦ‬ ‫ﮔﺮوه ﺑﺎ دﺳﺖ رد زدن ﺑﻪ ﭘﯿﺸﻨﻬﺎدﻫﺎی ﻣﯿﻠﯿﻮﻧﯽ و ﻣﺎﻧﺪن در اﯾﺮان ﺑﻪ ﭘﺎداشﻫﺎی ﮔﺎه‬ ‫ﺑﻪ ﮔﺎه ﻓﺪراﺳﯿﻮنﻫﺎی ورزﺷﯽ ﺧﻮد ﺑﺴﻨﺪه ﮐﺮدﻧﺪ و آﯾﻨﺪه روﺷﻦ و ﻣﻄﻤﱧ ﻣﺎﻟﯽﺷﺎن‬ ‫ﻗﺮﺑﺎﻧﯽ ﻣﺪﯾﺮﯾﺖ آﻣﺎﺗﻮر در اﯾﺮان ﺷﺪ‪.‬‬ ‫ﺑﻪ ﻣﺮور زﻣﺎن اﻣﺎ ﴍاﯾﻂ ﻟﮋﯾﻮﻧﺮﻫﺎی ﻓﻮﺗﺒﺎﻟﯿﺴﺖ وﻃﻨﯽ ﻧﯿﺰ ﺑﻪ ﺧﺎﻃﺮ اﻓﻮل ﻟﯿﮓ ﺑﻪ‬ ‫اﺻﻄﻼح ﺣﺮﻓﻪای ﻓﻮﺗﺒﺎل ﮐﺸﻮرﻣﺎن ﺗﻐﯿﯿﺮ ﮐﺮد و اﻣﺮوز ﺑﻪ ﺟﺰ ﺗﻌﺪاد ﻣﻌﺪودی از‬ ‫ﻓﻮﺗﺒﺎﻟﯿﺴﺖﻫﺎی اﯾﺮاﻧﯽ ﮐﻪ در ﻟﯿﮓﻫﺎی ﻣﻌﺘﱪ دﻧﯿﺎ ﺗﻮپ ﻣﯽزﻧﻨﺪ‪ ،‬دﯾﮕﺮ ﺧﱪی از‬ ‫ﻃﻼﯾﻪﻫﺎی اﻣﯿﺪ دﻫﻪ ﻧﻮد در ﻓﻮﺗﺒﺎل ﻧﯿﺴﺖ و »ﻓﺮار ﺳﺎقﻫﺎ« ﺑﻪ ﺧﺎﻃﺮ ﺗﺎﻣﯿﻦ ﴍاﯾﻂ‬ ‫ﻣﺎﻟﯽﺷﺎن ﺑﻪ ﻟﯿﮓﻫﺎی ﮐﺸﻮرﻫﺎی ﺣﺎﺷﯿﻪ ﺧﻠﯿﺞ ﻓﺎرس ﻫﻤﭽﻨﺎن اداﻣﻪ دارد‪.‬‬ ‫ﺑﺎ ﻫﻤﻪ ﻣﺸﮑﻼﺗﯽ ﮐﻪ ورزش ﻣﺎ اﻣﺮوز ﺑﺎ آن ﴎ و ﮐﻠﻪ ﻣﯽزﻧﺪ‪ ،‬ﻣﯽﺗﻮان از ﯾﮏ ﻋﺎﻣﻞ ﺑﻪ‬ ‫ﻋﻨﻮان ﻗﺪم اول در اﺻﻼح ﻫﻤﻪ اﯾﻦ ﻣﺸﮑﻼت ﻧﺎم ﺑﺮد؛ ﻋﻠﻢ اﻗﺘﺼﺎد‪ .‬ﺳﺎل ‪» ۱۹۹۲‬ﺟﯿﻤﺰ‬ ‫ﮐﺎروﯾﻞ« اﺳﱰاﺗﮋﯾﺴﺖ ﮐﻤﭙﯿﻦ ﺑﯿﻞ ﮐﻠﯿﻨﺘﻮن از ﺟﻤﻠﻪای ﺗﺎرﯾﺨﯽ اﺳﺘﻔﺎده ﮐﺮد ﮐﻪ ﺳﻬﻢ‬ ‫زﯾﺎدی در ﭘﯿﺮوزی ﺑﺰرگ ﺑﯿﻞ ﮐﻠﯿﻨﺘﻮن در ﻣﺒﺎرزات اﻧﺘﺨﺎﺑﯽ ﺑﺮای رﯾﺎﺳﺖ ﺟﻤﻬﻮری‬ ‫آﻣﺮﯾﮑﺎ در ﻣﻘﺎﺑﻞ ﺟﻮرج ﺑﻮش ﭘﺪر داﺷﺖ‪ .‬وی ﮔﻔﺖ‪» :‬آی ﮐﻮدنﻫﺎ‪ .‬ﻫﻤﻪ ﭼﯿﺰ ﺑﺴﺘﮕﯽ‬ ‫ﺑﻪ اﻗﺘﺼﺎد دارد« و ﺑﻪ راﺳﺘﯽ ﺑﺪون وﺟﻮد ﯾﮏ اﻗﺘﺼﺎد ﺳﺎمل منﯽﺗﻮان در ﻫﯿﭻ ﺟﺎی دﻧﯿﺎ‬ ‫و در ﻫﯿﭻ زﻣﯿﻨﻪای ﺑﻪ ﻣﻮﻓﻘﯿﺖ دﺳﺖ ﭘﯿﺪا ﮐﺮد‪ .‬ﺣﺘﯽ ورزش!‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:03 AM‬‬

‫‪94-95-Sport-EDITED.indd 95‬‬

‫‪IRANIAN CUISINE‬‬

‫‪98‬‬

‫‪Photograph by Anahita Ghaffari‬‬

‫ﻏﺬا ﭘﺪﯾﺪه ﭘﯿﭽﯿﺪه و منﺎدﯾﻨﯽﺳــﺖ ﮐﻪ از ﻃﺮﯾﻖ آن اﺑﺮاز ﻋﺸــﻖ ﻣﯽﮐﻨﯿﻢ و ﺑﺎ آن ﺑﻪ آراﻣﺶ و اﻣﯿﺪواری‬ ‫ﻣﻬﺎﺟﺮت ﮐﺮده ﺑﯿﺸﱰ در ﺑﺎره ﻓﺮﻫﻨﮓ و ﻏﺬای اﯾﺮاﻧﯽ ﺑﭙﺮﺳﯿﻢ‪ .‬ﻣﯽﮔﻮﯾﺪ از ﻓﺮاﻧﺴﻪ ﺷﮑﻼت ﻣﯽﺧﺮد ﺗﺎ ﺑﺎ‬ ‫اﻧﺠﯿﺮ اﺳﺘﻬﺒﺎن و زﻋﻔﺮان ﺷﺎﻫﺮود و ﭘﺴﺘﻪ ﮐﺎﻟﯿﻔﺮﻧﯿﺎ ﻗﺎﻃﯽ ﮐﻨﺪ و در ﻧﻬﺎﯾﺖ ﻣﺎ را ﺑﻪ »ﺷﯿﺮﯾﻨﯽ اﯾﺮاﻧﯽ« در ﻣﯽرﺳــﯿﻢ‪ .‬از ﻃﺮﯾﻖ ﻏﺬا ارﺗﺒﺎﻃﺎت اﻧﺴــﺎﻧﯽ ﺟﺪﯾﺪی ﺑﻨﺎ ﻣﯽﮐﻨﯿﻢ و دوﺳــﺘﯽﻫﺎ و ﭘﯿﻮﺳــﺘﮕﯽﻫﺎی ﻗﺪﯾﻤﯽ‬ ‫را ﺗﺤﮑﯿﻢ ﻣﯽﺑﺨﺸــﯿﻢ‪ .‬ﻏﺬا ﻧﻪ ﺗﻨﻬﺎ اﻧﺴــﺎﻧﯿﺖ ﻣﺎ را‪ ،‬ﺑﻠﮑﻪ ﻟﺬت زﻧﺪه ﺑﻮدن ﻣﺎ را ﻧﯿﺰ دامئﺎ ﺗﺜﺒﯿﺖ و‬ ‫ﺗﻮرﻧﺘﻮ ﻣﻬامن ﮐﻨﺪ‪.‬‬ ‫ﯾﺎدآوری ﻣﯽﮐﻨﺪ‪.‬‬ ‫او از ﻓﺎرغاﻟﺘﺤﺼﯿﻼن داﻧﺸﮕﺎه ﴍﯾﻒ اﺳﺖ و در اﯾﺮان ﺑﻪ ﻣﻬﻨﺪﺳﯽ ﻣﺸﻐﻮل ﺑﻮده اﻣﺎ ﺗﻮرﻧﺘﻮ ﮐﻪ ﻣﯽﺷﻮد‬ ‫اﯾﻨﮑﻪ ﻓﺮﻫﻨﮓ ﻏﺬاﯾﻲ دﭼﺎر ﭼﻪ ﺗﺤﻮﻻﺗﯽ ﻣﯽﺷﻮد‪ ،‬از دﻫﻪ ﻫﺸﺘﺎد ﺑﻪ اﯾﻦ ور ﻣﻮﺿﻮع ﺟﺪل و ﮐﻨﮑﺎش‬ ‫ﻣﻘﺼﺪ ﺑﻌﯿﺪﯾﺶ‪ ،‬ﺑﻪ دﻧﺒﺎل روﯾﺎی ﮐﻮدﮐﯽ‪ ،‬ﺑﻪ دﻧﺒﺎل ﺷﯿﺮﯾﻨﯽ ﭘﺰی ﻣﯽرود‪ .‬ﺑﺎ ﭼﻨﺎن ﺷﻮﻗﯽ از ﮐﺎرﻫﺎﯾﺶ‬ ‫ﭘﮋوﻫﺸﮕﺮان ﺑﻮده و ﮐامﮐﺎن ﻫﻢ ﺑﺤﺚﻫﺎی داﻏﯽ در ﺟﺮﯾﺎن اﺳﺖ‪ .‬ﺑﺮآﯾﻨﺪ اﯾﻦ ﻧﻈﺮات ﻫﺮﭼﻪ ﺑﺎﺷﺪ‪،‬‬ ‫ﻣﯽﮔﻮﯾﺪ ﮐﻪ اﺷﮏ در ﭼﺸامﻧﺶ ﺣﻠﻘﻪ زده‪ .‬از راﻫﯽ ﮐﻪ ﺑﺎﯾﺪ ﻣﯽﭘﯿﻤﻮد ﺗﺎ ﺳﻘﻒﻫﺎی ﺷﯿﺸﻪای روی‬ ‫ﴎش ﺗﺮک ﺑﺮدارﻧﺪ‪ .‬ﺗﺎ ﭼﺸﻢ ﺑﻪ ﻫﻢ زدﯾﻢ ﭼﺎی اﯾﺮاﻧﯽ و ﺷﯿﺮﯾﻨﯽﻫﺎی ﻟﻮﻧﺪر و اﻧﺎر و ﭘﺴﺘﻪ و زﻋﻔﺮان روی روﺷﻦ اﺳﺖ ﮐﻪ ﻏﺬا ﺑﻪ ﻓﺮﻫﻨﮓ و رﻓﺘﺎر ﻣﺎ ﭘﯿﻮﻧﺪ ﺧﻮرده و اﻫﻤﯿﺖ و ﺗﻮﺟﻪ ﺑﻪ آن ﺑﺮای ﮔﺴﱰش و ﺳﻼﻣﺖ‬ ‫رواﺑﻂ اﺟﺘامﻋﯽﻣﺎن ﻧﯿﺰ ﴐوری اﺳﺖ‪ .‬اﮔﺮ راﻫﯽ ﺑﺮای اﺛﺒﺎت اﯾﻦ ادﻋﺎ ﻧﺪاﺷﺘﯿﻢ ﮐﻪ ﻏﺬا ﺑﻪ ﺻﻮرﺗﯽ‬ ‫ﻣﯿﺰ ﺑﻪ ﺻﻒ ﺷﺪ‪ .‬ﺟﻌﺒﻪ ﺟﺎدوﯾﯽ ﭼﺎﯾﯽﻫﺎﯾﺶ را ﻫﻢ ﺑﺎز ﮐﺮد و ﺑﺎ آب و ﺗﺎب از ﭼﺎی اﯾﺮاﻧﯽ و ﻃﻌﻢ و‬ ‫منﺎدﯾﻦ ﺑﻪ ادراک راﺑﻄﻪ ﺑﯿﻦ ﻓﺮد و ﮔﺮوه و رواﺑﻂ درون ﮔﺮوهﻫﺎ ﻣﯽﭘﺮدازد‪ ،‬ﻃﺒﯿﻌﺘﺎ ﻗﺎدر ﺑﻪ ﻓﻬﻢ ﭼﮕﻮﻧﮕﯽ‬ ‫رﻧﮓ و ﻣﺰهاش ﮔﻔﺖ‪.‬‬ ‫ﺗﺪاوم زﻧﺪﮔﯽ اﺟﺘامﻋﯽ ﻫﻢ ﻧﺒﻮدﯾﻢ‪.‬‬ ‫ﺳﺎلﻫﺎی آﺧﺮ ﻗﺮن ‪ ۱۹‬ﺑﻮد ﮐﻪ »ﻣﺤﻤﺪ ﻣﯿﺮزای ﭼﺎی ﺳﺎز« ﻣﻌﺮوف ﺑﻪ »ﮐﺎﺷﻒاﻟﺴﻠﻄﻨﻪ«‪ ،‬ﮐﻪ از داﻧﺶ‬ ‫ﺧﻮراک و ﺧﻮردن‪ ،‬اﻣﺮوز منﺎد ﻧﻈﻢ اﺟﺘامﻋﯽﺳﺖ ﮐﻪ در ﺟﺮﯾﺎن زﻧﺪﮔﯽ روزﻣﺮه ﻓﺮآﯾﻨﺪﻫﺎی ﻫﻮﯾﺖﺳﺎزی‪،‬‬ ‫آﻣﻮﺧﺘﮕﺎن داراﻟﻔﻨﻮن و ﺳﻮرﺑﻦ ﻓﺮاﻧﺴﻪ ﺑﻮد و ﺑﻪ ﻋﻨﻮان ژﻧﺮال ﮐﻨﺴﻮل اﯾﺮان در ﻫﻨﺪ ﺧﺪﻣﺖ ﻣﯽ ﮐﺮد‪،‬‬ ‫ﭼﺎی را ﺑﻪ اﯾﺮان آورد و ﺷﯿﻮه ﮐﺎﺷﺖ و ﻣﴫف آن را رواج داد‪ .‬ﻣﻈﻔﺮاﻟﺪﯾﻦ ﺷﺎه ﻫﻢ اﻣﺘﯿﺎز ﮐﺸﺖ ﭼﺎی ﻧﻈﻢ و ﻃﺒﻘﻪ ﺑﻨﺪی در درون آنﻫﺎ ﻣﺸﻬﻮد اﺳﺖ‪ .‬ﻏﺬا ﺑﺮای ﻣﺒﺎدﻟﻪ‪ ،‬ﻫﺪﯾﻪ دادن‪ ،‬ﻣﻨﺰﻟﺖ اﺟﺘامﻋﯽ و‬ ‫اﺳﺘﺤﮑﺎم ﭘﯿﻮﻧﺪﻫﺎی اﺟﺘامﻋﯽ اﺳﺖ ﻧﻪ ﴏﻓﺎً ﺑﺮای ﻣﴫف ﺷﺨﺼﯽ‪ .‬ﺧﻼﺻﻪ اﯾﻦ ﻣﻄﻠﺐ آن اﺳﺖ ﮐﻪ ﻣﺎ‬ ‫در متﺎم ﻧﻘﺎط اﯾﺮان را ﺑﻪ او واﮔﺬار ﮐﺮد‪.‬‬ ‫ﻣﺸﺎﺑﻬﺖ ﺧﻮدﻣﺎن را ﺑﺎ دﯾﮕﺮان از ﻃﺮﯾﻖ ﺷﯿﻮه ﺧﻮردن ﺑﺮﺧﯽ ﭼﯿﺰﻫﺎ ﻧﯿﺰ ﻣﯽﺗﻮاﻧﯿﻢ درک منﺎﯾﻢ‪.‬‬ ‫ﺗﺎ ﭘﯿﺶ از اﯾﻦ ﺗﺎرﯾﺦ ﭼﺎی ﺑﻪ ﻋﻨﻮان ﻧﻮﺷــﯿﺪﻧﯽ ﺑﺮای ﮔﺮوه ﻫﺎی ﻣﺤﺪودی از ﻣﺮدم ﺷــﺎﻣﻞ اﻋﯿﺎن‪ ،‬اﴍاف‬ ‫و درﺑﺎرﯾﺎن راﯾﺞ ﺑﻮد‪ .‬ﺣﺎﻻ اﻣﺎ ﭼﺎﯾﯽ و ﺷــﯿﺮﯾﻨﯽ ﯾﮏ ﭘﺎی ﺟﺸــﻦﻫﺎ و ﺑﺮﻧﺎﻣﻪﻫﺎی ﻣﺎﺳــﺖ و در ﺣﮑﻢ‬ ‫ﭘﯿﺸــﻨﻬﺎد ﻋﺸــﻖ‪ ،‬ﻣﺤﺒﺖ ﯾﺎ دوﺳــﺘﻲ‪ .‬ﻇﺎﻫﺮا ﮐﺎر و ﮐﺎﺳــﺒﯽ اﯾﻦ داد و ﺳﺘﺪ دوﺳﺘﯽ در ﻣﯿﺎن اﯾﺮاﻧﯿﺎن‬ ‫آﻧﭽﻨﺎن ﺳــﮑﻪ اﺳــﺖ ﮐﻪ ﭼﺎﯾﯽ را ﻫﻢ »ﻣﯽﺧﻮرﯾﻢ«‪ ،‬و ﻫﻢ »ﻣﯽﻧﻮﺷــﯿﻢ‪ «.‬ﮔﻮﯾﯽ ﻓﺮاﺗﺮ از ﯾﮏ ﻧﻮﺷــﯿﺪﻧﯽ‬ ‫ﺑﺨﺸــﯽ از ﻏﺬای ﻣﺎ ﺷﺪه‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 3:48 AM‬‬

‫‪98-99-Food-Negin.indd 98‬‬

‫‪IRANIAN CUISINE‬‬

‫‪99‬‬

‫~‪~food‬‬

‫‪taste of iran‬‬ ‫‪WHEN:‬‬

‫‪Friday, 21 August - 6:00pm‬‬ ‫‪Saturday, 22 August - 11:00am‬‬ ‫‪Sunday, 23 August - 11:00am‬‬ ‫‪DURATION:‬‬ ‫‪Friday: All Day until 11:00 pm‬‬ ‫‪Saturday: All Day until 12:00 am‬‬ ‫‪Sun : All Day until 6:30pm‬‬ ‫‪LOCATION:‬‬ ‫‪World Café,‬‬ ‫‪Harbourfront Centre‬‬

‫ﺷﯿﺮﯾﻨﯽ و ﺷﯿﺮﯾﻨﯽﭘﺰی در ﺗﺎرﯾﺦ ﻧﻪ ﭼﻨﺪان ﻃﻮﻻﻧﯽاش آن ﭼﻨﺎن ﺑﻪ ﻣﺬاق اﯾﺮاﻧﯿﺎن ﺧﻮش آﻣﺪه ﮐﻪ ﺗﻮاﻧﺴﺘﻪ‬ ‫در ﺳﺎﺧﺘﺎر اﺣﺴﺎﺳﺎت‪ ،‬ﻋﻮاﻃﻒ و ﺑﺎورﻫﺎیﻣﺎن ﺟﺎ ﺑﮕﯿﺮد‪ .‬در ﻋﻬﺪ ﻧﺎﴏی ﻗﻨﺎد ﺑﻪ ﮐﺴﯽ ﮔﻔﺘﻪ ﻣﯽﺷﺪ ﮐﻪ‬ ‫ﻗﻨﺪ و ﻧﻘﻞ و ﻧﺒﺎت ﻣﯽﻓﺮوﺧﺖ‪ .‬ﺗﻼشﻫﺎی ﻋﻬﺪ ﻗﺎﺟﺎر ﺑﺮای راهاﻧﺪازی ﮐﺎرﺧﺎﻧﻪ ﻗﻨﺪ ﺑﺎ ﮐﯿﻔﯿﺖ‪ ،‬ﻧﻬﺎﯾﺘﺎ در‬ ‫دوره ﭘﻬﻠﻮی اول ﴎاﻧﺠﺎم ﮔﺮﻓﺖ و ﻣﻘﺪﻣﺎت را ﺑﺮای ﺗﺒﺪﯾﻞ ﻗﻨﺎدیﻫﺎ ﺑﻪ ﺷﯿﺮﯾﻨﯽﭘﺰی ﻓﺮاﻫﻢ آورد‪ .‬ﻟﻮزﻫﺎی‬ ‫ﭘﺴﺘﻪای‪ ،‬ﺑﺎداﻣﯽ‪ ،‬ﺑﯿﺪﻣﺸﮑﯽ‪ ،‬ﻧﺎرﮔﯿﻠﯽ‪ ،‬ﮐﯿﮏﻫﺎی ﯾﺰدی‪ ،‬ﺣﺎﺟﯽ ﺑﺎدام‪ ،‬ﻗﻄﺎب‪ ،‬ﭘﺸﻤﮏ‪ ،‬آﺑﻨﺒﺎت ﻣﻐﺰی و‬ ‫ﺳﻮﻫﺎن آردی ﻣﺴﻘﻄﯽ‪ ،‬راﺣﺖ اﻟﺤﻠﻘﻮم‪ ،‬ﻧﺎن ﺑﺮﻧﺠﯽ‪ ،‬ﺷﯿﺮﯾﻨﯽ ﻧﺨﻮدﭼﯽ‪ ،‬ﺷﯿﺮﯾﻨﯽ ﺑﺎداﻣﯽ و ﻏﯿﺮه ﺷﯿﺮﯾﻨﯽ‬ ‫ﻣﺮﺳﻮم اﯾﺮاﻧﯽﻫﺎ ﺷﺪﻧﺪ‪.‬‬ ‫ﺑﻪ ﺷﻬﺮﻫﺎی ﻣﺨﺘﻠﻒ اﯾﺮان ﮐﻪ ﻣﯽرﺳﯿﻢ اﯾﻦ ﻟﯿﺴﺖ ﺑﻠﻨﺪﺗﺮ ﻫﻢ ﻣﯽﺷﻮد‪ .‬ﻣﺮدم ﻗﺰوﯾﻦ ﺷﯿﺮﯾﻨﯽﻫﺎی زﯾﺎدی‬ ‫دارﻧﺪ اﻣﺎ اﻧﮕﺎر ﺑﺎﻗﻠﻮای ﻟﻮزی‪ ،‬ﺷﯿﺮﯾﻨﯽ اﺗﺎﺑﮑﯽ‪ ،‬ﻧﺎن ﻧﺎزک و ﻧﺎن ﺑﺮﻧﺠﯽ در آن ﺟﺎ ﻃﺮﻓﺪاران ﺑﯿﺸﱰی‬ ‫دارد‪ .‬در ﺗﱪﯾﺰ ﻗﺮاﺑﯿﻪ‪ ،‬ﻟﻮز و راﺣﺖ اﻟﺤﻠﻘﻮم‪ ،‬در ﺑﻮﺷﻬﺮ ﻧﺎن ﭘﺎدرازی و رﻧﮕﯿﻨﮏ ﺧﺮﻣﺎ‪ ،‬در ﮐﺮﻣﺎن ﮐﻠﻤﭙﻪ‪،‬‬ ‫ﮐامج ﺳﻬﻦ‪ ،‬ﻧﺎن ﭼﺮﺧﯽ‪ ،‬ﺣﺎج ﺑﺎدام‪ ،‬ﻗﻄﺎب‪ ،‬ﺑﺮﺷﺘﻮک و ﻧﺎن ﭘﺮ‪ ،‬در ﮐﺮﻣﺎﻧﺸﺎه ﻧﺎن ﺑﺮﻧﺠﯽ و ﺧﺮﻣﺎﯾﯽ‪ ،‬در‬ ‫آذرﺑﺎﯾﺠﺎن ﻏﺮﺑﯽ ﻟﻮزاﻧﮏ‪ ،‬ﺗﻨﻮر ﺷﯿﺮﯾﻨﯽ ﺳﯽ و ﺳﻮﺟﻮق‪ ،‬در ﺧﻮزﺳﺘﺎن ﮐﻠﻮﭼﻪﻫﺎی ﺳﻨﺘﯽ‪ ،‬در اﯾﻼم ﮐﺎک‪،‬‬ ‫ﮐﻠﻪ ﮐﻨﺠﯽ و ﺑﮋی و ﺑﺮﺳﺎق و در ﭼﻬﺎرﻣﺤﺎل و ﺑﺨﺘﯿﺎری ﮔﺰ ﺑﻠﺪاﺟﯽ‪.‬‬ ‫اﮔﺮ ﺑﻪ ﺷﯿﺮﯾﻨﯽ ﻓﺮوﺷﯽﻫﺎی ﺗﻮرﻧﺘﻮ ﻫﻢ ﴎی ﺑﺰﻧﯿﺪ‪ ،‬ﻣﻌﻠﻮم اﺳﺖ ﮐﻪ ﻣﺮدم ﺧﺎورﻣﯿﺎﻧﻪ ﻋﺎﺷﻖ ﺷﯿﺮﯾﻨﯽﻫﺎی‬ ‫ﭘﺮﺷﻬﺪ ﻫﺴﺘﻨﺪ‪ .‬ﯾﺎ اﯾﻨﮑﻪ اروﭘﺎﯾﯽﻫﺎ ﮐﯿﮏﻫﺎی ﺷﮑﻼﺗﯽ و ﻣﯿﻮهﻫﺎی ﻓﺼﻞ دوﺳﺖ دارﻧﺪ‪ ،‬ﻣﺮدم ﺟﻨﻮب ﴍﻗﯽ‬ ‫آﺳﯿﺎ ﻫﻢ ﻣﺸﱰی ﺷﯿﺮﯾﻨﯽﻫﺎی ﺑﺮﻧﺠﯽ و ﺑﺨﺎرﭘﺰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺑﺎ اﯾﻦ اوﺿﺎع و در ﺟﺴﺖ و ﺟﻮی ﯾﺎﻓنت ﺟﺎﯾﯽ ﺑﺮای ﻧﮕﺎرش اﯾﻦ ﺳﻄﻮر‪ ،‬ﻣﻬامن »ﻧﮕﯿﻦ« ﺷﺪﯾﻢ ﺗﺎ ﻫﻢ از‬ ‫ﻃﻌﻢ زﻋﻔﺮان و ﭘﺴﺘﻪ و اﻧﺎر و ﻟﻮﻧﺪر ﺑﯽﻧﺼﯿﺐ ﻧﺒﺎﺷﯿﻢ و ﻫﻢ از ﺧﻮد او ﮐﻪ ﭼﻨﺪ ﺳﺎﻟﯽﺳﺖ ﺑﻪ ﮐﺎﻧﺎدا‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-09 1:28 PM‬‬

‫‪98-99-Food-Negin.indd 99‬‬

‫‪STORY‬‬

‫‪100‬‬

‫ﻫﺎدی دﯾﻨﻮری‬ ‫ﻣﺎﻣﺎن ﺑﺰرﮔﻢ ﻫﻢ ﻏﺮ ﻣﯽزدم ﮐﻪ اﯾﻨﺠﺎ اﺻﻠﻦ اون ﭼﯿﺰی ﻧﺒﻮد ﮐﻪ ﻓﮑﺮﺷﻮ ﻣﯽﮐﺮدم و‬ ‫راﺳﺘﺸﻮ ﺑﺨﻮاﯾﻦ ﻫﺮ روز ﺑﺎ ﯾﻪ ﮐﻮﻟﻪ ﭘﺸﺘﯽ ﺳﻮار اﺗﻮﺑﻮس ﻣﯽﺷﺪم ﺗﺎ اﯾﺴﺘﮕﺎه‬ ‫دوﺳﺖ دارم ﺑﺮﮔﺮدم‪ ،‬ﺷﺎﯾﺪ ﺑﺎورﺗﻮن ﻧﺸﻪ وﻟﯽ ﺑﻬﺶ ﮔﻔﺘﻢ »ﺣﺎﻓﻆ ﯾﻪ ﺧﺎﻟﯽ ﺑﻨﺪه و‬ ‫ﻣﱰو‪ ،‬ﺑﻌﺪش ﺑﺎ ﻗﻄﺎر ﻣﯿﻮﻣﺪم ﺑﻪ اﯾﺴﺘﮕﺎه ﺷامره ‪ ١١‬و اوﻧﺠﺎ ﯾﻪ اﺗﻮﺑﻮس دﯾﮕﻪ‬ ‫ﺑﻬﻢ ﭼﺎﺧﺎن ﺗﺤﻮﯾﻞ داده«‪ ،‬ﺑﻌﺪش ﺑﺎ ﻟﺤﻦ ﺑﺪی اون ﻓﺎﻟﯽ رو ﮐﻪ ﻣﻮﻗﻊ اوﻣﺪن ﺑﺮام‬ ‫ﺳﻮار ﻣﯽﺷﺪم ﺗﺎ ﺑﺮﺳﻢ اﯾﻨﺠﺎ و ﺗﻮی اﯾﻦ ﻣﺪﺗﻢ ﺳﻌﯽ ﻣﯽﮐﺮدم درس ﺑﺨﻮﻧﻢ وﻟﯽ‬ ‫ﮔﺮﻓﺘﻪ ﺑﻮد ﺧﻮﻧﺪم‪:‬‬ ‫ﻣﻌﻤﻮﻻ ﺳﻌﯿﻢ ﺑﯽﻧﺘﯿﺠﻪ ﺑﻮد‪ ،‬ﻣﺨﺼﻮﺻﺎ ﻣﻮﻗﻊ ﺑﺮﮔﺸنت ﺑﻪ ﺧﻮﻧﻪ اﯾﻨﻘﺪ ﺧﺴﺘﻪ‬ ‫ﻣﺎ آزﻣﻮدهاﯾﻢ در اﯾﻦ ﺷﻬﺮ ﺑﺨﺖ ﺧﻮﯾﺶ‬ ‫ﻣﯽﺷﺪم ﮐﻪ دﯾﮕﻪ ﺣﺎل درس ﺧﻮﻧﺪن ﻧﺪاﺷﺘﻢ‪ .‬ﻫﻤﻮن ﻃﻮر ﮐﻪ ﻣﯽ دوﻧﯿﻦ اﯾﻨﺠﺎ‬ ‫ﺑﯿﺮون ﮐﺸﯿﺪ ﺑﺎﯾﺪ از اﯾﻦ ورﻃﻪ رﺧﺖ ﺧﻮﯾﺶ‬ ‫روزی ‪ ٤‬ﺳﺎﻋﺖ ﮐﺎر ﻣﯽﮐﺮدم و واﺳﻪ ﻣﺸﱰﯾﺎ ﻏﺬا ﴎو ﻣﯽﮐﺮدم‪ ،‬اوﻟﺶ ﮐﻪ اوﻣﺪه‬ ‫وﻗﺘﯽ ﺟﻮاب اﻣﺘﺤﺎن اوﻣﺪ ﺣﺴﺎﺑﯽ دﻣﻖ ﺷﺪم‪ ،‬وﻟﯽ اﯾﻦ ﺗﺎزه ﺧﱪ ﺧﻮﺑﻪ ﺑﻮد ﺑﻌﺪش‬ ‫ﺑﻮدم ﴎ ﮐﺎر‪ ،‬ﻓﮑﺮ منﯽﮐﺮدم ﮐﺎر ﺳﺨﺘﯽ ﺑﺎﺷﻪ وﻟﯽ ﮐﻢ ﮐﻢ ﻓﻬﻤﯿﺪم ﮐﻪ ﮐﺎر راﺣﺘﯽ‬ ‫ﺧﱪ رﺳﯿﺪ ﻣﺎﻣﺎن ﺑﺰرگ ﺣﺎﻟﺶ ﺧﻮب ﻧﯿﺴﺖ‪ .‬دﯾﮕﻪ داﺷﺘﻢ ﻣﻨﻔﺠﺮ ﻣﯽﺷﺪم و ﺑﻪ‬ ‫ﻧﯿﺴﺖ‪ ،‬ﻣﺨﺼﻮﺻﺎ روزای آﺧﺮ ﻫﻔﺘﻪ ﮐﻪ رﺳﺘﻮران ﭘﺮ ﻣﺸﱰی ﻣﯽﺷﺪ و ﻣﻦ وﻗﺖ‬ ‫ﻫﻤﻪ ﺑﺪوﺑﯿﺮاه ﻣﯽﮔﻔﺘﻢ‪ ،‬اول از ﻫﻤﻪ ﻫﻢ ﺑﻪ ﺧﻮدم‪ .‬ﺧﻮدﻣﻮ ﻣﻘﴫ ﻣﯽدوﻧﺴﺘﻤﻮ‬ ‫ﴎ ﺧﺎروﻧﺪن ﻧﺪاﺷﺘﻢ‪ .‬ﺑﺎ ﺧﻮدم ﻓﮑﺮ ﮐﺮدم ﮐﻪ ﭘﯿﺸﺨﺪﻣﺖ رﺳﺘﻮران ﺑﻮدن‪ ،‬ﺑﻬﱰ از‬ ‫دمل اﯾﺮان ﺑﻮد‪ ،‬اﻣﺎ از ﻫﻤﻪ اﯾﻨﺎ ﺑﺪﺗﺮ اﯾﻦ ﺑﻮد ﮐﻪ منﯽﺗﻮﻧﺴﺘﻢ ﺑﺮﮔﺮدم‪ ،‬ﮐﻠﯽ ﻫﺰﯾﻨﻪ‬ ‫ﮐﺎرای دﯾﮕﻪ ﻣﺜﻞ ﺻﻨﺪوق داری و اﯾﻨﺠﻮر ﮐﺎراس ﭼﻮن ﺑﻪ ﺟﺰ ﺣﻘﻮق‪ ،‬اﻧﻌﺎم ﻫﻢ‬ ‫ﮐﺮده ﺑﻮدم ﺗﺎ ﺑﻪ اﯾﻨﺠﺎ رﺳﯿﺪه ﺑﻮدم و دوﺑﺎره ﺑﺎﯾﺪ ﮐﻠﯽ ﻫﺰﯾﻨﻪ ﻣﯽﮐﺮدم ﺗﺎ ﺑﺮﮔﺮدم‬ ‫ﻣﯽﮔﯿﺮم و ﺗﺎزه ﯾﺎد ﻣﯽﮔﯿﺮم ﮐﻠﯽ ﻏﺬای اﯾﺘﺎﻟﯿﺎﯾﯽ درﺳﺖ ﮐﻨﻢ و ﻫﻤﯿﻦ ﭼﯿﺰا ﺑﺎﻋﺚ ﴎ ﺧﻮﻧﻪ اول‪ ،‬ﺗﺎزه ﻓﻘﻂ اﯾﻨﺎ ﮐﻪ ﻧﺒﻮد‪ ،‬ﺗﺼﻮر اﯾﻨﮑﻪ ﺑﺎﯾﺪ دﺳﺖ از ﭘﺎ درازﺗﺮ ﺑﺮﮔﺮدم‬ ‫ﺷﺪ ﻗﺒﻮل ﮐﻨﻢ ‪ ٦‬روز ﺗﻮ ﻫﻔﺘﻪ از ‪ ١٢‬ﺗﺎ ‪ ٤‬ﺑﻌﺪ از ﻇﻬﺮ ﮐﺎر ﮐﻨﻢ‪ ،‬اون ﻫﻢ ﺑﻪ ﴍﻃﯽ و ﺣﺮف ﻣﺮدﻣﻮ ﺑﺸﻨﻮم ﺑﯿﺸﱰ اﻋﺼﺎمبﻮ ﺑﻪ ﻫﻢ ﻣﯽرﯾﺨﺖ‪ .‬ﺗﻮی اﯾﻦ اوﺿﺎع درﻫﻢ‬ ‫ﮐﻪ ﺣﺪاﻗﻞ ‪ ٦‬ﻣﺎه اﯾﻨﺠﺎ مبﻮﻧﻢ وﻟﯽ ﺑﻌﺪا ﺑﻪ اﯾﻦ ﻧﺘﯿﺠﻪ رﺳﯿﺪم ﮐﻪ ای ﮐﺎش اﯾﻦ ﮐﺎرو ﺑﺮﻫﻢ ﺑﻮد ﮐﻪ ﺷام از ﻃﺮﯾﻖ ﺑﭽﻪﻫﺎی رﺳﺘﻮران ﺑﺮام ﭘﯿﻐﺎم ﮔﺬاﺷﺘﯿﻦ ﮐﻪ ﻣﯽﺧﻮاﯾﻦ‬ ‫منﯽﮐﺮدم‪ .‬ﺑﺒﺨﺸﯿﻦ اﯾﻨﺠﻮری ﻣﯿﮕﻢ وﻟﯽ ﻫﻤﮑﺎری ﺑﺎ آﻗﺎی ﮔﻠﺸﻨﯽ ﮐﺎر راﺣﺘﯽ ﻧﺒﻮد‪ ،‬ﻣﻨﻮ ﺑﺒﯿﻨﯿﻦ‪.‬‬ ‫ﻓﻘﻂ ﮐﺎﻓﯽ ﺑﻮد ﯾﻪ اﺷﺘﺒﺎه ﮐﻮﭼﯿﮏ ﺑﮑﻨﻢ ﺗﺎ ﻣﺘﻠﮏﻫﺎی اﯾﻦ آﻗﺎ رو ﺑﺸﻨﻮم‪ ،‬ﻣﺜﻼ‬ ‫اﯾﻦ متﺎم ﻣﺎﺟﺮاﯾﯽ ﺑﻮد ﮐﻪ ﻋﻠﯽ ﺑﺮای آﻗﺎی ﴎوری ﺗﻌﺮﯾﻒ ﮐﺮده ﺑﻮد‪.‬‬ ‫اﯾﻨﮑﻪ اﮔﻪ ﺑﺮ ﺣﺴﺐ اﺗﻔﺎق دﯾﺮ ﻣﯽرﺳﯿﺪم رﺳﺘﻮران ﯾﺎ ﭼﻪ ﻣﯽدوﻧﻢ ﺗﻮی ﭘﺬﯾﺮاﯾﯽ‬ ‫آﻗﺎی ﴎوری ﺗﻮ ﻫﻤﺴﺎﯾﮕﯽ رﺳﺘﻮران‪ ،‬ﯾﻪ ﻓﺮش ﻓﺮوﺷﯿﻪ ﺧﯿﻠﯽ ﺷﯿﮏ و ﺑﺰرگ داره‬ ‫ﮐﺮدن ﯾﻪ اﺷﺘﺒﺎﻫﯽ ﻣﯽﮐﺮدم‪ ،‬اون ﻣﻮﻗﻊ ﺑﻮد ﮐﻪ آﻗﺎی ﮔﻠﺸﻨﯽ رو ﺗﺤﻤﻞ ﮐﺮدن ﺳﺨﺖ و ﺑﻪ ﻫﻤﯿﻦ دﻟﯿﻠﻪ ﮐﻪ ﻫﺮ روز ﺑﺮای ﻧﺎﻫﺎر ﻣﯿﺎد اوﻧﺠﺎ و وﻗﺘﯽ ﻣﺘﻮﺟﻪ اﺧﺮاج ﻋﻠﯽ‬ ‫ﻣﯽﺷﺪ‪ ،‬ﺣﺘﺎ ﭼﻦ ﺑﺎر ﺧﻮاﺳﺘﻢ ﮐﻪ از ﮐﺎر ﺑﯿﺎم ﺑﯿﺮون و ﺑﯽﺧﯿﺎل ﻗﻮﻟﯽ ﮐﻪ داده ﺑﻮدم ﺷﺪ ﺑﺮاش ﭘﯿﻐﺎم ﮔﺬاﺷﺖ‪ .‬ﺑﺎ ﺧﻮدش ﻓﮑﺮ ﮐﺮده ﺑﻮد ﮐﻪ اﮔﻪ ﻋﻠﯽ ﻗﺒﻮل ﮐﻨﻪ ﺑﯿﺎد‬ ‫ﺑﺸﻢ‪ ،‬وﻟﯽ ﺑﺎ ﺧﻮدم ﺣﺴﺎب اﺟﺎره ﺧﻮﻧﻪ و ﻫﺰﯾﻨﻪﻫﺎی زﻧﺪﮔﯽ رو ﮐﺮدم و دردﴎ‬ ‫رﺳﺘﻮراﻧﯽ ﮐﻪ ﭼﻦ وﻗﺖ ﭘﯿﺶ ازش اﺧﺮاج ﺷﺪه آدم ارزﺷﻤﻨﺪﯾﻪ‪ ،‬اون وﻗﺖ ﻣﯽﺗﻮﻧﻪ‬ ‫ﭘﯿﺪا ﮐﺮدن ﮐﺎر ﺟﺪﯾﺪ‪ ،‬ﺗﺎزه از ﻫﻤﻪ اﯾﻨﺎ ﮔﺬﺷﺘﻪ‪ ،‬منﯽﺗﻮﻧﺴﺘﻢ رو اﻣﺘﺤﺎﻧﻢ ﮐﻪ داﺷﺖ روش ﺣﺴﺎب ﮐﻨﻪ و ﺑﺨﻮاد ﺑﯿﺎد ﺑﺮاش ﮐﺎر ﮐﻨﻪ‪.‬‬ ‫ﻫﻤﯿﻦ ﻃﻮر ﻫﻢ ﺷﺪ و اوﻧﺎ ﺑﺎ ﻫﻢ ﻫﻤﮑﺎر ﺷﺪن‪.‬‬ ‫ﻧﺰدﯾﮏ ﻣﯽﺷﺪ رﯾﺴﮏ ﮐﻨﻢ‪.‬‬ ‫اواﯾﻞ ﻣﻮﻗﻊ ﺑﺮﮔﺸنت ﺑﻪ ﺧﻮﻧﻪ درس ﻣﯽﺧﻮﻧﺪم و ﺳﻌﯽ ﻣﯽﮐﺮدم ﺧﺴﺘﻪ ﻧﺸﻢ‬ ‫ﯾﻪ ﻫﻔﺘﻪ ﺑﻌﺪ از ﴍوع ﮐﺎر ﺗﻮ ﻓﺮش ﻓﺮوﺷﯽ‪ ،‬ﻣﺎﻣﺎن ﺑﺰرگ‪ ،‬ﻋﻠﯽ رو ﺗﻨﻬﺎ ﮔﺬاﺷﺖ‪.‬‬ ‫وﻟﯽ ﮐﻢ ﮐﻢ ﺧﺴﺘﻪ ﺷﺪم و ﺑﻪ ﺟﺎی درس ﺧﻮﻧﺪن‪ ،‬ﻣﯽرﻓﺘﻢ ﺗﻮ ﮔﺬﺷﺘﻪ و اﺻﻠﻦ‬ ‫وﻗﺘﯽ ﻋﻠﯽ ﺧﱪ ﻣﺎﻣﺎن ﺑﺰرﮔﻮ ﺷﻨﯿﺪ ﻣﺮﯾﺾ ﺷﺪ و ﯾﻪ ﻫﻔﺘﻪ ﻧﺘﻮﻧﺴﺖ ﴎ ﮐﺎر ﺑﺮه‪ .‬اون‬ ‫منﯽﻓﻬﻤﯿﺪم اﯾﻦ ﯾﻪ ﺳﺎﻋﺘﯽ ﮐﻪ ﻃﻮل ﻣﯽﮐﺸﯿﺪ ﺗﺎ ﺑﺮﺳﻢ ﺧﻮﻧﻪ ﭼﻪ ﺟﻮری ﻣﯽﮔﺬﺷﺖ‪ ،‬ﯾﻪ ﻫﻔﺘﻪ ﺑﻬﺶ ﺧﯿﻠﯽ ﺳﺨﺖ ﮔﺬﺷﺖ وﻟﯽ آروم آروم ﺑﺎ ﻗﻀﯿﻪ ﮐﻨﺎر اوﻣﺪ و ﺗﻮﻧﺴﺖ‬ ‫ﺑﻌﺪﺷﻢ ﮐﻪ ﻣﯽرﺳﯿﺪم ﺧﻮﻧﻪ ﻣﯽرﻓﺘﻢ ﴎاغ درس ﺧﻮﻧﺪن‪ ،‬ﭼﻦ وﻗﺖ دﯾﮕﻪ اﻣﺘﺤﺎن ﺑﭙﺬﯾﺮه ﮐﻪ ﻣﺎﻣﺎن ﺑﺰرگ ﺣﻖ داره ﺑﺮه‪ .‬اﻟﺒﺘﻪ آﻗﺎی ﴎوری ﻫﻢ ﻧﻘﺶ ﻣﻬﻤﯽ ﺗﻮ اﯾﻦ‬ ‫داﺷﺘﻤﻮ ﻣﯽﺧﻮاﺳﺘﻢ ﺣﺘام ﻗﺒﻮل ﺷﻢ وﮔﺮﻧﻪ ﻣﺠﺒﻮر ﺑﻮدم دوﺑﺎره ﮐﻠﯽ وﻗﺖ ﺑﺰارﻣﻮ‬ ‫ﻣﻮﺿﻮع داﺷﺖ‪.‬‬ ‫ﻫﺰﯾﻨﻪ ﮐﻨﻢ‪ .‬ﯾﻪ ﻫﻔﺘﻪ ﻣﻮﻧﺪه ﺑﻪ اﻣﺘﺤﺎن‪ ،‬ﺳﻌﯽ ﮐﺮدم اﺳﱰس رو از ﺧﻮدم دور‬ ‫ﺣﺎﻻ ﭼﻦ ﻣﺎﻫﯽ از اﯾﻦ اﺗﻔﺎﻗﺎت ﻣﯽ ﮔﺬره و ﻋﻠﯽ ﻫﺮ روز ﺑﺎ ﯾﻪ ﮐﻮﻟﻪﭘﺸﺘﯽ ﺳﻮار‬ ‫ﮐﻨﻢ‪ ،‬واﺳﻪ ﻫﻤﯿﻦ ﻣﺮﺧﺼﯽ ﮔﺮﻓﺘﻢ ﺗﺎ ﺑﺘﻮﻧﻢ ﺑﺎ ﺧﯿﺎل راﺣﺖ ﴎ ﺟﻠﺴﻪ ﺣﺎﴐ ﺑﺸﻢ‪ ،‬اﺗﻮﺑﻮس ﻣﯽﺷﻪ ﺗﺎ اﯾﺴﺘﮕﺎه ﻣﱰو‪ ،‬ﺑﻌﺪش ﺑﺎ ﻗﻄﺎر ﻣﯿﺮه ﺑﻪ اﯾﺴﺘﮕﺎه ﺷامره ‪ ١١‬و‬ ‫ﺑﺎ ﺧﻮدم ﮔﻔﺘﻢ اﯾﻦ ﻫﻤﻪ زﺣﻤﺖ ﺑﯽﻧﺘﯿﺠﻪ منﯽﻣﻮﻧﻪ‪ ،‬وﻟﯽ ﺑﺮﻋﮑﺲ ﭼﯿﺰی ﮐﻪ ﻓﮑﺮ‬ ‫اوﻧﺠﺎ ﯾﻪ اﺗﻮﺑﻮس دﯾﮕﻪ ﺳﻮار ﻣﯽ ﺷﻪ ﺗﺎ ﺑﺮﺳﻪ ﻓﺮش ﻓﺮوﺷﯽ و ﺗﻮی اﯾﻦ ﻣﺪﺗﻢ ﺳﻌﯽ‬ ‫ﻣﯽﮐﺮدم‪ ،‬اﻣﺘﺤﺎﻧﻮ ﺧﺮاب ﮐﺮدم‪ ،‬ﺻﱪ ﮐﺮدن واﺳﻪ ﺟﻮاب اﻣﺘﺤﺎن ﺑﺮام ﺧﯿﻠﯽ ﺳﺨﺖ ﻣﯽﮐﻨﻪ درس ﺑﺨﻮﻧﻪ وﻟﯽ ﻣﻌﻤﻮﻟﻦ ﺳﻌﯿﺶ ﺑﯽ ﻧﺘﯿﺠﻪ ﻣﯽ ﻣﻮﻧﻪ‪ ،‬ﻣﺨﺼﻮﺻﻦ ﻣﻮﻗﻊ‬ ‫و ﻃﺎﻗﺖ ﻓﺮﺳﺎ ﺑﻮد ﺟﻮری ﮐﻪ ﺣﺘﺎ ﺣﻮﺻﻠﻪ ﮐﺎر و رﺳﺘﻮراﻧﻮ ﻫﻢ ﻧﺪاﺷﺘﻢ و ﴎ ﻫﻤﯿﻦ ﺑﺮﮔﺸنت ﺑﻪ ﺧﻮﻧﻪ اﯾﻨﻘﺪ ﺧﺴﺘﻪ ﻣﯽﺷﻪ ﮐﻪ دﯾﮕﻪ ﺣﺎل درس ﺧﻮﻧﺪن ﻧﺪاره و ﺑﻪ ﺟﺎش‬ ‫ﻣﯿﺮه ﺗﻮ ﮔﺬﺷﺘﻪ و اﺻﻠﻦ منﯽﻓﻬﻤﻪ اﯾﻦ ﯾﻪ ﺳﺎﻋﺘﯽ ﮐﻪ ﻃﻮل ﻣﯽﮐﺸﻪ ﺗﺎ ﺑﺮﺳﻪ ﺧﻮﻧﻪ‬ ‫ﻣﻮﺿﻮع ﺑﺎ آﻗﺎی ﮔﻠﺸﻨﯽ ﺣﺮﻓﻢ ﺷﺪ و آﻗﺎی ﮔﻠﺸﻨﯽ ﻫﻢ ﺑﻬﻢ ﻧﺸﻮن داد ﮐﻪ رﯾﯿﺲ‬ ‫ﭼﻪ ﺟﻮری ﻣﯽﮔﺬره‪ ،‬وﻟﯽ ﺑﻌﺪش ﮐﻪ ﻣﯿﺮﺳﻪ ﺧﻮﻧﻪ ﻣﯿﺮه ﴎاغ درس ﺧﻮﻧﺪن‪ ،‬آﺧﻪ‬ ‫ﮐﯿﻪ‪ ،‬در ﻧﺘﯿﺠﻪ ﺑﯿﮑﺎر ﺷﺪم‪.‬‬ ‫ﭼﻦ وﻗﺖ دﯾﮕﻪ اﻣﺘﺤﺎن داره و ﻣﯽﺧﻮاد ﺣﺘﻤﻦ ﻗﺒﻮل ﺷﻪ‪...‬‬ ‫دﯾﮕﻪ دل و دﻣﺎغ ﻫﯿﭻ ﮐﺎری رو ﻧﺪاﺷﺘﻤﻮ ﴎ ﻫﺮ ﭼﯿﺰی ﻋﺼﺒﯽ ﻣﯽﺷﺪم ﺣﺘﺎ ﺑﻪ‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 3:55 AM‬‬

‫‪100-103-Story-EDITED.indd 100‬‬

‫‪STORY‬‬

‫‪101‬‬

‫آﯾﺪا اﺣﺪﯾﺎﻧﯽ‬ ‫ﮐﺘــﺎب »ﺷــﻬﺮ ﺑﺎرﯾــﮏ« ﺧــﻮد را در ﺳــﺎل‬ ‫‪ ۲۰۰۹‬ﻣﻨﺘــﴩ ﮐــﺮد ﮐــﻪ ﻣﺠﻤﻮﻋــﻪای از ‪۱۸‬‬ ‫داﺳــﺘﺎن ﮐﻮﺗــﺎه ﺑــﻪ ﻫﻤــﺮاه ﻃﺮاﺣﯽﻫــﺎی‬ ‫»ﺗــﻮﮐﺎ ﻧﯿﺴــﺘﺎﻧﯽ« اﺳــﺖ‪ .‬اﯾــﻦ داﺳــﺘﺎنﻫﺎ‬ ‫ﺑﺮﮔﺮﻓﺘــﻪ از ﺗﺠﺮﺑــﻪ ﺷــﺨﺼﯽ او ﺑــﻪ ﻋﻨــﻮان‬ ‫ﯾــﮏ زن ﻣﻬﺎﺟــﺮ در ﺟﺎﻣﻌــﻪ ﮐﺎﻧﺎداﺳــﺖ‪.‬‬ ‫ﮐﺘــﺎب دوم او ‪Dr. Brian climbs up‬‬ ‫‪ “the chimney‬ﻣﺠﻤﻮﻋــﻪ دﯾﮕــﺮی از ده‬ ‫داﺳــﺘﺎن ﺑــﺎ رواﯾﺖﻫــﺎی ﻣﺸــﺎﺑﻪ اﺳــﺖ ﮐــﻪ‬ ‫اﯾــﻦ ﺑــﺎر رواﯾﺖﮔــﺮ ﺗﺠﺮﺑــﻪ ﻣــﺎدر ﻣﻬﺎﺟــﺮ‬ ‫در ﺧــﺎرج از اﯾــﺮان ﻫــﻢ ﺷــﺪه اﺳــﺖ‪.‬‬

‫ﻗﻄــﺎر ﺳــﺎﻋﺖ ده ﺷــﺐ ﺟﻤﻌــﻪ ﺟﻨــﻮب ﺑــﻪ ﺷــامل ﯾﺎﻧــﮓ‪ ،‬ﻧــﻪ آﻧﻘــﺪر دﯾﺮوﻗــﺖ‬ ‫اﺳــﺖ ﮐــﻪ ﻣﺴــﺎﻓﺮانِ ﻣﺴــﺖ و ﴎﺧــﻮش ﻣﯿﺨﺎﻧﻪﻫــﺎ و دﯾﺴــﮑﻮﻫﺎ را در ﺧــﻮدش‬ ‫داﺷــﺘﻪ ﺑﺎﺷــﺪ‪ ،‬و ﻧــﻪ آﻧﻘــﺪر زود ﮐــﻪ ﮐﺎرﻣﻨــﺪانِ ﻣﯿــﺎن رﺗﺒــﻪی ﺧﺴــﺘﻪ را از ﻣﺮﮐــﺰ‬ ‫ﺷــﻬﺮ ﺑــﻪ ﺷــامل ﺷــﻬﺮ ﺑــﱪد‪ .‬ﻗﻄــﺎر ﺳــﺎﻋﺖ ده‪ ،‬ﯾــﮏ راﻫــﺮو ﻣﻤﺘــﺪ و ﻧﻮراﻧﯽﺳــﺖ‬ ‫ﮐــﻪ ﺗــﮏ و ﺗــﻮک زﻧــﯽ ﯾــﺎ ﻣــﺮدی ﺑــﺮ ﺻﻨﺪﻟﯽﻫــﺎی ﻗﺮﻣــﺰش ﺗﮑﯿــﻪ زده و ﻧــﻪ ﺗﻈﺎﻫــﺮ‬ ‫ﺑــﻪ ﺧﻮاﻧــﺪن ﮐﺘــﺎب ﻣﯽﮐﻨــﺪ و ﻧــﻪ ﮔــﻮش ﮐــﺮدنِ ﻣﻮﺳــﯿﻘﯽ‪ .‬ﺑﺎﯾــﺪ در ﻫﻤﯿــﻦ ﻗﻄــﺎر‬ ‫ﺧﺎﻟــﯽ‪ ،‬ﻣــﺮدی ﮐــﻪ از ﺗﺨﻤﯿــﻦ زدن ﺳــﻨﺶ ﻫﻨــﻮز ﻋﺎﺟــﺰم ‪-‬ﺑﯿــﻦ ﺳــﯽ ﺗــﺎ ﺷــﺼﺖ‬ ‫ﺳــﺎﻟﻪ ﺷــﺎﯾﺪ –ﺑﻨﺸــﯿﻨﺪ ﮐﻨــﺎر ﻣــﻦ و ﻣــﻮدب ﺑﻌــﺪ از ﺳــﻼم ﺑﭙﺮﺳــﺪ ﻣــﻦ ﺑــﻮ ﻣﯽدﻫــﻢ؟‬ ‫ﻧﮕﺎﻫــﺶ ﻧﮑــﺮدم‪ ،‬ﻓﮑــﺮ ﮐــﺮدم اﯾــﻦ ﺳــﻮال ﺑﺎﯾــﺪ ﺗﻠــﻪای ﺑﺎﺷــﺪ ﺑ ـﺮای آزار ﺣﺘــﯽ ﺑــﺎ‬ ‫ﻧﮕﺎﻫــﻢ ﻓﺎﺻﻠــﻪام را ﺑــﺎ ﻧــﻮار زرد زﻧــﮓ ﺧﻄــﺮ ﺗﺨﻤﯿــﻦ زدم‪ .‬ﻗ ـﺮار ﻣﺴــﺎﻓﺮان ﻗﻄــﺎر‬ ‫ﺗﻮرﻧﺘــﻮ ﺑــﻪ ﺣــﺮف زدن ﻧﯿﺴــﺖ؛ ﺣﺘــﯽ اﮔــﺮ از ﺗﻨﻬﺎﯾــﯽ ﺻــﺪای ﺧﻮدﺷــﺎن را ﻓﺮاﻣــﻮش‬ ‫ﮐــﺮده ﺑﺎﺷــﻨﺪ‪ .‬وﻟــﯽ اﯾﻨﺒــﺎر ﻣﻮدﺑﺎﻧﻪﺗــﺮ اﺿﺎﻓــﻪ ﮐــﺮد ﮐــﻪ ﺑﻌــﺪ از ﻫﻤــﴪش‪ ،‬دﯾﺸــﺐ‬ ‫دوﺳــﺖ دﺧــﱰش ﻫــﻢ ﺑــﻪ ﻫﻤﯿــﻦ دﻟﯿــﻞ از او ﺟــﺪا ﺷﺪهاﺳــﺖ‪ .‬ﻧﺎﺧــﻮدآﮔﺎه ﻫــﻮای‬ ‫ﺑﯿــﻦ ﺧــﻮدم و ﻣــﺮد را ﺑــﻮ ﮐﺸــﯿﺪم‪ ،‬ﻣﻨﺘﻈــﺮ ﻧﮕﺎﻫــﻢ ﻣﯽﮐــﺮد‪ .‬ﻣــﺮد ﺑــﻮی آﺑﺠــﻮ ﻣﺎﻧــﺪه‬ ‫ﻣــﯽداد و ﭘـ ِﺮ ﻣﺎﻧــﺪهی ﮐﺎﭘﺸــﻦ زﻣﺴــﺘﺎﻧﯽ‪ ،‬و دﯾﮕــﺮ ﻫﯿــﭻ‪ .‬ﮔﻔﺘــﻢ »ﺑــﻮ منﯽدﻫــﯽ«‪ ،‬و‬ ‫منﯽداﻧــﻢ ﭼ ـﺮا اﺿﺎﻓــﻪ ﮐــﺮدم »اﻟﺒﺘــﻪ از اﯾــﻦ ﻓﺎﺻﻠــﻪ ﮐــﻪ ﻣــﻦ ﻧﺸﺴــﺘﻪام‪ «.‬ﻣﯽﺷــﺪ‬ ‫ﭼﯿــﺰی ﻧﮕﻮﯾــﻢ ﮐــﻪ دﻟــﺶ ﻗــﺮص ﺑﺸــﻮد‪ .‬ﺗﺸــﮑﺮ ﮐــﺮد و ﮐﻤــﯽ ﺧﯿــﺮه ﺷــﺪه ﺑــﻪ‬ ‫روﺑــﻪرو‪ ،‬و ﺑﻌــﺪ راه اﻓﺘــﺎد در اﻣﺘــﺪاد ﺗﻮﻧــﻞ ﺧﺎﻟــﯽ ﻗﻄــﺎر ﺑــﻪ ﺳــﻤﺖ ﺑﯽﻧﻬﺎﯾﺘــﯽ‬ ‫ﮐــﻪ ﺧــﻮدش در ﺗﻮﻧﻠــﯽ ﺑــﻪ ﺳــﻤﺖ ﺑﯽﻧﻬﺎﯾــﺖ ﻣﯽراﻧــﺪ‪.‬‬ ‫ﻣــﻦ در ﻧﻮﺷــنت ﻫﯿــﭻ رﺳــﺎﻟﺘﯽ ﻧــﺪارم‪ ،‬ﭘﻨــﺪی ﻧــﺪارم‪ ،‬روﺷــﯽ ﺑـﺮای زﻧﺪﮔــﯽ ﻧــﺪارم‪،‬‬ ‫ﺗﺎرﯾﺨــﯽ را ﺛﺒــﺖ منﯽﮐﻨــﻢ‪ ،‬ﻓﻘــﻂ ﻣﯽﺧﻮاﻫــﻢ داﺳــﺘﺎن آدمﻫﺎﯾــﯽ را ﮐــﻪ از‬

‫ﻏﺮﯾﺒﻪﻫــﺎ ﻣﯽﭘﺮﺳــﻨﺪ ﮐــﻪ آﯾــﺎ ﺑــﻮ ﻣﯽدﻫﻨــﺪ‪ ،‬ﺑﻨﻮﯾﺴــﻢ‪ .‬ﺣﺘــﯽ اﮔــﺮ ﻫﺮﺷــﺐ ﯾــﮏ‬ ‫ﻣــﺮد ﺗﻨﻬــﺎ و ﻣﺴــﺖ از ﻣﺴــﺎﻓﺮان ﻫﻤﯿــﻦ ﺳــﻮال را ﺑﭙﺮﺳــﺪ‪ ،‬ﺑﺎزﻫــﻢ ﺑﺎﯾــﺪ ﯾﮑــﯽ از ﻣــﺎ‬ ‫داوﻃﻠــﺐ ﺷــﻮد و داﺳــﺘﺎن »ﻣــﺮدی ﮐــﻪ ﻓﮑــﺮ ﻣﯽﮐــﺮد ﺑــﻮ ﻣﯽدﻫــﺪ وﻟــﯽ ﮐﺴــﯽ را‬ ‫ﻧﺪاﺷــﺖ ﮐــﻪ از ﻧﺰدﯾــﮏ ﺑﻮﯾــﺶ ﮐﻨــﺪ« را ﺑﻨﻮﯾﺴــﻨﺪ‪ ،‬ﻧــﻪ؟ ﻣــﻦ ﮐــﻪ منﯽﺗﻮاﻧــﻢ اﯾــﻦ‬ ‫ﻟﺤﻈﻪﻫــﺎی ﺑﺮﻧﺎﻣﻪرﯾــﺰی ﻧﺸــﺪهی زﻧﺪﮔــﯽ روزﻣــﺮهام را ﺑــﻪ ﮔــﻮر ﺑــﱪم‪ ،‬داوﻃﻠــﺐ‬ ‫ﺷــﺪهام ﮐــﻪ داﺳــﺘﺎن ﮐﺴــﺎﻧﯽ را ﺑﻨﻮﯾﺴــﻢ ﮐــﻪ داﺳــﺘﺎﻧﯽ ﻧﺪارﻧــﺪ‪ .‬ﮐﺴــﺎﻧﯽ ﮐــﻪ ﻫــﺮروز‬ ‫از ﮐﻨــﺎر ﻣــﻦ ﻣﯽﮔﺬرﻧــﺪ و ﻧــﻪ دﻻورﻧــﺪ ﮐــﻪ در داﺳــﺘﺎنﻫﺎی اﺳــﺎﻃﯿﺮی ﺟــﺎ داﺷــﺘﻪ‬ ‫ﺑﺎﺷــﻨﺪ‪ ،‬و ﻧــﻪ ﻓﯿﻠﺴــﻮف‪ ،‬ﻣﻔﻠــﻮک ﯾــﺎ اﴍاﻓــﺰاده‪ ،‬ﮐــﻪ ﺑــﻪ درد رﻣﺎنﻫــﺎ ﺑﺨﻮرﻧــﺪ‪.‬‬ ‫ﻣــﻦ منﯽﺗﻮاﻧــﻢ از زﻧﺪﮔــﯽِ آدمﻫــﺎی ﺧﺎﮐﺴــﱰیِ ﺧﯿﺎﺑــﺎن و ﻣــﱰو‪ ،‬آدمﻫﺎﯾــﯽ ﮐــﻪ‬ ‫در ﺻﻔﺤــﻪی دﻫــﻢ روزﻧﺎﻣــﻪی ﻣﺠﺎﻧــﯽِ ﺻﺒــﺢ ﺧــﱪ ﻣــﺮگ ﻓﺮزﻧﺪﺷــﺎن ﺑــﺎ ﻓﻮﻧــﺖ‬ ‫ﮐﻮﭼــﮏ ﭼــﺎپ ﻣﯽﺷــﻮد‪ ،‬از ﺧــﻮدم و ﺷــام ﺑﮕــﺬرم‪ .‬ﻣــﺎ از ﺑﯿــﺮون ﺗﯿﭗﻫــﺎ و‬ ‫ﺳﯿﺎﻫﯽﻟﺸــﮑﺮﻫﺎﯾﯽ ﻫﺴــﺘﯿﻢ ﮐــﻪ ﮐﻞ زﻧﺪﮔﯽﻣــﺎن از ﻓــﺮط ﺗﮑــﺮار و ﯾﮏﻧﻮاﺧﺘــﯽ‬ ‫ﺣﺘــﯽ ﺑــﻪ اﻧــﺪازهی ﯾــﮏ ﻗﺼــﻪی ﮐﻮﺗــﺎه ﻫــﻢ ﭘﯿﺮﻧــﮓ ﻧــﺪارد؛ وﻟــﯽ ﮔﺎﻫــﯽ در ﻗﻄــﺎر‬ ‫ده ﺷــﺐ‪ ،‬ﺳــﮑﻮت ﻩﯾﻤــﻪ اﯾــﻦ ﺳــﺎلﻫﺎ را ﻣﯽﺷــﮑﻨﯿﻢ و از ﻏﺮﯾﺒــﻪای ﻣﯽﭘﺮﺳــﯿﻢ‬ ‫ﻣــﻦ ﺑــﻮ ﻣﯽدﻫــﻢ؟ ﻫﻤﯿــﻦ ﺗﮑــﻪ ﭘﺎرهﻫــﺎی ﮔﺎﻫــﯽ ﻏﻤﮕﯿــﻦ‪ ،‬ﮔﺎﻫــﯽ ﺧﻨــﺪهدار و‬ ‫ﮔﺎﻫــﯽ ﻫﯿــ ِﭻ زﻧﺪﮔــﯽِ ﺗﯿﭗﻫــﺎ را ﮐﻨــﺎر ﻫــﻢ ﻣﯽﭼﺴــﺒﺎﻧﻢ و ﮐﻼژی ﻣﯽﺳــﺎزم از‬ ‫ﺷــﺐ ﻣﺴــﺘﯽ ﺑــﻪ‬ ‫ﻣــﺮدی ﮐــﻪ ﻓﮑــﺮ ﻣﯽﮐــﺮد ﺑــﻮ ﻣﯽدﻫــﺪ و ﺧــﻮدم ﮐــﻪ ﻓــﺮدای ِ‬ ‫رﺳــﯿﺪﻫﺎی ﮐﯿﻔــﻢ ﺧﯿــﺮه ﻣﯽﺷــﻮم و ﺑﻪﺧﺎﻃــﺮ منــﯽآورم ﭼــﻪ زﻣﺎﻧــﯽ در ﻣﺤﻠــﻪی‬ ‫ﭼﯿﻨﯽﻫــﺎ ﻏــﺬا ﺧــﻮردهام‪ ،‬و اﺳــﻢ داﺳــﺘﺎن را ﻣﯽﮔــﺬارم ﮔﺮﮔــﻮر‪...‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 3:55 AM‬‬

‫‪100-103-Story-EDITED.indd 101‬‬

‫‪STORY‬‬

‫ﻗﺼــە ﻣﯽﮔﻮﯾﯿــﻢ ﺗــﺎ ﺑﭽەﻫــﺎ را ﺑﺨﻮاﺑﺎﻧﯿــﻢ‪ ،‬وﻗﺘــﯽ ﻫــﻢ ﮐــە ﺑــﺰرگ ﺷــﺪﻧﺪ‪ ،‬ﺑــﺎز ﻗﺼــە‬ ‫ﻣﯽﮔﻮﯾﯿــﻢ ﺗــﺎ ﺑﯿﺪارﺷــﺎن ﮐﻨﯿــﻢ‪.‬‬ ‫)ﴍﻟﯽ ﻫﺰرد(‬ ‫وﻟــﯽ ﯾــﮏ ﮐﻠﻤــﻪ اﺳــﺖ ﮔﺎﻫــﯽ‪» :‬ﻧﮕﻔــﺖ‪ «.‬ﻧﮕﻔــﺖ؟ و ﺑﻌــﺪ‪» :‬رﻓــﺖ‪ «.‬رﻓــﺖ؟ و اﯾــﻦ‬ ‫رﻓــنت وﺳﻮﺳــە ﻣﯽﮐﻨــﺪ ﮐــە ﺑﺮوﯾــﻢ و ﮐﻠﻤــﻪ ﮐﻨــﺎر ﮐﻠﻤــﻪ )ﺗــﻮ ﺑﺨــﻮان ﺧﺸــﺖ روی‬ ‫ﺧﺸــﺖ( ﺑﭽﯿﻨﯿــﻢ ﺗــﺎ ﻣﮑﺎﻧــﯽ ﺷــﮑﻞ ﺑﮕﯿــﺮد و در ﻓﻀــﺎی ﺳــﺎﺧﺘەی ذﻫــﻦ ﺧﻮدﻣــﺎن‬ ‫دﻧﺒــﺎل دﺳــﺖ ﮐﺎراﮐــﱰی ﺑﮕﺮدﯾــﻢ ﮐــە دﺳــﺘامن را ﺑﮕﯿــﺮد و ﺑــﱪد‪ .‬و ﻣــﺎ ﺑﺮوﯾــﻢ ﺗــﺎ‬ ‫ﺷــﺎﻫﺪ اﺗﻔــﺎق ﺑﺎﺷــﯿﻢ ﮐــە ﻣﯽاﻓﺘــﺪ‪ ،‬و ﯾــﮏ ﺟﻤﻠــە اﺳــﺖ ﮔﺎﻫــﯽ‪» :‬آن روز‪ ،‬متــﺎم روز‬ ‫ﺑــﺎران ﺑﺎرﯾــﺪ‪ «.‬و ﻣﺠﺒــﻮر ﻣﯽﺷــﻮﯾﻢ ﺑﺒﺎراﻧﯿــﻢ و ﺑﻌــﺪ ﺑﺴــﺎزﯾﻢ ﺑﺎرﯾﮑــەی ﻧــﻮری ﮐــە‬ ‫دوﯾــﺪە اﺳــﺖ از ﻻی ﭘــﺮدە‪ ،‬زﯾــﺮ ﮐﺎﻧﺎﭘــﻪ‪ .‬ﺑﻌــﺪ‪ ،‬ﻣﯽﻧﻮﯾﺴــﯿﻢ ﺗــﺎ ﺑﯿﻨﯿــﻢ‪ .‬ﻣــﯽ ﮔﻮﯾﯿــﻢ‬ ‫ﺗــﺎ ﺑﺸــﻨﻮﯾﻢ‪ .‬ﺗــﺮاش ﻣﯽدﻫﯿــﻢ ﺗــﺎ ﺗــﺮاش ﺑﺨﻮرﯾــﻢ‪ .‬ﻋﺮﯾــﺎن ﻣﯽﮐﻨﯿــﻢ ﺗــﺎ ﻋﺮﯾــﺎن‬ ‫ﺷــﻮﯾﻢ‪ ...‬و ﻣــﺪام ﯾﺎدﻣــﺎن ﺑﺎﯾــﺪ ﺑﺎﺷــﺪ ﮐــە واﻗﻌــﯽ ﺑﺎﺷــﯿﻢ در ﻟﺤﻈــەی اﻓﺘــﺎدنِ اﺗﻔــﺎق‪.‬‬ ‫اﻣــﺎ واﻗﻌﯿــﺖ را ﻗﻠــﺐ ﻣﯽﮐﻨﯿــﻢ‪ ،‬ﺗــﺎ ﻣــﻮ ﻻی درز ﺣﻘﯿﻘــﺖ ﻧــﺮود‪.‬‬ ‫در آرزوی ﺳــﺎﺧنت ﺟﻬــﺎن ﯾــﺎ اﻧﺴــﺎﻧﯽ ﻣﯽﻧﻮﯾﺴــﯿﻢ )ﺗــﻮ ﺑﺨــﻮان ﻣﯽﺳــﻮزﯾﻢ( ﮐــە‬ ‫دوﺳــﺖ دارﯾــﻢ ﺑﺎﺷــﺪ؛ ﯾــﺎ ﻣﯽﺗﺮﺳــﯿﻢ ﮐــە ﺑﺎﺷــﺪ‪.‬‬ ‫ﮔﻔــﺖ‪ :‬ﻣــﻦ در آن ﺳــﺎل ﻫــﺎی ﺟﻨــﮓ اﯾــﺮان و ﻋــﺮاق‪ ،‬داﺳــﺘﺎن ﮐﻮﺗﺎﻫــﯽ ﻧﻮﺷــﺘﻢ‬ ‫در ﻣــﻮرد دو ﴎﺑــﺎز‪ ،‬ﯾــﮏ ﻋﺮاﻗــﯽ و ﯾــﮏ اﯾﺮاﻧــﯽ‪ .‬از ﺟﻨــﮓ ﻓ ـﺮار ﻣﯽﮐﻨﻨــﺪ‪ .‬ﯾﮑــﯽ‬ ‫از ﻋ ـﺮاق ﺑــە اﯾ ـﺮان‪ ،‬و دﯾﮕــﺮی ﺑﺎﻟﻌﮑــﺲ‪ .‬در ﻣﻨﻄﻘــەی ﻣــﺮزی ﺑــە ﻫــﻢ ﻣﯽرﺳــﻨﺪ‪.‬‬ ‫ﮐﻨــﺎر ﺟﻮﯾــﯽ ﮔﻞآﻟــﻮد‪ .‬آب ﻣﯽﺧﻮرﻧــﺪ و ﺑــﺎ اﺷــﺎرات ﴎ و دﺳــﺖ از ﻫــﻢ ﭼﯿــﺰی‬ ‫ﻣﯽﭘﺮﺳــﻨﺪ‪ .‬اﯾﺮاﻧــﯽ را ِە ﻋــﺮاق را‪ ،‬و ﻋﺮاﻗــﯽ راە اﯾــﺮان را‪ .‬و ﻣــﯽ روﻧــﺪ‪ .‬ﻫﻤﯿــﻦ‪.‬‬ ‫ﮔﻔﺘﻢ‪ :‬ﺧﺐ؟‬ ‫ﮔﻔــﺖ‪ :‬ﻣــﻦ ﺑــﺎ ﻧﻮﺷـ ِنت ﻫﻤﯿــﻦ داﺳــﺘﺎن ﮐﻮﺗــﺎە‪ ،‬دو ﺟــﻮان را از آﺗــﺶ ﺟﻨﮕــﯽ ﻫﺸــﺖ‬ ‫ﺳــﺎﻟە ﻧﺠــﺎت دادم‪ .‬ﻧــە در واﻗﻌﯿــﺖ‪ ،‬ﮐــە منﯽﺗﻮاﻧﺴــﺘﻢ‪ .‬ﺑﻠﮑــە در ﺗﺨﯿــﻞ ﺧﻮاﻧﻨــﺪە‪،‬‬ ‫و ﺑـﺮای اﺑــﺪ‪.‬‬ ‫ﭘــﺲ ﺷــﺎﯾﺪ ﮐﺴــﯽ ﮐــە ﺑــە اﯾﺴــﺘﮕﺎە »ﭼــﺮا داﺳــﺘﺎن ﻣﯽﻧﻮﯾﺴــﯿﻢ؟« رﺳﯿﺪەاﺳــﺖ‪،‬‬ ‫ﻗﻄــﺎرش رﻓﺘــە اﺳــﺖ‪ ،‬ﯾــﺎ ﺷــﺎﯾﺪ رﻓﺘــە ﺑﺎﺷــﺪ اﺻﻠــﻦ‪.‬‬ ‫ﭼﺮا داﺳﺘﺎن منﯽﻧﻮﯾﺴﯿﻢ؟‬

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‫ﺑﻪروژ ﺋﺎﮐﺮهﯾﯽ‬ ‫ﻣﺘﻮﻟــﺪ ﺳــﺎل ‪ ۱۹۶۳‬ﻣﯿــﻼدی در ﮐﺮدﺳــﺘﺎن‬ ‫ﻋــﺮاق اﺳــﺖ‪ .‬در ﺳــﺎل ‪ ۱۹۷۵‬ﺑــﻪ دﻧﺒــﺎل‬ ‫ﺷﮑﺴــﺖ ﺟﻨﺒــﺶ ﮐﺮدﻫــﺎ ﺑــﻪ ﻫﻤــﺮاه‬ ‫ﺧﺎﻧــﻮاده ﺑــﻪ اﯾ ـﺮان ﭘﻨﺎﻫﻨــﺪه ﺷــﺪ و ﭘﺎﻧــﺰده‬ ‫ﺳــﺎل در اﯾــﺮان زﻧﺪﮔــﯽ ﮐــﺮد و ﭼﻬــﺎرده‬ ‫ﺳــﺎﻟﯽ ﻣﯽﺷــﻮد ﮐــﻪ در ﺳــﻮﺋﺪ اﻗﺎﻣــﺖ دارد‪.‬‬ ‫ﺑــﻪ ﮐــﻮردی ﭘﻨــﺞ ﻣﺠﻤﻮﻋــﻪ ﺷــﻌﺮ دارد‪ .‬ﻧﻘــﺪ‬ ‫ﻣﯽﻧﻮﯾﺴــﺪ‪ ،‬ﺗﺮﺟﻤــﻪ ﻣﯽﮐﻨــﺪ و ﺑــﻪ ﻓﺎرﺳــﯽ‬ ‫ﻓﻘــﻂ داﺳــﺘﺎن ﻣﯽﻧﻮﯾﺴــﺪ‪.‬‬ ‫ﺑــﻪروژ ﺋﺎﮐﺮهﯾــﯽ آﺛــﺎری از ﮔﻠﺸــﯿﺮی‪،‬‬ ‫ﺷــﺎﻣﻠﻮ‪ ،‬ﻓﺮﺧــﺰاد‪ ،‬روﯾﺎﯾــﯽ‪ ،‬ﺻﻔــﺪری‪،‬‬ ‫ﴎدوزآﻣــﯽ‪ ،‬رﺑﯿﺤــﺎوی‪ ،‬ﺻﺎﻟﺤــﯽ و دﯾﮕ ـﺮان‬ ‫را ﺑــﻪ ﮐــﺮدی ﺗﺮﺟﻤــﻪ و ﻣﻨﺘــﴩ ﮐــﺮده اﺳــﺖ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 3:55 AM‬‬

‫‪100-103-Story-EDITED.indd 102‬‬

‫‪STORY‬‬

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‫ﺳﺎﺳﺎن ﻗﻬﺮﻣﺎن‬ ‫ﻧﻮﯾﺴــﻨﺪه‪ ،‬ﺷــﺎﻋﺮ‪ ،‬ﺑﺎزﯾﮕــﺮ‪ ،‬ﻧــﺎﴍ و‬ ‫روزﻧﺎﻣﻪﻧــﮕﺎر اﯾﺮاﻧﯽﺳــﺖ ﮐــﻪ رﻣــﺎن‬ ‫»ﮔﺴــﻞ« را ﺑــﻪ ﻋﻨــﻮان اوﻟﯿــﻦ ﺗﺠﺮﺑــﻪ‬ ‫ﺟــﺪی در ﻧﻮﯾﺴــﻨﺪﮔﯽ ﺧﻠــﻖ ﮐــﺮده اﺳــﺖ‪.‬‬ ‫ﺗﺎﮐﻨــﻮن ﺳــﻪ رﻣــﺎن »ﮔﺴــﻞ«‪» ،‬ﮐﺎﻓــﻪ‬ ‫رﻧﺴــﺎﻧﺲ«‪ ،‬و »ﺑــﻪ ﺑﭽﻪﻫــﺎ ﻧﮕﻔﺘﯿــﻢ«‪،‬‬ ‫ﺳــﻪ ﻣﺠﻤﻮﻋــﻪ ﺷــﻌﺮ »ﺳــﺒﺰ« و »رﻧــﮓ«‬ ‫و »ﻫﻔــﺪه رواﯾــﺖ ﻣــﺮگ« و ﻣﺠﻤﻮﻋــﻪ‬ ‫ﻣﻘــﺎﻻت ﺑﺴــﯿﺎری ﺑــﻪ ﻗﻠــﻢ او ﻣﻨﺘــﴩ ﺷــﺪه‬ ‫اﺳــﺖ‪ .‬ﺳﺎﺳــﺎن ﻗﻬﺮﻣــﺎن در ﺳــﺎلﻫﺎی اﺧﯿــﺮ‬ ‫ﺑــﻪ آﻣــﻮزش داﺳﺘﺎنﻧﻮﯾﺴــﯽ و ﺷــﯿﻮهﻫﺎی‬ ‫ﻧﻘــﺪ و ﺑﺮرﺳــﯽ در ﮐﺎرﮔﺎهﻫــﺎی آﻣﻮزﺷــﯽ‬ ‫»ﮐﺎﻓﻪرﻧﺴــﺎﻧﺲ آﮐﺎدﻣــﯽ« و »ﻓﺮﻫﻨﮕﺨﺎﻧــ ٔﻪ‬ ‫اﯾﺮاﻧــﯽ ﺗﻮرﻧﺘــﻮ« ﭘﺮداﺧﺘــﻪ اﺳــﺖ‪.‬‬

‫ﭼﯽ ﺷﺪ؟‬ ‫ﭼﮕﻮﻧﻪ ﺷﺪ؟‬ ‫ﭼﺮا ﺷﺪ؟‬ ‫ﺷﺪ؟‬ ‫اﯾﻦﻫــﺎ ﭘﺮﺳﺶﻫﺎﯾﯽﺳــﺖ ﮐــﻪ وﻗﺘــﯽ داﺳــﺘﺎن‬ ‫ﻣﯽﻧﻮﯾﺴــﯿﻢ از ﺧــﻮد ﻣﯽﭘﺮﺳــﯿﻢ‪ ،‬و وﻗﺘــﯽ ﮐــﻪ‬ ‫داﺳــﺘﺎﻧﯽ را ﻣﯽﺧﻮاﻧﯿــﻢ‪ .‬اﻣــﺎ‪ ،‬ﻣﺜــﻞ ﻫﻤﯿﺸــﻪ‪ ،‬ﺑــﻪ ﻗــﻮل‬ ‫ﻣﯿــﻼن ﮐﻮﻧــﺪرا‪» ،‬زﻧﺪﮔــﯽ ﺟــﺎی دﯾﮕــﺮ اﺳــﺖ«‪...‬‬ ‫آن »اﺗﻔــﺎق« و ﭼﺮاﯾــﯽ و ﭼﮕﻮﻧﮕــﯽاش‪ ،‬ذات ﻫــﺮ‬ ‫»رواﯾــﺖ« اﺳــﺖ‪ ،‬و ﭘــﺲ‪ ،‬ذات ﻫــﺮ ﺷــﮕﺮ ِد رواﯾــﯽ‪.‬‬ ‫وﻟــﯽ ﮐﺎ ِر »داﺳــﺘﺎن« ﭘﯽﺟﻮﯾــﯽِ اﺗﻔﺎقﻫــﺎ ﻧﯿﺴــﺖ‪.‬‬ ‫ﭘــﺲ ﭼﻴﺴــﺖ؟ منﯽداﻧــﻢ‪ .‬ﻫﯿــﭻ وﻗــﺖ ﺑــﻪ آن ﻓﮑــﺮ‬ ‫ﻧﮑــﺮدهام‪ .‬ﮐﺎر داﺳــﺘﺎن ﺷــﺎﯾﺪ اﻳــﻦ ﺑﺎﺷــﺪ ﻛــﻪ ﭼﻴــﺰی را‬ ‫در ﻣــﺎ زﻧــﺪه ﻛﻨــﺪ‪ .‬ﻟﺤﻈﻪﻫﺎﯾــﯽ ﮔﺮﯾــﺰان در آن ﭘﻨــﺎه‬ ‫ﮔﺮﻓﺘــﻪ ﺑﺎﺷــﻨﺪ و ﻧﺎﮔﻬــﺎن ﺑــﻪ ﺟﺎﯾــﯽ در ذﻫــﻦ و ﺣــﺲ ﻣﺎ‬ ‫ﻓــﺮو ﺑﻐﻠﺘﻨــﺪ‪ ،‬و ﭼﻴــﺰی را در ﻣــﺎ زﻧــﺪه ﻛﻨﻨــﺪ‪...‬‬ ‫ﻫــﺮ روز و ﻫــﺮ ﺳــﺎﻋﺖ ﻫـﺰاران ﻧﻔــﺮ ﻫـﺰاران داﺳــﺘﺎن‬ ‫ﻣﯽﻧﻮﯾﺴــﻨﺪ‪ .‬از اﯾــﻦ ﺟﻤــﻊِ ﭘﺮﺷــامر‪ ،‬ﺑﻌﻀﯽﻫــﺎ‬ ‫ﻣﺮﺗﺐﺗــﺮ از ﺑﻘﯿــﻪ ﻣﯽﻧﻮﯾﺴــﻨﺪ‪ ،‬ﻧــﻪ ﮔﻪﮔﺎﻫــﯽ‪ ،‬ﺑــﺎ‬ ‫ﻧﻈــﻢ ﺑﯿﺸــﱰ و ﭘﺮاﮐﻨﺪﮔــﯽِ ﮐﻤــﱰ‪ .‬از آنﻫــﺎ‪ ،‬ﺑﻌﻀــﯽ‬ ‫در روﻧـ ِـﺪ ﻧﻮﺷنتﻫﺎﺷــﺎن ﺑــﻪ »اﺳــﺘﺎﯾﻞ« ﯾــﺎ »ﺷــﯿﻮه«ی‬ ‫ـﺐ ﺧــﻮد دﺳــﺖ ﻣﯽﯾﺎﺑﻨــﺪ‪ ،‬و از اﯾــﻦ‬ ‫ﻣﻨﺎﺳــﺐ‪ /‬ﻣﺘﻨﺎﺳـ ِ‬ ‫ِ‬ ‫ﺗﺸــﺨﺺ »ﺻــﺪا«ی‬ ‫ﺟﻤــﻊِ ﮐﻮﭼﮏﺗــﺮ‪ ،‬ﺑﻌﻀــﯽ ﺑــﻪ‬ ‫ﺧــﻮد ﻣﯽرﺳــﻨﺪ‪ ،‬و دﺳـ ِ‬ ‫ـﺖ آﺧــﺮ‪ ،‬ﺑﻌﻀــﯽ ﺑــﻪ ﺷــﮑﻔﺘﮕﯽِ‬ ‫آن »ﺻــﺪا«‪ .‬اﯾــﻦ ﺗﺮﮐﯿــﺐ‪ ،‬ﺷــﺎﯾﺪ ﺑﺘﻮاﻧــﺪ ﺑــﺮای ﻫــﺮ‬ ‫ﻧﻮﯾﺴــﻨﺪهای »ﻫــﺪف« ﺑﻪﺷــامر آﯾــﺪ‪ ،‬اﻣــﺎ »ﻣﻘﺼــﺪ«‬ ‫ﻧﯿﺴــﺖ‪» .‬روﻧــﺪ« اﺳــﺖ‪ .‬در ﻃــﯽ و ﻃــﻮل »روﻧــﺪ«‬

‫ﭘﺮداﺧﺘــﻪ ﻣﯽﺷــﻮد‪ .‬ﺑــﻪ »زﻧﺪﮔــﯽ« ﻣﯽﻣﺎﻧــﺪ‪ .‬ﺑــﻪ‬ ‫»ﻫﻮﯾــﺖ«‪ .‬ﺷــﺎﯾﺪ داﺳــﺘﺎن ﻣﯽﻧﻮﯾﺴــﯿﻢ ﺗــﺎ ﻫﻮﯾــﺖ‬ ‫ﺧــﻮد را درﯾﺎﺑﯿــﻢ…‬ ‫در منﺎﯾــﺶ »ﻣﯿــﺮاث« اﺛــﺮ ﺑﻬــﺮام ﺑﯿﻀﺎﯾــﯽ‪ ،‬ﯾﮑــﯽ از‬ ‫ﺷــﺨﺼﯿﺖﻫﺎ در ﺑﺨﺸــﯽ از ﮔﻔﺖوﮔــﻮی ﺧــﻮد ﺑــﺎ‬ ‫ﺑﺮادراﻧــﺶ‪ ،‬از ﻗــﻮل ﭘــﺪر ﻣﯽﮔﻮﯾــﺪ‪» :‬اﺷــﯿﺎء ﺑﯿﺸــﱰ از‬ ‫ﻣــﺎ ﻋﻤــﺮ ﻣﯽﮐﻨﻨــﺪ‪ .‬آنﻫــﺎ ﻣــﺎ را ﻣﻨﻌﮑــﺲ ﻣﯽﮐﻨﻨــﺪ؛‬ ‫آن ﻫــﻢ وﻗﺘــﯽ ﮐــﻪ ﻣــﺎ ﻧﯿﺴﺘﯿﻢ‪«.‬داﺳــﺘﺎنﻫﺎ ﻫــﻢ‬ ‫ﻣــﺎ را ﻣﻨﻌﮑــﺲ ﻣﯽﮐﻨﻨــﺪ‪ .‬ﺣﻀــﻮر ﻣــﺎ را‪ ،‬وﻗﺘــﯽ ﮐــﻪ‬ ‫ﻧﯿﺴــﺘﯿﻢ‪ ،‬ﻧﺎدﯾــﺪه ﻣﯽﻣﺎﻧﯿــﻢ‪ ،‬منﯽﺑﯿﻨﯿــﻢ‪.‬‬ ‫داﺳــﺘﺎنﻫﺎ ﻫــﻢ ﻣﺜــﻞ آدمﻫــﺎ ﻫﺴــﺘﻨﺪ‪ .‬از ﮐﻨــﺎر‬ ‫ﺑﻌﻀﯽﻫــﺎ ﻣﯽﮔﺬرﯾــﻢ و منﯽﺑﯿﻨﯿﻢﺷــﺎن‪ ،‬از ﺑﻌﻀــﯽ‬ ‫ﻣﯽآﻣﻮزﯾــﻢ و از ﺑﻌﻀــﯽ ﻣﯽﮔﺮﯾﺰﯾﯿــﻢ‪ ،‬ﺑﻌﻀــﯽ را‬ ‫منﯽﺗﻮاﻧﯿــﻢ ﻧﺎدﯾــﺪه ﺑﮕﯿﺮﯾــﻢ‪ ،‬ﺑــﺎ ﺑﻌﻀﯽﻫــﺎ دوﺳــﺘﯽ‬ ‫ﻣﯽﮐﻨﯿــﻢ‪ ،‬و ﺑﻌﻀــﯽ‪ ،‬ﻣﻌــﺪودی‪ ،‬ﯾﮑــﯽ ﺷــﺎﯾﺪ‪ ،‬ﭼﻨــﺎن‬ ‫ﺑــﻪ وﺟﻮدﻣــﺎن ﻣﻌﻨــﺎ ﻣﯽﺑﺨﺸــﺪ ﮐــﻪ منﯽﺗﻮاﻧﯿــﻢ‬ ‫ﺧــﻮد را ﺑــﺪون او ﺗﻌﺮﯾــﻒ ﮐﻨﯿــﻢ‪ .‬آدمﻫــﺎ‪ ،‬ﻧﺴــﻞﻫﺎ‪،‬‬ ‫راﺑﻄﻪﻫــﺎ‪ ،‬ﻣﻮﻗﻌﯿﺖﻫــﺎ‪ ،‬اﺗﻔﺎقﻫــﺎ‪ ،‬و واﮐﻨﺶﻫــﺎ‪،‬‬ ‫ﺑﺴــﯿﺎر ﺑﯿﺸــﱰ از ﺗﻔﺎوتﻫﺎﺷــﺎن‪ ،‬ﺑــﻪ ﻫــﻢ ﺷــﺒﯿﻪاﻧﺪ‪.‬‬ ‫آدمﻫــﺎ و اﺗﻔﺎقﻫــﺎ ﺗﮑــﺮار ﻣﯽﺷــﻮﻧﺪ‪ .‬اﻧﺘﺨﺎبﻫــﺎ‪،‬‬ ‫ﮐﺎﻣﯿﺎﺑﯽﻫــﺎ و اﺷــﺘﺒﺎهﻫﺎ ﺗﮑــﺮار ﻣﯽﺷــﻮﻧﺪ‪ .‬ﻫــﺮ‬ ‫روز و ﻫــﺮ ﻟﺤﻈــﻪ‪ .‬اﻣــﺎ ﮔﺎه ﭼﯿــﺰی ﻧﺎﮔﻬــﺎن در اﯾــﻦ‬ ‫ﮔﺮدوﻧــﻪی ﺗﮑـﺮار و ﺗﺎرﯾﮑــﯽ ﺑــﺮق ﻣــﯽ زﻧــﺪ و ﻣﯽﻟــﺮزد‬ ‫و در ﻫــامن ﯾــﮏ ﺛﺎﻧﯿــﻪ ﻧــﻮر و ﻟــﺮزه‪ ،‬ﭼﯿــﺰی‪ ،‬ﺧﻄــﯽ‪،‬‬ ‫راﻫــﯽ‪ ،‬ﺳــﮑﻮﯾﯽ‪ ،‬ﭘﯿﭽــﯽ ﭘﺪﯾــﺪار ﻣﯽﺷــﻮد و ﮔﺎم ﻣــﺎ‬ ‫ﺑــﻪ ﺧﻄــﯽ ﺗــﺎزه ﻣﯽﭼﺮﺧــﺪ‪ .‬ﻣﺜــﻞ ﺟﻬﺶﻫــﺎی ژﻧﺘﯿــﮏ‬ ‫در ﭘــﺲ ﻫﺰارﻫــﺎ ﻣﯿﻠﯿــﻮن ﺳــﺎل‪ .‬آدمﻫــﺎ‪ ،‬ﻣﻮﻗﻌﯿﺖﻫــﺎ‪،‬‬

‫اﺗﻔﺎقﻫــﺎ و ﺗﺼﺎدفﻫــﺎ‪ ،‬ﮔﺎه ﭼﻨﯿــﻦ ﺗﺎﺛﯿــﺮی ﺑــﺮ ﻫــﻢ‬ ‫ﻣﯽﮔﺬارﻧــﺪ‪ .‬ﯾــﺎ زﻣﯿﻨــﻪی ﭼﻨﯿــﻦ ﺣﺮﮐﺘــﯽ ﻣﯽﺷــﻮﻧﺪ‪.‬‬ ‫در ﺑﺴــﯿﺎری از زﻧﺪﮔﯽﻫــﺎ‪ ،‬ارﺗﺒﺎطﻫــﺎ‪ ،‬ﺑــﺎ وﺟــﻮد متــﺎم‬ ‫ﴍاﯾــﻂ‪ ،‬ﻧﯿﮏﺧﻮاﻫﯽﻫــﺎ‪ ،‬ﻣﻬﺮورزیﻫــﺎ‪ ،‬ﺣﺮﮐﺘــﯽ در‬ ‫ﮐﺎر ﻧﯿﺴــﺖ‪ .‬ﭼﯿــﺰی ﮐــﻪ ﺑﺸــﺎﯾﺪ‪ .‬ﭼﯿــﺰی ﮐــﻪ ﺑﺘﻮاﻧــﺪ‬ ‫دﯾــﺪه ﺷــﻮد ﺗــﺎ اﻫﻤﯿــﺖ ﺑﯿﺎﯾــﺪ‪ ،‬ﯾــﺎ اﻫﻤﯿــﺖ ﺑﯿﺎﯾــﺪ‬ ‫ﺗــﺎ دﯾــﺪه ﺷــﻮد‪ ،‬و ﺣﺮﮐﺘــﯽ ﺑﯿﺎﻓﺮﯾﻨــﺪ‪ .‬در ﺑﺴــﯿﺎری‬ ‫از رواﯾﺖﻫــﺎ ﻧﯿــﺰ‪ ،‬ﺑــﺎ وﺟــﻮد ﺗﻮﺿﯿﺢﻫــﺎ‪ ،‬ﻗﺼــﻪای‬ ‫در ﮐﺎر ﻧﯿﺴــﺖ‪ .‬ﻣﻘــﺪاری ﺗﻮﺿﯿــﺢ و ﺗﻮﺻﯿــﻒ و‬ ‫اﻧــﺪرز و درد دل و ﴐباﳌﺜــﻞ و ﺟﻤــﻼت ﻗﺼــﺎر‪،‬‬ ‫ﯾــﺎ ﺣﺘــﺎ واﻗﻌﻪﻫــﺎی ﺑﯽرﺑــﻂ ‪ -‬ﻫﻤﭽــﻮن ﺑﺎزیﻫــﺎ‬ ‫و ﺷــﯿﺮﯾﻦﮐﺎریﻫﺎی ﺳــﯿﺮکﻫﺎ‪ -‬ﺟــﺎی ﻗﺼــﻪ را‬ ‫ﻣﯽﮔﯿــﺮد‪ .‬اﻣــﺎ داﺳــﺘﺎنﻫﺎی ﺧــﻮب‪ ،‬ﺷــﺨﺼﯿﺖﻫﺎ‬ ‫و ﻣﻮﻗﻌﯿﺖﻫــﺎی ﺧــﻮب داﺳــﺘﺎﻧﯽ‪،‬ﺑﻪ آن دﯾﮕﺮیﻫــﺎ‬ ‫ﺷــﺒﯿﻪاﻧﺪ‪ .‬داﺳــﺘﺎن ﺧــﻮب‪ ،‬رواﯾــﺖ ﺧــﻮب از‬ ‫ﻣﻮﻗﻌﯿﺘــﯽ ﺧــﻮب‪ ،‬ﯾﻌﻨــﯽ اﯾﺴــﺘﺎدن و دﻗﯿــﻖ ﺷــﺪن‬ ‫و دﯾــﺪن‪ .‬ﯾﻌﻨــﯽ رﺳــﯿﺪن ﺑــﻪ آن ﻟﺤﻈــﻪای ﮐــﻪ دور‬ ‫زﻧﺪﮔــﯽ ﭘﯿﺮاﻣــﻮن آدم اﻧــﮕﺎر ﮐﻨــﺪ ﻣﯽﺷــﻮد‪ ،‬از ﺣﺮﮐــﺖ‬ ‫ﻣﯽاﯾﺴــﺘﺪ‪ ،‬ﻣﺤــﻮ ﻣﯽﺷــﻮد‪ ،‬ﻣﯽﻧﺸــﯿﻨﯽ و ﺑــﺎ آراﻣﺸــﯽ‬ ‫ﻏﺮﯾــﺐ ﺑــﻪ درون ﺧــﻮد ﻧــﮕﺎه ﻣﯽﮐﻨــﯽ و ﻟﺒﺨﻨــﺪ‬ ‫ﻣﯽزﻧــﯽ و ﭼﯿــﺰی ﺷــﻔﺎف را ﻣﯽﺑﯿﻨــﯽ‪ .‬ﭼﯿــﺰی آﺷــﻨﺎ‪،‬‬ ‫اﻣــﺎ ﺗــﺎزه‪ .‬و آﻧﺠﺎﺳــﺖ ﮐــﻪ اﺣﺴــﺎس ﻣﯽﮐﻨــﯽ زﻧــﺪهای‪،‬‬ ‫ﯾــﺎ ﺑــﺎز‪ ،‬ﯾــﺎ ﻫﻨــﻮز‪ ،‬ﯾــﺎ زﻧــﺪه ﺑﻮدﻧــﺖ‪ ،‬ﯾــﺎ ﺗﺎﺛﯿــﺮ زﻧــﺪه‬ ‫ﺑﻮدﻧــﺖ‪ ،‬ارزش زﻧــﺪه ﺑﻮدﻧــﺖ‪ ،‬ﺗﻔــﺎوت زﻧــﺪه ﺑﻮدﻧــﺖ‪،‬‬ ‫ﺑﻮدﻧــﺖ‪ ،‬را ﻣﯽﺑﯿﻨــﯽ و ﮐﺸــﻒ ﻣﯽﮐﻨــﯽ‪ .‬ﮐﺎر داﺳــﺘﺎن‬ ‫ﺷــﺎﯾﺪ ﻫﻤﯿــﻦ ﺑﺎﺷــﺪ ﮐــﻪ اﯾــﻦ ﺗﻔــﺎوت را ﮐﺸــﻒ ﮐﻨــﯽ؛‬ ‫اﺣﺴــﺎس ﮐﻨــﯽ‪...‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 3:55 AM‬‬

‫‪100-103-Story-EDITED.indd 103‬‬

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‫بیانیه هیات داوران جایزه ادبی تیرگان‬

‫ﻣﺎﯾﻪ ﺷﺎدی ﺑﺴﯿﺎر اﺳﺖ ﮐﻪ ﺻﺪای داﺳﺘﺎن ﻧﻮﯾﺴﺎن ﻓﺎرﺳﯽزﺑﺎن از ﮔﻮﺷﻪ و ﮐﻨﺎر دﻧﯿﺎ ﺑﻪ ﮔﻮش ﻣﯽرﺳﺪ و ﺷﺨﺼﯿﺖﻫﺎی ﻗﺎﻧﻊﮐﻨﻨﺪه و ﺑﺎورﭘﺬﯾﺮ‪ ،‬ﻧﻘﺸﯽ ﻏﯿﺮ ﻗﺎﺑﻞ اﻧﮑﺎر دارد‪ .‬در ﺣﺎﻟﯽ ﮐﻪ ﺑﺮﺧﯽ از آﺛﺎر‪ ،‬ﺑﯽﺗﻮﺟﻪ‬ ‫ﺑﻪ ﻋﻨﺎﴏ رواﯾﯽ‪ ،‬ﺑﺎ ﺗﮑﯿﻪ ﴏف ﺑﺮ ﻧﻘﻞ ﯾﺎ ﮔﻔﺘﺎر‪ ،‬از ﻋﻨﺎﴏی ﭼﻮن ﮔﻔﺘﮕﻮ و ﺻﺤﻨﻪﭘﺮدازی ﮐﻤﱰ ﺑﻬﺮه‬ ‫ﺿﻤﻦ ﺑﺎزﺗﺎب دادن دﯾﺪﮔﺎﻫﻬﺎ‪ ،‬ﺧﻮاﺳﺘﻪﻫﺎ‪ ،‬ﺗﻮاﻧﺎﯾﯽﻫﺎ‪ ،‬آرزوﻫﺎ و آﻻم ﻣﺸﱰک ﺑﴩی‪ ،‬ﺗﺠﺮﺑﻪﻫﺎی ﻫﺴﺘﯽ‬ ‫ﺑﺮدهاﻧﺪ و در ﭘﯽ ﺗﻠﻔﯿﻖ ﻫرنﻣﻨﺪاﻧﻪ ﻧﻘﻞ و ﮔﻔﺘﮕﻮ و ﺗﻮﺻﯿﻒ ﺑﺮﻧﯿﺎﻣﺪهاﻧﺪ‪.‬‬ ‫ﺷﻨﺎﺧﺘﯽ اﻧﺴﺎن اﯾﺮاﻧﯽ را‪ ،‬در ﻫﺮﮐﺠﺎی ﺟﻬﺎن‪ ،‬ﺑﻪ منﺎﯾﺶ ﻣﯽﮔﺬارد‪.‬‬ ‫ﺗﺒﺤﺮ ﻧﻮﯾﺴﻨﺪه در ﭘﺮداﺧﺖ داﺳﺘﺎن‪ ،‬ﻣﯽﺗﻮاﻧﺪ ﺣﺘﯽ داﺳﺘﺎﻧﯽ دارای ﻣﻮﺿﻮع ﺗﮑﺮاری را ﻧﺠﺎت دﻫﺪ‪ .‬ﮐﻢ‬ ‫ﻫﯿﺎت داوران ﺟﺎﯾﺰه ادﺑﯽ ﺗﯿﺮﮔﺎن ﺿﻤﻦ ارج ﻧﻬﺎدن ﺑﻪ ﺗﻼشﻫﺎی ﻫﻤﻪ داﺳﺘﺎن ﻧﻮﯾﺴﺎﻧﯽ ﮐﻪ ﺑﺎ ارﺳﺎل‬ ‫آﺛﺎر ﺧﻮد از ﻧﻘﺎط ﻣﺨﺘﻠﻒ ﺟﻬﺎن‪ ،‬ﻣﺎ را در ﺗﺠﺮﺑﻪﻫﺎی ﻧﻮﺷﺘﺎری ﺧﻮد ﴍﯾﮏ ﺳﺎﺧﺘﻨﺪ‪ ،‬ذﮐﺮ ﭼﻨﺪ ﻧﮑﺘﻪ را ﺗﻮﺟﻬﯽ ﺑﻪ ﺷﯿﻮهﻫﺎی ﻣﺒﺘﮑﺮاﻧﻪ ﺳﺎﺧﺖ و ﭘﺮداﺧﺖ داﺳﺘﺎن‪ ،‬و ﮐﻢ ﺣﻮﺻﻠﮕﯽ در ﺑﺎزﺧﻮاﻧﯽ و ﺑﺎزﻧﻮﯾﺴﯽ اﺛﺮ‪،‬‬ ‫ﺷامری از داﺳﺘﺎﻧﻬﺎی دارای ﺳﻮژه ﺑﮑﺮ را از درﺧﺸﺶ ﻻزم ﺑﺎزداﺷﺘﻪ اﻧﺪ‪.‬‬ ‫ﴐوری ﻣﯽ داﻧﺪ‪:‬‬ ‫آﺛﺎر ﺟﻮان ﻣﯽﺗﻮاﻧﺪ ﻫﻮای ﺗﺎزهای را در ﻋﺮﺻﻪ ادﺑﯿﺎت ﻣﻌﺎﴏ ﺟﺮﯾﺎن دﻫﺪ‪ .‬زﯾﺮا ﻣﻬﻤﱰﯾﻦ وﯾﮋﮔﯽ ﭼﻨﯿﻦ در ﻣﺠﻤﻮع‪ ،‬ﺑﻪ ﺳﺒﺐ ﺗﻌﺪد داﺳﺘﺎﻧﻬﺎی ﻫﻢ ﺳﻄﺢ‪ ،‬اﻋﻼم ﻧﺘﯿﺠﻪ ﻧﻬﺎﯾﯽ ﮐﺎر ﭼﻨﺪان ﺳﺎدهای ﻧﺒﻮد‪ .‬از اﯾﻦ‬ ‫رو‪ ،‬ﻻزم ﺑﻪ ذﮐﺮ اﺳﺖ ﮐﻪ اﻧﺘﺨﺎب ﭼﻨﺪ داﺳﺘﺎن ﻋﻨﻮان ﺑﺮﻧﺪه‪ ،‬ﺑﻪ ﻣﻨﺰﻟﻪ ﮐﻢ ارزش ﺑﻮدن ﺳﺎﯾﺮ داﺳﺘﺎنﻫﺎﯾﯽ‬ ‫آﺛﺎری‪ ،‬ﺗﺠﺮﺑﻪ ﮔﺮاﯾﯽ ﻧﻮﯾﺴﻨﺪﮔﺎﻧﯽ اﺳﺖ ﮐﻪ ﭼﻮن ﻫﻨﻮز در روﺷﻬﺎی ﻧﻮﺷنت ﺗﺜﺒﯿﺖ ﻧﺸﺪهاﻧﺪ‪ ،‬راﻫﻬﺎی‬ ‫ﻧﮑﻮﺑﯿﺪه را ﻃﯽ ﻣﯽﮐﻨﻨﺪ‪ .‬در ﻣﯿﺎن آﺛﺎر ارﺳﺎﻟﯽ‪ ،‬ﺗﻌﺪاد داﺳﺘﺎﻧﻬﺎی ﮐﻮﺗﺎه ﺧﻮاﻧﺪﻧﯽ ﮐﻪ ﺑﺮ اﺳﺎس درﯾﺎﻓﺖ ﮐﻪ ﺑﻪ ﻣﺮﺣﻠﻪ ﻧﯿﻤﻪﻧﻬﺎﯾﯽ رﺳﯿﺪهاﻧﺪ‪ ،‬ﻧﯿﺴﺖ‪.‬‬ ‫و ﺣﺴﯽ ﺗﺎزه ﻧﻮﺷﺘﻪ ﺷﺪهاﻧﺪ‪ ،‬ﮐﻢ ﻧﯿﺴﺖ‪ .‬ﺑﻌﻀﯽ از آﻧﻬﺎ ﺑﻪ ﻟﺤﺎظ ﺗﻮان ﻗﺼﻪﮔﻮﯾﯽ ﻣﻮﻟﻒ و اﯾﺠﺎد ﺗﻌﻠﯿﻖ ﻫﯿﺎت داوران ﺑﺮای ﻫﻤﻪ ﻋﺰﯾﺰاﻧﯽ ﮐﻪ ﺑﺎ ارﺳﺎل آﺛﺎر ﺧﻮد‪ ،‬اﯾﻦ ﻓﺮﺻﺖ را ﭘﺪﯾﺪ آوردﻧﺪ ﺗﺎ درﯾﺎﺑﯿﻢ در اﯾﺮان‬ ‫رواﯾﯽ‪ ،‬واﺟﺪ ارزﺷﻨﺪ؛ و دﺳﺘﻪای از داﺳﺘﺎﻧﻬﺎ ﺳﺎﺧﺘﺎری ﺳﺎده اﻣﺎ ﻣﺤﮑﻢ و ﺷﺎﻋﺮاﻧﻪ دارﻧﺪ؛ و در ﺷامری از و ﺧﺎرج از اﯾﺮان‪ ،‬ﺟﻮاﻧﺎن ﻓﺎرﺳﯽ زﺑﺎن ﭼﮕﻮﻧﻪ داﺳﺘﺎن ﻣﯽﻧﻮﯾﺴﻨﺪ‪ ،‬و ﭼﻪ ﻣﺸﻐﻠﻪﻫﺎﯾﯽ دارﻧﺪ‪ ،‬آرزوی‬ ‫آﻧﻬﺎ ﺷﺎﻫﺪ ﺟﺴﺎرت ﻧﻮﯾﺴﻨﺪه در ﺗﺠﺮﺑﻪ ﻓﺮمﻫﺎی ﺗﺎزه ﻫﺴﺘﯿﻢ‪ .‬اﻟﺒﺘﻪ ﺷامری از داﺳﺘﺎنﻫﺎﯾﯽ ﮐﻪ ﺗﻮﺳﻂ دو ﻣﻮﻓﻘﯿﺖ ﻣﯽﮐﻨﺪ؛ و داﺳﺘﺎنﻫﺎی زﯾﺮ را ﺷﺎﯾﺴﺘﻪ رﺗﺒﻪﻫﺎی اول ﺗﺎ ﺳﻮم ﻣﯽداﻧﺪ‪:‬‬ ‫ﮔﺮوه داوری ﺑﻪ دﻗﺖ ﺧﻮاﻧﺪه و ﺑﺮرﺳﯽ ﺷﺪه اﺳﺖ )ﺑﺎﻟﻎ ﺑﺮ ﭼﻬﺎرﺻﺪو ﭘﻨﺠﺎه اﺛﺮ(‪ ،‬ﺑﺎ وﺟﻮد ﺑﺮﺧﻮرداری‬ ‫برنــده خنســت‪« :‬آکواریــوم»‪ ،‬نوشــته علی محمدی کاشــانی‬ ‫از وﯾﮋﮔﯽﻫﺎی درﺳﺖ داﺳﺘﺎﻧﯽ‪ ،‬ﻓﺎﻗﺪ ﺑﺮﺧﯽ از دﯾﮕﺮ ﺧﺼﻮﺻﯿﺎت ﻻزم ﺑﺮای رﺳﯿﺪن ﺑﻪ ﺣﺪ ﯾﮏ داﺳﺘﺎن‬ ‫ﮐﺎﻣﻞ ﺑﻮدهاﻧﺪ‪.‬‬ ‫ﺗﺒﻌﺎت‬ ‫و‬ ‫ﺟﻨﮓ‬ ‫ﺟﺪاﯾﯽ‪،‬‬ ‫و‬ ‫ان‬ ‫ﺮ‬ ‫ﻫﺠ‬ ‫ﻋﺸﻖ‪،‬‬ ‫دارﻧﺪ‪.‬‬ ‫ﭼﺸﻤﮕﯿﺮی‬ ‫ﺗﻨﻮع‬ ‫ﻣﻮﺿﻮﻋﯽ‪،‬‬ ‫ﻧﻈﺮ‬ ‫از‬ ‫ﺑﺮرﺳﯽ‬ ‫آﺛﺎر ﻣﻮرد‬ ‫برنــدگان دوم ‪« :‬ســفته بــاز»‪ ،‬نوشــته امیــر رضــا بیگدلــی و «حلــزون و اولین جنگ‬ ‫آن‪ ،‬زﻧﺪان‪ ،‬اﻋﺪام و ﻗﺼﺎص‪ ،‬ﻣﻬﺎﺟﺮت و ﻧﻮﺳﺘﺎﻟﮋی ﺑﺎزﮔﺸﺖ ﺑﻪ وﻃﻦ‪ ،‬ﺧﯿﺎﻧﺖ‪ ،‬و ﺑﯿامری از ﺑﯿﺸﱰﯾﻦ‬ ‫خلیــج فــارس»‪ ،‬نوشــته نویــد حمزوی (بــا کســب امتیاز برابر)‬ ‫ﺑﺴﺎﻣﺪ ﺑﺮﺧﻮردارﻧﺪ‪.‬‬ ‫آﺷﮑﺎر اﺳﺖ ﮐﻪ »زﺑﺎن« ﺑﻪ ﻋﻨﻮان ﺟﻮﻫﺮ داﺳﺘﺎن و ﻣﺠﺮای ورود ﺑﻪ ﻓﻀﺎی اﺛﺮ داﺳﺘﺎﻧﯽ‪ ،‬اﻫﻤﯿﺖ واﻻﯾﯽ‬ ‫برنــده ســوم‪« :‬امضا‪ :‬خــدا»‪ ،‬نوشــته حامد احمدی‬ ‫دارد‪ .‬ﻫﯿﺎت داوران ﺿﻤﻦ ﺳﺘﺎﯾﺶ از ﮐﺎر داﺳﺘﺎنﻧﻮﯾﺴﺎن دور از وﻃﻦ ﮐﻪ ﺑﻪ زﺑﺎن ﻓﺎرﺳﯽ ﻣﯽ ﻧﻮﯾﺴﻨﺪ‪،‬‬ ‫ﻣﺘﺬﮐﺮ ﻣﯽﺷﻮد ﮐﻪ ﺗﻌﺪادی از آﺛﺎر ارﺳﺎﻟﯽ‪ ،‬ﺑﺎ وﺟﻮد ﺑﺮﺧﻮرداری از ﻣﻀﻤﻮنﻫﺎﯾﯽ ﻗﺎﺑﻞ ﺗﻮﺟﻪ‪ ،‬ﻧﺸﺎن از‬ ‫ﺗﻼش ﻧﻮﯾﺴﻨﺪه در راه رﺳﯿﺪن ﺑﻪ زﺑﺎﻧﯽ درﺧﻮر ﻧﺪارﻧﺪ‪ ،‬و ﺣﺘﯽ ﮔﺎه ﺧﻄﺎﻫﺎی ﻧﮕﺎرﺷﯽ و اﻣﻼﯾﯽ‪ ،‬ﺑﺮ دﯾﮕﺮ‬ ‫ﻗﺎﺑﻠﯿﺖﻫﺎی داﺳﺘﺎن ﺳﺎﯾﻪ اﻓﮑﻨﺪه اﺳﺖ‪.‬‬ ‫ﻫﯿﺎت داوران‪ :‬ﺻﻔﺪر ﺗﻘﯽ زاده‪ ،‬اﻣﯿﺮ ﺣﺴﯿﻦ ﭼﻬﻞ ﺗﻦ‪ ،‬ﺑﻬﻨﺎز ﻋﻠﯽ ﭘﻮر ﮔﺴﮑﺮی‪ ،‬ﺣﺸﻦ‬ ‫واﻗﻔﯿﻢ ﮐﻪ »ﺗﺨﯿﻞ«‪ ،‬ﺟﺎمنﺎﯾﻪ ﻫﺮ اﺛﺮداﺳﺘﺎﻧﯽ اﺳﺖ؛ و ﻧﻮآوری مثﺮه ﺗﺨﯿﻞ ﻧﻮﯾﺴﻨﺪه در داﺳﺘﺎﻧﯽ ﮐﺮدن‬ ‫ﻣﯿﺮﻋﺎﺑﺪﯾﻨﯽ‬ ‫واﻗﻌﯿﺖ‪ ،‬و ﺗﺒﺤﺮ او در ﺑﻪ ﮐﺎر ﮔﯿﺮی ﺻﻨﺎﻋﺖﻫﺎی ﻧﻮﺷنت ﺑﻪ ﺷامر ﻣﯽ رود‪ .‬ﺷامری از ﻧﻮﯾﺴﻨﺪﮔﺎن آﺛﺎر‬ ‫ارﺳﺎﻟﯽ‪ ،‬ﺑﺎ ﮐﻢ ﺗﻮﺟﻬﯽ ﺑﻪ ﺗﺨﯿﻞ ﺧﻼق داﺳﺘﺎﻧﯽ‪ ،‬ﻧﻮﺷﺘﻪ ﺧﻮد را از آﻧﭽﻪ ﮐﻪ ﻣﺎرﯾﻮوارﮔﺎس ﯾﻮﺳﺎ »ﻓﺮﯾﺒﺎﯾﯽ‬ ‫ﻫرنی« ﻣﯽﻧﺎﻣﺪ‪ ،‬ﮐﻢ ﺑﻬﺮه ﺳﺎﺧﺘﻪاﻧﺪ‪ .‬اﯾﻦ ﻗﺒﯿﻞ آﺛﺎر ﺑﺼﻮرت ﻧﻘﻞ ﺳﺎده ﯾﺎ ﮔﺰارش ﯾﮏ واﻗﻌﻪ‪ ،‬ﯾﺎ ﴍح‬ ‫دﺑﯿﺮ ﻫﯿﺎت داوران‪ :‬ﺣﻮرا ﯾﺎوری‬ ‫ﺧﺎﻃﺮه ﮔﻮﻧﻪ ﺷﮑﺴﺖﻫﺎ و ﻧﺎﮐﺎﻣﯽﻫﺎی ﻓﺮدی‪ ،‬رواﯾﺖ ﺷﺪهاﻧﺪ ﺑﯽآﻧﮑﻪ متﻬﯿﺪات ﺻﻨﺎﻋﯽ ﺑﺮای دادن ﺷﮑﻠﯽ‬ ‫ﻫرنی ﺑﻪ آﻧﻬﺎ‪ ،‬اﻧﺪﯾﺸﯿﺪه ﺷﺪه ﺑﺎﺷﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ ﻣﯽﺗﻮان اﺷﺎره ﮐﺮد ﺑﻪ ﺿﻌﻒ آﺛﺎر ﺑﯽﺑﻬﺮه از ﻗﺼﻪای ﭘﺮ‬ ‫ﮐﺸﺶ و ﺑﺮ اﻧﮕﯿﺰﻧﺪه؛ و ﯾﺎ آﺛﺎری ﮐﻪ ﺑﺎ در ﻏﻠﺘﯿﺪن ﺑﻪ ﻏﺮﻏﺎب ﺗﻌﻘﯿﺪ‪ ،‬ﻏﯿﺮ ﻗﺎﺑﻞ درک ﺷﺪهاﻧﺪ‪.‬‬ ‫ﭘﯿﻮﻧﺪ ﺧﻼق ﻧﻘﻞ‪ ،‬منﺎﯾﺶ‪ ،‬و ﺗﻮﺻﯿﻒ در رواﯾﺖ‪ ،‬در اﯾﺠﺎد ﮐﺸﺶ و ﺟﺬاﺑﯿﺖ داﺳﺘﺎن و ﺷﮑﻞ ﮔﯿﺮی‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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STORY

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‫‪ENVIRONMENT‬‬

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‫ﻗﺎﺑﻞ ذﮐﺮ اﺳﺖ ﮐﻪ ﺧﺸﮑﯽ »درﯾﺎﭼﻪ اروﻣﯿﻪ« ‪ -‬ﺑﺰرﮔﱰﯾﻦ درﯾﺎﭼﻪ منﮏ ﺟﻬﺎن ‪ -‬ﺣﺪود ‪ ۲۰‬درﺻﺪ از‬ ‫ﻣﻘﺪار ﺳﺎﺑﻘﺶ ‪ ،‬ﻧﮕﺮاﻧﯽ ﻫﺎﯾﯽ در ﻣﻮرد ﮔﺮد و ﻏﺒﺎر و منﮏ ﻃﻮﻓﺎن ﺑﻪ ﻫﻤﺮاه دارد و ﻣﻮﺟﺐ اﻓﺰاﯾﺶ‬ ‫ﻣﯿﺰان ﺑﯿامری ﺗﻨﻔﺴﯽ و ﻗﻠﺒﯽ ﺷﺪه اﺳﺖ‪ .‬ﻧﺎﺑﻮدی ﻣﺎﻫﯿﮕﯿﺮی و ﺗﻬﺪﯾﺪ ﺟﺪی ﮐﺸﺎورزی در ﻣﻨﻄﻘﻪ ﺑﻪ‬ ‫دﻟﯿﻞ ﮐﻤﺒﻮد منﮏزاﯾﯽ و آﺑﯿﺎری‪ ،‬ﻧﺘﯿﺠﻪ ﭼﻨﯿﻦ روﻧﺪیﺳﺖ‪ .‬دﻻﯾﻞ اﯾﻦ ﻣﻮﺿﻮع در درﺟﻪ اول ﻣﺴﺪود‬ ‫ﮐﺮدن ﺑﯿﺶ از ﺣﺪ ﴎﭼﺸﻤﻪﻫﺎ و اﺳﺘﻔﺎده ﺑﯿﺶ از ﺣﺪ آبﻫﺎی زﯾﺮزﻣﯿﻨﯽ ﺑﺮای آﺑﯿﺎری ﮐﺸﺎورزی ﻋﻨﻮان‬ ‫ﺷﺪه اﺳﺖ‪ .‬درﯾﺎﭼﻪ اروﻣﯿﻪ زﻣﺎﻧﯽ ﻣﻘﺮ دﺳﺘﻪ ﺑﺎﺷﮑﻮه ﭘﺮﻧﺪﮔﺎن ﻣﻬﺎﺟﺮ از ﺟﻤﻠﻪ ﻓﻼﻣﯿﻨﮕﻮ‪ ،‬ﭘﻠﯿﮑﺎن‪ ،‬ﻟﮏ ﻟﮏ‬ ‫ﮔﺮﻣﺴﯿﺮی‪ ،‬ﻟﮏ ﻟﮏ ﺳﻔﯿﺪ‪ ،‬ﻧﻮک ﺧﻨﺠﺮی‪ ،‬ﭼﻮب ﭘﺎ و ﻣﺮﻏﺎن درﯾﺎﯾﯽ ﺑﻮد‪.‬‬ ‫»درﯾﺎﭼﻪ ﺑﺨﺘﮕﺎن«‪ ،‬ﮐﻪ زﻣﺎﻧﯽ دوﻣﯿﻦ درﯾﺎﭼﻪ ﺑﺰرگ اﯾﺮان ﺑﻮد‪ .‬درﯾﺎﭼﻪ ﻫﺎﻣﻮن‪ ،‬ﻣﺮﻏﺰار ﻣﯿﺎن ﮐﻮﯾﺮ‪،‬‬ ‫ﮐﻪ زﻣﺎﻧﯽ ﺣﺎﻣﯽ اﻧﺒﻮه ﻣﺎﻫﯽ‪ ،‬روﺑﺎه‪ ،‬ﺳﻤﻮر‪ ،‬ﮔﻮزن‪ ،‬ﭘﻠﻨﮓ و ﭘﺮﻧﺪﮔﺎن ﻣﻬﺎﺟﺮ ﺑﻮد‪ .‬و زاﯾﻨﺪه رود ﯾﺎ رود‬ ‫ﺣﯿﺎت ﻫﻢ ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﺧﺸﮑﺴﺎﻟﯽ ﻃﻮﻻﻧﯽ ﻣﺪت و ﺳﺪﺳﺎزی ﺗﻘﺮﯾﺒﺎ ﺑﻪ ﺻﻮرت ﮐﺎﻣﻞ ﺧﺸﮏ ﺷﺪهاﻧﺪ‪ .‬در‬ ‫اﯾﻦ راﺑﻄﻪ ﻣﻄﺎﻟﻌﻪای در ﺳﺎل ‪ ۲۰۱۳‬ﺗﻮﺳﻂ ﻣﻮﺳﺴﻪ ﻣﻨﺎﺑﻊ ﺟﻬﺎﻧﯽ ﺻﻮرت ﮔﺮﻓﺖ ﮐﻪ اﯾﺮان را ﺑﻪ ﻋﻨﻮان‬ ‫ﺑﯿﺴﺖ و ﭼﻬﺎرﻣﯿﻦ ﮐﺸﻮر در ﻣﻌﺮض ﺧﻄﺮ ﺑﺎﻻی ﮐﻤﺒﻮد آب در آﯾﻨﺪه ﻣﻌﺮﻓﯽ ﮐﺮد‪ .‬ﺑﺎ وﺟﻮد اﺧﺒﺎر ﻧﮕﺮان‬ ‫ﮐﻨﻨﺪه‪ ،‬ﺗﺤﻮﻻت ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ در ﺣﻮزه ﻣﺤﯿﻂ زﯾﺴﺖ ﺑﺮای ﻣﺒﺎرزه ﺑﺎ ﺑﺤﺮانﻫﺎی ﻣﺪرن زﯾﺴﺖ ﻣﺤﯿﻄﯽ‬ ‫ﺻﻮرت ﮔﺮﻓﺘﻪ اﺳﺖ‪ .‬در آورﯾﻞ ‪ ۲۰۱۵‬ﺳﺎزﻣﺎن ﻣﺤﯿﻂ زﯾﺴﺖ اﯾﺮان از راه اﻧﺪازی ﺷﺼﺖ ﻣﺪرﺳﻪ ﺟﺪﯾﺪ ﺑﺎ‬ ‫ﻣﺤﻮرﯾﺖ ﻣﻄﺎﻟﻌﺎت زﯾﺴﺖ ﻣﺤﯿﻄﯽ در ﭘﻨﺞ ﻣﻨﻄﻘﻪ در ﴎاﴎ ﮐﺸﻮر ﺧﱪ داد‪ .‬اﯾﻦ ﻣﺪارس ﺑﺨﺸﯽ از ﯾﮏ‬ ‫ﭘﺮوژه آزﻣﺎﯾﺸﯽ ﺑﺮای آﮔﺎﻫﯽ زﯾﺴﺖ ﻣﺤﯿﻄﯽ در ﮐﻮدﮐﺎن از ﻣﻬﺪ ﮐﻮدک ﺗﺎ دﺑﯿﺮﺳﺘﺎن‪ ،‬ﺑﺎ ﻫﺪف ﮔﺴﱰش‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎ ﺑﻪ متﺎم ﻣﺪارس داﺧﻞ ﮐﺸﻮر ﻃﯽ ‪ ۱۰‬ﺳﺎل آﯾﻨﺪه ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺳﺎزﻣﺎنﻫﺎی ﻏﯿﺮدوﻟﺘﯽ ﻫﻢ ﻧﻘﺶ ﻣﻬﻤﯽ در ﺑﺎﻻ ﺑﺮدن آﮔﺎﻫﯽ ﻋﻤﻮم ﻣﺮدم اﯾﻔﺎ ﮐﺮدهاﻧﺪ‪ .‬ﯾﮑﯽ از‬ ‫ﺑﺮﺟﺴﺘﻪﺗﺮﯾﻦ ﺳﺎزﻣﺎنﻫﺎی ﻏﯿﺮ دوﻟﺘﯽ و ﻓﻌﺎل ﻣﺤﯿﻂ زﯾﺴﺖ در اﯾﺮان در ﺳﺎل ‪ ۱۹۹۳‬ﺗﻮﺳﻂ »ﻣﻪﻟﻘﺎ‬ ‫ﻣﻼح« ﺗﺎﺳﯿﺲ و ﺻﺎﺣﺐ ﺷﻌﺒﻪﻫﺎﯾﯽ در ﴎاﴎ ﮐﺸﻮر ﺷﺪ ﺗﺎ از او ﺑﻪ ﻋﻨﻮان »ﻣﺎدر ﻣﺤﯿﻂ زﯾﺴﺖ‬ ‫اﯾﺮان« ﯾﺎد ﮐﻨﻨﺪ‪» .‬ﺟﻤﻌﯿﺖ زﻧﺎن ﻣﺒﺎرزه ﺑﺎ آﻟﻮدﮔﯽ ﻣﺤﯿﻂزﯾﺴﺖ« ﺳﻤﯿﻨﺎرﻫﺎ‪ ،‬ﻧﺸﺴﺖﻫﺎی ﻣﺎﻫﺎﻧﻪ‪،‬‬ ‫دورهﻫﺎی آﻣﻮزﺷﯽ و ﺑﺎزارﻫﺎی زﯾﺴﺖ ﻣﺤﯿﻄﯽ ﻣﺘﻌﺪدی ﺑﺎ ﻫﺪف اﻧﺠﺎم ﺗﺤﻘﯿﻖ و ﻓﻌﺎﻟﯿﺖﻫﺎی آﻣﻮزﺷﯽ‬ ‫و ﺑﻪ ﻣﻨﻈﻮر ﺗﻮامنﻨﺪ ﮐﺮدن ﻫﺮ ﺑﺨﺶ از ﺟﻮاﻣﻊ ﻣﺤﻠﯽ ﺑﺮﮔﺰار ﻣﯽﮐﻨﻨﺪ‪ .‬اﮔﺮﭼﻪ ﻋﻀﻮﯾﺖ در اﯾﻦ ﺳﺎزﻣﺎن‬ ‫ﻣﺮدمﻧﻬﺎد ﻣﻨﺤﴫ ﺑﻪ زﻧﺎن ﻧﯿﺴﺖ‪ ،‬اﻣﺎ »ﻧﻘﺶ ﻣﺤﻮری زﻧﺎن« در اﻓﺰاﯾﺶ آﮔﺎﻫﯽ ﻋﻤﻮﻣﯽ ﻧﺴﺒﺖ ﺑﻪ زﻧﺪﮔﯽ‬ ‫ﭘﺎﯾﺪار و »ﺗﺸﻮﯾﻖ زﻧﺎن ﺑﻪ ﻫﺪاﯾﺖ و رﻫﱪی« را ﺑﻪ ﻋﻨﻮان روﯾﮑﺮد ﺧﻮد ﺑﻪ رﺳﻤﯿﺖ ﻣﯽﺷﻨﺎﺳﺪ‪ .‬اﯾﻦ‬ ‫ﺟﻤﻌﯿﺖ در ﺳﺎل ‪ ۲۰۰۹‬ﻣﻘﺎﻟﻪای در ﻣﻮرد »ﺣﻘﻮق آب و ﺣﻖ اداﻣﻪ ﺣﯿﺎت ﺳﺎمل ﺗﺎﻻبﻫﺎ و درﯾﺎﭼﻪﻫﺎی‬ ‫اﯾﺮان« ﻣﻨﺘﴩ ﮐﺮد ﮐﻪ ﺑﺤﺮان در ﺳﻪ ﺗﺎﻻب ﻣﻬﻢ ﮐﺸﻮر را ﺗﺎﮐﯿﺪ ﻣﯽﮐﺮد و ﺗﻮﺻﯿﻪﻫﺎﯾﯽ ﺑﺮای ﺣﻔﺎﻇﺖ از‬ ‫ﺳﯿﺴﺘﻢﻫﺎی ﺗﺎﻻب آﺳﯿﺐ ﭘﺬﯾﺮ اراﺋﻪ داد‪.‬‬

‫‪Photograph by Ondrej Odchazel‬‬

‫زﯾﺮزﻣﯿﻨﯽ ﯾﺎ ﻣﻨﺒﻊﻫﺎ ﮐﻪ »آب اﻧﺒﺎر« ﻧﺎﻣﯿﺪه ﻣﯽﺷﺪﻧﺪ‪ ،‬ﻗﺮن ﻫﺎ ﺑﻌﺪ ﺑﺮای ذﺧﯿﺮه آب از ﻗﻨﺎت اﯾﺠﺎد‬ ‫ﺷﺪﻧﺪ‪ .‬ﯾﺨﭽﺎل ﯾﺎ ﮔﻮدال ﯾﺦ ﻫﻢ ﺳﺎﺧﺘﺎر ﻣﺨﺮوﻃﯽ ﺷﮑﻠﯽ در ﺑﺎﻻی ﺳﻄﺢ زﻣﯿﻦ ﺑﻮد ﮐﻪ ﺑﺎ ﻣﻮاد ﻣﻘﺎوم‬ ‫در ﺑﺮاﺑﺮ ﺣﺮارت و آب ﺳﺎﺧﺘﻪ ﻣﯽﺷﺪ ﺗﺎ ﺑﺎ ﺑﻪ ﮐﺎرﮔﯿﺮی ﺧﻨﮏ ﮐﻨﻨﺪهﻫﺎی ﺗﺒﺨﯿﺮی‪ ،‬ﯾﺦ را در وﺳﻂ ﮔﺮﻣﺎی‬ ‫ﺗﺎﺑﺴﺘﺎن در ﺑﯿﺎﺑﺎن ذﺧﯿﺮه ﮐﻨﺪ‪ .‬ﺑﺮای ﺗﮑﻤﯿﻞ اﯾﻦ ﺳﯿﺴﺘﻢ‪ ،‬ﺑﺮجﻫﺎی ﺑﺎدﮔﯿﺮ ﮐﻮﭼﮑﱰﯾﻦ ﻧﺴﯿﻢ را از ﺑﺎﻻ ﺑﻪ‬ ‫ﭘﺎﯾﯿﻦ ﺧﺎﻧﻪ ﻫﺪاﯾﺖ ﻣﯽﮐﺮدﻧﺪ‪ .‬ﻗﻨﺎت‪ ،‬ﯾﺨﭽﺎل‪ ،‬آب اﻧﺒﺎر و ﺑﺎدﮔﯿﺮ ﺑﺎﻫﻢ ﯾﮏ ﺳﯿﺴﺘﻢ زﯾﺮﺳﺎﺧﺘﯽ ﺑﺎ دوام‬ ‫اﯾﺠﺎد ﻣﯽﮐﺮدﻧﺪ ﺗﺎ اﻧﺴﺎن ﻫﺰاران ﺳﺎل در ﺳﺨﺖﺗﺮﯾﻦ ﴍاﯾﻂ آب و ﻫﻮاﯾﯽ زﻧﺪﮔﯽ ﮐﻨﺪ‪ .‬ﮐﻠﻤﻪ ﺑﻬﺸﺖ از‬ ‫»ﭘﺮدﯾﺲ« ﻓﺎرﺳﯽ ﮔﺮﻓﺘﻪ ﺷﺪه و ﺑﻪ ﺑﺎغﻫﺎی زﯾﺒﺎﯾﯽ اﺷﺎره دارد ﮐﻪ از ﻗﻨﺎت ﺗﻐﺬﯾﻪ و ﴎﺳﺒﺰی ﺑﺎ ﺷﮑﻮﻫﯽ‬ ‫در ﺑﺮاﺑﺮ ﻣﻨﺎﻇﺮ ﺧﺸﮏ ﺧﻠﻖ ﻣﯽﮐﺮدﻧﺪ‪.‬‬

‫ﻣﻪﻟﻘﺎ ﻣﻼح در آﺳﺘﺎﻧﻪ ﺻﺪ ﺳﺎﻟﮕﯽ‪ ،‬ﻫﻤﭽﻨﺎن ﺑﻪ ﺗﻼش ﺧﻮد در ﺣﻔﺎﻇﺖ از ﻣﺤﯿﻂ زﯾﺴﺖ اﯾﺮان اداﻣﻪ‬ ‫ﻣﯽدﻫﺪ‪ .‬او ﻧﺸﺴﺘﻪ ﺑﺮ ﺻﻨﺪﻟﯽ ﭼﺮﺧﺪارش درﺧﺖ ﻣﯽ ﮐﺎرد و اﻟﮕﻮﯾﯽ ﺑﺮای زﻧﺪﮔﯽ ﭘﺎﯾﺪار ﺷﻬﺮیﺳﺖ‪ .‬او‬ ‫ﺑﻪ ﮐﻤﭙﻮﺳﺖ )ﺑﺎزﯾﺎﻓﺖ( ﻣﯽﭘﺮدازد‪ ،‬ﺑﻄﺮی آب ﻣﻌﺪﻧﯽ منﯽﺧﺮد‪ ،‬و ﺧﺮﯾﺪﻫﺎﯾﺶ را ﺑﻪ ﻣﺤﺼﻮﻻﺗﯽ ﺑﺎ ﺑﺴﺘﻪ‬ ‫ﺑﻨﺪیﻫﺎی ﺗﺠﺰﯾﻪﭘﺬﯾﺮ در ﻃﺒﯿﻌﺖ ﻣﺤﺪود ﮐﺮده اﺳﺖ‪ .‬ﺑﺪﯾﻦ ﺷﮑﻞ ﻧﺰدﯾﮏ ﻧﯿﻢ ﻗﺮن اﺳﺖ ﮐﻪ ﻧﻪ ﺗﻨﻬﺎ‬ ‫زﺑﺎﻟﻪ ﺗﻮﻟﯿﺪ ﻧﮑﺮده‪ ،‬ﺑﻠﮑﻪ اﻟﻬﺎم ﺑﺨﺶ و ﻣﺸﻮق دوﺳﺘﺪاران ﻃﺒﯿﻌﺖ و ﻣﺤﯿﻂ زﯾﺴﺖ ﺳﺎمل اﺳﺖ‪.‬‬

‫اﻓﺴﺎﻧﻪﻫﺎ‪ ،‬دﯾﻦ‪ ،‬و ﻣﺒﺎﴍان‪ ،‬ﻫﻤﻪ ﺑﻪ ﺗﻮﺟﻪ زﯾﺎد اﯾﺮاﻧﯿﺎن ﺑﺎﺳﺘﺎن ﺑﻪ ﻋﻨﺎﴏ ﻃﺒﯿﻌﯽ ﻣﺎﻧﻨﺪ آب‪ ،‬ﮐﻪ زﻧﺪﮔﯽ‬ ‫ﺑﻪ آن واﺑﺴﺘﻪ ﺑﻮد‪ ،‬اﺷﺎره ﻣﯽﮐﻨﻨﺪ اﻣﺎ ﮔﺬر ﴎﯾﻊ ﻗﺮن ‪ ۲۱‬و ﭘﯿﴩﻓﺖ ﺗﮑﻨﻮﻟﻮژی اﯾﻦ ارﺗﺒﺎط را ﮐﻪ زﻣﺎﻧﯽ‬ ‫ﺗﻌﺎﻣﻞ اﻧﺴﺎن ﺑﺎ ﻋﻨﺎﴏ ﻃﺒﯿﻌﯽ ﻣﯽﻧﺎﻣﯿﺪﻧﺪ ﺗﻐﯿﯿﺮ ﺷﮑﻞ داد‪ .‬ﭘﺮوژهﻫﺎی ﺳﺎﺧﺖ و ﺳﺎز ﺳﺪ و ﺧﻂ اﻧﺘﻘﺎل‬ ‫در اﯾﺮان ﺑﻪ ﻋﻨﻮان ﺗﻼﺷﯽ ﺑﺮای دﺳﱰﺳﯽ اﯾﻤﻦ ﺑﻪ آب در ﻣﺮاﮐﺰ ﻋﻤﺪه ﺷﻬﺮی و ﺣﺮﮐﺖ اﯾﺮان ﺑﻪ ﺳﻤﺖ‬ ‫ﺗﮑﻨﻮﻟﻮژی ﻣﺪرن از دﻫﻪ ﭘﻨﺠﺎه آﻏﺎز ﺷﺪ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ ﭘﯿﴩﻓﺖ ﺗﮑﻨﻮﻟﻮژی ﻣﻔﻬﻮم ﻋﻤﯿﻖ‬ ‫اﺣﱰام و ﻧﻈﺎرت ﺑﺮ ﻣﺤﯿﻂ زﯾﺴﺖ را ﺑﯿﮕﺎﻧﻪ ﮐﺮده ﺑﺎﺷﺪ‪ .‬ﺑﯿﺎﺑﺎنزاﯾﯽ‪ ،‬ﺧﺸﮑﺴﺎﻟﯽ‪ ،‬و از دﺳﺖ دادن ﺗﺎﻻب‬ ‫و آب ﺷﯿﺮﯾﻦ‪ ،‬ﻧﮕﺮان ﮐﻨﻨﺪهﺗﺮﯾﻦ روﻧﺪ ﻓﻌﻠﯽ زﯾﺴﺖ ﻣﺤﯿﻄﯽ در ﮐﺸﻮر ﻫﺴﺘﻨﺪ‪.‬‬

‫ﻋﻠﯽرﻏﻢ ﻋﺪم ﺑﺮﻧﺎﻣﻪرﯾﺰی ﺟﺎﻣﻊ در دﻫﻪﻫﺎی ﮔﺬﺷﺘﻪ و ﻣﺪﯾﺮﯾﺘﯽ ﮐﻪ ﻣﻨﺠﺮ ﺑﻪ ﺑﺤﺮان ﮐﻨﻮﻧﯽ ﻣﻨﺎﺑﻊ‬ ‫آب ﺷﺪه‪ ،‬ﻣﯽﺗﻮان ﮔﻔﺖ ﮐﻪ ﻫﺪاﯾﺖ و رﻫﱪی اﻓﺮادی ﻣﺎﻧﻨﺪ ﻣﻼح و ﻣﻮج ﺟﺪﯾﺪی از ﻓﻌﺎﻟﯿﺖﻫﺎی‬ ‫زﯾﺴﺖ ﻣﺤﯿﻄﯽ‪ ،‬ﺑﺮای اﯾﺮان و دوﺳﺘﺪاران ﻣﺤﯿﻂ زﯾﺴﺖ ﺣﺲ ﺧﻮشﺑﯿﻨﯽ زﯾﺎدی ﻧﺴﺒﺖ ﺑﻪ آﯾﻨﺪه اﯾﺠﺎد‬ ‫ﮐﺮده اﺳﺖ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل ﻫﻨﻮز ﺑﺎﯾﺪ دﯾﺪ ﮐﻪ آﯾﺎ ﴎﻋﺖ ﻧﺒﻮغ اﺟﺘامﻋﯽ و ﺗﮑﻨﻮﻟﻮژی ﻣﯽﺗﻮاﻧﺪ ﺑﺮ ﴎﻋﺖ‬ ‫ﺧﺸﮑﺴﺎﻟﯽ و ﺑﯿﺎﺑﺎنزاﯾﯽ در ﮐﺸﻮر ﻏﻠﺒﻪ ﮐﻨﺪ؟ ﻓﻌﻼ در اﯾﻦ آﺧﺮ ﻫﻔﺘﻪ ﮐﻪ ﺗﯿﺮﮔﺎن ﻣﺎ ﺑﻪ ﭘﺎﺳﺖ‪ ،‬ﺗﺸﮑﺮ و‬ ‫ﻗﺪرداﻧﯽﻣﺎن را ﻧﺜﺎر آب و ﺑﺎران ﻣﯽﮐﻨﯿﻢ ﮐﻪ ﺑﺮای ﻫﺰاران ﺳﺎل در ﴎزﻣﯿﻨﯽ ﺧﺸﮏ و ﻧﯿﻤﻪ ﺧﺸﮏ ﺑﻪ‬ ‫ﻣﺮدﻣامن ﺣﯿﺎت و ﺳﺒﺰی و ﴎور ﺑﺨﺸﯿﺪه اﺳﺖ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:48 AM‬‬

‫‪106-107-Environment-Golnoush Hassanpour-EDITED.indd 106‬‬

‫‪ENVIRONMENT‬‬

‫‪107‬‬

‫اﻓﺴﺎﻧﻪای ﻣﯽﮔﻮﯾﺪ اﺧﺘﻼف ﻃﻮﻻﻧﯽ ﻣﺪت ﺷﺎﻫﺎن ﺑﺎﺳﺘﺎﻧﯽ اﯾﺮان و ﺗﻮران ﺑﺮ ﴎ‬ ‫ﻣﺮزﻫﺎی ﻗﻠﻤﺮوﺷﺎن‪ ،‬ﻫﺸﺖ ﺳﺎل ﺧﺸﮑﺴﺎﻟﯽ ﺑﻪ ﻫﻤﺮاه داﺷﺖ‪ ،‬ﻃﻮری ﮐﻪ ﺣﺘﯽ‬ ‫ﻗﻄﺮهای ﺑﺎران ﺑﺮ زﻣﯿﻦ ﻧﺒﺎرﯾﺪ‪ .‬ﺑﺮای ﺣﻞ اﯾﻦ اﺧﺘﻼف در ﻃﱪﺳﺘﺎن‪ ،‬آرش ﮐامﻧﮕﯿﺮ را‬ ‫ﻓﺮاﺧﻮاﻧﺪﻧﺪ ﺗﺎ ﺗﯿﺮش را از ﺑﻠﻨﺪای دﻣﺎوﻧﺪ ‪-‬ﮐﻪ ﺑﻠﻨﺪﺗﺮﯾﻦ ﻗﻠﻪ اﯾﺮان اﺳﺖ‪ -‬رﻫﺎ ﮐﻨﺪ‪.‬‬ ‫ﻗﺮار ﮐﺮدﻧﺪ ﻫﺮﺟﺎ ﮐﻪ ﺗﯿﺮش ﺑﻨﺸﯿﻨﺪ ﻣﺮز اﯾﺮاﻧﯿﺎن و ﺗﻮراﻧﯿﺎن اﺳﺖ‪ .‬آرش ﺷﻮاﺗﯿﺮ ﺑﻪ‬ ‫ﻓﺮاز دﻣﺎوﻧﺪ رﻓﺖ و ﺑﺎ ﻧﻔﺴﯽ ﭼﻨﺎن ﻋﻤﯿﻖ ﺷﺼﺖ از ﮐامن ﺑﺮﮐﺸﯿﺪ ﮐﻪ ﻗﻠﺐ آﺳامن‬ ‫ﺷﮑﺎﻓﺖ و ﮐامنﮐﺶ ﭘﺮآوازه ﺟﺎن ﺧﻮد را ﺗﺴﻠﯿﻢ ﴎزﻣﯿﻦ ﻣﺤﺒﻮﺑﺶ ﮐﺮد‪ .‬ﺗﯿﺮ روزﻫﺎ ﺑﺮ‬ ‫ﺑﺎل »ﻓﺮﺷﺘﻪ اﺳﭙﻨﺪارﻣﺬ« ﭘﺮواز ﮐﺮد و ﺑﺮ درﺧﺘﯽ ﮐﻨﺎر رود ﺟﯿﺤﻮن ﻧﺸﺴﺖ ﺗﺎ ﻣﺮز دو‬ ‫ﴎزﻣﯿﻨﯽ ﺑﺎﺷﺪ ﮐﻪ زﻣﺎﻧﯽ دﺷﻤﻦ ﻫﻢ ﺑﻮدﻧﺪ‪ .‬اﯾﺰد اﯾﺮاﻧﯽ ﺑﺮ دﯾﻮ ﺧﺸﮑﺴﺎﻟﯽ ﭼﯿﺮه ﺷﺪ‬ ‫ﮔﻠﻨﻮش ﺣﺴﻦﭘﻮر‬ ‫در زﻣﯿﻨــﻪ »ﻣﻄﺎﻟﻌــﺎت ﻣﺤﯿــﻂ زﯾﺴــﺖ« از و ﺑﺎران ﺑﺮ ﻫﺮ دو ﴎزﻣﯿﻦ ﺧﺸﮑﺴﺎﻟﯽ زده ﺑﺎرﯾﺪن ﮔﺮﻓﺖ‪.‬‬ ‫داﻧﺸــﮕﺎه ﮔﻮوﻟــﻒ ﻓــﺎرغ اﻟﺘﺤﺼﯿــﻞ ﺷــﺪه‬ ‫و ﮐﺎرﺷﻨﺎﺳــﯽ ارﺷــﺪ ﺧــﻮد را در رﺷــﺘﻪ‬ ‫»ﮔﯿﺘﺎﺷﻨﺎﺳــﯽ« از داﻧﺸــﮕﺎه ﮐﻠﮕــﺮی درﯾﺎﻓﺖ‬ ‫ﮐــﺮده اﺳــﺖ‪ .‬او ﮐــﻪ در ﭘﺮوژهﻫــﺎی‬ ‫ﺗﺤﻘﯿﻘﺎﺗــﯽ و ﭘﮋوﻫﺸــﯽ ﺑﺴــﯿﺎری ﻫﻤــﮑﺎری‬ ‫داﺷــﺘﻪ‪ ،‬ﺑـﺮای ﻣــﺎ از ﺗﯿــﺮﮔﺎن و آب و ﭘﺮدﯾــﺲ‬ ‫ﺧﺸــﮑﯽﻫﺎ ﻧﻮﺷــﺘﻪ اﺳــﺖ‪.‬‬

‫ﺗﯿﺮﮔﺎن‪ ،‬ﺟﺸﻨﻮاره ﻣﻔﺮح ﺑﺎران‪ ،‬ﺟﺸﻦ آﺑﯽﺳﺖ ﮐﻪ در اوج ﻓﺼﻞ ﺧﺸﮏ ﺗﺎﺑﺴﺘﺎن‬ ‫ﺑﺮﮔﺰار ﻣﯽﺷﻮد‪ .‬ﻫامن ﻫﻨﮕﺎم ﮐﻪ زﻣﯿﻦ آب از دﺳﺖ ﻣﯽدﻫﺪ و ﻣﺤﺼﻮﻻت ﺗﺸﻨﻪ‬ ‫ﺑﺎران ﻣﯽﺷﻮﻧﺪ‪ .‬از اﯾﻦ رو ﺳﺘﺎﯾﺶ ﺗﯿﺸﱰ در اوﺳﺘﺎ )اﯾﺰد ﺑﺎران( و اﻓﺴﺎﻧﻪ آرش ﺷﻮاﺗﯿﺮ‬ ‫ﺑﺮای اﯾﺮاﻧﯿﺎن ﯾﺎدآور اﻫﻤﯿﺖ آب و ﺑﺎران ﺑﺮای ﺳﺎﮐﻨﺎن اﯾﺮاﻧﺸﻬﺮ اﺳﺖ‪ .‬ﺗﯿﺮﮔﺎن ﻣﺎﻧﻨﺪ‬ ‫دﯾﮕﺮ ﺟﺸﻦﻫﺎی اﯾﺮاﻧﯽ از ﺟﻤﻠﻪ ﻧﻮروز‪ ،‬ﺷﺐ ﭼﻠﻪ‪ ،‬و ﭼﻬﺎرﺷﻨﺒﻪ ﺳﻮری‪ ،‬در ﺑﺎورﻫﺎی‬

‫زرﺗﺸﺘﯿﺎن رﯾﺸﻪ دواﻧﺪه ﮐﻪ ﺑﻪ اﻧﮕﺎرﻫﺎی ﻃﺒﯿﻌﺖ اﺣﱰام ﻣﯽﮔﺬارﻧﺪ و ﺑﻪ ﻫﺎرﻣﻮﻧﯽ‬ ‫ﻣﯿﺎن اﻧﺴﺎن و ﻋﻨﺎﴏ ﻣﻘﺪس ‪-‬آﺗﺶ‪ ،‬آب‪ ،‬ﺑﺎد و ﺧﺎک‪ -‬ﻣﻌﺘﻘﺪ ﻣﯽﺑﺎﺷﻨﺪ‪.‬‬ ‫زﻣﺎﻧﯽ ﮐﻪ ﮐﻤﺒﻮد ﻣﻨﺎﺑﻌﯽ ﻣﺎﻧﻨﺪ آب در زﻣﯿﻦﻫﺎی ﮔﺮم‪ ،‬ﺧﺸﮏ و ﻧﯿﻤﻪ ﺧﺸﮏ و‬ ‫واﺑﺴﺘﮕﯽ ﺟﺎﻣﻌﻪ روﺳﺘﺎﯾﯽ ﺑﻪ اﯾﻦ ﻣﻨﺎﺑﻊ ﺣﯿﺎﺗﯽ را ﺑﺮرﺳﯽ ﻣﯽﮐﻨﯿﻢ‪ ،‬ﺧﯿﻠﯽ دﺷﻮار‬ ‫ﻧﯿﺴﺖ ﮐﻪ ﺑﻔﻬﻤﯿﻢ ﭼﺮا اﯾﺮاﻧﯿﺎن ﺑﺎﺳﺘﺎن‪ ،‬ﻣﺮاﺳﻢ ﻣﺬﻫﺒﯽﺷﺎن‪ ،‬و ﻣﮑﺎنﻫﺎی ﻣﻘﺪسﺷﺎن‬ ‫ﺗﺎ اﯾﻦ اﻧﺪازه روی ﻃﺒﯿﻌﺖ ﻣﺘﻤﺮﮐﺰ ﺷﺪه ﺑﻮدﻧﺪ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل ﮐﻤﺒﻮد اﯾﻦ ﻣﻨﺎﺑﻊ آﺑﯽ ﻣﺎﻧﻊ‬ ‫ﺷﮑﻮﻓﺎﯾﯽ متﺪن ﺑﺎﺳﺘﺎﻧﯽ و ﭘﺮ روﻧﻖ در ﻓﻼت اﯾﺮان ﻧﺸﺪ‪ .‬اﺑﺘﮑﺎر و ﺧﻼﻗﯿﺖ در ﻃﺮاﺣﯽ‬ ‫ﻣﻬﻨﺪﺳﯽ و ﻣﻌامری ﺑﻪ اﯾﺮاﻧﯿﺎن اﺟﺎزه داد ﺗﺎ ﻋﻤﯿﻘﺎ ﻣﺒﺎﴍان اﯾﻦ ﴎزﻣﯿﻦ ﺑﺸﻮﻧﺪ و‬ ‫ﻣﮑﺎﻧﯽ ﺑﻬﺸﺘﯽ را ‪ -‬ﺑﻪ ﻏﺎﯾﺖ ﺑﻬﺸﺘﯽ ‪ -‬در ﺧﺸﮏﺗﺮﯾﻦ آب و ﻫﻮا ﻃﺮاﺣﯽ ﮐﻨﻨﺪ‪.‬‬ ‫ﻗﻨﺎتﻫﺎ‪ ،‬آب اﻧﺒﺎرﻫﺎ‪ ،‬ﯾﺨﭽﺎلﻫﺎ و ﺑﺎدﮔﯿﺮﻫﺎ ﻣﺤﻔﻈﻪﻫﺎﯾﯽ ﻫﺴﺘﻨﺪ از ﯾﮏ ﺳﯿﺴﺘﻢ‬ ‫ﻣﺒﺘﮑﺮاﻧﻪ ﻃﺮاﺣﯽ ﺷﺪه ﺗﺎ ﺑﻬﺸﺖ را ﻣﯿﺎن ﺻﺤﺮا ﺧﻠﻖ ﮐﻨﻨﺪ‪» .‬ﻗﻨﺎت« ﯾﺎ ﮐﺎﻧﺎلﻫﺎی‬ ‫زﯾﺮزﻣﯿﻨﯽ اوﻟﯿﻦ ﺑﺎر در ﻫﺰاره اول ﻗﺒﻞ از ﻣﯿﻼد ﻣﺸﺎﻫﺪه ﺷﺪ ﮐﻪ آب را از آﺑﺨﯿﺰﻫﺎ‬ ‫ﺑﻪ ﺟﺎﻫﺎی ﻣﺴﮑﻮﻧﯽ در ﻣﻨﺎﻃﻖ ﮔﺮم و ﺧﺸﮏ ﺑﺮای آﺑﯿﺎری و اﺳﺘﻔﺎده اﻧﺴﺎن ﻣﯽﺑﺮد‪.‬‬ ‫ﻗﻨﺎتﻫﺎ ﺑﺮای اﻧﺘﻘﺎل ﺻﺪﻫﺎ ﮐﯿﻠﻮﻣﱰآب‪ ،‬آن ﻫﻢ ﺑﺪون ﺗﺒﺨﯿﺮ ﮐﺸﯿﺪه ﺷﺪﻧﺪ‪ .‬ﻣﺨﺎزن‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:48 AM‬‬

‫‪106-107-Environment-Golnoush Hassanpour-EDITED.indd 107‬‬

‫‪ENVIRONMENT‬‬ ‫ﺟﺎﻧﻮرﺷﻨﺎﺳﯽ را ﻧﯿﺰ در ﺑﺮ ﮔﺮﻓﺖ‪.‬‬ ‫دﺳﺘﮕﺎه دوﻟﺘﯽ را ﺷﮑﻞ دادﻧﺪ‪.‬‬ ‫ﺑﺮﺧﻼف اﻣﺮوز‪ ،‬ﺷﮑﺎر و ﺷﮑﺎرﭼﯽ ﻧﻪ ﺗﻨﻬﺎ ﻣﻮرد اﻧﺘﻘﺎد ﻗﺮار منﯽﮔﺮﻓﺖ اداره اﯾﻦ ﺳﺎزﻣﺎن ﺑﻪ اﺳﮑﻨﺪر ﻓﯿﺮوز ﺳﭙﺮده ﺷﺪ‪ .‬او در ﺧﺎﻃﺮاﺗﺶ‬ ‫ﻧﻮﺷﺘﻪ اﺳﺖ‪» :‬از اﺑﺘﺪای ﮐﺎر‪ ،‬ﺳﺎزﻣﺎن زﯾﺮ دﺳﺘﻢ را دﺳﺘﮕﺎﻫﯽ‬ ‫ﮐﻪ ﻣﺎﯾﻪ ﻣﺒﺎﻫﺎت ﺑﻮد‪ .‬ﮐﺎﻧﻮن ﺷﮑﺎر در ﻣﺮاﮐﺰ ﻣﻬﻢ ﺟﻤﻌﯿﺘﯽ ﮐﺸﻮر‬ ‫اﻓﺮاد ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺷﮑﺎر و ﺑﺎ ﺣﺴﻦ ﺷﻬﺮت را ﺟﺬب ﻣﯽﮐﺮد‪ ،‬ﻣﻨﺎﻃﻘﯽ ﻣﯽدﯾﺪم ﮐﻪ از ﯾﮏ ﺳﻮ ﮔﺎرد ﺻﺤﺮاﯾﯽ آن ﯾﮏ ﻧﯿﺮوی اﻧﺘﻈﺎﻣﯽ ﻗﻮی‬ ‫را ﺗﺤﺖ ﺣﻔﺎﻇﺖ ﻗﺮار ﻣﯽداد ﺗﺎ ﺟﻤﻌﯿﺖ ﺣﯿﺎتوﺣﺶ اﻓﺰاﯾﺶ ﯾﺎﺑﺪ و ﺑﺎ دﯾﺴﯿﭙﻠﯿﻦ ﺑﺎﺷﺪ و از ﺳﻮی دﯾﮕﺮ ﯾﮏ ﺑﺨﺶ ﺗﺤﻘﯿﻖ و ﻋﻠﻮم‬ ‫ﮐﺎرﺑﺮدی ﺑﻪ وﯾﮋﻩ از ﺣﯿﺚ ﻧﺨﺠﯿﺮداری و اﮐﻮﻟﻮژی داﺷﺘﻪ ﺑﺎﺷﺪ‪«.‬‬ ‫و در ﻧﻬﺎﯾﺖ ﺑﺮای ﺷﮑﺎر ﻗﺎﻧﻮﻧﯽ‪ ،‬ﻣﺠﻮزﻫﺎی ﻻزم را ﺻﺎدر ﻣﯽﮐﺮد‪.‬‬ ‫در اﯾﻦ دوره ﻧﺨﺴﺘﯿﻦ ﮐﺎرﺷﻨﺎﺳﺎن ﺑﯿﻦاﳌﻠﻠﯽ ﺑﻮمﺷﻨﺎﺳﯽ و‬ ‫ﭼﻨﺪ ﻣﺎه ﺑﻌﺪ از ﺗﺸﮑﯿﻞ ﮐﺎﻧﻮن ﺷﮑﺎر‪» ،‬ورﻧﺮ ﺗﺮﻧﺰه«‪ ،‬ﺷﮑﺎرﭼﯽ‪،‬‬ ‫ﺣﯿﺎتوﺣﺶ راﻫﯽ اﯾﺮان ﺷﺪﻧﺪ؛ دﯾﻮﯾﺪ ﻓﺮﮔﻮﺳﻦ‪ ،‬ﻓﺮد ﻫﺮﯾﻨﮕنت‪،‬‬ ‫ﻣﺤﻘﻖ و زﯾﺴﺖﺷﻨﺎس آﳌﺎﻧﯽ ﺑﻪ اﯾﺮان ﺳﻔﺮ ﮐﺮد ﺑﺮای ﭘﯿﺪا ﮐﺮدن‬ ‫درک اﺳﮑﺎت و ﯾﻮﻫﺎﻧﺲ از آن ﺟﻤﻠﻪاﻧﺪ‪ .‬ﯾﮑﯽ از ﻣﻬﻤﱰﯾﻦ اﻗﺪاﻣﺎت‬ ‫ﮔﻮزن زرد اﯾﺮاﻧﯽ؛ ﺟﺎﻧﻮری ﮐﻪ ﺗﺼﻮر ﻣﯽﺷﺪ ﻣﻨﻘﺮض ﺷﺪه اﺳﺖ‪.‬‬ ‫اﯾﻦ ﺳﺎزﻣﺎن‪ ،‬آﻣﺎدهﺳﺎزی ﻧﺸﺴﺘﯽ ﺑﯿﻦاﳌﻠﻠﯽ ﺑﻮد در ﺷﻬﺮ راﻣﴪ در‬ ‫ﻧﻪ ﮐﺎﻧﻮن ﺷﮑﺎر از آﻣﺪن او ﺧﱪ داﺷﺖ و ﻧﻪ ﺗﺮﻧﺰه ﻣﯽداﻧﺴﺖ‬ ‫ﺳﺎل ‪ .۱۳۴۹‬ﴍﮐﺖﮐﻨﻨﺪﮔﺎن در اﯾﻦ ﻧﺸﺴﺖ »ﮐﻨﻮاﻧﺴﯿﻮن ﻣﺮﺑﻮط ﺑﻪ‬ ‫ﺑﺎﯾﺪ ﺑﺎ اﯾﻦ ﺗﺸﮑﯿﻼت متﺎس ﺑﮕﯿﺮد‪ .‬او در اﯾﻦ ﺳﻔﺮ ﯾﮏ راس ﮔﻮزن‬ ‫ﺗﺎﻻبﻫﺎی ﻣﻬﻢ ﺑﯿﻦاﳌﻠﻠﯽ ﺑﻪ وﯾﮋﻩ زﯾﺴﺘﮕﺎه ﭘﺮﻧﺪﮔﺎن آﺑﺰی« را اﻣﻀﺎ‬ ‫زرد اﯾﺮاﻧﯽ ﭘﯿﺪا ﮐﺮد و ﺑﺎ ﺧﻮد ﺑﻪ آﳌﺎن ﺑﺮد‪ .‬ﻣﺪﺗﯽ ﺑﻌﺪ از ﺳﻔﺮ او‬ ‫ﮐﺮدﻧﺪ‪ .‬اﯾﻦ ﻣﻌﺎﻫﺪه ﺑﯿﻦاﳌﻠﻠﯽ ﭘﺲ از آن ﺑﻪ ﻋﻨﻮان »ﮐﻨﻮاﻧﺴﯿﻮن‬ ‫ﺑﺮﻧﺎﻣﻪای ﺟﺪی ﺑﺮای ﺣﻔﺎﻇﺖ از »ﮔﻮزن زرد اﯾﺮاﻧﯽ« ﺑﻪ ﻣﻮرد اﺟﺮا‬ ‫راﻣﴪ« ﺷﻨﺎﺧﺘﻪ ﺷﺪ‪.‬‬ ‫ﮔﺬاﺷﺘﻪ ﺷﺪ‪ .‬در اوج ﻓﻌﺎﻟﯿﺖﻫﺎی ﮐﺎﻧﻮن ﺷﮑﺎر‪» ،‬ﺟﮏ اوﮐﺎﻧﺮ«‬ ‫ﺳﺎل ﭘﺲ از ﮐﻨﻮاﻧﺴﯿﻮن راﻣﴪ‪ ،‬ﺳﺎزﻣﺎن ﺷﮑﺎرﺑﺎﻧﯽ و ﻧﻈﺎرت ﺑﺮ‬ ‫ﺷﮑﺎرﭼﯽ ﺷﻨﺎﺧﺘﻪ ﺷﺪه و ﻧﻮﯾﺴﻨﺪه ﻣﺠﻠﻪ ﭘﺮﺧﻮاﻧﻨﺪه »‪Outdoor‬‬ ‫ﺻﯿﺪ ﺑﺎ ﮐﻮﺷﺶﻫﺎی اﺳﮑﻨﺪر ﻓﯿﺮوز و ﮔﺮوﻫﯽ از ﮐﺎﺷﻨﺎﺳﺎن اﯾﻦ‬ ‫‪ «Life‬ﺑﻪ اﯾﺮان دﻋﻮت ﺷﺪ‪ .‬او ﴍﺣﯽ از ﺷﮑﺎرﻫﺎی ﺧﻮد در آن‬ ‫ﺳﺎزﻣﺎن‪ ،‬ﺑﻪ »ﺳﺎزﻣﺎن ﺣﻔﺎﻇﺖ ﻣﺤﯿﻂزﯾﺴﺖ« ﺗﻐﯿﯿﺮ ﻧﺎم داد‪ ،‬ﺑﻪ‬ ‫ﻧﴩﯾﻪ ﻧﻮﺷﺖ و در ﻣﻌﺮﻓﯽ ﻃﺒﯿﻌﺖ اﯾﺮان در آن ﺳﺎلﻫﺎی دور‬ ‫ﻣﻌﺎوﻧﺖ ﻧﺨﺴﺖوزﯾﺮی ﺑﺪل ﺷﺪ و اﺧﺘﯿﺎرات و ﺣﻮزه ﻋﻤﻠﮑﺮدش‬ ‫ﻧﻘﺸﯽ اﯾﻔﺎ ﮐﺮد‪.‬‬ ‫ﺗﻮﺳﻌﻪ ﯾﺎﻓﺖ‪ .‬ﻓﻘﻂ ﺷﮑﺎر‪ ،‬ﻣﻮﺿﻮع اﯾﻦ ﺳﺎزﻣﺎن ﻧﺒﻮد‪ .‬ﺑﺮرﺳﯽ اﻧﻮاع‬ ‫ﯾﮑﯽ از ﻧﻘﺎط ﺿﻌﻒ ﮐﺎﻧﻮن‪ ،‬اﻓﺘﺨﺎری ﮐﺎر ﮐﺮدن اﻋﻀﺎی آن ﺑﻮد‪.‬‬ ‫ﺷﺎﯾﺪ اﯾﻦ روش در ﮐﻮﺗﺎه ﻣﺪت و ﺑﺮای ﻋﺪهای ﻣﻌﺪود ﻣﯽﺗﻮاﻧﺴﺖ آﻟﻮدﮔﯽﻫﺎی آب‪ ،‬ﺧﺎک و ﻫﻮا )ﺑﻪ ﺧﺼﻮص آﻟﻮدﮔﯽ ﻫﻮای ﺗﻬﺮان(‪،‬‬ ‫ﻗﺎﺑﻞ ﻗﺒﻮل ﺑﺎﺷﺪ اﻣﺎ ﺑﺎ ﺗﻮﺳﻌﻪ دﺳﺘﮕﺎه‪ ،‬اﺿﺎﻓﻪ ﺷﺪن ﺑﺮ ﻣﺴﺌﻮﻟﯿﺖﻫﺎ ﴎ و ﺳﺎﻣﺎندادن ﻓﺎﺿﻼبﻫﺎ و آﻻﯾﻨﺪهﻫﺎی ﮐﺎرﺧﺎﻧﻪﻫﺎ‪ ،‬ﺳﻤﻮم و‬ ‫ﮐﻮدﻫﺎی ﺷﯿﻤﯿﺎﯾﯽ و ﺑﺮرﺳﯽ ﻃﺮحﻫﺎی ﻋﻤﺮاﻧﯽ ﻣﻐﺎﯾﺮ ﺑﺎ ﺿﻮاﺑﻂ‬ ‫و وﻇﺎﯾﻒ آن ﺑﺎﯾﺪ ﭼﺎره دﯾﮕﺮی اﻧﺪﯾﺸﯿﺪه ﻣﯽﺷﺪ‪.‬‬ ‫ﯾﺎزده ﺳﺎل ﭘﺲ از ﺗﺸﮑﯿﻞ ﮐﺎﻧﻮن ﺷﮑﺎر‪ ،‬ﻣﺠﻠﺲ ﺷﻮرای ﻣﻠﯽ »ﻗﺎﻧﻮن زﯾﺴﺖﻣﺤﯿﻄﯽ ﻧﯿﺰ ﺑﻪ ﴍح وﻇﺎﯾﻒ اﯾﻦ ﺳﺎزﻣﺎن اﻓﺰوده ﺷﺪ‪» .‬ﭘﺎرک‬ ‫ﻃﺒﯿﻌﺖ ﭘﺮدﯾﺴﺎن« ﯾﮑﯽ از ﻧﺨﺴﺘﯿﻦ ﭘﺮوژﻩﻫﺎی ﺳﺎزﻣﺎن ﺣﻔﺎﻇﺖ‬ ‫ﺷﮑﺎر و ﺻﯿﺪ« را ﺑﻪ ﺗﺼﻮﯾﺐ رﺳﺎﻧﺪ‪ .‬ﺑﺮ اﺳﺎس اﯾﻦ ﻗﺎﻧﻮن‪» ،‬ﮐﺎﻧﻮن‬ ‫ﻣﺤﯿﻂزﯾﺴﺖ ﺑﻮد‪ .‬اﺳﮑﻨﺪر ﻓﯿﺮوز‪ ،‬ﺑﻨﯿﺎﻧﮕﺬار و ﻧﺨﺴﺘﯿﻦ رﯾﯿﺲ‬ ‫ﺷﮑﺎر« ﺑﻪ »ﺳﺎزﻣﺎن ﺷﮑﺎرﺑﺎﻧﯽ و ﻧﻈﺎرت ﺑﺮ ﺻﯿﺪ« ﺗﻐﯿﯿﺮ ﮐﺮد و‬ ‫وﻇﺎﯾﻒ ﺧﻮد را اﯾﻦ ﺑﺎر ﻧﻪ در ﻫﯿﺎت ﺳﺎزﻣﺎﻧﯽ ﻣﺴﺘﻘﻞ ﮐﻪ در ﻗﺎﻟﺐ ﺳﺎزﻣﺎن ﺣﻔﺎﻇﺖ ﻣﺤﯿﻂزﯾﺴﺖ در ﮐﺘﺎب ﺧﺎﻃﺮاﺗﺶ ﻧﻮﺷﺘﻪ اﺳﺖ‪،‬‬ ‫ﻣﻌﺎوﻧﺖ وزارت ﮐﺸﺎورزی و ﻣﻨﺎﺑﻊ ﻃﺒﯿﻌﯽ دﻧﺒﺎل ﻣﯽﮐﺮد‪ .‬ﺑﺮ اﺳﺎس ﻗﺮار ﺑﻮد ﭘﺎرک ﭘﺮدﯾﺴﺎن ﻣﺠﻤﻮﻋﻪ ﺑﺎﺷﺪ ﮐﻪ در آن ﻫﻤﺒﺴﺘﮕﯽ ﻋﻨﺎﴏ‬ ‫ﻃﺒﯿﻌﺖ )ﮔﯿﺎه و ﺟﺎﻧﻮر و آب و ﺧﺎک( را ﺑﻪ منﺎﯾﺶ ﺑﮕﺬارد و ﺑﺎ ﺟﻠﺐ‬ ‫ﻣﺎده ﺷﺶ اﯾﻦ ﻗﺎﻧﻮن‪ ،‬وﻇﺎﯾﻒ ﺳﺎزﻣﺎن ﺟﺪﯾﺪ از ﻣﺤﺪوده ﻧﻈﺎرت‬ ‫ﺗﻮﺟﻪ ﺑﺎزدﯾﺪﮐﻨﻨﺪﮔﺎن‪ ،‬آﻧﺎن را ﺑﻪ ﻓﮑﺮ ﺑﯿﺎﻧﺪازد ﮐﻪ اﻫﻤﯿﺖ ﺣﻔﻆ‬ ‫و اﺟﺮای ﻣﻘﺮرات ﻧﺎﻇﺮ ﺑﺮ ﺷﮑﺎر ﻓﺮاﺗﺮ رﻓﺖ و اﻣﻮر ﺗﺤﻘﯿﻘﺎﺗﯽ و‬ ‫ﻣﻄﺎﻟﻌﺎﺗﯽ ﻣﺮﺑﻮط ﺑﻪ ﺣﯿﺎتوﺣﺶ ﮐﺸﻮر‪ ،‬ﺗﮑﺜﯿﺮ و ﭘﺮورش ﺣﯿﻮاﻧﺎت ﻃﺒﯿﻌﺖ ﭼﯿﺴﺖ‪ .‬ﻣﻄﺎﻟﻌﺎت ﻻزم و ﮔﺰارشﻫﺎی ﻣﺮﺑﻮط ﺑﻪ اﯾﺠﺎد اﯾﻦ‬ ‫ﭘﺎرک در ﻏﺮب ﺗﻬﺮان ﺑﻪ اﻧﺠﺎم رﺳﯿﺪ اﻣﺎ ﺑﺎ ﭘﯿﺮوزی اﻧﻘﻼب ﭘﺮدﯾﺴﺎن‬ ‫وﺣﺸﯽ‪ ،‬ﺣﻔﺎﻇﺖ از زﯾﺴﺘﮕﺎهﻫﺎی آنﻫﺎ و اﯾﺠﺎد ﻣﻮزهﻫﺎی‬

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‫ﺑﺮای ﺳﺎلﻫﺎ ﻓﺮاﻣﻮش ﺷﺪ و ﻋﺎﻗﺒﺖ ﺑﻪ ﺷﮑﻠﯽ ﮐﺎﻣﻼ ﻣﺘﻔﺎوت درآﻣﺪ‪.‬‬ ‫در ﺳﺎل ‪ ۱۳۵۱‬ﮐﻨﻔﺮاﻧﺲ ﻣﺤﯿﻂزﯾﺴﺖ اﻧﺴﺎﻧﯽ در اﺳﺘﮑﻬﻠﻢ ﺑﺮﮔﺰار‬ ‫ﺷﺪ‪ .‬ﮔﺰارش وﺿﻌﯿﺖ ﻣﺤﯿﻂزﯾﺴﺖ اﯾﺮان را ﮐﺎرﺷﻨﺎس ﻣﻌﺘﱪ آن‬ ‫ﺳﺎلﻫﺎ دﮐﱰ ﻓﺮد ﻫﺮﯾﻨﮕنت ﺗﻬﯿﻪ ﮐﺮد‪ .‬اﯾﻦ ﮔﺰارش ﺗﻮﺳﻂ ﺷﺎﻫﭙﻮر‬ ‫ﻋﺒﺪاﻟﺮﺿﺎ ﻗﺮاﺋﺖ ﺷﺪ و ﺗﻮﺟﻪ ﺣﻀﺎر را ﺑﻪ ﺧﻮد ﺟﻠﺐ ﮐﺮد‪ .‬ﭘﺲ از آن‬ ‫ﺑﻮد ﮐﻪ ﺑﺴﯿﺎری از ﮐﺎرﺷﻨﺎﺳﺎن ﻃﺒﯿﻌﺖ ﺑﺮای ﻫﻤﮑﺎری ﺑﺎ اﯾﺮان ﻋﻼﻗﻪ‬ ‫ﻧﺸﺎن دادﻧﺪ و راﻫﯽ اﯾﻦ ﴎزﻣﯿﻦ ﺷﺪﻧﺪ‪ :‬ﭘﺎول ﺟﺎﺳﻠﯿﻦ )ﮐﺎرﺷﻨﺎس‬ ‫ﮔﻮﺷﺘﺨﻮاران(‪ ،‬ﺑﺮاﯾﺎن ﮐﺪ )ﮐﺎرﺷﻨﺎس ﻣﺎﻫﯿﺎن(‪ ،‬اﺳﺘﯿﻮ اﻧﺪرﺳﻦ )ﻣﺤﻘﻖ‬ ‫ﺧﺰﻧﺪﮔﺎن(‪ ،‬ﺟﺮج آرﭼﯿﺒﺎﻟﺪ )ﮐﺎرﺷﻨﺎس درﻧﺎﻫﺎ(‪ ،‬ﺳﺎم ﻫﺲ )ﭘﮋوﻫﺸﮕﺮ‬ ‫ﮔﻮزنﻫﺎ(‪ ،‬آﻧﺘﻮن دی ُوس )ﺑﻮمﺷﻨﺎس( و ‪ ...‬ﺷامری از ﻣﺘﺨﺼﺼﺎﻧﯽ‬ ‫ﻫﺴﺘﻨﺪ ﮐﻪ ﯾﺎ دوره ﻫﻤﮑﺎریﺷﺎن ﺑﻪ ﴎ رﺳﯿﺪ ﯾﺎ ﺑﻪ دﻟﯿﻞ ﴍاﯾﻂ‬ ‫ﺣﺎﮐﻢ ﺑﺮ اﯾﺮان‪ ،‬ﮐﻤﯽ ﭘﯿﺶ از اﻧﻘﻼب‪ ،‬ﮐﺸﻮر را ﺗﺮک ﮐﺮدﻧﺪ‪.‬‬

‫و ﺷﺪ دﮐﻮر ‪...‬‬

‫در ﮔﺮﻣﺎﮔﺮم اﻧﻘﻼب‪ ،‬ﻣﺮدم ﺑﻪ ﻣﻨﺎﻃﻘﯽ ﮐﻪ ﺑﺎ ﺳﺎلﻫﺎ ﻣﺮارت و‬ ‫ﺧﻮندل ﺣﻔﺎﻇﺖ ﺷﺪه ﺑﻮد ﯾﻮرش ﺑﺮدﻧﺪ و ﺗﻼﻓﯽ ﻫﻤﻪ ﻣﺤﺪودﯾﺖﻫﺎ‬ ‫و ﻣﺤﺮوﻣﯿﺖﻫﺎ را ﺑﺎ ﮐﺸﺘﺎر ﺟﺎﻧﻮران و ﺗﺼﺎﺣﺐ زﻣﯿﻦﻫﺎ ﺟﱪان‬ ‫ﮐﺮدﻧﺪ‪ .‬ﻋﺪهای از اﻫﺎﻟﯽ ﺣﮑﻮﻣﺖ ﺟﺪﯾﺪ ﻣﯽﺧﻮاﺳﺘﻨﺪ ﺳﺎزﻣﺎن‬ ‫ﻣﺤﯿﻂزﯾﺴﺖ را ﺗﻌﻄﯿﻞ ﮐﻨﻨﺪ‪ .‬آن را دﺳﺘﮕﺎﻫﯽ ﻣﯽداﻧﺴﺘﻨﺪ ﮐﻪ ﺗﻨﻬﺎ‬ ‫در ﺧﺪﻣﺖ ﺷﺎه و ﺧﺎﻧﺪان ﺳﻠﻄﻨﺘﯽ ﺑﻮد‪ .‬ﮔﺮﭼﻪ ﺳﺎزﻣﺎن ﻣﺤﯿﻂزﯾﺴﺖ‬ ‫ﺗﻌﻄﯿﻞ ﻧﺸﺪ اﻣﺎ ﺑﺮای ﺳﺎلﻫﺎ )و ﺣﺘﯽ ﺗﺎ اﻧﺪازهای اﻣﺮوز( ﺑﯿﺸﱰ ﻧﻘﺶ‬ ‫دﮐﻮر را اﯾﻔﺎ ﮐﺮدهاﺳﺖ‪ .‬ﺳﺎزﻣﺎﻧﯽ ﮐﻪ رﺋﯿﺲ آن ﻣﻌﺎون رﯾﯿﺲ ﺟﻤﻬﻮر‬ ‫اﺳﺖ‪ ،‬ﻓﺎﻗﺪ ﻗﺪرت ﻻزم اﺳﺖ ﺑﺮای ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺗﺨﺮﯾﺐﻫﺎی ﺳﺎزﻣﺎن‬ ‫ﯾﺎﻓﺘﻪ )ﻧﻈﯿﺮ ﺳﺪﺳﺎزی‪ ،‬ﺟﺎدهﺳﺎزی‪ ،‬اﯾﺠﺎد ﭘﺎﻻﯾﺸﮕﺎه و ﻧﯿﺮوﮔﺎه‪ ،‬ﺗﻐﯿﯿﺮ‬ ‫ﮐﺎرﺑﺮی اراﺿﯽ و ﭼﺮای ﻣﻔﺮط دام در ﻣﻨﺎﻃﻖ ﺣﻔﺎﻇﺖ ﺷﺪه(‪ .‬ﻫﻤﯿﻦ‬ ‫ﻣﯿﺰان از ﻓﻌﺎﻟﯿﺖﻫﺎی ِ ﻧﻪ ﭼﻨﺪان ﮐﺎﻓﯽ را ﻧﯿﺰ ﻋﺪهای در ﻣﺎهﻫﺎی‬ ‫اﺧﯿﺮ ﻃﺎﻗﺖ ﻧﯿﺎورده و ﺗﻼش ﮐﺮدﻧﺪ آن ﺳﺎزﻣﺎن را ﻣﻨﺤﻞ ﮐﻨﻨﺪ‪.‬‬ ‫ﺷﺎﯾﺪ روزی ﻧﻪ ﭼﻨﺪان دور‪ ،‬ﮐامﻧﮕﯿﺮ دﯾﮕﺮی ﭘﯿﺪا ﺷﻮد‪» ،‬زه ﺟﺎن‬ ‫ﮐﺸﯿﺪه ﺗﺎ ﺑﻦ ﮔﻮش‪ ،‬ﺑﻪ رﻫﺎ ﮐﺮدن ﻓﺮﯾﺎد آﺧﺮﯾﻦ« ﺑﺎ ﺗﻨﻬﺎ ﺗﯿﺮ ﺗﺮﮐﺶاش‬ ‫ﻣﺮزﻫﺎی ﺣﻔﺎﻇﺖ از ﻃﺒﯿﻌﺖ اﯾﺮان از ﻧﻮ ﺗﺮﺳﯿﻢ ﮐﻨﺪ‪ .‬ﺷﺎﯾﺪ آن روز‬ ‫اﺣﱰام ﺑﻪ ﻃﺒﯿﻌﺖ ﺑﻪ ﻫامن ﺳﺎلﻫﺎی دور ﺑﺮﮔﺮدد‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:59 AM‬‬

‫‪108-109-Environment-Sam Khosravifar- EDITED.indd 108‬‬

‫‪ENVIRONMENT‬‬

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‫ﺳﺎم ﺧﴪویﻓﺮد‬ ‫داﻧﺶآﻣﻮﺧﺘــﻪ ﻣﺪﯾﺮﯾــﺖ ﻣﺤﯿﻂزﯾﺴــﺖ‬ ‫و داﻧﺸــﺠﻮی دوره دﮐــﱰا در »داﻧﺸــﮕﺎه‬ ‫ﺗﻮﺋﻨﺘــﻪ ﻫﻠﻨــﺪ« اﺳــﺖ‪ .‬او در ﮐﻨــﺎر اﻧﺘﺸــﺎر‬ ‫ﻣﻘــﺎﻻت ﻣﺘﻌــﺪدی درﺑــﺎره ﻣﺤﯿﻂزﯾﺴــﺖ‬ ‫اﯾــﺮان ﺑــﺮای روزﻧﺎﻣﻪﻫــﺎ‪ ،‬ﻣﺠــﻼت و‬ ‫وبﺳــﺎﯾﺖﻫﺎی ﻓﺎرﺳــﯽ و اﻧﮕﻠﯿﺴــﯽ‪ ،‬ﺗــﺎ‬ ‫ﮐﻨــﻮن دو ﮐﺘــﺎب »ﻣﯿــﺮاث ﻃﺒﯿﻌــﯽ اﯾــﺮان«‬ ‫و »ﺷــﯿﺮ اﯾﺮاﻧــﯽ« را ﺑــﻪ رﺷــﺘﻪ ﺗﺤﺮﯾــﺮ‬ ‫درآورده ﮐــﻪ از ﺳــﻮی »اﻧﺘﺸــﺎرات دﻓــﱰ‬ ‫ﭘﮋوﻫﺶﻫــﺎی ﻓﺮﻫﻨﮕــﯽ« ﻣﻨﺘــﴩ ﺷــﺪهاﻧﺪ‪.‬‬ ‫ﺳــﺎم ﺧﴪویﻓــﺮد ﺗــﺎ ﭘﯿــﺶ از ﺧــﺮوج‬ ‫از اﯾــﺮان ﺑــﺮای اداﻣــﻪ ﺗﺤﺼﯿــﻞ‪ ،‬ﻣﺸــﺎور‬ ‫»ﭘــﺮوژﻩ ﺑﯿﻦاﳌﻠﻠــﯽ ﺣﻔﺎﻇــﺖ از ﯾﻮزﭘﻠﻨــﮓ‬ ‫آﺳــﯿﺎﯾﯽ و زﯾﺴــﺖﮔﺎهﻫﺎی آن« ﺑــﻮد و‬ ‫ﺿﻤــﻦ ﻫﻤــﮑﺎری ﺑــﺎ دﻓــﱰ ﻋﻤ ـﺮان ﺳــﺎزﻣﺎن‬ ‫ﻣﻠــﻞ و ﺳــﺎزﻣﺎن ﻣﺤﯿﻂزﯾﺴــﺖ اﯾــﺮان‪ ،‬در‬ ‫ﺗﺪوﯾــﻦ ﻓــﺎز دوم اﯾــﻦ ﭘﺮوژﻩ ﻣﺸــﺎرﮐﺘﯽ ﺟﺪی‬ ‫داﺷــﺖ‪ .‬ﻣﺴــﺘﻨﺪ ﺑــﻪ ﻧــﺎم »راﮐــﻮن؛ ﻣﻬــامن‬ ‫ﻧﺎﺧﻮاﻧــﺪه« از ﺳــﺎﺧﺘﻪﻫﺎی او در دﻧﯿــﺎی‬ ‫ﺗﺼﻮﯾــﺮ و ﻣﺴــﺘﻨﺪ اﺳــﺖ‪.‬‬

‫ﮐامﻧﮕﯿ ِﺮ ﭘﺮآوازه ﺑﻪ ﻣﯿﺪان آﻣﺪ‪ .‬ﺗﯿﺮ را ﺑﺮ ﭼﻠﻪ ﻧﻬﺎد‪ .‬ﴎﻧﻮﺷﺖ ﯾﮏ ﴎزﻣﯿﻦ در ﮔﺮو‬ ‫ﺷﮑﺎر ﺑﯽروﯾﻪ ﻧﺒﻮد ﮐﻪ ﻃﺒﯿﻌﺖ اﯾﺮان را ﺗﻬﺪﯾﺪ ﻣﯽﮐﺮد‪ .‬ﻧﻬﻀﺖ ﺳﺪﺳﺎزی‬ ‫ﻓﺮود آﻣﺪن ِ آن ﺗﯿﺮی ﺑﻮد ﮐﻪ »اﻣﺸﺎﺳﭙﻨﺪ ﺳﭙﻨﺪارﻣﺬ« ﯾﺎریرﺳﺎن اﯾﺮاﻧﯿﺎن ﺷﺪ ﺑﺮای‬ ‫در اﯾﺮان ﺑﻪ راه اﻓﺘﺎد ﺑﺮای ﺗﻮﻟﯿﺪ ﺑﺮق و ﮐﻨﱰل ﺳﯿﻼبﻫﺎ‪ .‬وارد ﮐﺮدن‬ ‫ﺳﺎﺧﺘﻨﺶ‪ .‬اﻓﺮاﺳﯿﺎب‪ ،‬ﺷﺎه ﻣﻬﺎﺟامن ﺗﻮراﻧﯽ ﺑﺎ ﭘﺎدﺷﺎه اﯾﺮان ﻣﻨﻮﭼﻬﺮ‪ ،‬ﭘﯿامن ﺑﺴﺖ ﮐﻪ‬ ‫ﺗﻠﻤﺒﻪﻫﺎی ﻧﯿﺮوﻣﻨﺪ ﺑﻪ اﯾﺮان آﻏﺎز ﺷﺪه ﺑﻮد ﺑﺮای ﮐﺸﯿﺪن آب از‬ ‫زﻣﯿﻦ‪ .‬ﺑﻪ ﺗﺪرﯾﺞ اﺳﺘﻔﺎده از روشﻫﺎی ﺳﻨﺘﯽ و ﻣﺤﯿﻂزﯾﺴﺖ‪-‬‬ ‫ﻣﺤﻞ ﻓﺮود ﺗﯿﺮ را ﻣﺮز اﯾﺮان ﺑﺸﻨﺎﺳﺪ‪ .‬ﻗﺮﻋﻪ ﮐﺎر ِﮐامنﮐﺸﯽ ﺑﻪ ﻧﺎم آرش اﻓﺘﺎد‪ .‬ﺑﻪ ﮐﺎر اﻋامق‬ ‫زار آﻣﺪ‪» .‬زه ﺟﺎن ﮐﺸﯿﺪه ﺗﺎ ﺑﻦ ﮔﻮش«)‪ (۲‬ﺧﺎور را ﻧﺸﺎﻧﻪ رﻓﺖ »ﺑﻪ رﻫﺎ ﮐﺮدن ﻓﺮﯾﺎد‬ ‫ﻣﺤﻮر )‪ (Environment-friendly‬ﺟﺎی ﺧﻮد را ﺑﻪ ﺑﻬﺮهﮐﺸﯽ‬ ‫در ﻣﺴﯿﺮ ﭘﯿﴩﻓﺖ ﻗﺪم ﮔﺬاﺷﺘﻪ ﺑﻮد و ﻫﻢزﻣﺎن از ﺗﻮﺟﻪ‬ ‫آﺧﺮﯾﻦ«‪ .‬ﺗﯿﺮ ﺑﻪ ﭘﺮواز درآﻣﺪ‪ .‬آﺳامنﻫﺎ را ﭘﯿﻤﻮد‪ .‬ﺗﯿﺮاﻧﺪاز‪ ،‬ﺟﺎنﺑﺎﺧﺖ‪ .‬ﺑﺎزﻣﺎﻧﺪﮔﺎﻧﺶ ﻣﻄﻠﻖ داد‪ .‬اﯾﺮان‬ ‫ﻣﺎﻧﺪﻧﺪ و وﻇﯿﻔﻪ دﺷﻮار ِ ﺣﻔﺎﻇﺖ از ﻣﺮ ِز ﭘﺮﮔﻬﺮ را ﺑﻪ دوش ﮐﺸﯿﺪﻧﺪ‪.‬‬ ‫ﻓﺎﺻﻠﻪ ﻣﯽﮔﺮﻓﺖ‪ .‬در اﯾﻦ ﴍاﯾﻂ »ﮐﺎﻧﻮن ﺷﮑﺎر« ﺑﺮای‬ ‫و اﺣﱰام ﺑﻪ ﻃﺒﯿﻌﺖ‬ ‫ﻗﺮنﻫﺎﺳﺖ از اﺳﻄﻮره آرش‪ ،‬ﺗﯿﺮاﻧﺪازیاو و ﺣﺘﯽ ﺑﺮﮔﺰاری ﺟﺸﻦ ﺗﯿﺮﮔﺎن ﻣﯽﮔﺬرد‪.‬‬ ‫و ﺣﯿﺎتوﺣﺶ ﺑﺎ ﺗﺼﻮﯾﺐ ﻣﺠﻠﺲ ﺷﻮرای ﻣﻠﯽ در‬ ‫ﺣﻔﺎﻇﺖ زﯾﺴﺘﮕﺎهﻫﺎ‬ ‫ﻃﯽ ﺳﺎﻟﯿﺎن ﻃﻮﻻﻧﯽ اﯾﺮاﻧﯿﺎن آﻣﻮﺧﺘﻪ ﺑﻮدﻧﺪ ﭼﮕﻮﻧﻪ از ﻃﺒﯿﻌﺖ و ﴎزﻣﯿﻦﺷﺎن‪،‬‬ ‫ﺗﺸﮑﯿﻼﺗﯽ ﻣﺴﺘﻘﻞ ﮐﺎر ﺧﻮد را آﻏﺎز ﮐﺮد‪ .‬در ﻣﺎده‬ ‫ﺑﻬﻤﻦ ﻣﺎه ‪ ۱۳۳۵‬ﺑﻪ ﻋﻨﻮان‬ ‫ﺷﮑﺎر« آﻣﺪه اﺳﺖ ﮐﻪ اﻋﻀﺎی ﮐﺎﻧﻮن ﺷﮑﺎر‬ ‫ﺑﻬﺮهﺑﺮداری و ﺣﻔﺎﻇﺖ ﮐﻨﻨﺪ‪ .‬روﯾﻪای ﮐﻪ ﻫﻤﻮاره و ﻫﻤﯿﺸﻪ اداﻣﻪ داﺷﺖ ﺗﺎ اﯾﻦ ﮐﻪ دوم »ﻃﺮح ﻗﺎﻧﻮﻧﯽ راﺟﻊ ﺑﻪ‬ ‫اﺑﺰار و ادوات ﻣﺪرن ﺑﻪ اﯾﺮان راه ﯾﺎﻓﺖ و ﺑﻬﺮهﮐﺸﯽ از ﻃﺒﯿﻌﺖ ﺑﻪ روﺷﯽ ﻣﺮﺳﻮم‬ ‫ﮐﺸﻮر و رﯾﯿﺲ ﺳﺘﺎد ارﺗﺶ و ﺷﺶ ﻧﻔﺮ از‬ ‫ﻫﺸﺖ ﻧﻔﺮ ﺑﻮدهاﻧﺪ‪ ،‬ﺷﺎﻣﻞ وزﯾﺮ‬ ‫ﭼﻬﺎر ﺳﺎل ﺑﻨﺎ ﺑﻪ ﭘﯿﺸﻨﻬﺎد رﯾﯿﺲ ﮐﺎﻧﻮن‬ ‫ﺑﺪل ﺷﺪ‪ .‬ﺷﺎﯾﺪ ورود ﻧﺨﺴﺘﯿﻦ ﺳﻼح ﮔﺮم ﺑﻪ اﯾﺮان در دوران ﺻﻔﻮﯾﻪ را ﺑﺘﻮان آﻏﺎزی ﻣﻄﻠﻌﯿﻦ ﺑﻪ اﻣﻮر ﺷﮑﺎر ﮐﻪ ﺑﺮای ﻣﺪت‬ ‫داﻧﺴﺖ ﺑﺮ ﭘﺎﯾﺎن زﯾﺴنت ِ ﻣﺴﺎﳌﺖآﻣﯿﺰ و آﻣﯿﺨﺘﻪ ﺑﺎ اﺣﱰام ِﻣﺤﺾ ﺑﻪ ﻃﺒﯿﻌﺖ‪ .‬ﺑﻪ‬ ‫رﯾﺎﺳﺖ و ﻋﻀﻮﯾﺖ ﮐﺎﻧﻮن ﺷﮑﺎر‪،‬‬ ‫و ﻓﺮﻣﺎن ﻫامﯾﻮﻧﯽ ﺗﻌﯿﯿﻦ ﻣﯽﺷﺪﻧﺪ‪.‬‬ ‫ﺗﺪرﯾﺞ ﺷﮑﺎر ﮐﻪ ﺑﻪ روشﻫﺎی ﺳﻨﺘﯽ اﻧﺠﺎم ﻣﯽﺷﺪ و ﭼﺎرهای ﺑﻮد ﺑﺮای ﮔﺬران زﻧﺪﮔﯽ‪ ،‬اﻓﺘﺨﺎری و ﺑﺪون ﺣﻘﻮق ﺑﻮد‪.‬‬ ‫ﺟﺎی ﺧﻮد را ﺑﻪ ﺷﮑﺎر ﺗﻔﺮﯾﺤﯽ و ورزﺷﯽ داد‪ .‬اﯾﻦ ﺗﻐﯿﯿﺮ روﯾﮑﺮد را ﻣﯽﺗﻮان در‬ ‫ﺑﺮای ﻗﺎﻧﻮنﻣﻨﺪ ﮐﺮدن‬ ‫»ﻃﺮح ﻗﺎﻧﻮﻧﯽ راﺟﻊ ﺑﻪ ﺷﮑﺎر« ﻧﺨﺴﺘﯿﻦ ﺗﻼش‬ ‫اﻧﺪک ﺧﺎﻃﺮات ﺑﻪ ﺟﺎ ﻣﺎﻧﺪه از اﻋﯿﺎن و اﴍاف ﯾﺎ ﺟﻬﺎﻧﮕﺮدان آن روزﮔﺎر ردﮔﯿﺮی‬ ‫در ﮐﺘﺎب وﻗﺎﯾﻊ اﻟﺰﻣﺎن‬ ‫ﺷﮑﺎر در اﯾﺮان ﻧﺒﻮد‪ .‬دوﺳﺘﻌﻠﯽﺧﺎن ﻣﻌﯿﺮاﳌامﻟﮏ‬ ‫ﮐﺮد‪ .‬منﻮﻧﻪای ﺑﺎرز از ﺷﮑﺎرﮐﺸﯽﻫﺎی ﺟﻨﻮنآﺳﺎ در دوران ﻗﺎﺟﺎرﯾﻪ در ﺧﺎﻃﺮات‬ ‫در ﯾﯿﻼق ﺗﻬﺮان ﭼﻨﺪ‬ ‫)ﺧﺎﻃﺮات ﺷﮑﺎرﯾﻪ( ﻧﻮﺷﺘﻪ اﺳﺖ ﮐﻪ ﺑﻌﺪ از ﺗﯿﺮاﻧﺪازی‬ ‫ﻣﺴﻌﻮدﻣﯿﺮزا ﻇﻞاﻟﺴﻄﺎن‪ ،‬ﻓﺮزﻧﺪ ﺳﻮم و ﭘﴪ دوم ﻧﺎﴏاﻟﺪﯾﻦﺷﺎه ﻗﺎﺟﺎر ﻣﻨﻌﮑﺲ‬ ‫ﺧﻮاﺳﺘﻨﺪ ﺗﻔﻨﮓ‬ ‫ﭘﻠﯿﺲ آﻣﺪﻧﺪ و ﮔﻔﺘﻨﺪ‪» :‬ﻗﺪﻏﻦ اﺳﺖ! ﻧﺒﺎﯾﺪ ﺗﯿﺮ اﻧﺪاﺧﺖ‪«.‬‬ ‫ﺷﺪه اﺳﺖ‪ .‬ﺳﻔﺮ ﭼﻬﻞ روزه او ﺑﻪ ﻣﯿﺎﻧﮑﺎﻟﻪ ﻓﻘﻂ ﮔﻮﺷﻪای از ﺧﻮنرﯾﺰی و ﻗﺘﻞﻋﺎم‬ ‫داده اﺳﺖ‪.‬‬ ‫او را ﺑﮕﯿﺮﻧﺪ‪ .‬او ﺑﻪ ﺟﺎی ﺗﻔﻨﮓ ﺑﻠﯿﻂ )ﻣﺠﻮز ﺷﮑﺎر( را ﻧﺸﺎن‬ ‫ﻣﺤﻠﯽ ﺗﯿﺮ‬ ‫ﺟﺎﻧﻮران اﺳﺖ‪ .‬ﻣﺴﻌﻮدﻣﯿﺮزا ﻧﻮﺷﺘﻪ اﺳﺖ‪» :‬ﺷﺶ ﻫﺰار ﻗﺮﻗﺎول ﺑﻪ ﺳﺎری ﺑﻪ دوﺳﺘﺎن »ﮔﻔﺘﻨﺪ‪ :‬ﺑﻠﯿﻂ درﺳﺖ اﺳﺖ‪ .‬اﻣﺎ رﯾﯿﺲ ﮔﻔﺘﻪ اﺳﺖ ﺑﺎﯾﺪ در‬ ‫ﺧﻮدﻣﺎن در ﺷﻬﺮ ﻓﺮﺳﺘﺎده ﺷﺪ ‪-‬ﺑﻪ ﺟﺰ دزدﯾﺪه ﺷﺪهﻫﺎ و ﺑﻪ آﻣﺎر ﻧﯿﺎﻣﺪهﻫﺎ‪ ۳۵ -‬ﺑﱪ‪ ،‬اﻧﺪاﺧﺖ ﮐﻪ ﺻﺪاﯾﺶ در ده ﻧﯿﺎﯾﺪ‪«.‬‬ ‫‪ ۱۸‬ﭘﻠﻨﮓ‪ ۶۳ ،‬ﮔﺎو و ﮔﺎوﻣﯿﺶ اﻫﻠﯽ ﻛﻪ وﺣﺸﯽ ﺷﺪه ﺑﻮدﻧﺪ‪ ۱۵۰ ،‬ﻣﺮال ﻛﻪ ﮔﺎو ﻛﻮﻫﯽ ﭘﺲ از آن ﻧﯿﺰ در ‪ ۱۳۰۷‬ﻗﺎﻧﻮن ﻣﺪﻧﯽ ﺑﻪ ﺗﺼﻮﯾﺐ رﺳﯿﺪ ﮐﻪ‬ ‫ﻣﯽﮔﻮﯾﻨﺪ‪ ،‬در اﯾﻦ ‪ ۴۰‬روز ﺗﻮﻗﻒ ﻣﺎ در آن ﺟﺎ ﻛﺸﺘﻪ ﺷﺪ‪ ،‬ﭼﻘﺪرﻫﺎ ﻓﺮار ﻛﺮدﻧﺪ ﺑﻪ‬ ‫ﺑﺮ اﺳﺎس ﻣﺎده ‪ ۱۸۲‬آن ﻣﻘﺮرات راﺟﻊ ﺑﻪ ﺷﮑﺎر را ﺑﻪ »ﺗﺪوﯾﻦ ﻧﻈﺎﻣﺎت‬ ‫ﺟﻨﮕﻞﻫﺎی ﺑﺰرگ و ﭼﻘﺪرﻫﺎ در ﺧﻮد ﺟﺰﯾﺮه ﻣﺎﻧﺪﻧﺪ ﺣﺴﺎﺑﺶ را ﺧﺪا ﻣﯽداﻧﺪ‪...،‬‬ ‫ﻣﺨﺼﻮﺻﻪ« ﻣﻮﮐﻮل ﮐﺮده ﺑﻮد‪ .‬ﻫﻤﭽﻨﯿﻦ ﻫﯿﺎت وزﯾﺮان در ‪ ۲۰‬ﺷﻬﺮﯾﻮر ‪۱۳۲۷‬‬ ‫در اﯾﻦ ‪ ۴۰‬روز ﺻﺪای ﺗﻔﻨﮓ از ﻫﻢ منﯽﺑﺮﯾﺪ و دﯾﮕﺮ روزﻫﺎی آﺧﺮ ﺷﻜﺎرﻫﺎ ﻗﺮﺑﯽ‬ ‫ﻃﯽ ﻣﺼﻮﺑﻪای‪ ،‬ﺻﯿﺪ ﻣﺎﻫﯽ ﺑﺎ دﯾﻨﺎﻣﯿﺖ و ﺑﻄﺮی ﻣﺤﺘﻮی آﻫﮏ و ﻣﻮاد ﻣﻨﻔﺠﺮه و‬ ‫ﻧﺪاﺷﺘﻨﺪ‪«.‬‬ ‫ﻫﻤﭽﻨﯿﻦ ﻣﺎﻫﯽ ﺑﺎ ﻫﺮ ﻣﺎده ﺳﻤﯽ و ﻣﺨﺪر را در آبﻫﺎی ﮐﺸﻮر ﻣﻤﻨﻮع اﻋﻼم ﮐﺮد‪.‬‬

‫ﻧﺨﺴﺘﯿﻦ ﺗﻼشﻫﺎ‬

‫در ﺳﺎلﻫﺎی ﺑﻌﺪ از ﺟﻨﮓ ﺟﻬﺎﻧﯽ دوم‪ ،‬ﺗﻌﺪاد ﺟﯿﭗﻫﺎ و اﺳﻠﺤﻪ ﺟﻨﮕﯽ در اﯾﺮان‬ ‫اﻓﺰاﯾﺶ ﯾﺎﻓﺖ‪ .‬ﻋﺮﺻﻪﻫﺎی ﻃﺒﯿﻌﯽ ﴎاﴎ اﯾﺮان ﻣﺤﻞ ﺗﺨﺖ و ﺗﺎز ﺟﯿﺐﺳﻮاراﻧﯽ‬ ‫ﺑﻮد ﮐﻪ ﮔﺮﭼﻪ ﺗﯿﺮاﻧﺪازان ﻗﺎﺑﻠﯽ ﺑﻮدﻧﺪ اﻣﺎ آﮔﺎﻫﯽ ﭼﻨﺪاﻧﯽ از اﺻﻮل اوﻟﯿﻪ و ﺿﻮاﺑﻂ‬ ‫ﺷﮑﺎر ﻧﺪاﺷﺘﻨﺪ‪ .‬از اﯾﻦ رو ﺗﻌﺪاد ﺟﺎﻧﻮران ﺑﻪ ﻃﺮز ﻏﻢاﻧﮕﯿﺰی ﮐﺎﻫﺶ ﭘﯿﺪا ﮐﺮد‪ .‬ﻓﻘﻂ‬

‫از ﮐﺎﻧﻮن ﺗﺎ ﺳﺎزﻣﺎن‬

‫»ﮐﺎﻧﻮن ﺷﮑﺎر« را ﭼﻨﺪ ﺗﻦ از ﺷﮑﺎرﭼﯿﺎن ﭘﺮﻧﻔﻮذ آنﺳﺎلﻫﺎ راهاﻧﺪازی ﮐﺮدﻧﺪ؛ ﺷﺎﻫﭙﻮر‬ ‫ﻋﺒﺪاﻟﺮﺿﺎ ﭘﻬﻠﻮی‪ ،‬ﺑﺮادر ﺷﺎه اﯾﺮان‪ ،‬ﻣﻨﻮﭼﻬﺮ رﯾﺎﺣﯽ )دﺑﯿﺮ ﮐﻞ(‪ ،‬اﺳﮑﻨﺪر ﻓﯿﺮوز )ﻗﺎﺋﻢ‬ ‫ﻣﻘﺎم دﺑﯿﺮ ﮐﻞ(‪ ،‬ﯾﺎرﻣﺤﻤﺪ ﺧﺎن ﺷﺎدﻟﻮ )ﺑﺎزرس ﮐﻞ(‪ ،‬ﺧﻮاﺟﻪ ﻧﻮری )ﺧﺰاﻧﻪدار( و‬ ‫ﻋﺒﺎسﻗﻠﯽ ﻋﺮبﺷﯿﺒﺎﻧﯽ )منﺎﯾﻨﺪه دوره ﻧﻮزدﻫﻢ ﻣﺠﻠﺲ ﺷﻮرای ﻣﻠﯽ( ﻫﺴﺘﻪ اوﻟﯿﻪ اﯾﻦ‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:59 AM‬‬

‫‪108-109-Environment-Sam Khosravifar- EDITED.indd 109‬‬

‫‪KIDS‬‬

‫ﻃﺮف ﻛﻨﻮاﻧﺴﻴﻮن متﺎم اﻗﺪاﻣﺎت ﻻزم را ﺟﻬﺖ ﺗﻀﻤني ﺣامﻳﺖ از ﻛﻮدک در ﻣﻘﺎﺑﻞ متﺎم اﺷﻜﺎل ﺗﺒﻌﻴﺾ‪،‬‬ ‫ﻣﺠﺎزات ﺑﺮ اﺳﺎس ﻣﻮﻗﻌﻴﺖ‪ ،‬ﻓﻌﺎﻟﻴﺖﻫﺎ‪ ،‬اﺑﺮاز ﻋﻘﻴﺪه و ﻳﺎ ﻋﻘﺎﻳﺪ واﻟﺪﻳﻦ‪ ،‬ﻗﻴﻢ ﻗﺎﻧﻮﻧﯽ و ﻳﺎ اﻋﻀﺎی‬ ‫ﺧﺎﻧﻮاده ﻛﻮدک ﺑﻪ ﻋﻤﻞ ﺧﻮاﻫﻨﺪ آورد‪«.‬‬ ‫ﻫﻤﭽﻨﯿﻦ ﻣﺎده ‪ ۱۹‬ﮐﻨﻮاﻧﺴﯿﻮن ﯾﺎد ﺷﺪه درﺑﺎره ﻣﺼﻮﻧﯿﺖ ﮐﻮدﮐﺎن درﺑﺎره ﻣﻮاﺟﻪ ﺑﺎ ﺧﺸﻮﻧﺖ ﭘﯿﺶﺑﯿﻨﯽ‬ ‫ﮐﺮده اﺳﺖ‪» :‬ﻛﺸﻮرﻫﺎی ﻃﺮف ﻛﻨﻮاﻧﺴﻴﻮن متﺎم اﻗﺪاﻣﺎت ﻗﺎﻧﻮﻧﯽ‪ ،‬اﺟﺮاﯾﯽ‪ ،‬اﺟﺘامﻋﯽ و آﻣﻮزﺷﯽ را‬ ‫در ﺟﻬﺖ ﺣامﻳﺖ از ﻛﻮدک در ﺑﺮاﺑﺮ متﺎم اﺷﻜﺎل ﺧﺸﻮﻧﺖﻫﺎی ﺟﺴﻤﯽ و روﺣﯽ‪ ،‬آﺳﻴﺐرﺳﺎﻧﯽ ﻳﺎ‬ ‫ﺳﻮءاﺳﺘﻔﺎده‪ ،‬ﺑﯽﺗﻮﺟﻬﯽ ﻳﺎ ﺳﻬﻞاﻧﮕﺎری‪ ،‬ﺑﺪرﻓﺘﺎری ﻳﺎ اﺳﺘﺜامر ‪-‬ازﺟﻤﻠﻪ ﺳﻮءاﺳﺘﻔﺎده ﺟﻨﺴﯽ در ﺣﻴﻨﯽ‬ ‫ﻛﻪ ﻛﻮدک ﺗﺤﺖ ﻣﺮاﻗﺒﺖ واﻟﺪﻳﻦ ﻳﺎ ﻗﻴﻢ ﻗﺎﻧﻮﻧﯽ ﻳﺎ ﻫﺮ ﺷﺨﺺ دﻳﮕﺮی ﻗﺮار دارد‪ ،‬ﺑﻪ ﻋﻤﻞ ﺧﻮاﻫﻨﺪ‬ ‫آورد‪ .‬اﻳﻦ ﮔﻮﻧﻪ اﻗﺪاﻣﺎت ﺣامﻳﺘﯽ در ﻣﻮارد ﻣﻘﺘﻀﯽ ﺑﺎﻳﺪ ﺷﺎﻣﻞ اﻗﺪاﻣﺎت ﻣﺆﺛﺮ ﺑﺮای اﻳﺠﺎد ﺑﺮﻧﺎﻣﻪﻫﺎی‬ ‫اﺟﺘامﻋﯽ در ﺟﻬﺖ ﻓﺮاﻫﻢ آوردن ﺣامﻳﺖﻫﺎی ﻻزﻣﻪ از ﻛﻮدک و ﻛﺴﺎﻧﯽ ﺑﺎﺷﺪ ﻛﻪ ﻣﺴﻮول ﻣﺮاﻗﺒﺖ از او‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ اﯾﻦ ﺣامﻳﺖﻫﺎ ﺑﺎﯾﺪ در ﺑﺮاﺑﺮ ﺳﺎﻳﺮ اﺷﻜﺎل ﻣﺤﺪودﻳﺖﻫﺎ و ﺑﺮای ﭘﻴﺸﮕريی‪ ،‬ﺷﻨﺎﺳﺎﯾﯽ‪،‬‬ ‫ﮔﺰارشدﻫﯽ‪ ،‬ارﺟﺎع‪ ،‬ﺗﺤﻘﻴﻖ‪ ،‬درﻣﺎن و ﭘﻴﮕريی ﻣﻮارد ﺑﺪرﻓﺘﺎریﻫﺎﯾﯽ ﻛﻪ ﻗﺒﻼ ذﻛﺮ ﺷﺪ‪ ،‬ﻓﻀﺎﯾﯽ ﻋﺎری از‬ ‫ﺧﺸﻮﻧﺖ را ﺑﺮای ﮐﻮدﮐﺎن ﻣﻬﯿﺎ ﺳﺎزد‪ «.‬از اﯾﻦ رو ﮐﻮدﮐﺎن در ﻣﺪارس‪ ،‬ﺧﺎﻧﻮاده و ﺟﺎﻣﻌﻪ ﺑﺎﯾﺪ ﻣﺼﻮن از‬ ‫ﻫﺮﻧﻮع ﺗﺒﻌﯿﺾ و ﺧﺸﻮﻧﺖ ﺑﺎﺷﻨﺪ‪.‬‬ ‫‪Detail of Metamorphisis by Pegah Lari‬‬

‫ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ و اداﻣﻪ روﻧﺪ زﻧﺪﮔﯽ ﻣﻌﻤﻮﻟﯽ در ﴎزﻣﯿﻦ ﻣﻘﺼﺪ‬

‫اداﻣﻪ زﻧﺪﮔﯽ ﻣﻌﻤﻮﻟﯽ ﻣﻨﻄﺒﻖ ﺑﺎ ﴍاﯾﻂ ﻣﺘﻌﺎرف ﺑﺮای زﻧﺪﮔﯽ و رﺷﺪ ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ ﮔﺎﻫﯽ در ﻧﺘﯿﺠﻪ‬ ‫ﻣﻬﺎﺟﺮت ازدﺳﺖ ﻣﯽرود‪ .‬ﻣﺸﮑﻼت ﻣﺘﻌﺪد ﻧﺎﺷﯽ از ﺗﻐﯿﯿﺮ ﻣﺤﻞ ﺳﮑﻮﻧﺖ و ﯾﺎ ﻋﻮاﻣﻠﯽ ﮐﻪ ﻧﺎﭼﺎر ﺑﻪ ﺗﺮک‬ ‫ﮐﺸﻮر ﺷﺪه‪ ،‬ﻣﻤﮑﻦ اﺳﺖ در اﺟﺘامﻋﯽ ﺷﺪن و ﯾﺎ آﻣﻮزش‪ ،‬ارﺗﺒﺎط ﻓﺮﻫﻨﮕﯽ و ﺑﻬﺪاﺷﺖ ﮐﻮدک اﺧﺘﻼل‬ ‫اﯾﺠﺎد ﮐﺮده ﺑﺎﺷﺪ‪ .‬اﯾﻦ ﻣﻮﺿﻮع ﺑﺮای ﮐﻮدﮐﺎﻧﯽ ﮐﻪ واﻟﺪﯾﻦ آنﻫﺎ ﻧﺎﭼﺎر ﺑﻪ ﻣﻬﺎﺟﺮت و ﯾﺎ ﺗﺮک وﻃﻦ‬

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‫ﻣﯽﺷﻮﻧﺪ و ﺑﻪ ﻋﻨﻮان ﭘﻨﺎﻫﻨﺪه از ﴍاﯾﻂ ﺳﺨﺖ ﺟﻨﮓ ‪ ،‬ﺑﺤﺮان‪ ،‬زﻧﺪاﻧﯽ ﺷﺪن ﻃﻮﻻﻧﯽ ﻣﺪت واﻟﺪﯾﻦ‪،‬‬ ‫ﺷﮑﻨﺠﻪ ﺷﺪن واﻟﺪﯾﻦ و ﯾﺎ ﻓﻘﺮ آﻧﻬﺎ ﻫﻤﺮاه اﺳﺖ‪ ،‬ﺑﯿﺸﱰ ﺧﻮد را ﻧﺸﺎن ﻣﯽدﻫﺪ‪ .‬ﮐﻨﻮاﻧﺴﯿﻮن ﺣﻘﻮق ﮐﻮدک‬ ‫در ﻣﺎده ‪ ۲۹‬ﺑﺨﺶﻫﺎی ﻋﻤﺪهای از ﺣﻘﻮق اﺳﺎﺳﯽ ﮐﻮدﮐﺎن را از ﺟﻤﻠﻪ اﺣﱰام ﺑﻪ ﻫﻮﯾﺖ ﻓﺮﻫﻨﮕﯽ آنﻫﺎ‬ ‫ﻣﻮرد ﺣامﯾﺖ ﻗﺮار داده و ﻣﻘﺮر ﻣﯽدارد‪» :‬ﻛﺸﻮرﻫﺎی ﻃﺮف ﻛﻨﻮاﻧﺴﻴﻮن ﺗﻮاﻓﻖ دارﻧﺪ ﻛﻪ ﻣﻮارد ذﻳﻞ ﺑﺎﻳﺪ‬ ‫ﺑﺨﺸﯽ از آﻣﻮزش و ﭘﺮورش ﻛﻮدﻛﺎن ﺑﺎﺷﺪ‪.‬‬ ‫ ﭘﻴﴩﻓﺖ ﻛﺎﻣﻞ ﺷﺨﺼﻴﺖ‪ ،‬اﺳﺘﻌﺪادﻫﺎ و ﺗﻮاﻧﺎﯾﯽﻫﺎی ذﻫﻨﯽ و ﺟﺴﻤﯽ ﻛﻮدﻛﺎن‬‫ ﺗﻮﺳﻌﻪ اﺣﱰام ﺑﻪ ﺣﻘﻮق ﺑﴩ و آزادیﻫﺎی اﺳﺎﺳﯽ و اﺻﻮل ﻣﺬﻛﻮر در ﻣﻨﺸﻮر ﺳﺎزﻣﺎن ﻣﻠﻞ ﺗﻮﺳﻌﻪ‬‫ اﺣﱰام ﺑﻪ واﻟﺪﻳﻦ ﻛﻮدک‪ ،‬ﻫﻮﻳﺖ ﻓﺮﻫﻨﮕﯽ‪ ،‬زﺑﺎن و ارزشﻫﺎی ادﺑﯽ و ﻣﻠﯽ ﻛﺸﻮری ﻛﻪ در آن زﻧﺪﮔﯽ‬‫ﻣﯽﻛﻨﺪ و ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﻣﻮﻃﻦ اﺻﻠﯽ ﻛﻮدک و متﺪنﻫﺎی ﻣﺘﻔﺎوت‪،‬‬ ‫ آﻣﺎده منﻮدن ﻛﻮدک ﺑﺮای داﺷنت زﻧﺪﮔﯽ ﻣﺴﻮوﻻﻧﻪ در ﺟﺎﻣﻌﻪای آزاد و ﺑﺎ روﺣﻴﻪای )ﻣﻤﻠﻮ( از ﺗﻔﺎﻫﻢ‪،‬‬‫ﺻﻠﺢ‪ ،‬ﺻﱪ‪ ،‬ﺗﺴﺎوی زن و ﻣﺮد و دوﺳﺘﯽ ﺑني متﺎم ﻣﺮدم‪ ،‬ﮔﺮوهﻫﺎی ﻗﻮﻣﯽ‪ ،‬ﻣﺬﻫﺒﯽ و ﻣﻠﯽ و اﺷﺨﺎص دﻳﮕﺮ‬ ‫ ﺗﻮﺳﻌﻪ اﺣﱰام ﻧﺴﺒﺖ ﺑﻪ ﻣﺤﻴﻂ ﻃﺒﻴﻌﯽ‬‫ﭼﻨﺎﻧﭽﻪ ﻣﻼﺣﻈﻪ ﻣﯽﺷﻮد ﺗﻀﻤﯿﻦ ﺗﻮﺳﻌﻪ ﻓﺮﻫﻨﮕﯽ‪ ،‬زﺑﺎﻧﯽ و ﺣﻔﻆ ارزشﻫﺎی ادﺑﯽ و ﻣﻠﯽ ﮐﺸﻮر ﻣﺒﺪاء‬ ‫ﮐﻮدک ﻣﻬﺎﺟﺮ در »ﻧﻈﺎم ﺑﯿﻦاﻟﻠﻤﻠﯽ ﺣامﯾﺖ از ﺣﻘﻮق ﮐﻮدﮐﺎن« ﻣﻮرد ﺣامﯾﺖ وﯾﮋه ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ‪.‬‬ ‫ﺣﺎل ﺑﺎﺗﻮﺟﻪ ﺑﻪ اﯾﻦ ﮐﻪ ﮐﺸﻮر ﮐﺎﻧﺎدا ﺧﻮد را ﯾﮑﯽ از ﮐﺸﻮرﻫﺎی ﻣﺘﻌﻬﺪ ﺑﻪ ﺣﻘﻮق ﺑﴩ ﻣﯽداﻧﺪ و از اﻣﻀﺎء‬ ‫ﮐﻨﻨﺪﮔﺎن ﭘﯿامنﻧﺎﻣﻪ ﺟﻬﺎﻧﯽ ﺣﻘﻮق ﮐﻮدک اﺳﺖ‪ ،‬رﻋﺎﯾﺖ ﻫﻤﻪ ﻣﻮارد ﯾﺎدﺷﺪه در ﻗﺒﺎل ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ‬ ‫ﻣﻬﺎﺟﺮ ﮐﻪ از ﯾﮏ ﭘﯿﺸﯿﻨﻪ متﺪﻧﯽ‪ ،‬ﻓﺮﻫﻨﮕﯽ و ﺗﺎرﯾﺨﯽ ﺑﺎ اﻫﻤﯿﺖ ﻣﯽآﯾﻨﺪ ﺑﺴﯿﺎر ﺑﺎ اﻫﻤﯿﺖ اﺳﺖ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:56 AM‬‬

‫‪110-111-Kids-Hossein Raesie-EDITED.indd 110‬‬

‫‪KIDS‬‬

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‫ﺣامﯾﺖ از ﮐﻮدک در ﻣﻬﺎﺟﺮت‬

‫ﻣﻬﺎﺟﺮت و اﻧﺘﺨﺎب ﴎزﻣﯿﻦ ﻣﻮرد ﻋﻼﻗﻪ و ﺗﺮک ﴎزﻣﯿﻦ ﺧﻮد ﯾﺎ ﺳﺎﯾﺮ ﮐﺸﻮرﻫﺎ از‬ ‫ﺟﻤﻠﻪ ﺣﻘﻮق ﺷﻨﺎﺧﺘﻪ ﺷﺪه در ﻣﺎده ‪ ۱۳‬اﻋﻼﻣﯿﻪ ﺟﻬﺎﻧﯽ ﺣﻘﻮق ﺑﴩ اﺳﺖ‪ .‬اﮔﺮ‬ ‫ﭼﻪ اﯾﻦ ﺣﻖ ﺑﺎ ﻣﺤﺪودﯾﺖﻫﺎی ﻧﺎروا و ﻓﺰآﯾﻨﺪهای ﺑﻪ دﻻﯾﻞ ﻣﺨﺘﻠﻒ روﺑﺮوﺳﺖ‪،‬‬ ‫اﻣﺎ ﻫﻤﯿﻦ ﮐﻪ ﻣﻬﺎﺟﺮت روی ﻣﯽﻫﺪ‪ ،‬ﻣﻬﺎﺟﺮان و از ﺟﻤﻠﻪ ﮐﻮدﮐﺎن آنﻫﺎ ﺑﺎﯾﺪ از‬ ‫ﺷﺎن و ﺟﺎﯾﮕﺎه اﻧﺴﺎﻧﯽ ﺑﺮاﺑﺮ ﺑﺎ ﺳﺎﯾﺮ ﺷﻬﺮوﻧﺪان ﮐﺸﻮر ﻣﻘﺼﺪ ﺑﺮﺧﻮردار ﺑﺎﺷﻨﺪ‪ .‬اﯾﻦ‬ ‫اﺻﻞ از ﺣﻘﻮق ﺟﻬﺎﻧﯽ ﺷﻨﺎﺧﺘﻪ ﺷﺪه ﻣﺤﺴﻮب ﻣﯽﮔﺮدد و درﺑﺎره ﮐﻮدﮐﺎن ﻧﯿﺰ ﺑﺎ‬ ‫ﺗﺎﮐﯿﺪ ﺑﯿﺸﱰ دﻧﺒﺎل ﻣﯽﺷﻮد‪ .‬ﻣﺘﻌﺎﻗﺐ ﺗﺼﻮﯾﺐ ﭘﯿامنﻧﺎﻣﻪ ﺟﻬﺎﻧﯽ ﺣﻘﻮق ﮐﻮدک در‬ ‫ﺳﺎل ‪ ۱۹۸۹‬در ﺳﺎزﻣﺎن ﻣﻠﻞ‪ ،‬ﺗﺎ ﮐﻨﻮن اﻏﻠﺐ ﮐﺸﻮرﻫﺎی ﺟﻬﺎن ﺑﻪ آن ﭘﯿﻮﺳﺘﻪاﻧﺪ‪ .‬اﯾﻦ‬ ‫ﺳﻨﺪ از ﻣﻌﺘﱪﺗﺮﯾﻦ اﺳﻨﺎد ﺑﯿﻦاﳌﻠﻠﯽ ﺣﻘﻮق ﺑﴩ ﺷﻨﺎﺧﺘﻪ ﻣﯽﺷﻮد‪ .‬روﯾﮑﺮدی ﮐﻪ اﯾﻦ‬ ‫ﮐﻨﻮاﻧﺴﯿﻮن ﺑﻪ ﮐﻮدک و ﺣﻘﻮق او دارد‪ ،‬ﮐﻮدﮐﺎن ﻫﺮ ﴎزﻣﯿﻨﯽ را ﺷﺎﻣﻞ ﻣﯽﺷﻮد‪.‬‬ ‫ﺧﻮاه اﯾﻦ ﮐﻮدک از ﭘﺪر و ﻣﺎدر ﻣﻬﺎﺟﺮ ﺑﻪ دﻧﯿﺎ آﻣﺪه ﺑﺎﺷﺪ و ﯾﺎ ﺧﻮد ﻣﻬﺎﺟﺮ اﺳﺖ‪.‬‬ ‫ﺣﻘﻮق اﺳﺎﺳﯽ ﻣﻘﺮر در ﭘﯿامنﻧﺎﻣﻪ ﺟﻬﺎﻧﯽ ﺣﻘﻮق ﮐﻮدک درﺑﺎره او ﻣﯽﺑﺎﯾﺴﺖ اﺟﺮا‬ ‫ﺷﻮد‪ .‬ﺑﺮ اﺳﺎس ﻣﻘﺮرات ﺟﻬﺎﻧﯽ و دﺳﺘﺎوردﻫﺎی ﺣﻘﻮﻗﯽ ﺑﺮای ﺣامﯾﺖ از ﮐﻮدﮐﺎن‪،‬‬ ‫ﻫﻢاﮐﻨﻮن دﻧﯿﺎ در دوره ﺗﻨﺒﯿﻪ و ﺗﺤﻘﯿﺮ ﮐﻮدﮐﺎن ﺑﴪ منﯽﺑﺮد‪ ،‬ﺑﻠﮑﻪ زﻣﺎن ﻧﮕﺮش اﻧﺴﺎﻧﯽ‬ ‫ﺑﻪ ﮐﻮدﮐﺎن اﺳﺖ‪ .‬ﯾﮑﯽ از دﺳﺘﺎوردﻫﺎی ﻣﻬﻢ اﯾﻦ ﻧﮕﺮش‪ ،‬ﭘﺬﯾﺮش ﻣﻔﻬﻮم »ﮐﻮدﮐﯽ« ﺑﻪ‬ ‫ﻋﻨﻮان ﺟﺎﯾﮕﺎه ﻣﺴﺘﻘﻞ اﻧﺴﺎﻧﯽ واﺟﺪ اﺣﱰام و ﺣامﯾﺖﻫﺎی وﯾﮋه اﺳﺖ‪ .‬آﺳﯿﺐﭘﺬﯾﺮی‬ ‫در ﺳﻨﯿﻦ ﮐﻮدﮐﯽ‪ ،‬ﮐﻮدﮐﺎن را ﺑﻪ ﺧﻮدی ﺧﻮد ﺷﺎﯾﺴﺘﻪ اﻧﻮاع ﺣامﯾﺖﻫﺎ ﻗﺮارداده‬ ‫اﺳﺖ‪ .‬از ﻣﻬﻤﱰﯾﻦ ﺣامﯾﺖﻫﺎﯾﯽ ﮐﻪ ﺑﺮای ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ ﴐورت دارد ﻣﯽﺗﻮان از‬ ‫ﻣﻤﻨﻮﻋﯿﺖ اﺷﮑﺎل ﻣﺨﺘﻠﻒ ﺗﺒﻌﯿﺾ و اﻋﻄﺎی ﺣﻘﻮق و ﺷﺎن و ﻣﻨﺰﻟﺖ اﻧﺴﺎﻧﯽ ﺑﺮاﺑﺮ ﺑﺎ‬ ‫ﺳﺎﯾﺮﺷﻬﺮوﻧﺪان و ﮐﻮدﮐﺎن ﺟﺎﻣﻌﻪ ﻣﻘﺼﺪ ﻣﻬﺎﺟﺮان ﺑﯿﺎن منﻮد‪.‬‬ ‫ﺣﺴﯿﻦ رﺋﯿﺴﯽ‬ ‫وﮐﯿــﻞ و ﭘﮋوﻫﺸــﮕﺮ ﺣﻘﻮﻗــﯽ در زﻣﯿﻨــﻪ‬ ‫ﺣﻘــﻮق ﮐــﻮدﮐﺎن و ﺣﻘــﻮق ﺑــﴩ اﺳــﺖ‪ .‬او‬ ‫داﻧﺶآﻣﻮﺧﺘــﻪ ﺣﻘــﻮق ﻗﻀﺎﯾــﯽ‪ ،‬ﺣﻘــﻮق‬ ‫ﮐﯿﻔــﺮی و ﺟﺮمﺷﻨﺎﺳــﯽ از داﻧﺸــﮕﺎهﻫﺎی‬ ‫ﺷــﯿﺮازو ﺗﻬـﺮان اﺳــﺖ و ﺗــﺎ ﭘﯿــﺶ از ﻣﻬﺎﺟﺮت‬ ‫ﺑــﻪ ﺗﻮرﻧﺘــﻮ در اواﺧــﺮ‪ ۱۳۹۰‬ﺑــﻪ ﻣــﺪت‬ ‫ﺑﯿﺴــﺖ ﺳــﺎل در دﻓــﺎع از ﺣﻘــﻮق ﮐــﻮدﮐﺎن‪،‬‬ ‫زﻧــﺎن‪ ،‬ﻓﻌــﺎﻻن ﻣﺪﻧــﯽ و داﻧﺸــﺠﻮﯾﺎن در‬ ‫اﯾ ـﺮان ﮐﻮﺷــﯿﺪه اﺳــﺖ‪ .‬او در ﮐﻨــﺎر اﻧﺘﺸــﺎر‬ ‫ﻣﻘــﺎﻻت ﻣﺘﻌــﺪدی در زﻣﯿﻨﻪﻫــﺎی ﺣﻘــﻮق‬ ‫ﺑــﴩ‪ ،‬ﺧﺸــﻮﻧﺖﻫﺎی ﺧﺎﻧﮕــﯽ‪ ،‬ﺣﻘــﻮق‬ ‫زﻧــﺎن و ﮐــﻮدﮐﺎن‪ ،‬ﺗــﺎ ﺑــﻪ ﺣــﺎل ﺳــﻪ ﮐﺘــﺎب‬ ‫راﻫﻨــامی »ﺣﻘــﻮق ﮐــﻮدک و ﻧﻮﺟــﻮان«‪،‬‬ ‫ﮐﺘــﺎب »ﻋﺪاﻟــﺖ ﺑــﺮای ﮐــﻮدﮐﺎن« و‬ ‫ﻫﻤﭽﻨﯿــﻦ »درﺑــﺎره ﻣﺠــﺎزات اﻋــﺪام« را‬ ‫ﺑــﻪ ﭼــﺎپ رﺳــﺎﻧﺪه اﺳــﺖ‪ .‬ﺣﺴــﯿﻦ رﺋﯿﺴــﯽ‬ ‫در ﺣــﺎل ﺣــﺎﴐ ﺑــﺎ »داﻧﺸــﮕﺎهﻫﺎی اﺗــﺎوا‬ ‫و ﮐﺎرﻟﺘــﻮن« ﻫﻤﮑﺎریﻫــﺎی آﻣﻮزﺷــﯽ و‬ ‫ﺗﺤﻘﯿﻘــﯽ دارد‪.‬‬

‫ﮔﻔﺖ ﻧﻈﺎم ﺑﯿﻦاﳌﻠﻠﯽ ﺣﻘﻮق ﺑﴩ ﮐﻮدﮐﺎن ﺷﮑﻞ ﮔﺮﻓﺘﻪ اﺳﺖ و اﯾﻦ اﺗﻔﺎق ﺑﻪ ﻋﻨﻮان‬ ‫اﺻﻞ راﻫﱪدی در ﭘﯽرﯾﺰی ﺳﯿﺎﺳﺖ ﻗﺎﻧﻮنﮔﺬاری در ﺑﺮاﺑﺮ رﻓﺘﺎرﻫﺎی ﻧﺎﻗﺾ ﺣﻘﻮق‬ ‫ﮐﻮدﮐﺎن ﺑﺮ اﺳﺎس ﻣﻌﯿﺎرﻫﺎی ﺣﻘﻮق ﺑﴩ ﺑﯿﻦاﳌﻠﻠﯽ ﻣﯽﺗﻮاﻧﺪ ﺑﺮای ﻫﻤﻪ ﻗﺎﻧﻮنﮔﺬاران‬ ‫و ﻣﺠﺮﯾﺎن آن در ﴎاﴎ ﺟﻬﺎن در ﺣامﯾﺖ از ﮐﻮدﮐﺎن ﻣﻔﯿﺪ ﺑﺎﺷﺪ‪.‬‬

‫ﮐﻮدک وﻫﻮﯾﺖ ﻓﺮﻫﻨﮕﯽ‬

‫ﺑﺎ وﺟﻮد ﻫﻤﻪ اﻗﺪاﻣﺎت ﺟﻬﺎﻧﯽ در ﺣامﯾﺖ از ﮐﻮدﮐﺎن‪ ،‬اﻣﺮوز ﻫﻤﭽﻨﺎن ﮐﻮدﮐﺎن‬ ‫ﺑﯿﺸﱰﯾﻦ ﻗﺮﺑﺎﻧﺎﻧﯿﺎن ﺟﻨﮓﻫﺎ و آوراﮔﯽﻫﺎ ﻫﺴﺘﻨﺪ‪ .‬ﺑﺮای ﮐﺎﻫﺶ اﯾﻦ آﻻم و ﺗﻮﺟﻪ ﺑﻪ‬ ‫رﺷﺪ ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ ارﺗﻘﺎی ارﺗﺒﺎط ﻓﺮﻫﻨﮕﯽ ﻣﻨﺎﺳﺐ ﺑﯿﻦ ﺟﺎﻣﻌﻪ ﻣﻘﺼﺪ و ﴎزﻣﯿﻦ‬ ‫ﻣﺒﺪاء ﻣﻬﺎﺟﺮت ﺑﺮای ﮐﻮدﮐﺎن ﺑﺴﯿﺎر ﻣﻔﯿﺪ اﺳﺖ‪ .‬آﻧﭽﻪ دوﻟﺖ ﮐﺎﻧﺎدا در ﺑﺮﻧﺎﻣﻪ‬ ‫آﻣﻮزﺷﯽ ﺑﺮای ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ ﭘﯿﺶﺑﯿﻨﯽ ﮐﺮده ﺗﺎ ﺑﺘﻮاﻧﻨﺪ ﯾﮏ ﺳﺎل از اﯾﺎم ﻣﺪرﺳﻪ‬ ‫را ﺑﻪ زﺑﺎن ﻣﺎدری ﺧﻮد درس ﺑﺨﻮاﻧﻨﺪ‪ ،‬در ﺗﻌﻠﻖ ﻓﺮﻫﻨﮕﯽ و ﻫﻮﯾﺘﯽ ﮐﻮدک ﻣﻬﺎﺟﺮ‬ ‫ﺑﺎ ﴎزﻣﯿﻦ ﻣﺒﺪاء ﺧﻮد ﻧﻘﺶ ﺑﻪﺳﺰاﯾﯽ دارد‪ .‬اﯾﻦ اﺗﻔﺎق ﺳﺒﺐ ﻣﯽﺷﻮد ﺗﺎ ﮐﻮدک ﺑﻪ‬ ‫ادﺑﯿﺎت و اﺳﻄﻮرهﻫﺎی ﻓﺮﻫﻨﮕﯽ و ﺗﺎرﯾﺨﯽ ﴎزﻣﯿﻦ اوﻟﯿﻪ ﺧﻮد ارﺗﺒﺎط ﺑﺮﻗﺮار منﺎﯾﺪ‬ ‫و اﺣﺴﺎس ﻫﻮﯾﺖ ﻓﺮﻫﻨﮕﯽ ﻣﻀﺎﻋﻒ در ﺧﻮد داﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬اﻟﺒﺘﻪ ﻧﻘﺶ واﻟﺪﯾﻦ و‬ ‫ﻧﻬﺎدﻫﺎی ﻣﺪﻧﯽ و ﻓﺮﻫﻨﮕﯽ ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ ﻧﻈﯿﺮ »ﺗﯿﺮﮔﺎن« در ﺗﻮرﻧﺘﻮ ﻧﯿﺰ در ﻣﺎﻧﺪﮔﺎری‬ ‫اﯾﻦ ﺣﺲ و اﻓﺰاﯾﺶ آن ﻣﻮﺛﺮ ﺧﻮاﻫﺪ ﺑﻮد‪.‬‬

‫ﮐﻮدﮐﺎن و ارﺗﺒﺎط ﺑﺎ واﻟﺪﯾﻦ‬

‫ﮔﺎﻫﯽ در زﻣﺎن ﻣﻬﺎﺟﺮت و ﯾﺎ ﭘﺲ از آن در اﺛﺮ ﻃﻼق و ﺟﺪاﯾﯽ واﻟﺪﯾﻦ‪ ،‬ﮐﻮدک اﻣﮑﺎن‬ ‫ﻫﻤﺮاﻫﯽ ﺑﺎ ﻫﺮدو آنﻫﺎ و ﯾﺎ ﯾﮑﯽ از آنﻫﺎ را از دﺳﺖ ﻣﯽ دﻫﺪ‪ .‬ﺑﺮاﺳﺎس ﻣﺎده ‪١٠‬‬ ‫ﮐﻨﻮاﻧﺴﯿﻮن ﺟﻬﺎﻧﯽ ﺣﻘﻮق ﮐﻮدک ﮐﺸﻮرﻫﺎی ﻋﻀﻮ آن ﻣﺘﻌﻬﺪ ﻫﺴﺘﻨﺪ ﺗﺎ اﻣﮑﺎن ورود‬ ‫ﺑﺎ ﺗﻮﺳﻌﻪ ﺑﯿﺶ از ﭘﯿﺶ ﮐﺸﻮرﻫﺎی ﺗﻮﺳﻌﻪ ﯾﺎﻓﺘﻪ از ﯾﮏ ﻃﺮف و ﺟﻨﮓﻫﺎ‪ ،‬ﺑﺤﺮانﻫﺎ‪ ،‬ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ و ﭘﯿﻮﺳنت آنﻫﺎ ﺑﻪ واﻟﺪﯾﻦ ﺧﻮد را ﻓﺮاﻫﻢ منﺎﯾﻨﺪ و ﯾﺎ در ﺻﻮرت ﺗﺮک‬ ‫ﺗﻮﺳﻌﻪ ﻧﯿﺎﻓﺘﮕﯽ‪ ،‬ﻧﯿﺎز ﮐﺸﻮرﻫﺎی ﺗﻮﺳﻌﻪ ﯾﺎﻓﺘﻪ ﺑﻪ ﻧﯿﺮوی ﮐﺎر ﻣﻬﺎﺟﺮ‪ ،‬ﺧﺸﮑﺴﺎﻟﯽﻫﺎی ﮐﺸﻮر اﻣﮑﺎن ﻫﻤﺮاﻫﯽ و ﯾﺎ ﭘﯿﻮﺳنت ﺑﻪ واﻟﺪﯾﻦ ﺧﻮد را داﺷﺘﻪ ﺑﺎﺷﻨﺪ ﻫﻤﭽﻨﯿﻦ در‬ ‫ﭘﯽ در ﭘﯽ‪ ،‬ﺟﺴﺘﺠﻮ ﺑﺮای زﻧﺪﮔﯽ ﺑﻬﱰ و ﺣﮑﻮﻣﺖﻫﺎی ﴎﮐﻮﺑﮕﺮ‪ ،‬دﻻﯾﻞ ﻋﻤﺪه اﻓﺰاﯾﺶ ﴍاﯾﻄﯽ ﮐﻪ واﻟﺪﯾﻦ در دو ﮐﺸﻮر ﺟﺪاﮔﺎﻧﻪ زﻧﺪﮔﯽ ﻣﯽﮐﻨﻨﺪ ﮐﻮدک ﺣﻖ دارد ﺑﻪ ﻃﻮر‬ ‫ﺗﻘﺎﺿﺎ ﺑﺮای ﻣﻬﺎﺟﺮت در ﺟﻬﺎن ﺷﺪه اﺳﺖ‪ .‬ﺑﻪ دﻻﯾﻞ ﺷﺪت ﯾﺎﻓنت ﺑﺤﺮانﻫﺎی ﻧﺎﺷﯽ‬ ‫ﻣﻨﻈﻢ آنﻫﺎ را ﻣﻼﻗﺎت منﺎﯾﺪ و ﺑﺮای اﯾﻦ ﻣﻨﻈﻮر ﻣﺴﺎﻓﺮت منﺎﯾﺪ‪.‬‬ ‫از ﺷﮑﺎف ﺑﯿﻦ ﺟﻬﺎن اول و ﺳﺎﯾﺮ ﮐﺸﻮرﻫﺎ‪ ،‬ﺟﻨﮓ و ﺑﺤﺮانﻫﺎی ﻣﻨﻄﻘﻪای‪ ،‬دﻧﯿﺎ را در‬ ‫ﴍاﯾﻂ ﺑﺤﺮان ﻣﻬﺎﺟﺮت ﻗﺮار داده‪ ،‬ﺑﻪ ﻧﺤﻮی ﮐﻪ ﮐﻤﱰ روزی در ﺧﱪﻫﺎ ﺑﺎ ﭘﯿﺎﻣﺪﻫﺎی ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ و ﻣﻮﺿﻮع ﺗﺒﻌﯿﺾ و ﺧﺸﻮﻧﺖ‬ ‫ﻧﺎﺷﯽ از آن روﺑﺮو ﻧﺒﺎﺷﯿﻢ‪ .‬ﺑﺎ وﺳﻌﺖ ﮔﺮﻓنت داﻣﻨﻪ اﻧﻮاع ﻣﻬﺎﺟﺮتﻫﺎ‪ ،‬ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ ﺗﺒﻌﯿﺾ ﻧﺴﺒﺖ ﺑﻪ ﮐﻮدﮐﺎن اﺑﻌﺎد و ﻻﯾﻪﻫﺎی ﻣﺨﺘﻠﻒ و ﺑﺴﯿﺎر ﮔﺴﱰدهای دارد‪ .‬ﮐﻮدﮐﺎن‬ ‫در ﮐﺸﻮرﻫﺎی ﻣﻘﺼﺪ ﺑﺰرگ و ﺑﺰرگﺗﺮ ﻣﯽﺷﻮﻧﺪ و ﻧﯿﺎزﻫﺎی آنﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﮔﺬﺷﺘﻪ‬ ‫ﻫﻤﻮاره از اﯾﻦ اﺗﻔﺎق رﻧﺞ ﻣﯽﺑﺮﻧﺪ و آﺳﯿﺐ ﻣﯽﺑﯿﻨﻨﺪ‪ .‬از اﯾﻦ ﻧﻈﺮ ﯾﮑﯽ از ﺑﻨﯿﺎدیﺗﺮﯾﻦ‬ ‫ﻣﺘﻔﺎوت ﻣﯽﮔﺮدد‪ .‬ﯾﮑﯽ از ﻣﻬﻤﱰﯾﻦ ﻧﯿﺎزﻫﺎی ﺟﻮاﻣﻊ ﻣﻬﺎﺟﺮ ﺗﻮﺟﻪ و ﺣامﯾﺖ از‬ ‫ﺣﻘﻮﻗﯽ ﮐﻪ در ﺑﺎره ﮐﻮدﮐﺎن ﻣﻄﺮح اﺳﺖ و ﺣامﯾﺘﯽ ﮐﻪ در ﻧﻈﺎم ﺑﯿﻦاﻟﻠﻤﻞ ﺣﻘﻮق‬ ‫ﮐﻮدﮐﺎن ﻣﻬﺎﺟﺮ اﺳﺖ‪.‬‬ ‫ﺑﴩ از ﮐﻮدﮐﺎن ﺑﻪ ﻋﻤﻞ ﻣﯽآﯾﺪ‪ ،‬ﻣﻘﺎﺑﻠﻪ ﺑﺎ ﺗﺒﻌﯿﺾ ﻧﺴﺒﺖ ﺑﻪ آنﻫﺎﺳﺖ‪ .‬ﮐﻨﻮاﻧﺴﯿﻮن‬ ‫ﺣﻘﻮق ﮐﻮدک از ﮐﻮدﮐﺎن در ﻗﺒﺎل ﻫﺮ ﻧﻮع ﺗﺒﻌﯿﺾ و ﺧﺸﻮﻧﺘﯽ در ﻫﺮ ﴍاﯾﻄﯽ‬ ‫ﻓﺎرغ از اﺧﺘﻼف ﻧﻈﺮ در دﯾﺪﮔﺎهﻫﺎی اﻗﺘﺼﺎدی ﺟﻬﺎﻧﯽﺷﺪن‪ ،‬اﺻﻞ ﯾﮑﭙﺎرﭼﮕﯽ و‬ ‫ﺣامﯾﺖ ﮐﺮده اﺳﺖ‪ .‬ﻣﺎده دوم اﯾﻦ ﮐﻨﻮاﻧﺴﯿﻮن ﻣﻘﺮر ﻣﯽدارد‪» :‬ﻛﺸﻮرﻫﺎی ﻃﺮف‬ ‫ﺟﻬﺎنﺷﻤﻮﻟﯽ ﺣﻘﻮق ﺑﴩ دﺳﺘﺎوردﻫﺎی ﻣﻨﺎﺳﺒﯽ ﺑﺮای ﮐﻮدﮐﺎن داﺷﺘﻪ و ﯾﮑﯽ از‬ ‫ﻛﻨﻮاﻧﺴﻴﻮن ﻣﻮﻇﻔﻨﺪ ﺗﺎ ﺑﺮای متﺎم ﻛﻮدﻛﺎﻧﯽ ﻛﻪ در ﺣﻮزه ﻗﻀﺎﯾﯽ آﻧﻬﺎ زﻧﺪﮔﯽ ﻣﯽﻛﻨﻨﺪ‬ ‫ﻣﻬﻤﱰن دﺳﺘﺎوردﻫﺎی آن‪ ،‬ﺟﻬﺎﻧﯽ ﺷﺪن اﺻﻞ ﺣامﯾﺖ ازﮐﻮدﮐﺎن اﺳﺖ‪ .‬ﮐﺎرﺷﻨﺎﺳﺎن‬ ‫ﺑﺪون ﻫﻴﭻﮔﻮﻧﻪ ﺗﺒﻌﻴﻀﯽ از ﺟﻬﺖ ﻧﮋاد‪ ،‬رﻧﮓ‪ ،‬ﺟﻨﺴﯿﺖ‪ ،‬زﺑﺎن‪ ،‬ﻣﺬﻫﺐ‪ ،‬ﻋﻘﺎﻳﺪ‬ ‫ﻣﻌﺘﻘﺪﻧﺪ اﻣﺮوز ﺑﻌﺪ از ﮔﺬﺷﺖ ﺑﯿﺶ از ﺷﺼﺖ ﺳﺎل از ﺗﺼﻮﯾﺐ اﻋﻼﻣﯿﻪ ﺟﻬﺎﻧﯽ‬ ‫ﺳﻴﺎﺳﯽ‪ ،‬ﻣﻠﻴﺖ‪ ،‬ﺟﺎﻳﮕﺎه ﻗﻮﻣﯽ و اﺟﺘامﻋﯽ‪ ،‬ﻣﺎل‪ ،‬ﻋﺪم ﺗﻮاﻧﺎﻳﯽ‪ ،‬ﺗﻮﻟﺪ و ﻳﺎ ﺳﺎﻳﺮ اﺣﻮال‬ ‫ﺷﺨﺼﻴﻪ واﻟﺪﻳﻦ و ﻳﺎ ﻗﻴﻢ ﻗﺎﻧﻮﻧﯽ ﻣﺤﱰم ﺷﻤﺮده و ﺗﻀﻤني ﺧﻮاﻫﻨﺪ منﻮد‪ .‬ﻛﺸﻮرﻫﺎی‬ ‫ﺣﻘﻮق ﺑﴩ و ﭘﯿﻮﺳنت ﺑﯿﺸﱰ ﮐﺸﻮرﻫﺎی دﻧﯿﺎ ﺑﻪ ﮐﻨﻮاﻧﺴﯿﻮن ﺣﻘﻮق ﮐﻮدک‪ ،‬ﻣﯽﺗﻮان‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:56 AM‬‬

‫‪110-111-Kids-Hossein Raesie-EDITED.indd 111‬‬

‫‪KIDS‬‬

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‫ﺑﺎ اﺳﺘﻔﺎده از داﺳﺘﺎﻧﯽ ﺑﻪ ﻫﻤﯿﻦ ﻧﺎم از ﻧﺎدر اﺑﺮاﻫﯿﻤﯽ‬

‫‪Watches by Pegah Lari‬‬

‫ﻗﺼﻪ ﮐﺎﺷﯽ را دوﺳﺖ دارﯾﺪ ﺑﺸﻨﻮﯾﺪ؟ ﻗﺼﻪ اﯾﻦ ﺻﻔﺤﺎت ﻧﻘﺶ‬ ‫و ﻧﮕﺎرﯾﻦ را ﮐﻪ آﺷﭙﺰﺧﺎﻧﻪﻫﺎ را ﭼﻨﯿﻦ زﯾﺒﺎ و دﻟﻨﺸﯿﻦ ﻣﯽﮐﻨﻨﺪ؟ ﯾﺎ‬ ‫ﺣاممﻫﺎ را ﭼﻨﺎن ﮔﻠﮕﻮن و رﻧﮕﺎرﻧﮓ؟‬ ‫زﯾﺒﺎﺗﺮﯾﻦ آﺛﺎر ﻫرن ﻣﻌامری اﯾﺮان اﮔﺮ ﻣﺴﺎﺟﺪ و ﮐﺎخﻫﺎی اﺻﻔﻬﺎن‬ ‫ﺑﺎﺷﺪ‪ ،‬ﮐﻪ ﻫﺴﺖ‪ ،‬ﮐﺎﺷﯽﻫﺎ در اﯾﻦ زﯾﺒﺎﯾﯽ ﻧﻘﺶ ﺑﺰرﮔﯽ ﺑﺎزی‬ ‫ﻣﯽﮐﻨﻨﺪ‪ .‬اﯾﻦ ﻗﺼﻪ ﮐﺎﺷﯽ اﺳﺖ‪ .‬درﺳﺖﺗﺮ ﯾﺎ ﻧﺎدرﺳﺖﺗﺮ از ﺑﻘﯿﻪ‬ ‫ﻗﺼﻪﻫﺎ ﻧﯿﺴﺖ‪ .‬وﻟﯽ زﯾﺒﺎ و ﺷﻨﯿﺪﻧﯽﺳﺖ‪.‬‬ ‫ﻫﺰار و ﭘﺎﻧﺼﺪ ﺳﺎل ﭘﯿﺶ‪ ،‬ﺷﺎﯾﺪ ﻫﻢ دوﻫﺰار ﺳﺎل ﭘﯿﺶ‪ ،‬و ﺷﺎﯾﺪ‬ ‫ﻫﻢ ﺧﯿﻠﯽ ﭘﯿﺸﱰ از آن در ﺷﻬﺮ ﮐﺎﺷﺎن ﻧﻘﺎﺷﯽ زﻧﺪﮔﯽ ﻣﯽﮐﺮد ﺑﻪ‬ ‫ﻧﺎم ﮔﺮﮔﯿﻦ ﮐﻪ ﺑﺴﯿﺎر ﻫرنﻣﻨﺪ و ﭼﯿﺮهدﺳﺖ ﺑﻮد‪ .‬ﻣﺮدم ﮐﺎرﻫﺎﯾﺶ را‬ ‫دوﺳﺖ داﺷﺘﻨﺪ و ﺑﻪ او اﺣﱰام ﻣﯽﮔﺬاﺷﺘﻨﺪ‪.‬‬ ‫در آن ﺳﺎلﻫﺎ اﻣﯽ ﮐﺎﺷﺎن ﻣﺮدی ﺑﻮد ﺑﻪ ﻧﺎم ﭘﯿﺮان ﮐﻪ ﻫﻤﯿﺸﻪ ﺑﻪ‬ ‫آﺳﻮدﮔﯽ و ﺷﺎدﻣﺎﻧﯽ ﻣﺮدﻣﺎن ﺷﻬﺮش ﻓﮑﺮ ﻣﯽﮐﺮد و دوﺳﺖ داﺷﺖ‬ ‫ﻫﻤﻪ را ﴎزﻧﺪه و ﺷﺎد ﺑﺒﯿﻨﺪ‪ .‬او ﻣﯽداﻧﺴﺖ ﮐﻪ ﻫﯿﭻ ﭼﯿﺰ ﺑﻪ اﻧﺪازه‬ ‫متﺎﺷﺎی زﯾﺒﺎﯾﯽ ﻫﺎ ﴎور آور ﻧﯿﺴﺖ‪ .‬ﺑﺮای ﻫﻤﯿﻦ ﻓﺮﻣﺎن داد ﺗﺎﻻر‬ ‫ﺑﺰرﮔﯽ ﺑﺴﺎزﻧﺪ ﺗﺎ ﻣﺮدم ﺑﺮای دﯾﺪن و ﮔﻔﺘﮕﻮ ﺑﺎ او و ﺑﺎ ﯾﮑﺪﯾﮕﺮ‬ ‫ﺑﺘﻮاﻧﻨﺪ در آن ﺟﺎ ﺟﻤﻊ ﺷﻮﻧﺪ‪ .‬ﺑﻨﺎی ﺗﺎﻻر ﺑﺎ ﺷﮑﻮه متﺎم ﺳﺎﺧﺘﻪ‬ ‫ﺷﺪ‪ .‬ﺑﻨﺎی ﺳﻔﯿﺪ زﯾﺒﺎﯾﯽ در ﮔﻮﺷﻪ ﻣﯿﺪان ﺑﺰرگ ﺷﻬﺮ‪ .‬در ﺟﺸﻦ‬ ‫ﮔﺸﺎﯾﺶ آن‪ ،‬اﻣﯿﺮ درﯾﺎﻓﺖ ﮐﻪ اﯾﻦ ﺑﻨﺎ ﺑﻪ زﯾﺒﺎﯾﯽ ﻣﯿﺪان و ﺷﻬﺮ ﭼﯿﺰی‬ ‫منﯽاﻓﺰاﯾﺪ و ﺳﺨﺖ ﻏﻤﮕﯿﻦ ﺷﺪ‪ .‬او ﻣﯽ ﺧﻮاﺳﺖ ﺗﺎﻻری ﺑﺴﺎزد ﮐﻪ‬ ‫ﻣﺮدﻣﺎن در ﻫﻔﺖ ﮔﻮﺷﻪ ﺟﻬﺎن از زﯾﺒﺎﯾﯽ آن ﺑﮕﻮﯾﻨﺪ‪ .‬ﺗﺎﻻری ﮐﻪ‬ ‫ﻫﺰاران ﻣﺴﺎﻓﺮ را ﺑﻪ دﯾﺪن ﺧﻮد ﺑﺨﻮاﻧﺪ و ﻣﺮدﻣﺎن ﺷﻬﺮ را از زﯾﺒﺎﯾﯽ‬ ‫ﺧﻮد ﺑﻪ ﻧﺸﺎط آورد‪ .‬وﻟﯽ ﺗﺎﻻر ﺳﺎﺧﺘﻪ ﺷﺪه‪ ،‬اﮔﺮ ﭼﻪ زﯾﺒﺎ و ﺑﻠﻨﺪ و ﺑﺎ‬ ‫ﺷﮑﻮه ﺑﻮد‪ ،‬اﻣﺎ آن زﯾﺒﺎﯾﯽ ﯾﮕﺎﻧﻪ را ﻧﺪاﺷﺖ‪.‬‬ ‫اﻣﯿﺮ ﻫﻮﺷﻤﻨﺪ ﺑﺮ آن ﺷﺪ ﮐﻪ از ﻣﺮدم ﮐﻤﮏ ﺑﮕﯿﺮد و ﮔﺮﮔﯿﻦ ﻧﻘﺎش‬ ‫آﻣﺎده ﻧﻘﺎﺷﯽ ﺑﺮ دﯾﻮارﻫﺎی آن ﺷﺪ‪ .‬ﺑﺎ ﭘﴪ ﻧﻮﺟﻮاﻧﺶ ﺑﻬﺮام ﮐﻪ آرزو‬ ‫داﺷﺖ ﮐﺎر ﭘﺪر را ﭘﯽ ﮔﯿﺮد ﺑﻪ ﺟﺴﺘﺠﻮی رﻧﮓﻫﺎی دﻟﺨﻮاه ﺑﺮآﻣﺪ‪.‬‬ ‫روﻧﺎس و ﺣﻨﺎ و ﻗﺮﻣﺰداﻧﻪ و‪ ...‬را ﺟﻤﻊ ﮐﺮدﻧﺪ و ﻣﻄﺎﺑﻖ اﺻﻮل ﺑﺎ‬ ‫روﻏﻦﻫﺎ ﮐﻨﺠﺪ و ﺑَﺮ َزک ﺑﻪ ﻫﻢ آﻣﯿﺨﺘﻨﺪ و آﻣﺎده ﻧﻘﺎﺷﯽ ﺷﺪﻧﺪ‪.‬‬ ‫ﮐﺎر ﻧﻘﺎﺷﯽ دﯾﻮارﻫﺎی ﺑﯿﺮوﻧﯽ ﺗﺎﻻر ﻣﺎهﻫﺎ ﺑﻪ درازا ﮐﺸﯿﺪ وﻟﯽ ﭘﺲ از‬ ‫ﭘﺎﯾﺎن‪ ،‬آﻧﭽﻨﺎن زﯾﺒﺎ ﺑﻮد ﮐﻪ ﭼﺸﻢ را ﺧﯿﺮه ﻣﯽﮐﺮد‪ .‬ﮔﻮﯾﯽ ﺑﺎغ زﯾﺒﺎﯾﯽ‬ ‫ﺑﺎ ﻫﻤﻪ ﭘﺮﻧﺪﮔﺎن رﻧﮕﺎرﻧﮓ و آﺑﮕﯿﺮﻫﺎی زﯾﺒﺎ و زﻻل در ﮔﻮﺷﻪ ﻣﯿﺪان‬ ‫ﺑﺰرگ روﯾﯿﺪه ﺑﻮد‪ ،‬ﮐﻪ ﻋﺎﺑﺮ ﺧﺴﺘﻪ را ﺑﻪ متﺎﺷﺎ و ﺗﻔﺮﯾﺢ و ﻧﺸﺎط‬ ‫ﻣﯽﺧﻮاﻧﺪ‪ .‬ﺷﮑﻮﻓﻪﻫﺎی درﺧﺘﺎن اﯾﻦ ﺑﺎغ آﻧﭽﻨﺎن زﻧﺪه و ﺷﺎدﻣﺎن‬ ‫ﺑﻮدﻧﺪ ﮐﻪ ﮔﻮﯾﯽ ﻫﻤﯿﺸﻪ ﺑﻬﺎر در ﮔﻮﺷﻪ ﻣﯿﺪان ﺑﺰرگ ﺟﺎ ﺧﻮش ﮐﺮده‬ ‫ﺑﻮد‪ .‬اﻣﯿﺮ ﺧﺸﻨﻮد و ﺧﺮﺳﻨﺪ از ﮐﺎر ﮔﺮﮔﯿﻦ و ﺑﻬﺮام ﺑﻪ آن دو آﻓﺮﯾﻦ‬

‫ﮔﻔﺖ‬ ‫و ﻣﺮدم ﺑﺮای اﯾﻦ ﭘﺪر و ﭘﴪ ﻫﻮرا ﮐﺸﯿﺪﻧﺪ و ﮐﻒ زدﻧﺪ‪ِ .‬ﮔﻞ ﻣﯽﻣﺎﻟﯿﺪﻧﺪ و در آﻓﺘﺎب ﻣﯽﮔﺬاﺷﺘﻨﺪ ﯾﺎ در زﯾﺮ آﺑﺸﺎر‪ .‬رﻧﮓﻫﺎ‬ ‫ﭘﺎﯾﯿﺰ ﻓﺮا رﺳﯿﺪ و ﺑﺎران ﺑﺎ ﺧﻮد آورد‪.‬‬ ‫ﺗﺮک ﻣﯽﺧﻮردﻧﺪ و ُﺧﺮد ﻣﯽﺷﺪﻧﺪ و ﻣﯽرﯾﺨﺘﻨﺪ‪.‬‬ ‫ﺑﺎران ﺑﺮ دﯾﻮارﻫﺎی ﺗﺎﻻر ﺧﻮرد و رﻧﮓﻫﺎ را ﺑﻬﻢ آﻣﯿﺨﺖ‪.‬‬ ‫ﯾﮏ ﺳﺎل ﮔﺬﺷﺖ و ﻧﻘﺎش و ﭘﴪش ﻫﻨﻮز از آزﻣﺎﯾﺶﻫﺎی ﺧﻮد ﻧﺘﯿﺠﻪ‬ ‫ﺑﻬﺎر ﮐﻪ رﺳﯿﺪ از زﯾﺒﺎﯾﯽ ﺷﮑﻮﻓﻪ درﺧﺘﺎن ﻧﻘﺶ ﺗﺎﻻر ﺟﺰ ﺗﻮدهای رﻧﮓ ﻧﱪده ﺑﻮدﻧﺪ‪ .‬ﮔﺮﮔﯿﻦ ﺣﺘﯽ ﮔﺮد ﺷﯿﺸﻪ را ﺑﺎ رﻧﮓﻫﺎ ﻣﺨﻠﻮط ﮐﺮده و در‬ ‫ﺑﻬﻢ آﻣﯿﺨﺘﻪ ﻧﺎزﯾﺒﺎ ﭼﯿﺰی منﺎﻧﺪه ﺑﻮد‪ .‬اﻣﯿﺮ ﺑﻪ دﻧﺒﺎل ﮔﺮﮔﯿﻦ ﻧﻘﺎش‬ ‫دﯾﮓ ﺟﻮﺷﺎﻧﺪه ﺑﻮد اﻣﺎ ﻫﻤﭽﻨﺎن آﻓﺘﺎب آنﻫﺎ را ﻣﯽﺷﮑﺴﺖ و ﻓﺮو‬ ‫ﻓﺮﺳﺘﺎد ﺗﺎ ﭼﺎره ﮐﺎر ﮐﻨﺪ و ﮔﺮﮔﯿﻦ ﺑﻪ ﺟﺴﺘﺠﻮ ﺑﺮآﻣﺪ و رﻧﮓﻫﺎی ﺗﺎزه ﻣﯽرﯾﺨﺖ‪.‬‬ ‫ﺳﺎﺧﺖ و دﯾﻮارﻫﺎ را دوﺑﺎره ﻧﻘﺎﺷﯽ ﮐﺮد‪ .‬رﻧﮓﻫﺎﯾﯽ ﮐﻪ ﺳﺎﺧﺘﻪ ﺑﻮد‬ ‫ﮔﺮﮔﯿﻦ ﺑﻪ راﺳﺘﯽ ﻧﺎاﻣﯿﺪ ﺷﺪه ﺑﻮد‪ .‬ﺗﻨﺒﯿﻪ اﻣﯿﺮ ﯾﺎ ﻣﺮدم ﺑﺮاﯾﺶ ﭼﻨﺪان‬ ‫ﺑﻪ ﺧﻮﺑﯽ از ﭘﺲ ﺑﺎرانﻫﺎی ﺑﻬﺎری ﺑﺮآﻣﺪﻧﺪ و ﺑﺮ ﻧﻘﺶ دﯾﻮار ﺗﺎﻻر‬ ‫ﻣﻬﻢ ﻧﺒﻮد ﮐﻪ ﴎﻧﮕﻮﻧﯽ ﻧﺎﻣﺶ آزارش ﻣﯿﺪاد‪ .‬از اﯾﻦ ﭘﺲ او دﯾﮕﺮ آن‬ ‫ﭘﺎﺑﺮﺟﺎ ﻣﺎﻧﺪﻧﺪ‪ .‬ﻫﻤﻪ ﺷﺎدﻣﺎن ﺑﻮدﻧﺪ ﮐﻪ ﺗﺎﻻر زﯾﺒﺎ و ﻧﮕﺎرﯾﻦ ﺷﻬﺮﺷﺎن ﻧﻘﺎش ﴎﺑﻠﻨﺪ و ﻣﻮرد اﺣﱰام ﻣﺮدم ﻧﺒﻮد‪ .‬ﺑﯽ ﻫرنی ﺑﻮد ﺑﻪ ﻣﻬﺎرت ﮐﻪ‬ ‫دﯾﮕﺮ از ﺑﺎران منﯽﻫﺮاﺳﺪ‪.‬‬ ‫ﺷﺎﯾﺴﺘﻪ اﺣﱰام ﻫﯿﭻ ﮐﺲ ﻧﺒﻮد‪ .‬و اﯾﻦ ﺧﯿﻠﯽ رﻧﺠﺶ ﻣﯽ داد‪.‬‬ ‫ﺗﺎﺑﺴﺘﺎن ﺷﺪ و ﺧﻮرﺷﯿﺪ ﺑﺎ درﺧﺸﺶ ﻧﯿﺮوﻣﻨﺪش ﺑﺮ ﺑﺎم و ﮐﻮی ﺷﻬﺮ ﺷﺒﯽ ﭘﺲ از ﯾﮏ روز ﮐﺎر ﺧﺴﺘﻪ ﮐﻨﻨﺪه‪ ،‬ﮔﺮﮔﯿﻦ ﺗﺼﻤﯿﻢ ﺧﻮد را‬ ‫ﺗﺎﺑﯿﺪ‪ .‬ﻫﻮا ﺧﺸﮏ و داغ ﺷﺪ و رﻧﮓ درﺧﺘﺎن و ﭘﺮﻧﺪﮔﺎن و آﺑﮕﯿﺮﻫﺎی ﮔﺮﻓﺖ‪ .‬ﻓﺮدا ﺑﻪ دﯾﺪن اﻣﯿﺮ ﻣﯽ رﻓﺖ و ﻧﺎﺗﻮاﻧﯽ ﺧﻮد را ﮔﺰارش ﻣﯽ‬ ‫دﯾﻮار ﺗﺎﻻر از ﻫﻢ ﺷﮑﺎﻓﺘﻨﺪ و ﻓﺮو رﯾﺨﺘﻨﺪ‪.‬‬ ‫ﮐﺮد و ﻣﻨﺘﻈﺮ ﺗﻨﺒﯿﻪ ﻣﯽ ﺷﺪ‪ .‬ﺑﺎ اﯾﻦ ﺗﺼﻤﯿﻢ دﯾﮓ رﻧﮓ را از روی‬ ‫روزی اﻣﯿﺮ ﺑﻪ متﺎﺷﺎی ﺗﺎﻻر رﻓﺖ و از آﻧﭽﻪ دﯾﺪ ﺑﻪ ﮔﺮﯾﻪ اﻓﺘﺎد‪.‬‬ ‫آﺗﺶ ﺑﺮداﺷﺖ اﻣﺎ دﺳﺘﺶ ﻟﺮزﯾﺪ و ﻣﻘﺪاری از رﻧﮓ ﺑﻪ درون آﺗﺶ‬ ‫ﺑﺎل ﭘﺮﻧﺪﮔﺎن‪ ،‬ﭘﺎی آﻫﻮﻫﺎ‪ ،‬ﺷﺎﺧﻪ درﺧﺘﺎن‪ ،‬ﻫﻤﻪ ﭼﯿﺰ ﺷﮑﺴﺘﻪ‪ ...‬ﻫﻤﻪ رﯾﺨﺖ‪.‬‬ ‫ﭼﯿﺰ رﯾﺨﺘﻪ‪...‬‬ ‫ﺻﺒﺢ روز ﺑﻌﺪ ﭘﯿﺶ از رﻓنت ﻧﺰد اﻣﯿﺮ ﺑﻪ ﮐﻨﺎر دﯾﮓ رﻧﮓ رﻓﺖ و ﺑﺎ‬ ‫ﮔﺮﮔﯿﻦ را ﺧﻮاﺳﺖ و ﺑﻪ او ﮔﻔﺖ ﮐﺎری ﺑﮑﻨﺪ‪ .‬اﻣﺎ ﮔﺮﮔﯿﻦ ﻓﮑﺮی ﺑﻪ‬ ‫اﻓﺴﻮس ﺑﻪ ﺣﺎﺻﻞ ﮐﺎرش ﺧﯿﺮه ﺷﺪ‪ .‬ﺑﻬﺮام ﻫﻢ ﺑﺎ او ﺑﻮد و ﻧﺎﮔﻬﺎن در‬ ‫ﺧﺎﻃﺮش منﯽرﺳﯿﺪ و ﺑﻪ اﻣﯿﺮ ﮔﻔﺖ در ﺑﺮاﺑﺮ ﺗﺎﺑﺶ آﻓﺘﺎب دﺳﺖﻫﺎﯾﺶ ﻣﯿﺎن ﺧﺎﮐﺴﱰ ﴎد اﺟﺎق ﭼﺸﻤﺶ ﺑﻪ ﺗﮑﻪ رﻧﮓ آﺑﯽ ﺑﺮاﻗﯽ اﻓﺘﺎد ﮐﻪ‬ ‫ﺑﺴﺘﻪ اﺳﺖ‪.‬‬ ‫ﺑﻪ ﮔﻞ ﮐﻮره ﭼﺴﺒﯿﺪه ﺑﻮد‪ .‬آن را ﮐﻨﺪ و ﺑﻪ ﮐﻨﺎر ﭼﺸﻤﻪ ﺑﺮد و در آب‬ ‫اﻣﯿﺮ ﮔﻔﺖ‪ :‬ﮔﺮﮔﯿﻦ ﺗﻮ دﯾﻮار ﺗﺎﻻر ﺷﻬﺮ را ﮐﻪ ﺑﺮای ﺷﺎدﻣﺎﻧﯽ و ﻧﺸﺎط ﺷﺴﺖ‪ .‬رﻧﮓ ﻣﺜﻞ ﺳﻨﮓ ﺑﻮد و آﺳامن‪ .‬ﺑﺎ ﻓﺮﯾﺎد ﮔﺮﮔﯿﻦ را ﺧﱪ ﮐﺮد‪.‬‬ ‫ﻣﺮدم ﺳﺎﺧﺘﻪ ﺷﺪه ﺑﻮد‪ ،‬ﺧﺮاب ﮐﺮدی‪ .‬اﮔﺮ منﯽﺗﻮاﻧﺴﺘﯽ ﮐﺎری زﯾﺒﺎ‬ ‫ﭘﺪر و ﭘﴪ متﺎم روز را ﭘﺎی ﭼﺸﻤﻪ ﻧﺸﺴﺘﻨﺪ و ﺑﻪ رﻧﮓ ﭘﺨﺘﻪ ﺧﯿﺮه‬ ‫اﻧﺠﺎم دﻫﯽ ﻧﺒﺎﯾﺪ اﯾﻦ ﻣﺎﻣﻮرﯾﺖ را ﻣﯽﭘﺬﯾﺮﻓﺘﯽ‪ .‬اﮐﻨﻮن ﺑﺎﯾﺪ ﺗﺎوان اﯾﻦ ﺷﺪﻧﺪ‪ .‬ﺷﺐ ﮐﻪ ﺷﺪ آن را از آب ﭼﺸﻤﻪ ﺑﯿﺮون آوردﻧﺪ‪ .‬ﻫﻤﭽﻨﺎن‬ ‫ﺧﺮاﺑﮑﺎری را ﺑﻪ ﻣﺮدم ﺑﭙﺮدازی‪.‬‬ ‫درﺧﺸﺎن و زﯾﺒﺎ ﺑﻮد‪.‬‬ ‫ﮔﺮﮔﯿﻦ ﺳﮑﻮت ﮐﺮد و ﴎ ﺑﻪ زﯾﺮ اﻧﺪاﺧﺖ‪ ،‬اﻣﺎ ﺑﻬﺮام ﮔﻔﺖ‪ :‬ای اﻣﯿﺮ‪ ،‬ﭼﺸامن ﻫﺮدو از ﺷﺎدﻣﺎﻧﯽ درﺧﺸﯿﺪ‪ .‬ﯾﺎﻓﺘﻪ ﺑﻮدﻧﺪ‪ .‬رﻧﮕﯽ را ﮐﻪ ﻧﻪ‬ ‫ﭘﺪر ﻣﻦ ﺗﺎ ﺑﻪ ﺣﺎل ﺑﺮای ﺑﺎران و آﻓﺘﺎب ﻧﻘﺎﺷﯽ ﻧﮑﺮده ﺑﻮد‪ .‬آنﻫﺎ‬ ‫آﻓﺘﺎب ﻧﺎﺑﻮدش ﮐﻨﺪ و ﻧﻪ ﺑﺎران ﯾﺎﻓﺘﻪ ﺑﻮدﻧﺪ‪.‬‬ ‫ﺧﯿﻠﯽ ﻗﻮی ﻫﺴﺘﻨﺪ‪ .‬ﻧﻘﺎﺷﯽﻫﺎی ﭘﺪر ﻣﻦ در ﺧﺎﻧﻪﻫﺎی ﻣﺮدم اﺳﺖ و اﮔﺮ ﺑﻌﺪ از ﻫﺰار و ﭘﺎﻧﺼﺪ ﺳﺎل‪ ،‬ﯾﺎ دو ﻫﺰار ﺳﺎل و ﯾﺎ ﺑﯿﺸﱰ‪ ...‬اﺛﺮی از‬ ‫ﺑﻪ ﻫﻤﯿﻦ دﻟﯿﻞ ﻫﯿﭻ ﻋﯿﺒﯽ ﻫﻢ منﯽﮐﻨﺪ‪.‬‬ ‫ﺗﺎﻻر ﺷﻬﺮ ﮐﺎﺷﺎن ﺑﺎﻗﯽ منﺎﻧﺪه اﺳﺖ‪ ،‬در ﻋﻮض ﺑﻨﺎﻫﺎی ﺑﺴﯿﺎری را در‬ ‫اﻣﯿﺮ ﮔﻔﺖ‪ :‬ﭘﴪم ﺗﻮ درﺳﺖ ﻣﯽﮔﻮﯾﯽ وﻟﯽ اﯾﻦ را ﭘﺪرت ﭘﯿﺶ از‬ ‫ﻫﻤﻪ ﺟﺎی ﴎزﻣﯿﻨامن‪ ،‬اﯾﺮان ﻣﯽﺗﻮاﻧﯿﻢ ﺑﺒﯿﻨﯿﻢ ﮐﻪ ﺑﺎ ﮐﺎﺷﯽ ﺧﻮﴍﻧﮓ‬ ‫ﴍوع ﺑﻪ ﮐﺎر ﺑﺎﯾﺪ ﻣﯽداﻧﺴﺖ و دﺳﺖ ﺑﻪ ﮐﺎر ﻧﺎ آزﻣﻮده منﯽزد‪.‬‬ ‫آراﯾﺶ ﺷﺪه اﺳﺖ‪ .‬و ﺻﺪﻫﺎ ﺳﺎل از ﻋﻤﺮ آن ﺑﻨﺎﻫﺎ و ﮐﺎﺷﯽﻫﺎ‬ ‫ﺑﻬﺮام ﮔﻔﺖ‪ :‬اﮔﺮ اﻣﯿﺮ و ﻣﺮدم اﺟﺎزه دﻫﻨﺪ‪ ،‬ﺗﺮدﯾﺪ ﻧﺪارم ﮐﻪ ﭘﺪرم‬ ‫ﻣﯽﮔﺬرد‪.‬‬ ‫راﻫﯽ ﺑﺮای زورآزﻣﺎﯾﯽ ﺑﺎ آﻓﺘﺎب ﻧﯿﺰ ﺧﻮاﻫﺪ ﯾﺎﻓﺖ‪ .‬و آﻧﻮﻗﺖ ﮐﺎری‬ ‫و اﮔﺮ ﻫﯿﭻ ﮐﺲ ﺑﻪ راﺳﺘﯽ ﻧﺎم آن ﻧﻘﺎش را ﮐﻪ ﺑﺮای اوﻟﯿﻦ ﺑﺎر ﮐﺎﺷﯽ‬ ‫ﺧﻮاﻫﺪ ﮐﺮد ﮐﻪ ﺗﺎ ﺟﺎودان ﮔﻞﻫﺎ و ﺷﮑﻮﻓﻪﻫﺎﯾﺶ درﺧﺸﺎن ﺷﺎداب‬ ‫را ﺳﺎﺧﺖ منﯽداﻧﺪ‪ ،‬در ﻋﻮض ﻫﻤﻪ ﻣﺮدم دﻧﯿﺎ ﻣﯽداﻧﻨﺪ ﮐﻪ ﮐﺎﺷﯽ‬ ‫مبﺎﻧﻨﺪ‪.‬‬ ‫ﺳﺎزی‪ ،‬ﯾﮏ ﻫرن اﯾﺮاﻧﯽ ﺑﺴﯿﺎر ﺑﺴﯿﺎر ﻗﺪﯾﻤﯽﺳﺖ‪.‬‬ ‫ﻣﺮدم ﺑﻪ اﻣﯿﺮ ﮔﻔﺘﻨﺪ ﺑﻪ ﮔﺮﮔﯿﻦ و ﻣﻬﺎرت او ﯾﻘﯿﻦ دارﻧﺪ و ﺑﻬﱰ اﺳﺖ ﻫرنی ﺑﻪ زﯾﺒﺎﯾﯽ آﺳامن‪ ،‬ﺑﻪ ﻣﺤﮑﻤﯽ ﺳﻨﮓ‪ ،‬و ﻗﻮیﺗﺮ از آﻓﺘﺎب و‬ ‫ﻓﺮﺻﺘﯽ ﺑﺪﻫﻨﺪ ﺗﺎ او ﺑﺘﻮاﻧﺪ دﯾﻮارﻫﺎی ﺗﺎﻻر را دوﺑﺎره ﻧﻘﺎﺷﯽ ﮐﻨﺪ‪.‬‬ ‫ﺑﺎران‪....‬‬ ‫ﮔﺮﮔﯿﻦ و ﺑﻬﺮام ﮐﺎر آزﻣﺎﯾﺶ رﻧﮓ را ﴍوع ﮐﺮدﻧﺪ‪ .‬رﻧﮓ ﻫﺎ را ﺑﺮ روی‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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‫‪puppet‬‬ ‫‪making‬‬ ‫’‪kids‬‬ ‫‪programs‬‬ ‫‪kids yoga‬‬ ‫‪camp‬‬ ‫‪tassels and‬‬ ‫‪weaving‬‬ ‫‪workshop‬‬ ‫‪storytelling‬‬ ‫‪creating art‬‬ ‫ﻓﻠﻮر ﻃﺎﻟﺒﯽ‬ ‫ﭘﮋوﻫﺸــﮕﺮ‪ ،‬ﻧﻮﯾﺴــﻨﺪه و ﻣﱰﺟــﻢ‪,‬‬ ‫داﻧﺶآﻣﻮﺧﺘــﻪ داﻧﺸــﮕﺎه ﺗﻬــﺮان اﺳــﺖ و‬ ‫از ﻣﺤــﴬ اﺳــﺘﺎداﻧﯽ ﭼــﻮن اﺣﻤــﺪ ﻋﻠــﯽ‬ ‫رﺟﺎﯾــﯽ ﺧﺮاﺳــﺎﻧﯽ‪ ،‬ﺷــﻔﯿﻌﯽ ﮐﺪﮐﻨــﯽ و‬ ‫اﺳــﻼﻣﯽ ﻧﺪوﺷــﻦ در ﺷــﻨﺎﺧﺖ ﺷــﺎﻫﻨﺎﻣﻪ‬ ‫ﺑﻬــﺮه ﻓــﺮاوان ﺑــﺮده‪ .‬ﻧﺸﺴــﺖﻫﺎی‬ ‫ﺷــﺎﻫﻨﺎﻣﻪﺧﻮاﻧﯽ‪ ،‬ﺗﺪرﯾــﺲ ﺷــﺎﻫﻨﺎﻣﻪ و‬ ‫اﺳــﺎﻃﯿﺮ اﯾﺮاﻧــﯽ و ﺑﯿــﺎن اﯾــﻦ داﺳــﺘﺎنﻫﺎ‬ ‫و اﺳــﺎﻃﯿﺮ در ﺑﺮﻧﺎﻣﻪﻫــﺎی ﮔﻮﻧﺎﮔــﻮن‬ ‫اﯾﺮاﻧﯿــﺎن در وﻧﮑــﻮور ﮐﺎﻧــﺎدا ﺑﺨﺸــﯽ از‬ ‫ﻓﻌﺎﻟﯿﺖﻫــﺎی ﻓﺮﻫﻨﮕــﯽ اوﺳــﺖ‪» .‬اﻧﺠﻤــﻦ‬ ‫ادﺑــﯽ ﻓﺮﻫﻨــﮓﴎای ﺷــﺎﻫﻨﺎﻣﻪ« ﺣﺎﺻــﻞ‬ ‫ﺗــﻼش او ﻫﻤــﴪش در ﻋﺮﺻــﻪ ﻓﻌﺎﻟﯿﺖﻫــﺎی‬ ‫ﻓﺮﻫﻨﮕــﯽ در وﻧﮑــﻮور اﺳــﺖ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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T I R G A N FA M I LY

Executive office Mehrdad Ariannejad Chief Executive Officer

Homa Sarshar Honorary Chair

Nima Ahmadi

Marketing Director

Arezoo Araie

Programming Director

Sara Dezfouli

Public Relations Director

Behzad Farzipour

Donation Manager

Golnaz Khosravipour Sponsorship Consultant

Houshang Shans Senior Advisor

Steve Tabrizi Senior Advisor

Fariba Taheri

Client services assistant

Parisa Lak

Sponsorship Consultant

Parinaz Lak

Sponsorship Consultant

Mojgan Seiraffi

Dorsay Shafie Hossein Amooshahi

Hossienali Dadfar

Saviz Arzandeh

Operations Director Office Admin

Accounting Mananger

Tavana&Co

Accounting Auditor

Behrouz Amouzgar Legal Advisor

PR ADVISOR

Afkham Mardukhi Ghazaleh Tajbakhsh

programming

Sponsorship Consultant Sponsorship Consultant

Aniseh Madani

Sponsorship Consultant

Hosseinali Dadfar Mariam Arian Vendor Assistant

Mahsa Pezeshki Damun Badiei

Sponsorship Consultant

Tara Keyhani Assistant

Programming Director

Alireza Behrouzan Sasan Parhizgari

Senior Artistic Consultant

Mohammad Nasiri

Deputy Director

Nazanin k.Abadi

Editorial

Aref Mohammadi

Sanaz Fazeli Hamoun Hayati

CafĂŠ Litte Montreal

Arash Bina

Samira Kashani Niloufar Momeni

Alireza Danaei

Zahra Mehran

Information System Assistant

Nasrin Javadi

Information System Assistant

Arsalan Alizadeh

Creative Director

Sina Momtahen

Team Manager

Arezoo Araie

Sam Javanrouh

Grant Manager

Maryam Eskandari

Print Manager

Katayoun Sabet

Marketing support

Cinema Program coordinator Photo Contest Organizer

Information System Manager APP Developer

Information System Assistant

Programming Admin

Hirad Hayati

Programming Admin

Rouzbeh Zamyad

Flight Advisor

Pendar Yousefi

Production Coordinator

Shirin Motebaheri Creative

Audio Engineer

Somayeh Habibian Audio Engineer

Behrooz Shakerifard

Rezwana Bahram Golnaz Emtiazi Negin Akhlaghpour Yazdan Tabrizi

Audio Technician

Video Production Coordinator

PRODUCTION ASSISTANTS

Assistant Production Coordinator

Rouzbeh Sharbaf

Arian Yaghmaie Behzad Sheikhy Farnoush Riahi Hasti Havari Mahmoud Reza Eskandari Maryam Mahini Neda Djan Irani Nikta Mazloom Pouya Haghshenas Reza Nakhjavani Roozbeh Roostaei Rouzbeh Sharbaf Saeedeh Heydari Shaghayegh Jahandar Yasaman Sai di Yasmin Eskandarifar

Arsalan Alizadeh

Behrouz Bakhtiari

Kids Activities Coordinator

Arian Behshad Kids Activities

Sanaz Ariannejad Kids Activities

Nikki

Kids Activities EMCEE

Banafsheh Taherian Emcee Coordinator

Arshia Eskandarifar Azadeh Payandeh Dania Shidvash Fateme Manzour Ghazal Dehghani Mona Yousefian Sanaz Vahdat

marketing

Production Coordinator

Mahsa Pezeshki

Public Assistant

Mahssa Hazfi

Public Assistant

Feren Calderwood

Ali Eskandari Anita Borhani Mehdi Razeghin Mercedeh Madani Arash Mousavi Aryan Sadri Neda Abbaszadegan Yeganeh Montazer Rojan Javid

Golnoush Hassanpour

Ali Mehrabi

Marjan Asgarifar

Haleh Fouladpour

Ali Reza Mahmoudi

Media Coverage Assistant

Elham Khani

Media Sponsorship Assistant

Elina Azari

Weblog Assistant

Farzad Salehi

Community Outreach Assistant Media Coverage Assistant Affiliates Assistant

Community Outreach Assistant

Hamed Shalileh

Community Outreach Assistant

Hesam Kashani Weblog Assistant

Honya Kordnejad

Guests & Dignitaries Assistant

Hooman Foroughi

Community Outreach Assistant

Horia Soltani

Media Coverage Coordinator

Hoursheed Zare

Public Assistant

Alieh Sabetraftar

Merchandise Assistant

Alireza Karbasi Rafsanjani Guest Services Assistant

Amin Abbasfard

Logistics Supervisor

Amirhossein Tondrow Public Assistant

Amirreza Roozbeh Public Assistant

Editorials & Translation Assistant Wirter Assistant

Aniseh Madani

Kamran Anvari

Khatereh Vafaie

Media Coverage Assistant

Mahdyar Nasiri

Events Assistant Public Assistant

Anna Iranidoust Public Assistant

Community Outreach Assistant

Aryan Karbasi Atefeh Shadpour Atoosa Darkaie

Community Outreach Assistant

Atousa Faraz

Community Outreach Assistant

Mahsa Pezeshki

Maryam Marvasti Melika Dinian

Community Outreach Assistant

Mahsa Mashayekhi

Guests & Dignitaries Assistant

Maryam Sadighi

Guests & Dignitaries Assistant

Marzieh Rasooli

Media Sponsorship Coordinator

Mazia Fotoohi

Guests & Dignitaries Assistant

Mercedeh Madani

Community Outreach Coordinator

Mercedeh Madani

Social Networks Assistant

Mercedeh Mohaghegh

Editorials/Translation Cooridnator

Navid Shakibi

Public Assistant

Guest Services Assistant

Avazeh Shahnavaz

Guest Services Assistant

Azar Familsabzvari

Deputy Director

Shiva Vaghei

Logistics Supervisor

Sina Tafreshi

Logistics Manager

Sina Zadmajid

Front of House Coordinator

Soheil Outadi

Logistics Supervisor

Sohrab Pezeshki

Front of house

Soroosh Eghbal

Zone Leader

Tahmineh Kamza Tania Ghazinejad

Mahyar Soeizi

Mahyar Zadshir

Manouchehr Shafiee

Maryam Tabarraei Maryam Nehrir

Merchandise Assistant

Maryam Karami

GUEST SERVICES ASSISTANT

Masoud Shahmohammadi Maziar Fotoohi Maziar Shafiee Milad Setoudeh Mina Khamestan Guest Services Assistant

Minoo Ranjbar

Merchandise Assistant

Mohamad Kazemi Mohammad Reza Shafiei Mohsen Ahmadi Zone Leader

Mojan Javid

Zone Leader Coordinator

Mojdeh Sedaghat Events Assistant

Mona Khatibi Public Assistant

Mona Sadeghi Zone Leader

Bahar Jafari

Morteza Tehrani Nahid Jalali

Bahar Taghvaei

Narges Nassiri

Front of House Front of House

Events Manager

Banafsheh Zia

Front of house Front of house

Guest Services Assistant

Nariman Bakhtiary Narin Oghalai Nasrin Khatam Nazila Yavari

Front of House

Negin Javadi

Public Assistant

Behafarid Fard

Behsa Khoshnevis Behzad Farzipour

Guest Services Assistant Logistics Supervisor

Damun Badiei

Nessa Abdollahi Nika Yousefian

Samane Tavassoli

Danial Kiumarsi Darya Emami

Niloofar Shahmohammadi

Parinaz Lak

David Froud

Parisa Ghanbari Parisa Moaveni

Donya Khalilzadeh Public Assistant

Pedram Adibi Pouya Yousefi

Logistics Supervisor

Reza Anghaie

Editorials & Translation Assistant

Niloufar Momeni

Editorials & Translation Assistant Editorials & Translation Assistant

public Relations Public Relations Director

Reza Kasebnia

Editorials & Translation Assistant

Pouyan Marashi

Social Networks Coordinator

Guests & Dignitaries Assistant

Affiliates Assistant

Samin Saniei

Media Coverage Assistant

Saviz Arzandeh

Guests & Dignitaries Assistant

Sina Zadmajid

Media Sponsorship Assistant

Taraneh Khazaei

Editorials & Translation Assistant

Zarene S

Pooya Miri

Sara Dezfouli

Community Outreach Assistant

Afsaneh Azari

Community Outreach Coordinator

Aida Azarakhsh

Public Assistant

Amirreza Memaryan Anisa Haghighi

volunteer Coordinator

Guests & Dignitaries Assistant

Sahar Jamali

Sahar Rahmani

Director

Site Manager

Public Assistant

Logistics Supervisor

Ehsan Daneshgar Elaheh Yari

Logistics Supervisor

Elham Biniaz

Guest Services Assistant

Farigol Hakem Zadeh

Public Assistant

Logistics Supervisor Public Assistant

Logistics Supervisor Logistics Supervisor

Saba Mohtashami Saeideh Rasouli Sahar Fathi

Merchandise Assistant

Farima Ghalehnoei

Samaneh Bayat Samin Alikhanzadeh

Guests & Dignitaries Assistant

Farkhondeh Kazemkhani Farnaz Ghafouri

Samir Sadeghi

Amirhossein Hosseinzadeh

Community Outreach Assistant

Farzad Salehi

Arash Bahrami

Media Sponsorship Assistant

Arezoo Ossareh

Media Coverage Assistant

Arsalan Eizadirad

operations

Ali Asadian

Media Coverage Assistant

Ali Toufighi

Community Outreach Assistant

Amir Amirifar

Deputy Director

Guests & Dignitaries Assistant

Arsalan Alizadeh

Community Outreach Assistant

Arsha

Contractor Affiliates Coordinator

Azadeh Ossareh

Guests & Dignitaries Coordinator

Bahar Taghvaei

Community Outreach Assistant

Bahareh Golzari Weblog Assistant

Banafsheh Zia

Weblog Assistant

Nima Ahmadi

Behnam Hajian

Saman Kashani

Behrouz Amouzgar

Director

Media Coverage Assistant

Marketing Manager

Editorials & Translation Assistant

Senior Marketing/Vendor Manager

Social Networks Assistant

Client Service Manager

Community Outreach Assistant

Ali Nakhaei-Zadeh

Donya Azizi

Damun Badiei

Azita Tayyeba

Danial Shidvash

Proshat Javid

Delshad Emami

Weblog Coordinator

Merchandise Assistant Merchandise Assistant Events Assistant Public Assistant

Firoozeh Fazeli Front of House

Hamid Anghaie Hamidreza Dargahi Logistics Supervisor

Afshin Montaseri

Hani Moghaddam

Afram Newshaei

Helia Ghazinejad

Aida Azarakhsh

Hengameh Ahmadinejad

Ali Madani

Front of House

Hesam Nicknazar Homeira Tavakkolpour

Front of House

Hooman Mohajeri

Front of house

Hosein Yarmand

Front of House

Kayvan Aminvaziri

Front of House

Iman Fatemi

ZONE LEADER

Kiana Kalali Kimia Kafil

Logistics Supervisor

Public Assistant

Public Assistant Captain

Public Assistant

Kimia Maghsoudi

Public Assistant

Mahnaz Sadri

Front of house

Taraneh Khazaei

Guest Services Coordinator

Reza Kasebnia

Guest Services Assistant

Ladan Dana Ladan Arbabi Kiarash Massahi Foojan Javid Hoda Bagheri

Public Assistant Logistics Supervisor

Laya Alemohamad Mahboob Bolandi

Merchandise Coordinator

Public Assistant Public Assistant

Samira Tavakkolpour Public Assistant

Sana Mirshahi

Guest Services Assistant

Sanaz Baradari Sanaz Fazeli Public Assistant

Sara Naimpour

Guest Services Assistant

Sara Rahmani Public Assistant

Sara Khajeh Site Captain

Sara Ghorashi Public Assistant

Saviz Shaafi

Logistics Supervisor

Sepideh Shaybani

Merchandise Assistant

Shadi Hazrati

Logistics Supervisor

Shadi Zokaee

Public Assistant Coordinator

Shahrzad Akbarzadeh Guest Services Manager

Sharareh Shaadbakhsh Public Assistant

Sharmineh Salami Public Assistant

Shayan Vaghei Shirin Shaadbakhsh

Public Assistant Public Assistant

Guest Services Coordinator Logistics Supervisor Guest Services Assistant Public Assistant

magazine

Saeed Valadbeigi Editor-in-chief

Behzad Sarmadi English Editor

Setareh Sarmadi Photo Editor

Anahita Ghaffari Assistant Editor

Sanaz Haghverdi Assistant Editor

Katayoon Toufighi Art Director

Samaneh Tavassoli Translator

Behzad Sarmadi Translator

Saeed Valadbeigi Translator

Asal Bassir Designer

Cassra Abedini Designer

Shiva Tadayoni Designer

Hadi Dinevari Designer

PHOTOGRAPHY

Payam Ghafari Reza Vaziri Babak Rajabi Maryam Afshar Pouya Miri Amir Farokhpour Sara Naimpour Arman Nazeri Yousef Kashefi Hesam Ghorbanian

harbourfront centre staff Marah Braye

Chief Executive Officer

Melanie Fernandez

Director, Cultural Engagement and Activation

Diana Webley

Senior Project Coordinator/ Artistic Associate

Lynn Ross

Head of Administration

Bridget Love

Lead Artistic Associate

Adam Moffatt Music Assistant

Corinne Chapman

Administrative Coordinator

Andrea Strachan

Event Production Manager

Jeremy Roach

Marketing Manager

Sarah Cooper

Integrated Communications Specialist

Takin Aghdashloo

Head of Integrated Media

Kim Trollope

Technical Director

Gavin McDonald

Production Coordinator

Genevieve Peng

Volunteer Coordinator

Dorothy Szczurek

Assistant Volunteer Coordinator

Adriana Sabogal Vendor Coordinator

Brian Aitken

Production Manager, Theatres

David Followes

Front of House Manager, Theatres

Jessica Cooper

Event Coordinator, Box Office

Paola Marcon

Box Office and Guest Services Manager

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‫ﻠﻨﻮ‬ ‫ﮔ‬ ‫ﺵ‬ ‫ﻮﺭ‬ ‫ﻦﭘ‬ ‫ﺣﺴ‬ ‫ﺟﺸــﻨﻮاره ﺗﯿــﺮﮔﺎن در روﻧــﺪ ﻓﻌﺎﻟﯿﺖﻫﺎﯾــﺶ ﺗــﻼش داﺷــﺘﻪ ﺗــﺎ ﺑــﺎ ﺗﺮوﯾــﺞ ﮔﻔــﺖ‬ ‫و ﮔــﻮی ﺑﯿــﻦ ﻓﺮﻫﻨﮕــﯽ و اﯾﺠــﺎد ﻓﻀﺎﯾــﯽ ﺳــﺎزﻧﺪه ﺑــﺮای ﻓﻌﺎﻟﯿﺖﻫــﺎی ﻓﺮﻫﻨﮕــﯽ‬ ‫در ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ‪ ،‬اﻣــﮑﺎن ﺑﯿﺸــﱰی ﺑ ـﺮای ﻣﺸــﺎرﮐﺖ اﺟﺘامﻋــﯽ ﻧﺴــﻞﻫﺎی دوم و‬ ‫ﺳــﻮم اﯾﺮاﻧﯿــﺎن ﻣﻬﺎﺟــﺮ ﻓﺮاﻫــﻢ ﮐﻨــﺪ‪ .‬ﮔﻠﻨــﻮش ﺣﺴــﻦﭘﻮر از ﯾــﺎزده ﺳــﺎﻟﮕﯽ در ﮐﺎﻧــﺎدا‬ ‫زﻧﺪﮔــﯽ ﻣﯽﮐﻨــﺪ و از ﻧﺰدﯾــﮏ ﺑــﻪ ﭼﻬــﺎر ﺳــﺎل ﭘﯿــﺶ ﺑــﺎ ﺗﯿــﺮﮔﺎن ﻫﻤــﺮاه ﺷــﺪه‪.‬‬ ‫ﻓﻌﺎﻟﯿــﺖ ﮔﻠﻨــﻮش در ﮔــﺮوه رواﺑــﻂ ﻋﻤﻮﻣــﯽ ﺑﯿﺸــﱰ ﻣﺘﻮﺟــﻪ ﮔﺴــﱰش ﻫﻤﮑﺎریﻫــﺎ و‬ ‫ارﺗﺒﺎﻃــﺎت ﺗﯿــﺮﮔﺎن ﺑــﺎ ﺳــﺎزﻣﺎنﻫﺎ و ﻧﻬﺎدﻫــﺎی دﯾﮕــﺮ اﺳــﺖ‪.‬‬

‫ﺑﻌﻀﯽﺷــﺎن از ﯾﺎدﮔﺎرﻫﺎی ﭼﻨﺪ ﻣﻠﯿﺘﯽ ﻫﺴــﺘﻨﺪ؛ ﺑﺎ اﯾﻦ ﺣﺎل اﯾﻦ ﻣﺸــﺎرﮐﺖ ﺑﻪ ﻣﺮاﺗﺐ‬ ‫ﮐﻤﱰ از ﻣﯿﺰاﻧﯽﺳــﺖ ﮐﻪ دوﺳــﺖ دارﯾﻢ ﺑﺒﯿﻨﯿﻢ‪ .‬ﻣﺎ اﯾﻦ ﴐورت را درک ﻣﯽﮐﻨﯿﻢ‬ ‫ﮐﻪ ﺑﺮای رﺷــﺪ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ در ﺗﻮرﻧﺘﻮ و ﮐﺎﻧﺎدا‪ ،‬ﻣﺸــﺎرﮐﺖ ﻧﺴﻞﻫﺎی ﺟﺪﯾﺪ ‪-‬ﮐﻪ‬ ‫در اﯾﻦ ﮐﺸــﻮر ﺑﺰرگ ﻣﯽ ﺷــﻮﻧﺪ‪ -‬ﻻزم اﺳــﺖ‪ ،‬اﻣﺎ ﯾﮏ ﴎی از دﻻﯾﻞ ﺑﺎﻋﺚ ﻣﯽﺷﻮد‬ ‫داوﻃﻠﺒﺎن ﻧﺴــﻞ دوم و ﺳــﻮم ﮐﻤﱰی داﺷــﺘﻪ ﺑﺎﺷﯿﻢ‪ .‬ﻣﺎﻧﻊ زﺑﺎن‪ ،‬ﺗﻐﯿﯿﺮ ﻫﻮﯾﺖ و ﻋﺪم‬ ‫ارﺗﺒﺎط ﺑﺎ ﺟﺎﻣﻌﻪ ﮔﺴــﱰدهﺗﺮ اﯾﺮاﻧﯽ ﻣﯽﺗﻮاﻧﺪ از اﯾﻦ دﺳــﺘﻪ ﻣﻮاﻧﻊ ﺑﺎﺷﻨﺪ‪.‬‬ ‫ﮐﻮدﮐﯽ ﮐﻪ ﺳــﺎلﻫﺎی اوﻟﯿﻪ ﺷــﮑﻞﮔﯿﺮی ﺷﺨﺼﯿﺖ و ﻫﻮﯾﺖ اﺟﺘامﻋﯽ ﺧﻮدش را در‬ ‫ﮐﺎﻧﺎدا ﮔﺬراﻧﺪه و ﺑﺰرگ ﺷــﺪه‪ ٬‬ﺑﻪ ﴎﻋﺖ ﺑﺎ اﯾﻦ ﺧﻂ ﻓﮑﺮی‪ ٬‬دﯾﺪﮔﺎه ﺟﻬﺎﻧﯽ‪ ،‬و زﺑﺎن‬ ‫ﺳــﺎزﮔﺎر ﻣﯽﺷــﻮد‪ .‬آنﻫﺎ ﻣﻤﮑﻦ اﺳﺖ ﺑﺎ واﻟﺪﯾﻨﺸﺎن و ﺟﺎﻣﻌﻪای ﮐﻪ ﻫﻮﯾﺖ اﯾﺮاﻧﯽ‬ ‫ﻗﻮیﺗﺮ دارد ﯾﮏ ﺷــﮑﺎف ﻓﺮﻫﻨﮕﯽ ﻣﺤﺴــﻮس را ﺗﺠﺮﺑﻪ ﮐﻨﻨﺪ و اﯾﻦ ﺑﺎﻋﺚ ﺷــﻮد از‬ ‫ﴍﮐﺖ در روﯾﺪادﻫﺎی اﺟﺘامﻋﯽ و ﻓﺮﻫﻨﮕﯽ دوری ﮐﻨﻨﺪ‪ .‬اﯾﻦ ﻧﺴــﻞ در ﺳــﺎلﻫﺎی‬ ‫ﻧﻮﺟﻮاﻧﯽ ﻣﯽ ﺧﻮاﻫﻨﺪ ﺑﺎ ﻫﻢ ﺳــﻦ و ﺳــﺎﻻن ﮐﺎﻧﺎداﯾﯽﺷﺎن ﺑﺎﺷﻨﺪ و ﮐﺎرﻫﺎﯾﯽ را‬ ‫ﮐﻪ آﻧﻬﺎ اﻧﺠﺎم دﻫﻨﺪ ﮐﻪ ﻣﻮرد ﭘﺬﯾﺮش و ﺗﻮﺟﻪ دوﺳــﺘﺎن ﻏﯿﺮ اﯾﺮاﻧﯽﺷــﺎن ﺑﺎﺷﺪ‪.‬‬ ‫از اﯾﻦ ﺟﻬﺖ ﻓﻌﺎﻟﯿﺖ ﻫﺎی اﯾﺮاﻧﯽ ﻣﻤﮑﻦ اﺳــﺖ ﺑﺮاﯾﺸــﺎن آﻧﻘﺪر ﺟﺬاب ﻧﺒﺎﺷﺪ و‬ ‫ﺗﺠﺮﺑﯿﺎﺗﺸــﺎن ﭼﯿﺰی ﻧﺒﺎﺷــﺪ ﮐﻪ ﺑﺘﻮاﻧﻨﺪ ﺑﺎ ﻫﻤﺴﺎﻻن ﺧﻮدﺷﺎن ﺑﻪ اﺷﱰاک ﺑﮕﺬارﻧﺪ‪.‬‬ ‫ﺟﺪای از اﯾﻦ وﻗﺘﯽ ﻧﺴــﻞﻫﺎی ﺑﻌﺪی ﺧﺎﻧﻮادهﻫﺎی اﯾﺮاﻧﯽ ﺗﻮاﻧﺎﯾﯽ زﺑﺎﻧﯽﺷــﺎن را در‬ ‫ﺟﻮاﻣﻊ ﺗﺎزه از دﺳــﺖ ﻣﯽدﻫﻨﺪ‪ ،‬ﺧﺠﺎﻟﺘﯽﺗﺮ ﻣﯽﺷــﻮﻧﺪ و اﻋﺘامد ﺑﻪ ﻧﻔﺲ ﮐﻤﱰی‬ ‫ﺑـﺮای ﴍﮐــﺖ در روﯾﺪادﻫﺎی اﯾﺮاﻧﯽ ﭘﯿﺪا ﻣﯽﮐﻨﻨﺪ‪ .‬ﺟﺎﯾﯽ ﮐﻪ ﺑﺮای ﻓﻌﺎﻟﯿﺖ و اراﺗﺒﺎط‬ ‫ﻣﻬﺎرت زﺑﺎﻧﯽ ﻻزم اﺳــﺖ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل اﯾﻦ روﻧﺪ ﺟﺎی ﻧﮕﺮاﻧﯽ دارد و ﺷــﺎﯾﺎن ﺗﻮﺟﻪ‬ ‫ﺑﺴــﯿﺎر اﺳــﺖ ﭼﻮن اﮔﺮ ﻣﺎ اﯾﻦ ﻧﺴــﻞﻫﺎی ﺗﺎزه را در ﻃﻮل ﺳﺎلﻫﺎی اوﻟﯿﻪ ﺷﮑﻞ ﮔﯿﺮی‬ ‫ﺷــﺨﺼﯿﺖ و ﻫﻮﯾﺘﺸــﺎن از دﺳﺖ ﺑﺪﻫﯿﻢ‪ ،‬ﺑﻌﺪﻫﺎ اﺻﻼح اﯾﻦ ﺳﺎﺧﺘﺎر ﺑﻪ ﻣﺮاﺗﺐ‬ ‫ﺳﺨﺖﺗﺮ ﺧﻮاﻫﺪ ﺷﺪ‪.‬‬

‫ﭼﺎﻟﺶﻫﺎی اﺻﻠﯽ در ﺑﺮﻗﺮاری ﭘﯿﻮﻧﺪ ﻓﺮﻫﻨﮕﯽ ﺑﺎ اﯾﻦ ﻧﺴﻞ از ﺟﻮاﻧﺎن اﯾﺮاﻧﯽ‬ ‫را در ﭼﻪ ﻣﯽﺑﯿﻨﯽ؟ ﺑﻪ ﻧﻈﺮت ﺗﯿﺮﮔﺎن ﺗﺎ ﭼﻪ ﺣﺪ در اﯾﻦ اﻣﺮ ﻣﻮﺛﺮ و ﻣﻮﻓﻖ‬ ‫ﺑﻮده؟‬

‫ﻫﻤﮑﺎری و ﻫﻤﺮاﻫﯽ ﺳﺎزﻣﺎنﻫﺎ و ﻧﻬﺎدﻫﺎی دﯾﮕﺮ )اﯾﺮاﻧﯽ و ﻏﯿﺮاﯾﺮاﻧﯽ( ﺑﺎ‬ ‫ﺗﯿﺮﮔﺎن ﭼﮕﻮﻧﻪ اﺳﺖ؟ آﻧﭽﻨﺎن ﮐﻪ ﭘﯿﺪاﺳﺖ ﺗﯿﺮﮔﺎن در اﻧﺘﻘﺎل ﺗﺠﺮﺑﻪ و ﻣﻨﺎﺑﻊ‬ ‫ﺑﻪ ﮔﺮوهﻫﺎی ﻣﺸﺎﺑﻪ در ﺷﻬﺮﻫﺎی دﯾﮕﺮ ﻫﻢ ﻓﻌﺎل اﺳﺖ‪ .‬ﻟﻄﻔﺎ از ﮔﺴﱰش اﯾﺪه ﺑﻪ ﻧﻈﺮم ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن ﺑﻪ ﺧﻮدی ﺧﻮد ﺧﯿﻠﯽ از ﻧﺴﻞﻫﺎی ﺟﻮانﺗﺮ را ﺟﺬب‬ ‫و ﺗﺠﺮﺑﻪ ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن و ﺗﻮﻟﺪ ﻓﺴﺘﯿﻮالﻫﺎ و ﻧﻬﺎدﻫﺎی ﻣﺸﺎﺑﻪ ﺑﺮای ﻣﺎ ﺑﮕﻮ‪ .‬ﻣﯽﮐﻨﺪ ﭼﻮن ﺧﯿﻠﯽ از ﺧﺎﻧﻮادهﻫﺎی ﭼﻨﺪ ﻧﺴﻠﯽ ﺑﺎ ﻫﻢ ﺑﺮای ﻟﺬت ﺑﺮدن از اﯾﻦ‬

‫ﻃﯽ ﭼﻨﺪﺳﺎل ﮔﺬﺷﺘﻪ ﺟﻮاﻣﻊ اﯾﺮاﻧﯽ ﺧﺎرج از ﮐﺸﻮر و ﺳﺎزﻣﺎنﻫﺎی ﻓﺮﻫﻨﮕﯽ ﻓﻌﺎلﺗﺮ روﯾﺪاد ﻣﯽآﯾﻨﺪ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل در ﮐﺎرﻫﺎی داوﻃﻠﺒﺎﻧﻪ ﺑﺴﯿﺎر ﮐﻤﱰ ﻣﺸﺎرﮐﺖ ﻣﯽﮐﻨﻨﺪ‪.‬‬ ‫ﺷﺪه و ﺑﻪ ﺧﻮﺑﯽ ﺑﺎ ﻫﻢ ارﺗﺒﺎط ﺑﺮﻗﺮار ﻣﯽﮐﻨﻨﺪ‪ .‬ﺗﯿﺮﮔﺎن ﺑﻪ ﻧﻮﺑﻪ ﺧﻮدش در ﺗﻼش‬ ‫ﯾﮑﯽ از ﻣﻮاﻧﻊ داوﻃﻠﺒﺎن ﻧﺴﻞ دوم ﻣﻤﮑﻦ اﺳﺖ زﺑﺎن ﺑﺎﺷﺪ‪ .‬ﻣﺎ ﺟﻠﺴﺎمتﺎن را ﺑﻪ‬ ‫اﺳﺖ ﺗﺎ ﺑﺎ ﺳﺎزﻣﺎنﻫﺎی اﯾﺮاﻧﯽ و ﻏﯿﺮ اﯾﺮاﻧﯽ در ﴎاﴎ ﺟﻬﺎن از ﻃﺮﯾﻖ ﺑﺮﻧﺎﻣﻪﻫﺎی‬ ‫ﻓﺎرﺳﯽ ﺑﺮﮔﺬار ﻣﯽﮐﻨﯿﻢ و اﯾﻦ ﻣﻤﮑﻦ اﺳﺖ ﺑﺮای ﻣﺸﺎرﮐﺖ ﺑﻌﻀﯽ از دوﺳﺘﺎن ﻣﺸﮑﻞ‬ ‫ﻣﺨﺘﻠﻒ ارﺗﺒﺎط ﺑﺮﻗﺮار ﮐﻨﺪ‪ .‬اﯾﻦ ارﺗﺒﺎﻃﺎت ﺑﻪ ﻣﺎ ﮐﻤﮏ ﻣﯽﮐﻨﺪ ﮐﻪ ﻣﺨﺎﻃﺐ ﺑﯿﺸﱰی اﯾﺠﺎد ﮐﻨﺪ‪ .‬ﺷﺎﯾﺪ درﮔﯿﺮ ﮐﺮدن ﻧﺴﻞ ﺟﺪﯾﺪ ﮐﺎﻧﺎداﯾﯽ‪-‬اﯾﺮاﻧﯽ ﯾﮑﯽ از اﻫﺪاف اﺻﻠﯽ ﻣﺎ‬ ‫ﭘﯿﺪا ﮐﻨﯿﻢ‪ ،‬از ﺗﺠﺮﺑﯿﺎت دﯾﮕﺮ ﺳﺎزﻣﺎنﻫﺎ ﺑﻬﺮه ﺑﮕﯿﺮﯾﻢ و ﺑﺮای ﺗﻘﻮﯾﺖ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯿﺎن ﺑﺎﺷﺪ و ﺑﺎﯾﺪ ﺑﺮ اﯾﻦ اﺳﺎس ﺑﺮﻧﺎﻣﻪ رﯾﺰی ﮐﻨﯿﻢ‪.‬‬ ‫ﺧﺎرج از ﮐﺸﻮر در ﻫﺮ ﺟﺎ ﻣﻮرد ﺣامﯾﺖ ﻗﺮار ﺑﮕﯿﺮﯾﻢ‪ .‬در ﻫﻤﯿﻦ ﺳﺎل ﮔﺬﺷﺘﻪ‪،‬‬ ‫ﺗﯿﺮﮔﺎن ﻧﻘﺸﯽ اﺳﺎﺳﯽ در ﺣامﯾﺖ ﯾﮑﯽ دﯾﮕﺮ از ﺟﺸﻨﻮارهﻫﺎی اﯾﺮاﻧﯽ در ﮐﻠﮕﺮی‪،‬‬ ‫ﻧﺴﻞ دوم ﻣﯽﺗﻮاﻧﺪ ﺳﻬﻢ ﺑﺰرﮔﯽ در ﻫﻤﮑﺎری داﺷﺘﻪ ﺑﺎﺷﺪ ﭼﺮا ﮐﻪ ﺳﯿﺴﺘﻢ ﮐﺎﻧﺎداﯾﯽ‬ ‫آﻟﱪﺗﺎ را داﺷﺖ‪ .‬ﺟﺸﻨﻮاره »ﺗﺎﺑﺴﺘﻮن« ﺑﺰرﮔﱰﯾﻦ ﺟﺸﻨﻮاره ﻓﺮﻫﻨﮕﯽ ﻫرنی اﯾﺮاﻧﯿﺎن‬ ‫را ﺑﺴﯿﺎر ﺑﻬﱰ درک ﻣﯽﮐﻨﻨﺪ‪ ،‬از ﻣﻬﺎرت زﺑﺎن اﻧﮕﻠﯿﺴﯽ ﻗﻮیﺗﺮی ﺑﺮﺧﻮردارﻧﺪ‪ ،‬و‬ ‫در ﻏﺮب ﮐﺎﻧﺎدا اﺳﺖ و از ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن ﺑﻪ ﻋﻨﻮان اﻟﮕﻮﯾﯽ ﺑﺮای ﺳﺎﺧﺘﺎر ﺗﯿﻤﺶ و در ﻧﻬﺎﯾﺖ ﻣﯽﺗﻮاﻧﻨﺪ ﭘﻠﯽ ﺑﺎﺷﻨﺪ ﺑﯿﻦ ﻓﺮﻫﻨﮓ و ﻫرن ﻣﱰﻗﯽ اﯾﺮان و ﺧﻂ ﻓﮑﺮی و‬ ‫اﺟﺮای ﺑﺮﻧﺎﻣﻪﻫﺎﯾﺶ ﺑﻬﺮه ﺑﺮده اﺳﺖ‪ .‬ﻣﺎ ﻫﻤﭽﻨﯿﻦ ﺑﺎ ﻫﻤﺮاﻫﺎن ﻓﺮﻫﻨﮓ و ﻫرن اﯾﺮان ﻓﺮﻫﻨﮕﯽ ﺟﺎﻣﻌﻪ ﮐﺎﻧﺎداﯾﯽ ‪ .‬وﻗﺘﯽ ﮐﻪ ﺑﺨﻮاﻫﯿﺪ روی ﻧﺴﻞ‪ ،‬ارﺗﺒﺎط‪ ،‬و ﺑﺎزارﯾﺎﺑﯽ‬ ‫در آﻣﺮﯾﮑﺎ ﻣﺜﻞ »ﺑﻨﯿﺎد ﻓﺮﻫﻨﮓ«‪» ،‬اﺗﺤﺎدﯾﻪ اﯾﺮاﻧﯿﺎن آن ﺳﻮی ﻣﺮزﻫﺎ«‪ ،‬و ﺑﺴﯿﺎری از ﴎﻣﺎﯾﻪﮔﺬاری ﮐﻨﯿﺪ ﻫﻤﮑﺎری ﺑﺎﻟﻘﻮه اﯾﻦ ﻧﺴﻞ ﺑﺴﯿﺎر ارزﺷﻤﻨﺪ اﺳﺖ‪ .‬ﻣﺎ ﻣﯽﺗﻮاﻧﯿﻢ‬ ‫ﺳﺎزﻣﺎنﻫﺎ‪ ،‬ﻓﺴﺘﯿﻮالﻫﺎ و ﻧﻬﺎدﻫﺎی دﯾﮕﺮ دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ ارﺗﺒﺎط دارﯾﻢ ﮐﻪ ﺑﻌﻀﯽ ﺑﺎ ﺑﺮﻧﺎﻣﻪ و ﻫﺪف ﺑﺮﻗﺮاری ارﺗﺒﺎط ﻗﻮیﺗﺮ ﺑﺎ آنﻫﺎ‪ ،‬ﻣﺸﻮق ﻣﺸﺎرﮐﺖ ﺑﯿﺸﱰ اﯾﻦ ﻧﺴﻞ‬ ‫از اﯾﺸﺎن ﺑﺎ ﺳﺎزﻣﺎن اﺟﺮای ﺑﺮﻧﺎﻣﻪﻫﺎ در ﺗﯿﺮﮔﺎن ﻫﻤﮑﺎری ﻣﯽﮐﻨﻨﺪ‪.‬‬ ‫ﺑﺎﺷﯿﻢ‪ .‬ﺑﺮای ﻣﺜﺎل ﻣﯽﺗﻮان ﺑﺎ ﺗﺸﻮﯾﻖ ﮐﺮدﻧﺸﺎن ﺑﻪ ﺻﺤﺒﺖ در ﺟﻠﺴﺎت ﺑﻪ ﻫﺮ زﺑﺎﻧﯽ‬ ‫ﮐﻪ اﺣﺴﺎس راﺣﺘﯽ ﻣﯽ ﮐﻨﻨﺪ‪ ،‬ﴍاﯾﻂ ﺳﺎزﮔﺎری اﯾﻦ ﻧﺴﻞ را ﺑﺎ رﯾﺸﻪﻫﺎی ﺗﺎرﯾﺨﯽ و‬ ‫ارﺗﺒﺎط ﻧﺴﻞ دوم و ﺳﻮم ﻣﻬﺎﺟﺮان اﯾﺮاﻧﯽ ﺑﺎ ﺗﯿﺮﮔﺎن ﭼﮕﻮﻧﻪ اﺳﺖ؟ ﭼﻪ‬ ‫ادﺑﯽ اﯾﺮان ﺑﯿﺸﱰ ﻓﺮاﻫﻢ ﮐﺮد‪ .‬زﻣﺎﻧﯽ ﮐﻪ داوﻃﻠﺐﻫﺎ ﺑﻪ اﻧﺪازه ﮐﺎﻓﯽ ﺑﺮای ﺑﺮﻗﺮاری‬ ‫ﻣﯽﺷﻮد ﮐﻪ ﺑﯿﻦ ﻧﺴﻞﻫﺎی ﺑﻌﺪی ﻣﻬﺎﺟﺮان و ﻓﺮﻫﻨﮓ و زﺑﺎن »وﻃﻦ« ﻓﺎﺻﻠﻪ ارﺗﺒﺎط دوﺳﺘﯽ ﺑﺎ ﺑﻘﯿﻪ اﻋﻀﺎی ﮔﺮوه وﻗﺖ ﻣﯽﮔﺬارﻧﺪ‪ ،‬ﻣﻬﺎرتﻫﺎی زﺑﺎﻧﯽﺷﺎن‬ ‫ﺑﺴﯿﺎر ﻣﯽاﻓﺘﺪ؟‬ ‫ﺗﻘﻮﯾﺖ ﻣﯽﺷﻮد‪ .‬ﺗﻘﻮﯾﺖ ﻣﻬﺎرتﻫﺎی زﺑﺎﻧﯽ ﻣﯽﺗﻮاﻧﺪ ﻓﺎﺻﻠﻪ ﻓﺮﻫﻨﮕﯽ را ﮐﻤﱰ ﮐﻨﺪ و‬ ‫ﺗﯿﺮﮔﺎن ﭼﻨﺪﯾﻦ داوﻃﻠﺐ ﻫﻢ ﺟﺬب ﮐﺮده ﮐﻪ ﺑﺨﺸــﯽ از ﻧﺴــﻞ دوم ﻫﺴــﺘﻨﺪ و ﺣﺘﯽ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ را ﺑﺎ ﻫﻤﻪ ﮔﺴﱰدﮔﯽ و ﺗﻨﻮﻋﺶ ﺑﻪ ﻫﻢ ﻧﺰدﯾﮏ ﺗﺮ ﮐﻨﺪ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:27 AM‬‬

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‫ﺮﯼ‬ ‫ﮏﺳ‬ ‫ﻢﻟ‬ ‫ﺷﺒﻨ‬ ‫اﺳﺘﻘﺒﺎل ﻣﻬامنﻫﺎی ﻏﯿﺮ ﻓﺎرﺳﯽ زﺑﺎن از ﺟﺸﻨﻮاره ﭼﮕﻮﻧﻪ ﺑﻮده »ﻣﺪﻳﺮﻳــﺖ ﺧﺪﻣــﺎت ﻣﻴﻬامنﻫــﺎ و ﻫرنﻣﻨــﺪان« ﯾﮑــﯽ از‬ ‫و اﻣﺴﺎل ﭼﻪ ﻣﯿﺰان ﻣﺨﺎﻃﺐ ﺑﺮای ﺗﯿﺮﮔﺎن ﭘﯿﺶ ﺑﯿﻨﯽ ﻣﯽﮐﻨﯽ؟‬ ‫زﯾﺮﻣﺠﻤﻮﻋﻪﻫــﺎی ﺗﯿــﺮﮔﺎن اﺳــﺖ ﻛــﻪ ﺑــﺎ ﻫــﺪف اﻳﺠــﺎد اﻗﺎﻣــﺖ‬ ‫راﺣــﺖ و ﻟــﺬت ﺑﺨــﺶ ﺑـﺮاى ﻫرنﻣﻨــﺪان و ﻣﻬامنﻫــﺎی دﻋــﻮت ﺷــﺪه‬ ‫ﺑﻪ رواﻳﺖ ﺑﻌﴣ از دﺳﺖ اﻧﺪرﻛﺎران ﺣﺪودا ‪ ۳۰-۲۰‬درﺻﺪ ﺑﺎزدﻳﺪ‬ ‫ﻛﻨﻨﺪﮔﺎن دوره ﻗﺒﻞ ﻏري ﻓﺎرﳻ زﺑﺎن ﺑﻮدﻧﺪ‪ .‬ﭘﻴﺶﺑﻴﻨﻰ ﻣﻦ ﺑﺮاى ﺗريﮔﺎن ﺑــﻪ ﺟﺸــﻨﻮاره ﻓﻌﺎﻟﻴــﺖ ﻣﯽﻛﻨــﺪ‪ .‬ﺗﻬﯿــﻪ ﺑﻠﻴــﻂ ﻫﻮاﭘﻴــام و ﻫﺘــﻞ و‬ ‫رﻓــﺖ آﻣــﺪ ﻣﻴﻬامنﻫــﺎ از ﺟﻤﻠــﻪ ﻓﻌﺎﻟﻴﺖﻫﺎﻳــﯽ اﺳــﺖ ﻛــﻪ در اﻳــﻦ‬ ‫‪ ۲۰۱۵‬ﻫﻢ ﺑﻴﺸﱰ از اﻳﻦ ﻧﻴﺴﺖ‪ .‬ﺗريﮔﺎن ﺑﺮاى رﺳﻴﺪن ﺑﻪ اﻳﻦ ﻫﺪف‬ ‫اﺣﺘﻴﺎج ﺑﻪ ﻫﺪفﮔﺬارى ﻣﺸﺨﺺ دارد‪ ،‬ﺗﺎ ﺑﺎ ﺗﺤﻘﻴﻖ و ﴎﻣﺎﻳﻪﮔﺬارى ﮔــﺮوه اﻧﺠــﺎم ﻣﯽﺷــﻮد‪ .‬ﺷــﺒﻨﻢ ﻟــﮏﴎی از ﻓﻌــﺎﻻن اﯾــﻦ ﮔــﺮوه ﺑﯿﺸــﱰ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎی ﺑﻬﱰی ﺑﺮای ﻣﺨﺎﻃﺐ ﻏري اﻳﺮاىن ﺗﺪارک ﺑﺒﯿﻨﻨﺪ‪.‬‬ ‫ﺗﻮﺿﯿــﺢ ﻣﯽدﻫــﺪ‪:‬‬ ‫ﻣﺜﻞ ﺗﺒﻠﻴﻐﺎت در رﺳﺎﻧﻪﻫﺎى ﻛﺎﻧﺎداﻳﻰ‪ ،‬متﺮﮐﺰ روی ﺑﺮﻧﺎﻣﻪﻫﺎﯾﯽ ﻣﺜﻞ‬ ‫اﯾﺪه ﺳﺎﻣﺎﻧﺪﻫﯽ و ﻫﻤﺮاﻫﯽ ﻫرنﻣﻨﺪان و ﻣﻬامنﻫﺎ از ﮐﺠﺎ آﻣﺪه؟‬ ‫رﻗﺺ و ﻳﺎ ﺗﻨﻮع ﺑﻴﺸﱰ در ﻧﺤﻮه ﺗﻮزﻳﻊ و منﺎﻳﺶ ﻏﺬاﻫﺎى اﻳﺮاىن‪.‬‬ ‫اﻟﺒﺘﻪ ﻣﺎ ﺑﺎ داﺷنت »ﭼﺎﻳﺨﺎﻧﻪ ﺗﻬﺮان«‪ ،‬ﻛﻪ اﻻن ﺑﻌﺪ از ﺳﻪ دوره ﺑﻪ ﻳىك ﻟﻄﻔﺎ ﺑﺮای ﺧﻮاﻧﻨﺪﮔﺎن ﻣﺎ از ﻓﻌﺎﻟﯿﺖﻫﺎی اﯾﻦ ﮔﺮوه ﺑﻔﺮﻣﺎﯾﯿﺪ؟‬ ‫از ﻣﺸﺨﺼﻪﻫﺎى ﺗريﮔﺎن ﺗﺒﺪﻳﻞ ﺷﺪه‪ ،‬ﺑﻪ اﻳﻦ ﻫﺪف ﻧﺰدﻳﮏﺗﺮ ﺷﺪﻳﻢ‪ .‬ﺧﺪﻣﺎت ﻣﻬامنداری ﻣﺴﺌﻮل ﻫرنﻣﻨﺪاﻧﯽﺳﺖ ﮐﻪ در ﺗﯿﺮﮔﺎن اﺟﺮا‬ ‫دارﻧﺪ‪ .‬از ﻟﺤﻈﻪای ﮐﻪ ﺣﻀﻮر ﻣﻬامنﻫﺎ در ﺟﺸﻨﻮاره ﺗﺎﯾﯿﺪ ﻣﯽﺷﻮد‪،‬‬ ‫ﺗﯿﻢ ﻣﺎ ﺑﺎ ﺑﺨﺶﻫﺎی دﯾﮕﺮ ﻣﺜﻞ ﺑﺨﺶﻫﺎی ﻫرنی‪ ،‬رواﺑﻂ ﻋﻤﻮﻣﯽ‬ ‫از ﺗﺠﺮﺑﻪ اﯾﻨﺴﺘﮕﺮام و ارﺗﺒﺎط ﺑﺎ دوﺳﺘﺪاران ﺗﯿﺮﮔﺎن در‬ ‫و ﺗﻮﻟﯿﺪ و ﺗﺪارﮐﺎت از ﻧﺰدﯾﮏ ﻫﻤﮑﺎری ﻣﯽﮐﻨﺪ ﺗﺎ ﻣﻄﻤﱧ ﺷﻮﯾﻢ‬ ‫ﺷﺒﮑﻪﻫﺎی اﺟﺘامﻋﯽ ﭼﻪ ﺧﱪ؟‬ ‫ﮐﻪ ﻫﻤﻪ ﭼﯿﺰ ﻃﺒﻖ ﺑﺮﻧﺎﻣﻪ ﭘﯿﺶ ﻣﯽرود‪ .‬ﻣﺎ ﻣﺴﻮول ﻫامﻫﻨﮕﯽ‬ ‫ﺗﺎ اﻻن ﺧﻴﲆ ﺗﺠﺮﺑﻪﻫﺎ ﻛﺮدﻳﻢ وﱃ ﺑﻬﱰﻳﻨﺸﺎن ﻃﺮح ﻛﻤﭙني‬ ‫ﭘﺮواز‪ ،‬اﻗﺎﻣﺖ‪ ،‬ﺣﻤﻞ و ﻧﻘﻞ و ارﺗﺒﺎﻃﺎت ﻫرنﻣﻨﺪان ﻃﺒﻖ ﺑﺮﻧﺎﻣﻪﻫﺎ‬ ‫‪ #JoinTirganFamily‬ﺑﻮد‪ .‬در اﻳﻦ ﻛﻤﭙني داوﻃﻠﺐﻫﺎ زﻳﺮ ﻋﻜﺲ‬ ‫و اﺟﺮاﻫﺎﯾﺸﺎن ﻫﺴﺘﯿﻢ‪ .‬ﻫﻤﭽﻨﯿﻦ ﻣﺴﺌﻮل اراﺋﻪ ﺧﺪﻣﺎت ﻣﻮرد ﻧﯿﺎز‬ ‫ﭘُﺮﺗﺮه ﺳﻴﺎه ﺳﻔﻴﺪﺷﺎن از اﺣﺴﺎس ﺗريﮔﺎىن ﺷﺪﻧﺸﺎن ﻣﯽﮔﻮﯾﻨﺪ‪.‬‬ ‫ﻫرنﻣﻨﺪان ﻫﺴﺘﯿﻢ ﮐﻪ ﺑﺮای اﺟﺮا ﺗﺎ ﺣﺪ ﻣﻤﮑﻦ راﺣﺖﺗﺮ ﺑﺎﺷﻨﺪ‪ .‬ﯾﮑﯽ‬ ‫از ﻣﻬﻢﺗﺮﯾﻦ وﻇﺎﯾﻒ ﻣﺎ اﯾﺠﺎد و اﺟﺮای ﯾﮏ ﺑﺮﻧﺎﻣﻪرﯾﺰی دﻗﯿﻖ ﺑﺮای‬ ‫ﺗﯿﺮﮔﺎن در دورهﻫﺎی ﮔﺬﺷﺘﻪ ﺑﻪ ﻫرنﻣﻨﺪان و ﮐﻮﺷﻨﺪﮔﺎن‬ ‫ﻫرنﻣﻨﺪان در ﻃﻮل ﻣﺪت اﻗﺎﻣﺘﺸﺎن اﺳﺖ‪ .‬ﺑﺮای ﻣﺜﺎل ﺑﺮﻧﺎﻣﻪرﯾﺰی‬ ‫ﻓﺮﻫﻨﮕﯽ ﺑﺎ ﺗﻨﺪﯾﺲ آرش ﺗﻘﺪﯾﺮ ﺑﻪ ﻋﻤﻞ آورده‪ .‬ﻟﻄﻔﺎ از اﯾﺪه‬ ‫ﺗﻨﺪﯾﺲ آرش ﺑﯿﺸﱰ ﺑﮕﻮ ؟‬ ‫ﺑﺮای رﻓﺖ و آﻣﺪﻫﺎی ﻓﺮودﮔﺎه‪ ،‬متﺮﯾﻨﺎت ﭘﯿﺶ از اﺟﺮا‪ ،‬ﺗﺴﺖ ﺻﺪا‪،‬‬ ‫ﮔﺮوه ﺑﺮﮔﺰاری در ﺟﺸﻨﻮاره ‪ ۲۰۰۸‬ﺑﻪ اﻳﻦ ﺗﺼﻤﻴﻢ ﺟﻤﻌﻰ رﺳﻴﺪﻧﺪ ﻛﻪ دور ﻫﻤﯽﻫﺎ‪ ،‬ﻣﺼﺎﺣﺒﻪ ﺑﺎ رﺳﺎﻧﻪﻫﺎ و آﺧﺮ اﯾﻦ ﮐﻪ اﺟﺮای درﺳﺖ‬ ‫از ﻫرنﻣﻨﺪ و ﭼﻬﺮهﻫﺎى ﺷﺎﺧﺺ ﺟﺸﻨﻮاره ﺗريﮔﺎن ﺗﻘﺪﻳﺮ ﻛﻨﻨﺪ‪ .‬ﻃﺮﺣﻰ ﺑﺮﻧﺎﻣﻪﻫﺎﯾﺸﺎن‪ .‬ﺑﻪ ﻋﺒﺎرﺗﯽ ﻣﺎ ﻣﺮﮐﺰ ارﺗﺒﺎﻃﯽ ﻫرنﻣﻨﺪان ﺑﺎ ﺟﺸﻨﻮاره‬ ‫از آرش ﻛامﻧﮕري ﺗﻮﺳﻂ ﻛﺎرﻳﻜﺎﺗﻮرﻳﺴﺖ و ﻣﺠﺴﻤﻪﺳﺎز ﺑﺮﺟﺴﺘﻪ‪ ،‬آﻗﺎى در ﻃﻮل ﺑﺮﮔﺰاری ﻫﺴﺘﯿﻢ و ﻫﺮ منﺎﯾﻨﺪه ﮔﺮوه ﺑﺮای ﺗﺴﻬﯿﻞ ﻧﯿﺎز‬ ‫ﻫرنﻣﻨﺪان ﮐﻤﮏ ﻣﯽﮐﻨﺪ‪.‬‬ ‫اﺣﻤﺪ ﺳﺨﺎور ﺑﻪ ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪه ﺷﺪ‪ .‬ﻫﺮﭼﻨﺪ ﻣﺸﮑﻼت ﺑﺴﯿﺎری در‬ ‫ﺳﺎﺧﺖ ﺗﻨﺪﯾﺲ وﺟﻮد داﺷﺖ اﻣﺎ در ﻧﻬﺎﯾﺖ ﴍﻛﺖ »‪«R.S.Owens‬‬ ‫ﺗﯿﺮﮔﺎن اوﻟﯿﻦ اﯾﺴﺘﮕﺎه ﺧﯿﻠﯽ از اﯾﺮاﻧﯽﻫﺎﯾﯽﺳﺖ ﮐﻪ روزﻫﺎ و‬ ‫ﻛﻪ ﺗﻮﻟﻴﺪ ﻛﻨﻨﺪه ﻣﺠﺴﻤﻪ اﺳﻜﺎر اﺳﺖ‪ ،‬ﺑﻌﺪ از دﻳﺪن ﻃﺮح اوﻟﻴﻪ‬ ‫ﻣﺎهﻫﺎی اول ﻣﻬﺎﺟﺮت را ﺗﺠﺮﺑﻪ ﻣﯽﮐﻨﻨﺪ‪ .‬ﻟﻄﻔﺎ ﮐﻤﯽ ﺑﯿﺸﱰ از‬ ‫و اﺑﺮاز ﻋﻼﻗﻪ ﺑﻪ اﺳﻄﻮره ﺑﺎﺳﺘﺎىن اﻳﺮاﻧﯿﺎن ﺗﺼﻤﯿﻢ ﺑﻪ ﺳﺎﺧﺖ آن‬ ‫ﮔﺮﻓﺖ و از آن زﻣﺎن ﯾﺎدﮔﺎریﺳﺖ از ﺟﺸﻨﻮاره در دﺳﺖ ﻫرنﻣﻨﺪان و ﻧﻘﺶ ﺧﺎﻧﻮاده ﺗﯿﺮﮔﺎن در زﻧﺪﮔﯽ ﺗﺎزهواردﻫﺎ ﺑﺮای ﻣﺎ ﺑﮕﻮ‬ ‫ﺗﯿﺮﮔﺎن ﻣﯽﺗﻮاﻧﺪ دروازه ﺑﺰرﮔﯽ ﺑﺮای ورود ﺗﺎزهواردان ﺑﻪ ﺟﺎﻣﻌﻪ‬ ‫ﻓﺮﻫﻨﮓﺳﺎزان ﺗﯿﺮﮔﺎﻧﯽ‪.‬‬ ‫ﺟﺪﯾﺪﺷﺎن ﺷﻮد‪ .‬ﺗﯿﺮﮔﺎن ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ واﺳﻄﻪ آوردﻧﺸﺎن ﺑﻪ ﺗﮑﻪای از‬

‫وﻃﻦ ﺑﺎ ﻧﻮﺳﺘﺎﻟﮋی ﮐﻤﮏ ﻣﯽﮐﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﻓﺮﺻﺖ ﺑﺰرﮔﯽ ﺑﺮاﯾﺸﺎن ﻓﺮاﻫﻢ‬ ‫ﻣﯽﮐﻨﺪ ﺗﺎ ﺑﻪ راﺣﺘﯽ وارد ﺟﺎﻣﻌﻪ ﺟﺪﯾﺪﺷﺎن ﺷﻮﻧﺪ‪ .‬ﻫﺮ ﺳﺎﻟﻪ ﻣﯽﺑﯿﻨﯿﻢ‬ ‫ﮐﻪ داوﻃﻠﺒﺎن ﺗﺎزه ﻣﻬﺎﺟﺮ ﺷﺪه‪ ،‬دوﺳﺖﻫﺎی ﺟﺪﯾﺪ ﭘﯿﺪا ﻣﯽﮐﻨﻨﺪ و‬ ‫از ﻃﺮﯾﻖ اﯾﻦ ﺟﺸﻨﻮاره رواﺑﻂ ﺧﻮب اﺟﺘامﻋﯽ ﻣﯽﺳﺎزﻧﺪ‪ .‬ﺑﻪ ﺷﺪت‬ ‫ﺗﻮﺻﯿﻪ ﻣﯽﮐﻨﻢ ﮐﻪ ﺧﺎﻧﻮادهﻫﺎی ﻣﻬﺎﺟﺮ‪ ،‬ﭼﻪ ﻗﺪﯾﻤﯽ و ﭼﻪ ﺟﺪﯾﺪ در‬ ‫اﯾﻦ ﮐﺸﻮر ﺑﯿﺸﱰ در ﺟﺸﻨﻮاره ﻣﺸﺎرﮐﺖ ﮐﻨﻨﺪ‪ .‬ﭼﻪ ﺑﺨﻮاﻫﻨﺪ دوﺑﺎره‬ ‫ﺑﻪ اﺻﻠﯿﺖﺷﺎن ﻣﺮﺗﺒﻂ ﺷﻮﻧﺪ و ﭼﻪ ﺑﺨﻮاﻫﻨﺪ ﻓﺮﻫﻨﮓ ﻏﻨﯽ اﯾﺮاﻧﯽ‬ ‫را ﺑﻪ ﻧﺴﻞﻫﺎی ﺑﻌﺪ و ﻏﯿﺮ اﯾﺮاﻧﯽﻫﺎ ﻣﻌﺮﻓﯽ ﮐﻨﻨﺪ‪ ،‬ﺧﺎﻧﻮاده ﺗﯿﺮﮔﺎن‬ ‫ﻣﯽﺗﻮاﻧﺪ ﮐﻤﮏ ﺑﺰرﮔﯽ ﺑﺎﺷﺪ‪ .‬ﭘﯿﻮﺳنت دوﺳﺘﺎن ﺑﯿﺸﱰ ﺑﻪ ﺳﻼﻣﺖ و‬ ‫ﺗﺪاوم ﺗﯿﺮﮔﺎن ﻫﻢ ﮐﻤﮏ ﻣﯽﮐﻨﻨﺪ ﮐﻪ اﯾﻦ ﺟﺸﻨﻮاره را ﻫﺮ ﺳﺎل ﺑﯿﺸﱰ‬ ‫و ﺑﯿﺸﱰ ﮔﺴﱰش دﻫﯿﻢ‪ .‬ﻗﻮل ﻣﯽدﻫﻢ اﯾﻦ ﺣﺲ ﺗﺤﻘﻖ ﺑﻪ ﺗﻨﻬﺎﯾﯽ‬ ‫ﭘﺎداش ﺑﺰرﮔﯽ ﺑﺮاﯾﺸﺎن ﺧﻮاﻫﺪ ﺑﻮد‪.‬‬

‫ﻣﻬﺴﺎ ﭘﺰﺷﮑﯽ ﻫﻢ ﮐﻪ از ﻣﺪﯾﺮان ﮔﺮوه اﺟﺮاﯾﯽﺳﺖ و در اﯾﺠﺎد‬ ‫اﯾﻦ ﮔﺮوه ﻧﻘﺶ ﺑﺴﯿﺎر داﺷﺘﻪ ﻣﯽﮔﻮﯾﺪ‬

‫ﺧﺪﻣﺎت ﻣﻬامنداری از ﻫرنﻣﻨﺪان ﺗﯿﺮﮔﺎن‪ ،‬در درﺟﻪ اول از‬ ‫ﻣﻬامنﻫﺎﯾﯽ ﮐﻪ از ﺧﺎرج ﺗﻮرﻧﺘﻮ آﻣﺪهاﻧﺪ ﭘﺸﯿﺒﺎﻧﯽ ﻣﯽﮐﻨﺪ‪ .‬ﺑﻪ‬ ‫ﻫﺮ ﻫرنﻣﻨﺪ ﯾﮏ ﺑﺮﻧﺎﻣﻪ در ارﺗﺒﺎط ﺑﺎ اﺟﺮاﯾﺶ داده ﻣﯽﺷﻮد‪ .‬ﺗﯿﻢ‬ ‫ﻣﻬامﻧﺪاری ﺧﺪﻣﺎت رﻓﺖ و آﻣﺪ و ﭘﺬﯾﺮش ﻣﻬامن را ﺑﺮای ﻫﺮ ﻫرنﻣﻨﺪ‬ ‫ﯾﺎ ﮔﺮوﻫﯽ از ﻫرنﻣﻨﺪان ﺗﺪارک ﻣﯽﺑﯿﻨﺪ ﺗﺎ ﻣﻄﱧ ﺷﻮد ﮐﻪ ﻫﻤﻪ ﻣﻮارد‬ ‫ﺑﺮای اﺟﺮای ﺑﺎ ﮐﯿﻔﯿﺖ دراﺧﺘﯿﺎر ﻫرنﻣﻨﺪان ﻗﺮار ﺑﮕﯿﺮد‪ .‬اﯾﻦ ﺗﯿﻢ ﺑﻪ‬ ‫ﺻﻮرت رﺳﻤﯽ در ﺳﺎل ‪ ۲۰۱۱‬ﺑﻪ ﻋﻨﻮان ﺑﺨﺸﯽ از ﺳﺎزﻣﺎن اﺟﺮاﯾﯽ‬ ‫ﺗﺎﺳﯿﺲ ﺷﺪ ﮐﻪ ﺑﺮﻧﺎﻣﻪرﯾﺰی و ﻫﻤﮑﺎری ﺑﺎ ﺳﺎزﻣﺎن ﺑﺮﻧﺎﻣﻪرﯾﺰی و ﺗﯿﻢ‬ ‫ﺗﻮﻟﯿﺪ را آﺳﺎن ﮐﺮده اﺳﺖ‪ .‬ﺑﺮﻧﺎﻣﻪﻫﺎی اﺟﺮا‪ ،‬از ﺟﻤﻠﻪ متﺎم ﺑﺮﻧﺎﻣﻪﻫﺎی‬ ‫متﺮﯾﻦ ﭘﯿﺶ از اﺟﺮا ﺑﺎﯾﺪ ﺑﻪ ﺻﻮرت دﻗﯿﻖ دﻧﺒﺎل ﺷﻮد‪ .‬داﺷنت ﯾﮏ‬ ‫ﺗﯿﻢ ﻣﻨﺤﴫ ﺑﻪ ﻓﺮد ﺑﺮای ﮐﺎر ﺑﺎ ﻫرنﻣﻨﺪان ﺿﺎﻣﻦ ﺣﻀﻮر ﺑﻪ ﻣﻮﻗﻊ‬ ‫ﻫرنﻣﻨﺪ در ﻣﺤﻞ اﺟﺮا و ﺳﺎﯾﺮ ﺑﺮﻧﺎﻣﻪﻫﺎﺳﺖ‪ .‬اﯾﻦ ﺗﯿﻢ در ﺣﺎل ﺣﺎﴐ‬ ‫ﺑﻪ ﯾﮏ ﻣﻮﻓﻘﯿﺖ ﮐﻠﯽ رﺳﯿﺪه‪ ،‬اﻣﺎ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﺤﺪوﯾﺖ ﻧﯿﺮو ﻫﻨﻮز‬ ‫ﻧﺘﻮاﻧﺴﺘﻪاﯾﻢ ﺑﻪ ﻫرنﻣﻨﺪان ﻣﺤﻠﯽﻣﺎن ﺧﺪﻣﺎت ﺑﺪﻫﯿﻢ‪ .‬اﻣﯿﺪوارﯾﻢ‬ ‫اﻣﮑﺎن اﻓﺰاﯾﺶ ﺗﻌﺪاد داوﻃﻠﺐﻫﺎﯾامن ﻓﺮاﻫﻢ ﺷﻮد و در ﺟﺸﻨﻮارهﻫﺎی‬ ‫آﯾﻨﺪه ﺗﯿﺮﮔﺎن ﺑﻪ ﻫرنﻣﻨﺪان ﺗﻮرﻧﺘﻮﯾﯽﻣﺎن ﻫﻢ ﺧﺪﻣﺖ ﮐﻨﯿﻢ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:27 AM‬‬

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‫ﻥﺑ‬ ‫ﻣﻮ‬ ‫ﺩﺍ‬ ‫ﻌﯽ‬ ‫ﺪﯾ‬

‫اﺣﺴــﺎس ﺗﻌﻠﻖ ﺑﻪ اﻳﻦ ﺟﺸــﻨﻮاره را ﺗﺠﺮﺑﻪ ﻛﻨﻴﻢ ﺷﺎﻳﺪ‬ ‫ﺑﺘﻮاﻧﻴﻢ ﻧﻘﺶ ﺑﻬﱰی در ﺑﺮﮔﺰاری آن داﺷــﺘﻪ ﺑﺎﺷــﻴﻢ‪.‬‬ ‫اﮔــﺮ ﺟﺎﻣﻌــﻪ اﯾﺮاﻧﯽ ﺑﻪ ﺻﻮرت ﻣﺪاوم ﻣﺜﻼً ﻣﺎﻫﺎﻧﻪ ‪٢‬‬ ‫دﻻر ﺑــﻪ ﺻﻨــﺪوق ﺗريﮔﺎن وارﻳﺰ ﻛﻨﻨﺪ )ﮐﺎری ﻛﻪ ﻫﻤﻪ‬ ‫ارﮔﺎنﻫــﺎی ﻏﯿﺮاﻧﺘﻔﺎﻋﯽ و ﻣﺮدمﻧﻬﺎد اﻧﺠﺎم ﻣﯽدﻫﻨﺪ(‬ ‫ﻣﯽﺗﻮاﻧﻴﻢ ﺑﻪ ﺟﺎی ﻫﺮ دو ﺳــﺎل ﯾﮏﺑﺎر‪ -‬ﺷــﺎﻫﺪ‬ ‫ﺑﺮﮔﺰاری ﻫﺮ ﺳــﺎﻟﻪ اﻳﻦ ﺟﺸﻨﻮاره ﺑﺎﺷﻴﻢ‪.‬‬

‫ﺻﺎﺣﺒﺎن ﻣﺸﺎﻏﻞ ﻏﯿﺮ اﯾﺮاﻧﯽ ﺗﺎ ﭼﻪ ﻣﯿﺰان در‬ ‫ﺟﺸﻨﻮاره ﻣﺸﺎرﮐﺖ دارﻧﺪ؟‬

‫ﺗريﮔﺎن ﻧﺸﺎن داده ﻛﻪ ﺑﺎ ﺑﻴﺸﱰﻳﻦ ﺗﻌﺪاد ﺑﺎزدﻳﺪﻛﻨﻨﺪه‬ ‫در ﺑني متﺎﻣﯽ ﺟﺸﻦﻫﺎی ﻓﺮﻫﻨﮕﯽ‪-‬ﻫرنی ﺑﺮﮔﺰار ﺷﺪه‬ ‫در »ﻫﺎرﺑﺮ ﻓﺮاﻧﺖ ﺳﻨﱰ« ﻣﯽﺗﻮاﻧﺪ ﺑﺴﱰ ﻣﻨﺎﺳﺒﯽ ﺑﺮای‬ ‫ﴎﻣﺎﯾﻪﮔﺬاری و ﻣﻌﺮﻓﯽ ﻣﺸﺎﻏﻞ ﺑﻪ ﺣﺴﺎب ﺑﻴﺎد‪.‬‬ ‫آﻣﺎرﻫﺎ ﻧﺸﺎن داده ﻛﻪ اﻳﺮاﻧﯽﻫﺎ ﻧﺴﺒﺖ ﺑﻪ ﻣﻠﺖﻫﺎی‬ ‫دﻳﮕﺮ ﺑﻪ ﺑﺮﻗﺮاری ارﺗﺒﺎط ﻣﻨﺎﺳﺐ ﺑﺎ ﺻﺎﺣﺒﺎن ﻣﺸﺎﻏﻞ‬ ‫ﺑﻪ ﺧﺼﻮص ﴎوﻳﺲﻫﺎ و ﻣﺤﺼﻮﻻت ﺑﺎﮐﯿﻔﯿﺖ متﺎﻳﻞ‬ ‫ﺑﻴﺸﱰی ﻧﺸﺎن ﻣﯽدﻫﻨﺪ و اﯾﻦ ﺑﺎﻋﺚ ﻣﯽﺷﻮد ﻓﻀﺎﯾﯽ‬ ‫ﻣﺜﻞ ﺟﺸﻨﻮاره ﺗريﮔﺎن ﻣﺤﻞ ﻣﻨﺎﺳﺒﯽ ﺑﺮا ی ﻣﻌﺮﻓﯽ اﻳﻦ‬ ‫دﺳﺘﻪ ﻣﺸﺎﻏﻞ ﺑﻪ ﺣﺴﺎب ﺑﻴﺎﯾﺪ‪.‬‬

‫ﻧﯿام اﺣﻤﺪی‪ ،‬ﻣﺪﯾﺮ ﺑﺨﺶ ﺑﺎزارﯾﺎﺑﯽ ﺗﯿﺮﮔﺎن ﻫﻢ‬ ‫ﻣﻬامن دﯾﮕﺮ ﻣﺎ در اﯾﻦ ﮔﻔﺖ و ﮔﻮﺳﺖ‪:‬‬ ‫در ﮐﻨﺎر ﺣامﯾﺖ ﻣﺎدی و ﻣﻌﻨﻮی دﯾﺎﺳﭙﻮرای‬ ‫ﮔﺴﱰده و ﻣﺘﻨﻮع اﯾﺮاﻧﯽ‪ ،‬ﻧﻘﺶ ﺣامﯾﺖﻫﺎی‬ ‫دوﻟﺘﯽ در ﺑﺮﮔﺰاری ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن را ﺗﺎ ﭼﻪ ﺣﺪ‬ ‫ﻣﻮﺛﺮ ﻣﯽداﻧﯿﺪ؟‬

‫ﺑﺨﺶ ﺑﺴﻴﺎر ﻣﻬﻤﯽ از ﺑﻮدﺟﻪ ﺗريﮔﺎن را ﻛﻤﮏ‬ ‫ﻫﺰﻳﻨﻪﻫﺎی دوﻟﺘﯽ ﺗﺎﻣني ﻣﯽﻛﻨﻨﺪ‪ .‬ﺑﻪ ﻋﻨﻮان ﻣﺜﺎل ﺑﺎﻟﻎ‬ ‫ﺑﺮ ‪ ٢٢‬درﺻﺪ ﻫﺰﻳﻨﻪ ﺳﺎل ‪ ٢٠١٣‬ﺗﻮﺳﻂ ارﮔﺎنﻫﺎی‬

‫دوﻟﺘﯽ ﺗﺎﻣني ﺷﺪ‪ .‬اﻳﻦ ﺑﻪ اﻳﻦ ﻣﻌﻨﺎﺳﺖ ﻛﻪ ﺟﺎﻣﻌﻪ‬ ‫ﻣﻴﺰﺑﺎن ﻫﻢ ﺑﻪ اﻳﻦ ﮔﻮﻧﻪ ﻓﻌﺎﻟﻴﺖﻫﺎی ﻓﺮﻫﻨﮕﯽ و‬ ‫ﻫرنی ﻛﻪ ﺑﺴﱰی ﺑﺮای ﭘﻴﻮﻧﺪ ﺑﺎ رﻳﺸﻪﻫﺎی ﻣﻮزاﯾﯿﮏ‬ ‫ﻓﺮﻫﻨﮕﯽ ﮐﺎﻧﺎدا اﻳﺠﺎد ﻣﯽﻛﻨﺪ‪ ،‬اﻫﻤﻴﺖ ﻣﯽدﻫﺪ و از‬ ‫آن ﺣامﯾﺖ ﻣﯽﮐﻨﺪ‪ .‬اﻟﺒﺘﻪ اﮔﺮ ﺑﺘﻮاﻧﻴﻢ آﻣﺎر ﻣﻨﺎﺳﺒﯽ از‬ ‫ﻧﻘﺶ ﺗﯿﺮﮔﺎن در ﺻﻨﻌﺖ ﺗﻮرﯾﺴﻢ ﺗﻬﻴﻪ ﻛﻨﻴﻢ‪ ،‬دوﻟﺖ‬ ‫ﻣﯽﺗﻮاﻧﺪ ﺣﺘﯽ ﺗﺎ ‪ ٥٠‬درﺻﺪ ﻫﺰﻳﻨﻪﻫﺎی ﺟﺸﻨﻮاره را‬ ‫ﺗﺎﻣني ﻛﻨﺪ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل ﺣامﻳﺖ و ﺗﺸﻮﻳﻖ ﻫﻤﻮﻃﻨﺎمنﺎن‬ ‫رﻛﻦ اﺻﻠﯽ راهاﻧﺪازی ﻣﻮﺗﻮر داوﻃﻠﺒﺎن اﺳﺖ ﻛﻪ ﺗﻌﺪاد‬ ‫و ﺗﻼش آنﻫﺎ ﺧﻮدش ﻧﺸﺎﻧﻪ ﺑﺰرﮔﯽ از ﺣامﻳﺖ ﻣﺮدم‬ ‫در ﺑﺮﻧﺎﻣﻪرﻳﺰی و ﺑﺮﮔﺰاری اﻳﻦ ﺟﺸﻦ ﺑﻮده و ﺧﻮاﻫﺪ‬ ‫ﺑﻮد‪ .‬در ﮐﻨﺎر اﯾﻦ ﺣامﯾﺖﻫﺎی ﺑﯽدرﯾﻎ‪ ،‬ﺑﺮای ﺑﺮﮔﺰاری‬ ‫ﺟﺸﻨﻮاره اﻣﺴﺎل ﺗﺎ اﯾﻦ ﻟﺤﻈﻪ ﺑﯿﺶ از ‪ ۱۶‬ﻫﺰار دﻻر‬ ‫ﮐﻤﮏﻫﺎی ﻣﺎﻟﯽ ﻣﺮدﻣﯽ ﺟﻤﻊآوری ﺷﺪه ﻛﻪ اﻳﻦ رﻗﻢ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺳﺎل ‪ ٢٠١٣‬رﺷﺪ ‪ ٣٠٠‬درﺻﺪی داﺷﺘﻪ و‬ ‫ﻧﺸﺎندﻫﻨﺪه ﺣامﻳﺖ ﺑﻴﺸﱰ و ﺑﻬﱰ ﻓﺮدی در ﻣﻘﺎﻳﺴﻪ ﺑﺎ‬ ‫ﺣﺎﻣﯿﺎن ﻣﺎﻟﯽ ﺻﻨﻌﺘﯽ و ﺗﺠﺎری اﺳﺖ‪.‬‬

‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﻣﻮﻓﻘﯿﺖﻫﺎی ﺗﺎﮐﻨﻮﻧﯽ‪ ،‬ﺑﺮای ﺗﺒﺪﯾﻞ‬ ‫ﺷﺪن ﺑﻪ ﻧﻬﺎدی ﻣﻄﻤﱧ و ﻣﺎﻧﺪﮔﺎر ﺑﺮای اﻋﺘﻼی‬ ‫ﻓﺮﻫﻨﮓ و ﻫرن اﯾﺮان در ﻋﺮﺻﻪ ﺑﯿﻦاﳌﻠﻠﯽ ﭼﻪ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎﯾﯽ دارﯾﺪ؟‬

‫ﻣﺎﯾﻪ ﺧﻮﺷﺤﺎﻟﯽ ﻣﺎﺳﺖ ﻛﻪ ﺷﺎﻫﺪ ﺑﺮﮔﺰاری اﻳﻦ ﺟﺸﻦ‬ ‫زﻳﺒﺎ ﻳﺎ ﺳﺎﻳﺮ ﺟﺸﻦﻫﺎی ﺑﺎﺳﺘﺎﻧﯽ و ﻓﺮﻫﻨﮕﯽ اﻳﺮان در‬ ‫ﴎﺗﺎﴎ دﻧﻴﺎ ﺑﺎﺷﻴﻢ‪ .‬در اﯾﻦ راه ﻗﺪمﻫﺎﻳﯽ در ﺟﻬﺖ‬ ‫ﺗﺒﺪﻳﻞ ﺗريﮔﺎن ﺑﻪ ﻳﮏ ﻧﻬﺎد ﺣﺮﻓﻪای ﺑﺮداﺷﺘﻪ ﺷﺪه‪ ،‬از‬ ‫ﺟﻤﻠﻪ اﯾﻦ ﮐﻪ اﻣﺴﺎل ﺑﺎ ﺗﻬﻴﻪ دﻓﱰ ﺗريﮔﺎن و اﺳﺘﺨﺪام‬ ‫ﻳﮏ ﻛﺎرﻣﻨﺪ ﻧﻴﻤﻪوﻗﺖ ﺟﻬﺖ رﺳﻴﺪﮔﯽ ﺑﻪ ﻛﺎرﻫﺎی‬ ‫دﻓﱰی ﺗﻮاﻧﺴﺘﻴﻢ ﮐﺎرﻫﺎ را ﺑﻬﱰ ﺳﺎﻣﺎن ﺑﺪﯾﻢ‪ .‬ﺗﻼشﻫﺎﯾﯽ‬ ‫ﺑﺮای ﺗﺒﺪﻳﻞ ﺗﯿﺮﮔﺎن ﺑﻪ ﯾﮏ ﺑﻨﯿﺎد ﺧريﻳﻪ ﻫﻢ ﺻﻮرت‬ ‫ﮔﺮﻓﺘﻪ ﮐﻪ در ﺣﺎل ﻃﯽ ﻣﺮاﺣﻞ ﻗﺎﻧﻮﻧﯽ ﺧﻮدش اﺳﺖ‪.‬‬

‫داﻣﻮن ﺑﺪﯾﻌﯽ از ‪ ۲۰۱۳‬ﺑﺎ ﺗﯿﺮﮔﺎن ﻫﻤﮑﺎری ﻣﯽﮐﻨﺪ و‬ ‫ﺑﺨﺶ اﻋﻈﻢ ﻧﻈﻢ و ﻫامﻫﻨﮕﯽ ﻓﻀﺎی ﺟﺸﻨﻮاره ﺣﺎﺻﻞ‬ ‫ﺗﻼش او و دوﺳﺘﺎﻧﺶ در »ﮔﺮوه اﺟﺮاﯾﯽ« و »ﻣﺪﯾﺮﯾﺖ‬ ‫ﺳﺎﯾﺖ« اﺳﺖ‪ .‬از داﻣﻮن در ﻣﻮرد ﻧﻈﻢ ﺧﻮب روزﻫﺎی‬ ‫ﺟﺸﻨﻮاره‪ ،‬ﺗﺠﺮﺑﻪ اﯾﻨﺴﺘﮕﺮم و ﺗﻨﺪﯾﺲ آرش ﭘﺮﺳﯿﺪﯾﻢ‪:‬‬

‫ﺗﯿﺮﮔﺎن ده ﺳﺎﻟﻪ ﺷﺪ‪ .‬ﺑﺎ اﯾﻦ روﻧﺪ ﺗﯿﺮﮔﺎن ده ﺳﺎل‬ ‫دﯾﮕﺮ را ﮐﺠﺎ ﻣﯽﺑﯿﻨﯽ؟‬

‫ﺷﺎﻳﺪ ﺳﺎل ‪ ۲۰۰۴‬ﺟﻤﻊ ﺟﻮان داوﻃﻠﺒﻰ ﻛﻪ ﺗﺼﻤﻴﻢ‬ ‫ﮔﺮﻓﺖ اﻳﺪه ﺟﺸﻨﻮاره ﺗريﮔﺎن را ﻋﻤﲆ ﻛﻨﺪ ﺑﺎرﻫﺎ و ﺑﺎرﻫﺎ‬ ‫اﻳﻦ ﺳﻮال ﺑﺮاﯾﺸﺎن ﭘﻴﺶ آﻣﺪه ﺑﺎﺷﺪ ﻛﻪ ﺗريﮔﺎن ده ﺳﺎل‬ ‫آﻳﻨﺪه ﻛﺠﺎ ﺧﻮاﻫﺪ ﺑﻮد؟ ﺑﯽﺗﺮدﯾﺪ ﺗﺼﻮر ﻣﻮﻗﻌﻴﺖ ﻛﻨﻮىن‬ ‫ﺟﺸﻨﻮاره ﺑﺮاى ﺧﻴﻠﯽﻫﺎﺷﺎن ﺳﺨﺖ و اﻣﻜﺎن ﻧﺎﭘﺬﻳﺮ‬ ‫ﺑﻮد‪ .‬وﱃ ﻛﺎﺷنت ﻳﮏ ﻧﻬﺎل ﺳﺎمل و رﺳﻴﺪﮔﻰ روزاﻧﻪ ﺑﻪ‬ ‫اﻳﻦ ﻧﻬﺎل‪ ،‬ﺗريﮔﺎن را ﺗﺒﺪﻳﻞ ﺑﻪ درﺧﺖ ﺟﻮان ده‪-‬ﻳﺎزده‬ ‫ﺳﺎﻟﻪاى ﻛﺮده ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ در اﻳﻦ ﺳﺎلﻫﺎ ﺧﺸﮏ ﻧﺸﺪ‬ ‫ﺑﻠﻜﻪ از ﻫﻤﻪ درﺧﺖﻫﺎى ﺑﺎﻏﭽﻪ ﺑﻠﻨﺪ ﻗﺪﺗﺮ اﻳﺴﺘﺎده‪.‬‬ ‫اﻳﻦ درﺧﺖ اﺣﺘﻴﺎج ﺑﻪ رﺳﻴﺪﮔﻰ دو ﭼﻨﺪان و ﺧﻮن ﺗﺎزه‬ ‫دارد ﺗﺎ ﺑﺘﻮاﻧﺪ ﺑﻪ ﻗﺪ ﻛﺸﻴﺪﻧﺶ اداﻣﻪ ﺑﺪﻫﺪ‪.‬‬

‫ﻧﻈﻢ و ﻫامﻫﻨﮕﯽ در ﺑﺮﮔﺰاری ﺟﺸﻨﻮاره و‬ ‫ﻣﯿﺰﺑﺎﻧﯽ از ﻣﻬامنﻫﺎی ﺟﺸﻨﻮاره ﺑﻪ ﭼﻪ ﺻﻮرت‬ ‫ﺳﺎزﻣﺎﻧﺪﻫﯽ ﻣﯽﺷﻪ؟ از ﻣﻬﻤﱰﯾﻦ درﺳﻬﺎﯾﯽ ﮐﻪ‬ ‫ﺗﯿﺮﮔﺎن در ﻣﯿﺰﺑﺎﻧﯽ ﺑﺰرﮔﱰﯾﻦ ﮔﺮدﻫﻢآﯾﯽ ﺟﺎﻣﻌﻪ‬ ‫ﻣﻬﺎﺟﺮ اﯾﺮاﻧﯽ ﮐﺴﺐ ﮐﺮده ﺑﺮاﯾامن ﺑﮕﻮ‬

‫ﮔﺮوه اﺟﺮاﯾﯽ ﺑﺮاى ﺗﺴﻬﻴﻞ اﻳﻦ ﻣﻴﺰﺑﺎىن ﺑﻪ ﺳﻪ ﮔﺮوه‬ ‫اﺻﲆ ﺗﻘﺴﻴﻢ ﻣﯽﺷﻮد‪» .‬ﻣﺪﻳﺮﻳﺖ ﺳﺎﻳﺖ«‪» ،‬ﮔﺮوه‬ ‫ﺗﺪارﮐﺎت« و »ﻣﺪﻳﺮﻳﺖ ﺧﺪﻣﺎت ﻣﻴﻬامنﻫﺎ و‬ ‫ﻫرنﻣﻨﺪان‪ «.‬در اﯾﻦ ﻣﯿﺎن ﻣﺪﯾﺮﯾﺖ ﺳﺎﯾﺖ ﺑﺰرﮔﱰﻳﻦ‬ ‫ﮔﺮوه داوﻃﻠﺐﻫﺎى ﺗريﮔﺎن اﺳﺖ ﮐﻪ ﺑﻪ ﺳﻪ زﻳﺮ ﮔﺮوه‬ ‫دﯾﮕﺮ »راﻫﻨامى ﻣﻬامنﻫﺎ«‪» ،‬ﻧﻈﺎرت ﺑﺮ ﻣﻨﺎﻃﻖ‬ ‫ﺳﺎﻳﺖ« و »ﻣﺪﻳﺮت ﺟﻤﻌﻴﺖ ﺳﺎﻟﻦﻫﺎ« ﺗﻘﺴﻴﻢ ﻣﯽﺷﻮد‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:28 AM‬‬

‫‪117-122-Tirgan Family-EDITED.indd 119‬‬

‫‪T I R G A N FA M I LY‬‬

‫‪120‬‬

‫ﺁﯾ‬ ‫ﺪﺍ ﺁ‬ ‫ﺶ‬ ‫ﺭﺧ‬ ‫ﺫ‬

‫روی ﮐﻤﮏ ﻣﺎﻟﯽ و ﭘﺸﺘﯿﺒﺎﻧﯽ ﺟﺎﻣﻌﻪ ﻣﺘﻨﻮع ﮐﺎﻧﺎداﯾﯽ ﻫﻢ‬ ‫ﺣﺴﺎب ﻣﯽﮐﻨﯿﺪ؟‬

‫ﻫرن و دوﺳﺘﯽ زﺑﺎن ﻣﺸﱰک ﻫﻤﻪ ﻣﺎﺳﺖ‪ .‬ﺟﺪای اﯾﻦ ﮐﻪ اﯾﺮاﻧﯽ ﯾﺎ‬ ‫ﻏﯿﺮاﯾﺮاﻧﯽ ﺑﺎﺷﯿﻢ‪ ،‬ﻫﺮﮐﺴﯽ ﮐﻪ دﻟﺶ ﺑﺎ ﻣﺎﺳﺖ ﻣﯽﺗﻮاﻧﺪ ﭘﺸﺘﯿﺒﺎن و‬ ‫ﺣﺎﻣﯽ ﻣﺎدی و ﻣﻌﻨﻮی ﺗﯿﺮﮔﺎن ﻫﻢ ﺑﺎﺷﺪ‪ .‬ﻣﺎ روی اﯾﻦ ﻫﻤﺪﻟﯽﻫﺎ‬ ‫ﺣﺴﺎب ﻣﯽﮐﻨﯿﻢ و اﻣﯿﺪوارﯾﻢ ﺑﺎ ﻫﻢاﻧﺪﯾﺸﯽ و ﻫﻤﺮﺳﺎﻧﯽ ﻣﺸﱰﮐﺎت‬ ‫ﻓﺮﻫﻨﮕﯽ‪ ،‬ﺷﺎﻫﺪ ﺣامﯾﺖ و ﻫﻤﺮاﻫﯽ ﻣﺘﻘﺎﺑﻞ ﺑﯿﺸﱰ ﺗﯿﺮﮔﺎن ﺑﺎ‬ ‫ﻫﻤﻮﻃﻨﺎن ﮐﺎﻧﺎداﯾﯽ و اﯾﺮاﻧﯽ ﺑﺎﺷﯿﻢ‪.‬‬

‫آﯾــﺪا آذرﺧــﺶ از ﺳــﺎل ‪ ۲۰۰۸‬ﺑــﺎ ﺗﯿــﺮﮔﺎن ﻫﻤــﮑﺎری ﻣﯽﮐﻨــﺪ و‬ ‫از ﺗﺠﺮﺑــﻪ ﻓﻌﺎﻟﯿــﺖ در »ﮔــﺮوه رواﺑــﻂ ﻋﻤﻮﻣــﯽ« ﺗــﺎ اداره ﺻﻔﺤــﻪ‬ ‫ﻓﯿﺲﺑــﻮک ﺗﯿــﺮﮔﺎن و ﻫﻤــﮑﺎری در »ﭼﺎﯾﺨﺎﻧــﻪ« ﮐﻠــﯽ ﺧﺎﻃــﺮه‬ ‫ﺷــﻨﯿﺪﻧﯽ دارد‪ .‬او ﮐــﻪ ﺗﺠﺮﺑــﻪ ﻫﻤــﮑﺎری ﺑــﺎ اﻧﺠﻤــﻦ اﯾﺮاﻧﯿﺎن داﻧﺸــﮕﺎه‬ ‫ﯾــﻮرک و ﮔــﺮوه ﻧﺎرﻧــﺞ را ﻫــﻢ دارد ﻣﻬــامن ﻣــﺎ ﺷــﺪه ﺗــﺎ از ارﺗﺒــﺎط‬ ‫ﺑــﺎ ﻣﺨﺎﻃــﺐ رﺳــﺎﻧﻪﻫﺎی اﺟﺘامﻋــﯽ ﺗــﺎ و ﻣﺸــﱰیﻫﺎی ﻓﺎﻟــﻮده و‬ ‫ﺷــﻬﺮﻓﺮﻧﮓ ﺗﯿــﺮﮔﺎن ﺑﺮاﯾــامن ﺑﮕﻮﯾــﺪ‪:‬‬

‫ﻟﻄﻔﺎ از ﻓﻌﺎﻟﯿﺖﻫﺎی ﮔﺮوه رواﺑﻂ ﻋﻤﻮﻣﯽ ﺑﺮاﯾامن ﺑﮕﻮ و‬ ‫اﯾﻨﮑﻪ ﺑﺮای ﻣﺜﺎل ﯾﮏ روز ﻣﻌﻤﻮﻟﯽ در ﺟﻠﺴﻪ داوﻃﻠﺒﺎن ﺗﯿﺮﮔﺎن‬ ‫ﭼﻪ ﻣﯽﮔﺬرد؟‬ ‫ﺟﻠﺴﺎت رواﺑﻂ ﻋﻤﻮﻣﯽ ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن ﻫﻔﺘﻪای ﯾﮏ ﺑﺎر ﺑﻪ ﻣﺪت‬ ‫دو ﺳﺎﻋﺖ ﺑﺮﮔﺰار ﻣﯽﺷﻮد‪ .‬داوﻃﻠﺐﻫﺎ در ﮔﺮوهﻫﺎی ﻣﺨﺘﻠﻒ‪،‬‬

‫ﻣﺤﺘﻮای ﺑﯿﺸﱰ ﭘﯿﺎمﻫﺎ و ﻧﻈﺮﻫﺎﯾﯽ ﮐﻪ در اﯾﻦ ﻣﺪت درﯾﺎﻓﺖ‬ ‫ﮐﺮده ای ﭼﻪ ﺑﻮده؟‬

‫دوﺳﺘﺎن از ﻃﺮﯾﻖ ﺻﻔﺤﻪ ﻓﯿﺴﺒﻮک ﭘﯿﺎمﻫﺎ و ﻧﻈﺮﻫﺎی زﯾﺎدی را ﺑﺮای‬ ‫ﻣﺎ ﻣﯽﻓﺮﺳﺘﻨﺪ از ﺟﻤﻠﻪ اﻓﺮادی ﮐﻪ ﮐﺎر ﻧﻘﺎﺷﯽ‪ ،‬ﻣﻮﺳﯿﻘﯽ و ﯾﺎ رﻗﺺ‬ ‫اﻧﺠﺎم ﻣﯽدﻫﻨﺪ و ﻋﻼﻗﻪ دارﻧﺪ در اﯾﻦ ﺟﺸﻨﻮاره ﴍﮐﺖ ﮐﻨﻨﺪ ﯾﺎ اﯾﻦ‬ ‫ﮐﻪ ﻫرنﻣﻨﺪان ﻣﻮرد ﻋﻼﻗﻪ و ﻣﺤﺒﻮﺑﺸﺎن را ﺑﺮای دﻋﻮت ﺑﻪ ﺟﺸﻨﻮاره‬ ‫ﭘﯿﺸﻨﻬﺎد ﻣﯽﮐﻨﻨﺪ‪ .‬درﺧﻮاﺳﺖ اﻃﻼﻋﺎت ﺑﺮای ﭘﯿﻮﺳنت ﺑﻪ ﺧﺎﻧﻮاده‬ ‫ﺗﯿﺮﮔﺎن‪ ،‬درﺧﻮاﺳﺖ اﺟﺎره ﻏﺮﻓﻪ ﺑﺮای ﻏﺬا و ﻫرنﻫﺎی دﺳﺘﯽ ﻫﻢ از‬ ‫ﻣﻮﺿﻮﻋﺎت دﯾﮕﺮیﺳﺖ ﮐﻪ در ﭘﯿﺎمﻫﺎ ﺑﻪ دﺳﺘامن ﻣﯽرﺳﺪ‪ .‬آنﻫﺎ ﻫﻢ‬ ‫ﮐﻪ در دورهﻫﺎی ﮔﺬﺷﺘﻪ ﺑﻪ اﯾﻦ ﺟﺸﻨﻮاره آﻣﺪهاﻧﺪ ﺑﺎ ﮐامل ذوق و‬ ‫ﺷﻮق از ﺧﺎﻃﺮات ﺧﻮﺑﺸﺎن ﺑﺮاﯾامن ﻣﯽﮔﻮﯾﻨﺪ‪ .‬از آﻧﺠﺎﯾﯽ ﮐﻪ ﺗﯿﺮﮔﺎن‬ ‫دو ﺳﺎل ﯾﮏ ﺑﺎر ﺑﺮﮔﺰار ﻣﯽﺷﻮد ﺧﯿﻠﯽ از ﻣﺸﺘﺎﻗﺎن ﻫﺮ ﺳﺎل ﴎاغ‬ ‫ﺗﯿﺮﮔﺎن را ﻣﯽﮔﯿﺮﻧﺪ و ﯾﺎ روزﺷامری ﻣﯽﮐﻨﻨﺪ ﺗﺎ ﻓﻬﺮﺳﺖ ﺑﺮﻧﺎﻣﻪﻫﺎ‬ ‫آﻣﺎده ﺷﻮد و ﺑﺒﯿﻨﻨﺪ ﭼﻪ ﻫرنﻣﻨﺪاﻧﯽ ﻗﺮار اﺳﺖ ﻃﯽ ﭼﻬﺎر روز‬ ‫ﺟﺸﻨﻮاره در ﺗﻮرﻧﺘﻮ ﻏﻮﻏﺎ ﮐﻨﻨﺪ‪.‬‬

‫ﮏ‬ ‫ﺴﺎ ﻟ‬ ‫ﭘﺮﯾ‬

‫ﺗﺠﺮﺑﻪ‪ ،‬ﺳﻘﻒ ﮐﻤﭙﯿﻦ ﮐﻤﮏﻫﺎی ﻣﺎﻟﯽ را ‪ ۲۶‬ﻫﺰار دﻻر در ﻧﻈﺮ‬ ‫ﻣﺴﻮوﻟﯿﺖﻫﺎی ﻣﺘﻔﺎوﺗﯽ ﺑﺮ ﻋﻬﺪه دارﻧﺪ و در اﯾﻦ ﺟﻠﺴﺎت ﻫﺮ ﮔﺮوه‬ ‫ﮔﺮﻓﺘﯿﻢ اﻣﺎ ﺗﺎ ﺳﻪ ﻫﻔﺘﻪ ﺑﻪ ﺟﺸﻨﻮاره از ﻣﺮز ‪ ۲۸‬ﻫﺰار دﻻر ﻫﻢ‬ ‫از ﭘﯿﴩﻓﺖ ﻫﻔﺘﮕﯽ ﺧﻮد ﺑﻘﯿﻪ اﻋﻀﺎ ﺗﯿﻢ را آﮔﺎه ﻣﯽﮐﻨﺪ‪ .‬ﯾﮑﯽ از‬ ‫ﮔﺬﺷﺘﯿﻢ‪ .‬اﯾﻦ ﺑﻪ ﻟﻄﻒ ﻫﻤﺮاﻫﺎﻧﯽ ﺑﻮد ﮐﻪ ﺑﻪ ﻓﺮاﺧﻮان ﻣﻬﺮ و دوﺳﺘﯽ ﻓﻌﺎﻟﯿﺖﻫﺎی ﻣﻦ در ﮔﺮوه رواﺑﻂ ﻋﻤﻮﻣﯽ‪ ،‬ﴍﮐﺖ در ﺑﺮﻧﺎﻣﻪﻫﺎی‬ ‫ﻣﺎ ﭘﺎﺳﺦ ﻣﺜﺒﺖ دادﻧﺪ و ﺑﺨﺸﯽ از ﺧﺎﻧﻮاده ﺑﺰرگ ﺗﯿﺮﮔﺎن ﺷﺪﻧﺪ‪.‬‬ ‫اﯾﺮاﻧﯽ ﺷﻬﺮ ﺗﻮرﻧﺘﻮ ﺑﺮای اﻃﻼع رﺳﺎﻧﯽ و ﺷﻨﺎﺳﺎﻧﺪن ﺟﺸﻨﻮاره ﺑﻪ‬ ‫از داﻧﺸﺠﻮﯾﯽ ﮐﻪ ﭘﻮل ﻗﻬﻮه روزش را ﺑﻪ ﺗﯿﺮﮔﺎن ﻫﺪﯾﻪ ﻣﯽﮐﻨﺪ ﺗﺎ‬ ‫آﻧﻬﺎﯾﯽﺳﺖ ﮐﻪ ﺷﺎﯾﺪ ﺧﯿﻠﯽ از ﺗﯿﺮﮔﺎن ﺧﱪ ﻧﺪاﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ‬ ‫اﺷﺨﺎﺻﯽ ﻣﺜﻞ دﮐﱰ ﻋﺰﯾﺰی و دﯾﮕﺮان ﮐﻪ آﻣﺎده ﺑﻮدﻧﺪ ﻫﺮﭼﻪ از‬ ‫ﻓﻌﺎل ﻧﮕﻪ داﺷنت ﺻﻔﺤﻪ اﺟﺘامﻋﯽ ﻓﯿﺴﺒﻮک ﺑﺮ ﻋﻬﺪه ﻣﻦ اﺳﺖ ﮐﻪ‬ ‫ﺳﻘﻒ ﮐﻤﭙﯿﻦ ﻣﺎﻧﺪه را ﺑﻪ ﺗﯿﺮﮔﺎن ﻫﺪﯾﻪ ﮐﻨﻨﺪ و ﻫﻤﻪ آنﻫﺎﯾﯽ ﮐﻪ از ﻫﻢ ﺑﺮﻧﺎﻣﻪﻫﺎی ﻣﺘﻌﺪد ﺟﺸﻨﻮاره در اﯾﻦ ﺻﻔﺤﻪ اﻋﻼم ﻣﯽﺷﻮﻧﺪ و ﻫﻢ‬ ‫ﻓﺮاﺧﻮان »دﺳﺖ در دﺳﺖ ﻫﻢ ﻧﻬﯿﻢ ﺑﻪ ﻣﻬﺮ‪ «...‬ﺣامﯾﺖ ﻣﯽﮐﻨﻨﺪ‪.‬‬ ‫ﺑﻪ ﭘﯿﺎمﻫﺎ و ﺳﻮاﻻت دوﺳﺘﺎن ﭘﺎﺳﺦ داده ﻣﯽﺷﻮد‪.‬‬

‫و ﺗﻌﺪادی دﮐﻮر اﯾﺮاﻧﯽ ﻓﻀﺎی دﻟﻨﺸﯿﻨﯽ ﺑﻪ ﭼﺎﯾﺤﺎﻧﻪ داده و ﺑﺎ ﭼﺎی‪،‬‬ ‫دو‪ -‬ﺳﻪ ﻧﻮع ﴍﺑﺖ‪ ،‬ﺧﺎﮐﺸﯿﺮ و ﻓﺎﻟﻮده اﯾﺮاﻧﯽ ﭘﺎﺗﻮق ﻫرنﻣﻨﺪان و‬ ‫ﻣﻬامنﻫﺎی ﺗﯿﺮﮔﺎن ﺷﺪه و ﻣﯽﺗﻮاﻧﻢ ﺑﯽاﻏﺮاق ﺑﮕﻮﯾﻢ ﮐﻪ ﯾﮑﯽ از‬ ‫ﺷﻠﻮﻏﱰﯾﻦ ﻗﺴﻤﺖﻫﺎی ﺟﺸﻨﻮاره اﺳﺖ‪» .‬ﺷﻬﺮ ﻓﺮﻧﮓ« ﻫﻢ ﯾﮑﯽ دﯾﮕﺮ‬ ‫از ﺑﺨﺶﻫﺎﯾﯽﺳﺖ ﮐﻪ ﺑﭽﻪﻫﺎی اﻧﺠﻤﻦ ﻧﺎرﻧﺞ ﺑﺎ ﺳﻠﯿﻘﻪ ﺧﻮدﺷﺎن‬ ‫درﺳﺖ ﮐﺮدهاﻧﺪ و ﺧﯿﻠﯽ دﯾﺪﻧﯽﺳﺖ‪.‬‬

‫ﭘﺮﯾﺴــﺎ ﻟــﮏ از داوﻃﻠﺒــﺎن »ﮔــﺮوه ﺑﺎزارﯾﺎﺑــﯽ« ﺗﯿــﺮﮔﺎن اﺳــﺖ ﮐــﻪ‬ ‫ﺑــﺎ ﻫﻤــﮑﺎری اﻋﻀــﺎی دﯾﮕــﺮ ﺗــﻼش دارﻧــﺪ از راهﻫــﺎی ﻣﺨﺘﻠــﻒ‬ ‫ﻫﺰﯾﻨﻪﻫــﺎی ﺟﺸــﻨﻮاره را ﺗﺎﻣﯿــﻦ ﮐﻨﻨــﺪ‪ .‬او در زﻣﯿﻨــﻪ ﻣﺪﯾﺮﯾــﺖ‬ ‫ﺑﺎزرﮔﺎﻧــﯽ در داﻧﺸــﮕﺎه ﴍﯾــﻒ ﺗﺤﺼﯿــﻞ ﮐــﺮده و در ﮐﺎﻧــﺎدا ﻧﯿــﺰ‬ ‫ﻣﺪﯾﺮﯾــﺖ ﺗﮑﻨﻮﻟــﻮژی و اﺧﱰاﻋــﺎت را ﺑـﺮای ادﻣــﻪ ﻣﺴــﯿﺮ داﻧﺸــﮕﺎﻫﯽ‬ ‫ﺧــﻮد ﺑﺮﮔﺰﯾــﺪه اﺳــﺖ‪ .‬از او ﭘﺮﺳــﯿﺪهاﯾﻢ ﮐــﻪ ﻫــرن ﭼﮕﻮﻧــﻪ ﻣﯽﺗﻮاﻧــﺪ‬ ‫درآﻣﺪزاﯾــﯽ داﺷــﺘﻪ ﺑﺎﺷــﺪ‪ ،‬ﺑــﺪون آن ﮐــﻪ از ﻣﺎﻫﯿــﺖ و رﺳــﺎﻟﺖ‬ ‫ﺧــﻮدش ﻓﺎﺻﻠــﻪ ﺑﮕﯿــﺮد‪:‬‬

‫اﯾﻦ ﺳﻮال ﺷﺎﯾﺪ ﺑﺮای ﺧﯿﻠﯽ از ﻣﺤﺎﻃﺒﺎن ﻣﺎ ﭘﯿﺶ آﻣﺪه ﺑﺎﺷﺪ ﮐﻪ‬ ‫درآﻣﺪ ﺗﯿﺮﮔﺎن از ﭼﻪ راهﻫﺎﯾﯽ ﺗﺎﻣﯿﻦ ﻣﯽﺷﻮد و ﻧﻘﺶ ﻣﺸﺎﻏﻞ‬ ‫اﯾﺮاﻧﯽ در ﺑﺮﮔﺰاری و روﻧﺪ رو ﺑﻪ رﺷﺪ ﺟﺸﻨﻮاره ﭼﻪ ﺑﻮده؟‬

‫ﻣﺸــﺎﻏﻞ اﻳﺮاﻧﯽ ﻧﻘﺶ اﺻﻠﯽ را در متﺎﻣﯽ دورهﻫﺎی ﺗريﮔﺎن داﺷــﺘﻪﻧﺪ‪.‬‬ ‫ﺑﯿﺸــﱰ ﺣﺎﻣﯿﺎن ﻣﺎﻟﯽ ﺗريﮔﺎن از ﺳــﺎل ‪ ٢٠١١‬ﻛﻪ ﻣﻦ ﻫﻤﻜﺎری داﺷﺘﻢ‪،‬‬ ‫ﻫﺮ ﺳــﺎﻟﻪ ﻫﻤﺮاه ﺗريﮔﺎن ﺑﻮدهاﻧﺪ‪ .‬ﺑﺪون ﺣﻀﻮر آنﻫﺎ اﺟﺮای ﭼﻨني‬ ‫ﺟﺸــﻨﻮارهای اﻣﻜﺎنﭘﺬﻳﺮ ﻧﻴﺴــﺖ‪ .‬ﻛﻤﮏ ﻫﺰﻳﻨﻪﻫﺎی دوﻟﺘﯽ ﻛﻪ ﺑﺮای‬ ‫ﭘﺸــﺘﻴﺒﺎﻧﯽ از ﺟﺸــﻨﻮارهﻫﺎی ﻓﺮﻫﻨﮕﯽ و ﻫرنی اﻗﻮام و ﻣﻠﻞ ﻣﺨﺘﻠﻒ‬ ‫ﮐﺎﻧﺎدا در ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷــﺪه‪ ،‬ﯾﮑﯽ دﯾﮕﺮ از راهﻫﺎی ﺗﺎﻣﯿﻦ ﻫﺰﯾﻨﻪ‬ ‫ارﺗﺒﺎط و ﻫﻤﮑﺎری ﮔﺮوهﻫﺎی داﻧﺸﺠﻮﯾﯽ ﺑﺎ ﺗﯿﺮﮔﺎن ﻣﺜﻞ‬ ‫»ﻧﺎرﻧﺞ« ﭼﮕﻮﻧﻪ اﺳﺖ؟ اﯾﺪه »ﭼﺎﯾﺨﺎﻧﻪ« و »ﺷﻬﺮﻓﺮﻧﮓ« از ﮐﺠﺎ ﺟﺸــﻨﻮاره اﺳــﺖ‪ .‬ﺑﺮﻧﺎﻣﻪﻫﺎی ﺗﻔﺮﻳﺤﯽ‪ ،‬درآﻣﺪ ﺣﺎﺻﻞ از ﻓﺮوش‬ ‫آﻣﺪه و ﭼﻪ ﻓﻀﺎﯾﯽ ﺑﺮای ﻣﻬﺎنﻫﺎ و ﻫرنﻣﻨﺪان ﻓﺮاﻫﻢ ﮐﺮده؟‬ ‫ﺑﻠﻴﻂ ‪-‬ﺗﻌﺪادی از ﺑﺮﻧﺎﻣﻪﻫﺎی ﺟﺸــﻨﻮاره‪ -‬و ﺟﺸــﻦ ﺳﺎﻻﻧﻪ ﺗريﮔﺎن‬ ‫ﻫــﻢ ﺑــﻪ ﺗﺎﻣﯿﻦ ﻫﺰﯾﻨﻪﻫﺎی ﻣﺎ ﮐﻤــﮏ ﻣﯽﮐﻨﻨﺪ‪ .‬اﻟﺒﺘﻪ آﺧﺮﻳﻦ و ﻳﻜﯽ‬ ‫اﻧﺠﻤﻦﻫﺎی داﻧﺸﺠﻮﯾﯽ ﻣﺘﻌﺪدی ﺑﺎ ﺗﯿﺮﮔﺎن ﻫﻤﮑﺎری ﻣﯽﮐﻨﻨﺪ‪.‬‬ ‫از ﻣﻬﻤﱰﻳــﻦ ﻣﻨﺎﺑﻊ درآﻣــﺪ ﻣﺎ ﺣامﯾﺖﻫﺎی ﻣﺎﻟﯽ و ﮐﻤﮏ ﺑﻼﻋﻮض‬ ‫»ﻧﺎرﻧﺞ« ﮐﻪ در اﺻﻞ اﻧﺠﻤﻦ داﻧﺸﺠﻮﯾﯽ داﻧﺸﮕﺎه ﺗﻮرﻧﺘﻮ ﻫﺴﺖ‬ ‫دوﺳــﺘﺪاران ﻓﺮﻫﻨﮓ و ﻫرن اﯾﺮان اﺳــﺖ‪ .‬ﻣﺎ اﻋﺘﻘﺎد دارﻳﻢ ﻛﻪ »ﺗريﮔﺎن‬ ‫ﻣﺴﻮوﻟﯿﺖ ﮔﺮداﻧﺪن و ادارﻫﻪ ﯾﮏ ﭼﺎﯾﺨﺎﻧﻪ ﺑﻪ ﺳﺒﮏ ﺳﻨﺘﯽ را در‬ ‫ﺟﺸﻨﻮاره ﺑﻪ ﻋﻬﺪه دارد‪ .‬ﯾﮏ ﴎی ﺗﺨﺖ ﺑﺎ ﻗﺎﻟﯿﭽﻪ‪ ،‬ﺣﻮض آﺑﯽ رﻧﮓ ﺟﺸﻨﯽﺳــﺖ از ﻓﺮﻫﻨﮓ و ﻫرن ﻣﺎ ﺑﺮای ﻫﻤﮕﯽ ﻣﺎ‪ «.‬اﮔﺮ ﻫﻤﻪ ﻣﺎ‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

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‫ﻭﺷﺎ‬ ‫ﭘﺮ‬ ‫ﺕ‬ ‫ﺟﺎﻭ‬ ‫ﯾﺪ‬

‫ﺟﺸــﻨﻮاره ﺗﯿــﺮﮔﺎن ﺣﺎﺻــﻞ ﺗــﻼش ﺑﯿــﺶ از ﺳــﯿﺼﺪ داوﻃﻠــﺐ ﻋﺎﺷــﻖ ﻓﺮﻫﻨــﮓ و‬ ‫اﯾ ـﺮان اﺳــﺖ ﮐــﻪ ﺑــﺎ ﺗﻘﺴــﯿﻢ ﮐﺎرﻫــﺎ و ﺳــﺎزﻣﺎنﯾﺎﺑﯽ در ﺑﺨﺶﻫــﺎی ﻣﺨﺘﻠــﻒ‪،‬‬ ‫ﻫﺮﯾــﮏ ﺗــﻼش دارﻧــﺪ ﺑــﻪ ﺳــﻬﻢ ﺧــﻮد ﻧﻘﺸــﯽ در اﯾــﻦ رﺧــﺪاد ﻓﺮﻫﻨﮕــﯽ‪-‬‬ ‫ﻫــرنی در ﺗﻮرﻧﺘــﻮ اﯾﻔــﺎ ﮐﻨﻨــﺪ‪ .‬داﯾــﺮه ﮔﻔــﺖ و ﮔــﻮ‪ ،‬اﻧﺘﻘــﺎد‪ ،‬اﺻــﻼح و ﭘﯿﴩﻓــﺖ‬ ‫در ﺧﺎﻧــﻮاده ﺗﯿــﺮﮔﺎن ﻣﺤــﺪود ﺑــﻪ اﯾــﻦ ﺻﻔﺤــﺎت ﻧﯿﺴــﺖ‪ ،‬ﺑﻠﮑــﻪ ﺑﺨﺸــﯽ از‬ ‫روﻧــﺪ ﺳــﺎزﻧﺪه و رو ﺑــﻪ رﺷﺪیﺳــﺖ ﮐــﻪ ﺟﺸــﻨﻮاره ﺗﯿــﺮﮔﺎن را ﻣﯽﺳــﺎزد‪.‬‬ ‫ﻫﺮﭼﻨــﺪ ﺧﺎﻧــﻮاده ﺗﯿــﺮﮔﺎن در ﺳــﺎلﻫﺎی ﮔﺬﺷــﺘﻪ ﺗﻐﯿﯿ ـﺮات زﯾــﺎدی ﺑــﻪ ﺧــﻮد‬ ‫دﯾــﺪه اﻣــﺎ ﺑــﻪ ﺑﻬﺎﻧــﻪ دﻫﻤﯿــﻦ ﺳــﺎﻟﮕﺮد ﻓﻌﺎﻟﯿــﺖ اﯾــﻦ ﻣﺠﻤﻮﻋــﻪ‪ ،‬ﺑــﺎ ﺗﻌــﺪادی‬ ‫از ﻓﻌــﺎﻻن داوﻃﻠــﺐ ﺗﯿــﺮﮔﺎن ﮔﻔــﺖ و ﮔﻮﻫــﺎی ﮐﻮﺗﺎﻫــﯽ داﺷــﺘﯿﻢ ﮐــﻪ در‬ ‫اداﻣــﻪ ﻣﯽﺧﻮاﻧﯿــﺪ‪ .‬ﻓﻌﺎﻟﯿﺖﻫــﺎی ﺧﺎﻧــﻮاده ﺗﯿــﺮﮔﺎن را ﻣﯽﺗﻮاﻧﯿــﺪ از ﻃﺮﯾــﻖ‬ ‫ﺷــﺒﮑﻪﻫﺎی اﺟﺘامﻋــﯽ آﻧﻼﯾــﻦ دﻧﺒــﺎل ﮐﻨﯿــﺪ‪:‬‬

‫اﯾﻦ ﺗﺠﺮﺑﻪ را داﺷﺘﯿﻢ ﮐﻪ ﺑﺎ دﻋﻮت از ﻫﻤﻪ دوﺳﺘﺪاران‬ ‫ﺗﯿﺮﮔﺎن‪ ،‬ﺑﺨﺸﯽ از اﯾﻦ اﺗﻔﺎق ﺷﺎد و زﯾﺒﺎ را ﺑﺎ ﻫﻢ‬ ‫ﺑﺴﺎزﯾﻢ‪ .‬ﻫﺮﮐﺲ در ﺣﺪ ﺗﻮاﻧﺶ و از ﻫﺮﺟﺎی دﻧﯿﺎ‪ :‬از‬ ‫ﮐﺎﻧﺎدا ﺗﺎ آﻣﺮﯾﮑﺎ و اروﭘﺎ و اﯾﺮان‪ ،‬ﺣﺘﯽ از ﻣﮑﺰﯾﮏ ﺑﻪ‬ ‫ﻋﺸﻖ و ﺑﺎور ﻣﺎ ﭘﺎﺳﺦ دادﻧﺪ‪ .‬در ﻃﻮل اﻳﻦ ﺗﺠﺮﺑﻪ ﮔﻔﺖ‬ ‫و ﮔﻮﻫﺎى زﻳﺎدى ﺑﺮ ﻗﺮار ﺷﺪ‪ ،‬دوﺳﺘﻰﻫﺎى ﺧﻮىب ﺷﻜﻞ‬ ‫ﮔﺮﻓﺖ و ﭼﻴﺰﻫﺎى زﻳﺒﺎﻳﻰ ﺧﻠﻖ ﺷﺪ و ّ‬ ‫ﻛﲆ داد و ﺳﺘﺪ‬ ‫ﻣﻬﺮ و دوﺳﺘﻰ ﺻﻮرت ﮔﺮﻓﺖ‪ .‬ﻫﻪ اﯾﻦﻫﺎ ﺑﺎﻋﺚ ﺷﺪ ﺣﺎل‬ ‫ﺧﻮىب داﺷﺘﻪ ﺑﺎﺷﻴﻢ و ﺧﻮﺷﺤﺎل و ﭘﺮ از ﻋﺸﻖ و اﻧﮕﻴﺰه‪،‬‬ ‫ﻓﻀﺎى اﻣﻦ »اﻋﺘامد« و »ﻫﻤﺒﺴﺘﮕﻰ« را ﺗﺠﺮﺑﻪ ﻛﻨﻴﻢ‪.‬‬

‫ﭼﻪ ﻃﻮر ﻣﯽﺷــﻮد »ﺟﺸــﻨﻮارهای از ﻣﺮدم‪ ،‬ﺑﺮای‬ ‫ﻣﺮدم« ﺳــﺎﺧﺖ ﮐﻪ ﻫﻢ ﻣﺎﯾــﻪ اﻓﺘﺨﺎر اﯾﺮاﻧﯿﺎن‬ ‫ﺑﺎﺷــﺪ و ﻫﻢ دارای ارزشﻫﺎﯾﯽ ﺑﺮای ﺟﺎﻣﻌﻪ‬ ‫ﭼﻨــﺪ ﻓﺮﻫﻨﮕﯽ ﮐﺎﻧﺎدا؟‬

‫ﺗﻮﺟﻪ و ﺗﻌﻠﻖ ﺑﻪ ﺑﺰرﮔﱰﯾﻦ رﺧﺪاد ﻓﺮﻫﻨﮕﯽ‪ -‬ﻫرنی‬ ‫اﯾﺮاﻧﯿﺎن ﺧﺎرج ﮐﺸﻮر ﻣﯽﺗﻮاﻧﺪ اﻧﮕﯿﺰهﻫﺎی زﯾﺎدی‬ ‫ﺑﺮای ﻫﻤﺮاه ﺷﺪن »ﻫﺮ اﯾﺮاﻧﯽ و دوﺳﺘﺪار ﻓﺮﻫﻨﮓ‬ ‫و ﻫرن اﯾﺮان« در ﻫﺮﺟﺎی دﻧﯿﺎ اﯾﺠﺎد ﮐﻨﺪ‪ .‬ﮐﻤﮏﻫﺎی‬ ‫ﻣﺪاوم ﻣﺎﻟﯽ‪ ،‬ﻫﺮﭼﻨﺪ ﮐﻮﭼﮏ ﻣﯽﺗﻮاﻧﺪ ﺗﯿﺮﮔﺎن را ﻫﺮ‬ ‫روز ﺑﻪ ﻣﻘﺼﺪ »ﺟﺸﻨﻮارهای از ﻣﺮدم‪ ،‬ﺑﺮای ﻣﺮدم«‬ ‫ﻧﺰدﯾﮏﺗﺮ ﮐﻨﺪ‪ .‬ﻫامن ﻃﻮر ﮐﻪ اﻣﺴﺎل ﮔﺎمﻫﺎی ﺑﺴﯿﺎر‬ ‫اﻣﯿﺪوارﮐﻨﻨﺪهای در اﯾﻦ ﻣﺴﯿﺮ ﺑﺮداﺷﺘﻪ ﺷﺪ‪.‬‬

‫ﭘﺮوﺷــﺎت ﺟﺎوﯾــﺪ ﻣﺪﯾــﺮ »ﮐﻤﭙﯿــﻦ ﮐﻤــﮏ ﺑــﻪ ﺗﯿــﺮﮔﺎن«‬ ‫اﺳــﺖ‪ .‬اﯾــﻦ ﮐﻤﭙﯿــﻦ ﺗﻼﺷــﯽ از ﻃــﺮف »ﮔــﺮوه‬ ‫ﺑﺎزارﯾﺎﺑــﯽ« ﺑــﺮای ﺗﺎﻣﯿــﻦ ﻫﺰﯾﻨﻪﻫــﺎی ﺟﺸــﻨﻮاره از‬ ‫ﻣﺤــﻞ درآﻣﺪﻫــﺎی ﻣﺮدﻣﯽﺳــﺖ‪ .‬او ﮐــﻪ در ﻣﺎهﻫــﺎی‬ ‫ﺗــﺪارک ﺟﺸــﻨﻮاره ﺗﯿــﺮﮔﺎن ﻫﻤـﺮاه ﺑــﺎ داوﻃﻠﺒــﺎن دﯾﮕــﺮ‬ ‫ﺗﯿــﺮﮔﺎن ﺗــﻼش ﺑﺴــﯿﺎری در ﺷﻨﺎﺳــﺎﻧﺪن ﺟﺸــﻮاره و‬ ‫ﺟﻠــﺐ ﺣامﯾﺖﻫــﺎی ﻣﺮدﻣــﯽ داﺷــﺘﻪ از اﯾــﻦ ﺗﺠﺮﺑــﻪ‬ ‫ﺣامﯾﺖ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ‪ -‬ﮐﺎﻧﺎداﯾﯽ در ﺗﺎﻣﯿﻦ‬ ‫ﻣﻮﻓــﻖ ﻣﯽﮔﻮﯾــﺪ‪:‬‬

‫ﻫﺰﯾﻨﻪﻫﺎی ﺟﺸﻨﻮاره ﺗﺎ ﭼﻪ ﺣﺪ ﻣﻮﺛﺮ ﺑﻮده؟‬

‫ﺗﯿﺮﮔﺎن اﻋﻼم ﮐﺮده ﺑﻪ ﻋﻨﻮان ﺳﺎزﻣﺎﻧﯽ ﻣﺴﺘﻘﻞ و ﺣﺎﻣﯿﺎن ﻣﺎﻟﯽ‪ ،‬اﻓﺮاد و ﻣﺸﺎﻏﻞ زﯾﺎدی در ﺟﺎﻣﻌﻪ‬ ‫اﯾﺮاﻧﯽ‪ -‬ﮐﺎﻧﺎداﯾﯽ از راهﻫﺎی ﻣﺨﺘﻠﻒ ﻣﺜﻞ اﺳﺘﻘﺒﺎل از‬ ‫ﻣﺮدمﻧﻬﺎد‪ ،‬ﺑﺨﺸﯽ از ﻫﺰﻳﻨﻪﻫﺎی ﺧﻮد را از راه‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎی ﺑﻠﯿﺘﯽ‪ ،‬اﺟﺎره ﻏﺮﻓﻪ‪ ،‬ﺗﺒﻠﯿﻐﺎت و ﺟﻤﻊآوری‬ ‫ﮐﻤﮏﻫﺎی ﻣﺮدﻣﯽ ﺑﻪ دﺳﺖ ﻣﯽآورد‪ .‬ﻟﻄﻔﺎ از اﯾﻦ‬ ‫ﮐﻤﮏ ﻣﺎﻟﯽ ﺑﻪ ﺗﯿﺮﮔﺎن ﮐﻤﮏ ﻣﯽﮐﻨﻨﺪ اﻣﺎ اﯾﻨﺠﺎ ﻣﺎﯾﻠﻢ‬ ‫ﺗﺠﺮﺑﻪ ﺑﺮای ﻣﺎ ﺑﮕﻮ‬ ‫ﺑﻪ دوﺳﺘﺎن و ﻫﻤﺮاﻫﺎﻧﯽ اﺷﺎره ﮐﻨﻢ ﮐﻪ ﺑﺎ ﮐﻤﮏﻫﺎی‬ ‫ﺗﺠﺮﺑﻪ ﻓﻮق اﻟﻌﺎدهای ﺑﻮد‪ .‬اﻣﺴﺎل ﻣﺎ ﺑﺮای اوﻟﯿﻦ ﺑﺎر‬ ‫ﻣﺎﻟﯽ ﺗﯿﺮﮔﺎن را ﯾﺎری ﻣﯽدﻫﻨﺪ‪ .‬اﻣﺴﺎل ﺑﺮای اوﻟﯿﻦ‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:28 AM‬‬

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T I R G A N FA M I LY

TIRGAN MAGAZINE AUGUST 2015

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2015-08-06 4:28 AM

‫‪HISTORY AND LITERATURE‬‬

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‫~‪~ Talk‬‬

‫‪the canticle‬‬ ‫‪of the birds‬‬ ‫’‪by ‘attâr‬‬ ‫‪WHEN:‬‬

‫‪Sunday, 23 August - 3:30pm‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour‬‬ ‫‪LOCATION:‬‬ ‫‪Brigantine,‬‬ ‫‪Harbourfront Centre‬‬

‫اردﻻن ﴎﻓﺮاز‬ ‫ﺷــﺎﻋﺮ و ﺗﺮاﻧــﻪﴎای ﻣــﻮج ﻧﻮﯾــﻦ و‬ ‫آﻫﻨﮕﺴــﺎز اﯾﺮاﻧﯽﺳــﺖ‪» .‬ﻋﺸــﻖ و‬ ‫ﻏﺮﺑــﺖ«‪ ،‬و »زﻧﺪﮔــﯽ اﯾﺮاﻧﯿــﺎن ﻣﻬﺎﺟــﺮ«‬ ‫ﺑﻦﻣﺎﯾــﻪ اﺻﻠــﯽ ﴎودهﻫــﺎی او ﺑــﻪ ﺷــامر‬ ‫ﻣــﯽرود‪ .‬دارﯾــﻮش‪ ،‬اﺑــﯽ‪ ،‬ﺳــﺘﺎر‪ ،‬ﻫﺎﯾــﺪه‪،‬‬ ‫ﻣﻌﯿــﻦ‪ ،‬ﮔﻮﮔــﻮش‪ ،‬ﻋــﺎرف‪ ،‬ﻓﺮﻫــﺎد ﻣﻬــﺮاد‪،‬‬ ‫ﻣﻬﺴــﺘﯽ‪ ،‬ﻣﺎزﯾــﺎر و ﺳــﺘﺎرﮔﺎن دﯾﮕــﺮی‬ ‫ﺗﺮاﻧﻪﻫــﺎی او را ﺧﻮاﻧﺪهاﻧــﺪ‪ .‬ﻫﻤــﮑﺎری‬ ‫او ﺑــﺎ آﻫﻨﮕﺴــﺎزاﻧﯽ ﭼــﻮن ﻓﺮﯾــﺪ زﻻﻧــﺪ‪،‬‬ ‫ﺳــﯿﺎوش ﻗﻤﯿﺸــﯽ‪ ،‬واروژان‪ ،‬ﺑﺎﺑــﮏ‬ ‫اﻓﺸــﺎر‪ ،‬ﻣﺤﻤــﺪ ﺣﯿــﺪری‪ ،‬ﻣﻨﻮﭼﻬــﺮ‬ ‫ﭼﺸــﻢآذر و ﻓﺮﯾــﱪز ﻻﭼﯿﻨــﯽ ﺑﯽﺗﺮدﯾــﺪ‬ ‫ﺗﺮاﻧﻪﻫــﺎی اردﻻن را در ﺣﺎﻓﻈــﻪ ﺟﺎﻣﻌــﻪ‬ ‫ﻣﻌــﺎﴏ اﯾــﺮان ﻣﺎﻧــﺪﮔﺎر ﮐــﺮده‪ .‬ﺗــﺎ ﺑــﻪ‬ ‫ﺣــﺎل دو ﮐﺘــﺎب ﺷــﺎﻣﻞ ﮔﺰﯾــﺪهای از‬ ‫ﺗﺮاﻧﻪﻫــﺎی او ﺑــﻪ ﻧﺎمﻫــﺎی »از رﯾﺸــﻪ‬ ‫ﺗــﺎ ﻫﻤﯿﺸــﻪ« و »ﺳــﺎل ﺻﻔــﺮ« ﭼــﺎپ و‬ ‫ﻣﻨﺘــﴩ ﺷــﺪه اﺳــﺖ‪.‬‬

‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪ ،‬ﻫﺮﮔﺰ ﺑﻪ ﻣﺎ ﻧﮕﻔﺖ ﭼﺮا‬ ‫ﮔﺬﺷﺘﻪﻫﺎ رو ﻗﺼﻪ ﮐﺮد‪ ،‬ﻧﻪ ﭼﻨﺪ و ﭼﻮن ﻣﺎﺟﺮا‬ ‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪ ،‬ﻋﺎﺷﻖ آزادهای ﺑﻮد‬ ‫ﻓﻘﻂ ﯾﻪ ﻗﺼﻪﮔﻮی ﺧﻮب‪ ،‬ﻣﴩﻗﯽ ﺳﺎدهای ﺑﻮد‬ ‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪ ،‬ﮐﺎﺷﮑﯽ ﺑﻪ ﻣﺎ ﻣﯽﮔﻔﺖ ﭼﺮا‪:‬‬ ‫ﺗﺎرﯾﺦ‪ ،‬وﺣﺸﺘﮑﺪهای ﺑﯽﴍم و ﺑﯽﺗﺮﺣﻢ اﺳﺖ‬ ‫درﯾﺎی آﺗﺶ اﺳﺖ و ﺧﻮن‪ ،‬ﭘﯿﻮﺳﺘﻪ در ﺗﻼﻃﻢ اﺳﺖ‬ ‫ﺷﻤﺸﯿﺮ ﻓﺎﺗﺤﺎن ﻗﻠﻢ‪ ،‬ﻣﺮﮐﺐ ﺧﻮن ﻣﺮدم اﺳﺖ‬ ‫در اﯾﻦ ﻫﯿﺎﻫﻮی ﻏﺮﯾﺐ‪ ،‬ﻣﻌﻨﺎی آدﻣﯽ ﮔﻢ اﺳﺖ‬ ‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪ ،‬ﮐﺎﺷﮑﯽ ﺑﻪ ﻣﺎ ﻣﯽﮔﻔﺖ ﭼﺮا‪:‬‬ ‫ﭼﺮا ﭘﴪ ﺟﺎی ﭘﺪر؟ ﺧﯿﺮ ﭼﺮا ﺑﻪ ﺟﺎی ﴍ؟‬ ‫وﯾﺮاﻧﯽ ﯾﮏ ﴎزﻣﯿﻦ ﻓﻘﻂ ﺑﺮای ﯾﮏ ﻧﻔﺮ؟‬ ‫ﺑﺮادران ﺣﯿﻠﻪﮔﺮ‪ ،‬ﭘﺪرﮐُﺸﺎن ﺑﯽ ﭘﴪ‬ ‫ﺗﻮﻃﺌﻪﻫﺎی ﻣﺎدران‪ ،‬ﭘﴪ ﺑﻪ ﮐﯿﻔﺮ ﭘﺪر‬ ‫ﺗﺎراج ﯾﺎ ﺧﺮاج ﺧﻮن‪ ،‬ﯾﺎ ﻗﺘﻞ ﻋﺎم ﺑﯽدرﯾﻎ‬ ‫ﻓﺮﯾﺐ ﺗﺎرﯾﺨﯽ ﻋﺪل‪ ،‬اﯾامن ﺑﻪ ﴐب و زور ﺗﯿﻎ‬ ‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪ ،‬ﮐﺎﺷﮑﯽ ﺑﻪ ﻣﺎ ﻣﯽﮔﻔﺖ ﭼﺮا‪:‬‬ ‫ﻧﺎن ﺧﯿﺎﻧﺖﻫﺎ ﭼﺮا ﺑﺮ ﺳﻔﺮهی ﺗﻔﺎﻫﻢ اﺳﺖ؟‬ ‫ﻫﺮ ﻓﺘﺢ‪ ،‬ﺑﺎری از ﺷﮑﺴﺖ‪ ،‬ﺑﺮﺷﺎﻧﻪﻫﺎی ﻣﺮدم اﺳﺖ‬ ‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪ ،‬ﮐﺎﺷﮑﯽ ﺑﻪ ﻣﺎ ﻣﯽﮔﻔﺖ ﭼﺮا‪:‬‬ ‫ﺗﺎرﯾﺦ‪ ،‬وﺣﺸﺘﮑﺪهای ﺑﯽ ﴍم و ﺑﯽ ﺗﺮﺣﻢ اﺳﺖ‬ ‫درﯾﺎی آﺗﺶ اﺳﺖ و ﺧﻮن ﭘﯿﻮﺳﺘﻪ در ﺗﻼﻃﻢ اﺳﺖ‬ ‫در اﯾﻦ ﻫﯿﺎﻫﻮی ﻏﺮﯾﺐ ﻣﻌﻨﺎی آدﻣﯽ ﮔﻢ اﺳﺖ‬ ‫اﮔﺮ ﺑﻪ ﻣﺎ ﻣﯽﮔﻔﺖ ﭼﺮا؟‪ ،‬ﺷﺎﯾﺪ ﮐﻪ اﯾﻨﺠﺎ ﻧﺒﻮدﯾﻢ‬ ‫ﺗﺒﻌﯿﺪﯾﺎن ﺑﯽ دﯾﺎر‪ ،‬ﺑﺎ ﻫﻢ و ﺗﻨﻬﺎ ﻧﺒﻮدﯾﻢ‪...‬‬ ‫اردﻻن ﴎﻓﺮاز‪ /‬آﮐﺒﻮک ﺗﺮﮐﯿﻪ ‪۲۰۰۹‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:30 AM‬‬

‫‪125-History & Literature-Ardalan Sarfaraz-EDITED.indd 125‬‬

‫‪HISTORY AND LITERATURE‬‬

‫در ﺗﯿﺮﻣﺎه و در ﺗﯿﺮ روز زرﺗﺸﺘﯿﺎن ﻧﯿﺎﯾﺶ ﺧﻮد را اﯾﻦ ﭼﻨﯿﻦ ﺑﻪ ﭘﺎﯾﺎن ﻣﯽرﺳﺎﻧﻨﺪ‪:‬‬ ‫»روز ﻧﯿﮏ ﻧﺎم‪ ٬‬روز ﭘﺎک ﻧﺎم‪ ٬‬روز ﻣﺒﺎرک‪ ٬‬روز ﺗﯿﺸﱰ‪ -‬ﺗﯿﺮاﯾﺰد‪ «.‬در ﺣﻘﯿﻘﺖ ﺟﺸﻦ‬ ‫ﺗﯿﺮﮔﺎن ﮐﻪ ﯾﮑﯽ از ﻣﻬﱰﯾﻦ ﺟﺸﻦﻫﺎی اﯾﺮان ﺑﺎﺳﺘﺎن و ﺑﻪ ﺧﺼﻮص در ﻣﯿﺎن زرﺗﺸﺘﯿﺎن‬ ‫ﻣﯽﺑﺎﺷﺪ ﺑﺎ دو داﺳﺘﺎن و رواﯾﺖ زﯾﺒﺎی اﯾﺮاﻧﯽ ارﺗﺒﺎط دارد‪ .‬ﻧﺴﺨﺖ ﻣﯽﺑﺎﯾﺴﺖ ﺑﻪ‬ ‫»ﺗﯿﺸﱰ ﯾﺸﺖ« اوﺳﺘﺎ رﺟﻮع ﮐﺮد ﮐﻪ در آن داﺳﺘﺎن در دو ﺑﻨﺪ آن )‪ ۶‬و ‪» (۳۷‬اﯾﺰد‬ ‫ﺗﯿﺸﱰ« ﺳﺘﺎﯾﺶ ﺷﺪه اﺳﺖ ﮐﻪ ﺷﺘﺎﺑﺎن ﯾﺎ ﻟﺮزان ﺑﻪ ﺳﻮی درﯾﺎی وروﮐﺶ ﻣﯽرود‪٬‬‬ ‫ﺑﻪ ﻣﺎﻧﻨﺪ ﺗﯿﺮ ﻟﺮزان آرش‪ ٬‬ﺑﺰرگﺗﺮﯾﻦ ﮐامندار اﯾﺮاﻧﯿﺎن‪ .‬اﻣﺎ ﻣﻮﺿﻮع ﻣﻬﻢ و اﺻﻠﯽ‬ ‫ﺗﯿﺸﱰ ﯾﺸﺖ اوﺳﺘﺎ‪ ٬‬داﺳﺘﺎن ﻧﱪد آب ﺑﺎ ﺧﺸﮑﯽ اﺳﺖ و رﻫﺎ ﺷﺪن ﺑﺎران‪ .‬در اوﺳﺘﺎ‬ ‫ﮔﺬارش ﺷﺪه ﮐﻪ ﻫﺮ ﺳﺎﻟﻪ ﺑﺮای آوردن ﺑﺎران از »درﯾﺎی وروﮐﺶ«‪ ٬‬ﺗﯿﺸﱰ ﺑﺎﯾﺪ ﺑﺎ دﯾﻮ‬ ‫ﺧﺸﮑﺴﺎﻟﯽ ﺑﺠﻨﮕﺪ‪ ٬‬ﺑﻪ ﺧﺼﻮص »دﯾﻮ اﭘﻮش‪ «.‬اﯾﻦ دو‪ ٬‬ﻫﺮ ﺳﺎل ﺑﻪ ﺻﻮرت اﺳﺐ‬ ‫ﺳﻔﯿﺪ و ﺳﯿﺎﻫﯽ در ﮐﻨﺎر درﯾﺎﭼﻪ وروﮐﺶ روﺑﻪروی ﯾﮑﺪﯾﮕﺮ ﻗﺮار ﻣﯽﮔﯿﺮﻧﺪ‪ .‬ﭘﺲ از‬ ‫ﭘﯿﺮوزی ﺑﺮ اﭘﻮش ﮐﻪ منﺎﯾﻨﺪه دﯾﻮ ﺧﺸﮑﺴﺎﻟﯽﺳﺖ‪ ٬‬ﺗﯿﺸﱰ ﺑﻪ متﺎم ﮐﻨﺎرهﻫﺎی درﯾﺎﭼﻪ‬ ‫ﻣﯽرود وﺑﺎﻋﺚ ﻣﯽﺷﻮد ﮐﻪ آبﻫﺎ ﺑﻪ آﺳامن رﻓﺘﻪ و ﺑﺎران رﯾﺰش ﮐﻨﺪ‪.‬‬ ‫اﻣﺎ داﺳﺘﺎن دﯾﮕﺮی ﮐﻪ درﺑﺎره ﺟﺸﻦ ﺗﯿﺮﮔﺎن در ﻣﯿﺎن اﯾﺮاﻧﯿﺎن وﺟﻮد دارد ﻧﻪ ﺗﻨﻬﺎ‬ ‫آﻣﺪن ﺑﺎران ‪ ٬‬ﺑﻠﮑﻪ ﺣﻀﻮر ﯾﮑﯽ از ﻗﻬﺮﻣﺎﻧﺎن ﻣﻠﯽ ﻣﺎ ﯾﻌﻨﯽ »آرش ﮐامﻧﮕﯿﺮ« ﺑﻪ‬ ‫ﻣﺮاﺗﺐ ﭘﺮرﻧﮓﺗﺮ اﺳﺖ‪ .‬آرش ﮐامﻧﮕﯿﺮ ﮐﻪ ﻟﻘﺐ اﺻﻠﯽ او »ﺷﻮاﺗﯿﺮ« )ﺗﯿﺮ ﻟﺮزان(‬ ‫ﻣﯽﺑﺎﺷﺪ‪ ٬‬ﺑﺎ ﭘﺮﺗﺎب ﺗﯿﺮی ﺑﻪ ﺳﻮی ﴍق و ﺑﺎ اﯾﻦ ﮐﻪ در اﯾﻦ ﮐﺎر آرش ﺟﺎن ﺧﻮد را‬ ‫ﻓﺪای اﯾﺮان ﻣﯽﮐﻨﺪ‪ ٬‬اﻓﺮاﺳﯿﺎب را ﺷﮑﺴﺖ ﻣﯽدﻫﺪ و ﺗﻮراﻧﯿﺎن را ﺑﻪ ﻋﻘﺐﻧﺸﯿﻨﯽ‬ ‫وا ﻣﯽدارد‪ .‬در اﯾﻦ ﺟﺎ ﺑﯿﺮوﻧﯽ داﺳﺘﺎن را اﯾﻦ ﭼﻨﯿﻦ ﻧﻘﻞ ﻣﯽﮐﻨﺪ )آﺛﺎر اﻟﺒﺎﻗﯿﻪ‬ ‫ﺻﺺ ‪» :(۲۴۹-۲۵۰‬ﭘﺲ از آن ﮐﻪ اﻓﺮاﺳﯿﺎب ﺑﻪ ﻣﻨﻮﭼﻬﺮ ﻏﻠﺒﻪ منﻮده او را در‬ ‫ﻃﱪﺳﺘﺎن ﻣﺤﺎﴏه ﮐﺮد ﺑﺮ اﯾﻦ ﻗﺮار دادﻧﺪ ﮐﻪ ﺣﺪود ﺧﺎﮐﯽ ﮐﻪ از اﯾﺮان ﺑﺎﯾﺪ ﺑﻪ‬ ‫ﺗﻮران ﺑﺮﮔﺰار ﮔﺮدد ﺑﻪ واﺳﻄﻪ ﭘﺮش و ﺧﻂ ﺳﯿﺮ ﺗﯿﺮی ﻣﻌﯿﻦ ﺷﻮد‪ .‬در اﯾﻦ ﻫﻨﮕﺎم‬ ‫»ﻓﺮﺷﺘﻪ اﺳﻔﻨﺪرﻣﺬ« ﺣﺎﴐ ﮔﺸﺘﻪ‪ ،‬اﻣﺮ ﮐﺮد ﺗﺎ ﺗﯿﺮ ﮐامﻧﯽ ﭼﻨﺎن ﮐﻪ در اﺑﺴﺘﺎ )اوﺳﺘﺎ(‬ ‫ﺑﯿﺎن ﺷﺪه اﺳﺖ ﺑﺮﮔﺰﯾﻨﻨﺪ‪ .‬آﻧﮕﺎه آرش را ﮐﻪ ﻣﺮد ﴍﯾﻒ و ﺣﮑﯿﻢ و دﯾﻦداری‬ ‫ﺑﻮد ﺑﺮای اﻧﺪاﺧنت ﺗﯿﺮ ﺑﯿﺎورﻧﺪ‪ .‬آرش ﺑﺮﻫﻨﻪ ﺷﺪه‪ ،‬ﺑﺪن ﺧﻮﯾﺶ ﺑﻪ ﺣﻀﺎر ﺑﻨﻤﻮد‬ ‫و ﮔﻔﺖ ای ﭘﺎدﺷﺎه و ای ﻣﺮدم ﺑﻪ ﺑﺪﻧﻢ ﺑﻨﮕﺮﯾﺪ‪ .‬ﻣﺮا زﺧﻢ و ﻣﺮﺿﯽ ﻧﯿﺴﺖ وﻟﯽ‬ ‫ﯾﻘﯿﻦ دارم ﮐﻪ ﭘﺲ از اﻧﺪاﺧنت ﺗﯿﺮ ﻗﻄﻌﻪ ﻗﻄﻌﻪ ﺷﺪه ﻓﺪای ﺷام ﺧﻮاﻫﻢ ﮔﺮدﯾﺪ‪.‬‬

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‫ﭘﺲ از آن دﺳﺖ ﺑﻪ ﮐامن ﺑﺮد ﺑﻪ ﻗﻮت ﺧﺪاداد ﺗﯿﺮ از ﺷﺴﺖ رﻫﺎ ﮐﺮد و ﺧﻮد ﺟﺎن‬ ‫ﺗﺴﻠﯿﻢ منﻮد‪ .‬ﺧﺪاوﻧﺪ ﺑﻪ ﺑﺎد اﻣﺮ ﻓﺮﻣﻮد ﺗﺎ ﺗﯿﺮ را ﺣﻔﻆ منﺎﯾﺪ آن ﺗﯿﺮ از ﮐﻮه روﯾﺎن‬ ‫ﺑﺎﻗﺼﯽ ﻧﻘﻄﻪ ﻣﴩق ﺑﻪ ﻓﺮاﻏﺎﻧﻪ رﺳﯿﺪ و ﺑﺮ ﺑﺸﻪ درﺧﺖ ﮔﺮدﮐﺎن ﮐﻪ در دﻧﯿﺎ ﺑﺰرﮔﱰ از‬ ‫آن درﺧﺘﯽ ﻧﺒﻮد ﻧﺸﺴﺖ آن ﻣﻮﺿﻊ را ﴎ ﺣﺪ اﯾﺮان و ﺗﻮران ﻗﺮار دادﻧﺪ‪«.‬‬ ‫ﻣﻬﻢ اﯾﻨﺠﺎﺳﺖ ﮐﻪ وﺟﻪ اﺷﺘﻘﺎق ﻧﺎم ﺧﺎص اﻓﺮاﺳﯿﺎب از دو ﺟﺰ »از ﺑﯿﻦ ﺑﺮدن« ﺑﻪ‬ ‫ﻋﻼوه »آب« ﻣﯽﺑﺎﺷﺪ‪ ٬‬ﮐﻪ در ﮐﻞ ﯾﻌﻨﯽ »از ﺑﯿﻦ ﺑﺮدن آب« اﺳﺖ‪ .‬اﯾﻦ ﻣﻮﺿﻮع از‬ ‫اﯾﻦ ﻟﺤﺎظ ﻣﻬﻢ ﻣﯽﺑﺎﺷﺪ ﮐﻪ داﺳﺘﺎﻧﯽ ﮐﻪ داﻧﺸﻤﻨﺪ ﺑﺰرگ اﯾﺮاﻧﯽ ﯾﻌﻨﯽ اﺑﻮرﯾﺤﺎن‬ ‫ﺑﯿﺮوﻧﯽ ﻧﻘﻞ ﻗﻮل ﻣﯽﮐﻨﺪ‪ ،‬اﯾﻦ اﺳﺖ ﮐﻪ اﺻﻞ ﺟﺸﻦ ﺗﯿﺮﮔﺎن ﺑﻪ اﯾﻦ ﻧﱪد ﻣﺎﺑﯿﻦ اﯾﺮاﻧﯿﺎن‬ ‫و ﺗﻮراﻧﯿﺎن ﺑﺮ ﻣﯽﮔﺮدد‪ .‬در ﻣنت ﭘﻬﻠﻮی ﻣﯿﻨﻮی ﺧﺮد از زﻣﺎن ﺳﺎﺳﺎﻧﯿﺎن رواﯾﺖ ﺷﺪه‬ ‫اﺳﺖ ﮐﻪ‪» :‬ﭼﻮن ﻣﻨﻮﭼﻬﺮ درﮔﺬﺷﺖ‪ ٬‬دﮔﺮﺑﺎر اﻓﺮاﺳﯿﺎب آﻣﺪ‪ ٬‬ﺑﺮ اﯾﺮاﻧﺸﻬﺮ ﺑﺲ آﺷﻮب‬ ‫و وﯾﺮاﻧﯽ ﮐﺮد‪ ٬‬ﺑﺎران را از اﯾﺮاﻧﺸﻬﺮ ﺑﺎزداﺷﺖ ﺗﺎ زاب ﺗﻬامﺳﭙﺎن آﻣﺪ‪ ٬‬ﻓﺮاﺳﯿﺎب را‬ ‫ﺑﺴﭙﻮﺧﺖ و ﺑﺎران آورد ﮐﻪ آن را ﻧﻮﺑﺎراﻧﯽ ﺧﻮاﻧﻨﺪ‪«.‬‬ ‫ﭘﺲ ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ ﮐﻪ ﺟﺸﻦ ﺗﯿﺮﮔﺎن ﮐﻪ در ﻣﺎه ﺗﯿﺮ و در روز ﺗﯿﺮ اﺗﻔﺎق ﻣﯽاﻓﺘﺪ ﺑﻪ‬ ‫ﺧﺎﻃﺮ اﺻﺎﺑﺖ ﺗﯿﺮ آرش‪ ٬‬ﮐﻪ از ﻃﱪﺳﺘﺎن ﺑﻪ ﺳﻤﺖ ﴍق رﻫﺎ ﺷﺪ و ﺑﻪ درﺧﺘﯽ ﺑﺎ ﻧﺎم‬ ‫ﺟﻮزﺑﻦ ﺑﻮد اﻧﺠﺎم ﻣﯽﮔﯿﺮد‪ .‬در ﺣﻘﯿﻘﺖ اﯾﻦ ﺟﺸﻦ داﺳﺘﺎن ﭼﯿﺮه ﺷﺪن اﯾﺰد اﯾﺮاﻧﯽ‬ ‫ﺑﺮ دﯾﻮ ﺧﺸﮑﺴﺎﻟﯽ اﺳﺖ ﮐﻪ در رواﯾﺖ آن دوره ﺑﻪ ﺻﻮرت ﺷﺎه ﺗﻮران ﺗﺠﺴﻢ ﺷﺪه‬ ‫اﺳﺖ‪ .‬ﺗﯿﺮﮔﺎن ﯾﮑﯽ از ﺟﺸﻦﻫﺎی زﯾﺒﺎی اﯾﺮاﻧﯽ اﺳﺖ ﮐﻪ در ﻃﻮل زﻣﺎن ﺑﻪ ﮔﻮﻧﻪﻫﺎی‬ ‫ﻣﺘﻔﺎوﺗﯽ ﺑﺮﮔﺰار ﺷﺪه اﺳﺖ‪ .‬ﭼﻪ زرﺗﺸﺘﯿﺎن ﮐﻪ در »ﴍﯾﻒ آﺑﺎد« ﻣﻌﺒﺪی و ﻣﺮاﺳﻢ ﺑﻪ‬ ‫ﺧﺼﻮﺻﯽ در اﯾﻦ ﺑﺎره دارﻧﺪ و ﭼﻪ ﻣﺮدم »ﯾﻮش« و ﺷامل اﯾﺮان ﮐﻪ داﺳﺘﺎنﻫﺎی ﺧﻮد‬ ‫را در ﺗﯿﺮﮔﺎن ﺑﺮﮔﺰار ﻣﯽﮐﻨﻨﺪ و اﻣﺮوزه در »ﺗﻮرﻧﺘﻮ« ﮐﻪ ﺗﯿﺮﮔﺎن ﻫﺮ ﭼﻪ ﺑﺎ ﺷﮑﻮهﺗﺮ‬ ‫ﺟﺸﻦ ﮔﺮﻓﺘﻪ ﻣﯽﺷﻮد و اﯾﻦ ﺳﻨﺖ دﯾﺮﯾﻨﻪ را زﻧﺪه ﻧﮕﻪ ﻣﯽدارﻧﺪ‪ .‬در اﯾﻦ زﻣﺎن ﮐﻪ‬ ‫ﺑﺮ روی ﮐﺮه زﻣﯿﻦ ﺧﺸﮑﺴﺎﻟﯽ اﺳﺖ ﺑﯿﺶ از ﻫﺮ زﻣﺎن دﯾﮕﺮ ﻻزم دارﯾﻢ ﮐﻪ ﺑﻪ اﯾﺰد‬ ‫ﺗﯿﺸﱰ دﻋﺎ ﮐﻨﯿﻢ ﮐﻪ ﺑﺮ دﯾﻮ اﭘﻮش ﭘﯿﺮوزی ﯾﺎﺑﺪ و اﯾﺮان و ﺟﻬﺎنﻣﺎن را دوﺑﺎره ﺑﺎ ﺑﺎران‬ ‫ﻣﺮﺣﻤﺖ ﻓﺮﻣﺎﯾﺪ‪ .‬ﺑﺎﺷﺪ ﮐﻪ ﺑﺎ ﺟﺸﻦ ﮔﺮﻓنت ﺗﯿﺮﮔﺎن در ﺗﻮرﻧﺘﻮ ﺗﯿﺸﱰ آبﻫﺎی وروﮐﺶ را‬ ‫رﻫﺎ ﮐﻨﺪ ﮐﻪ ﺑﺮ اﯾﺮانﻣﺎن ﺑﺒﺎرد‪.‬‬

‫ﺗﻮرج درﯾﺎﯾﯽ‬ ‫اﺳــﺘﺎد داﻧﺸــﮕﺎه در رﺷــﺘﻪ »ﺗﺎرﯾــﺦ اﯾــﺮان‬ ‫و ﺟﻮاﻣــﻊ ﭘﺎرﺳــﯽزﺑﺎن« و از اﻋﻀــﺎی‬ ‫ﻫﯿﺌــﺖ ﻣﺪﯾــﺮه ﻣﺮﮐــﺰ ﻣﻄﺎﻟﻌــﺎت اﯾﺮاﻧــﯽ‬ ‫دﮐــﱰ ﺳــﻤﻮﺋﻞ در »داﻧﺸــﮕﺎه ﮐﺎﻟﯿﻔﺮﻧﯿــﺎ«‬ ‫اﺳــﺖ‪ .‬از او ﺗﺎﮐﻨــﻮن ﭼﻨﺪﯾــﻦ ﮐﺘــﺎب از‬ ‫ﺟﻤﻠــﻪ »اﯾــﺮان ﺳﺎﺳــﺎﻧﯽ«‪» ،‬ﺷﻬﺮﺳــﺘﺎنﻫﺎی‬ ‫اﯾﺮانﺷــﻬﺮ« و »ﻏــﺮوب ﯾــﮏ اﻣﭙﺮاﻃــﻮری«‬ ‫و دهﻫــﺎ ﻣﻘﺎﻟــﻪ ﺑــﻪ ﭼــﺎپ رﺳــﯿﺪه‪ .‬ﺗــﻮرج‬ ‫درﯾﺎﯾــﯽ ﻣﯽﮔﻮﯾــﺪ »زﻧﺪﮔــﯽ ﻋﻠﻤــﯽ ﺧــﻮد را‬ ‫وﻗــﻒ ﺗﺎرﯾــﺦ ﺳﺎﺳــﺎﻧﯿﺎن ﮐــﺮده« و ﻣﺪﯾﺮﯾــﺖ‬ ‫ﭘــﺮوژه »ﺳﺎﺳــﺎﻧﯿﮑﺎ«‪ ،‬وﯾﺮاﺳــﺘﺎری ﻧﴩﯾــﻪ‬ ‫»ﻧﺎﻣــﻪ اﯾــﺮان ﺑﺎﺳــﺘﺎن« و اﻧﺘﺸــﺎر ﻣﻘــﺎﻻت‬ ‫در ﮔﺎﻫﻨﺎﻣﻪﻫــﺎی ﻣﻬــﻢ اﯾﺮانﺷﻨﺎﺳــﯽ از‬ ‫ﻓﻌﺎﻟﯿﺖﻫــﺎی دﯾﮕــﺮ او ﺑــﻪ ﺷــامر ﻣــﯽرود‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:05 AM‬‬

‫‪126-History & Literature-Toraj Dariaei-DITED.indd 126‬‬

‫‪HISTORY AND LITERATURE‬‬

‫‪127‬‬

‫»زﯾﻨﻪﻟﺮ اؤزﻟﺮﯾﻨﯽ ﺑﻮﻻق ﺳﺎﻧﺎﻧﺪان« ﯾﺎز ﮔﺌﺠﻪﻟﺮی ﯾﻮرﻏﻮﻧﻠﻮﻏﻮﻣﻮ درن ﺷﺌﻌﺮه ﺣﴪت‬ ‫ﻗﺎﳌﯿﺸﺪﯾﻢ‪ .‬اؤزوم ﺑﯿﻠﻤﻪﯾﻪ‪-‬ﺑﯿﻠﻤﻪﯾﻪ‪ ،‬ﺳﻨﯿﻦ »ﮔﺆرهﺳﻦ ﻫﺎﻧﺴﯽ ﻋﺎﺷﯿﻖ« ﺳﺆزوﻧﻮ‪،‬‬ ‫ﮔﺆرهﺳﻦ ﻫﺎﻧﺴﯽ دﻣﯿﺮآﺷﯿﻖ اوﺧﻮﻣﻮﺷﺪوم‪.‬‬ ‫ﻫﺮ ﯾﺎﻧﺪان ﺗﮑﺮار‪ -‬ﺗﮑﺮار اوﺧﻮﻧﺎن‪ ،‬ﻋﺎﺷﯿﻐﺎ‪ ،‬دﻣﯿﺮ ﻋﺎﺷﯿﻖ دﺋﯿﻦ ﺷﺎﻋﯿﺮﻟﺮﯾﻦ ﺳﺴﯽ‬ ‫ﺑﺌﯿﻨﯿﻤﻪ ﻫﻮﭘﻤﻮﺷﺪو‪ .‬رﺋﺎل دوﻧﯿﺎﻣﯿﺰدا ﻋﺎﺷﯿﻐﯿﻦ دﻣﯿﺮﻟﺸﻤﻪﺳﯽ آﺟﯽ دﯾﺮ‪ ،‬آﻣام اوﻧﺪان‬ ‫آﺟﯽﺳﯽ ﺟﺎﻧﻠﯽﺟﺎﺳﯿﻨﺎ اﺋﻞ‪ -‬اوﺑﺎﻧﯽ دوﻻﺷﺎن ﻋﺎﺷﯿﻖﻻری اوﻧﻮدوب‪ ،‬ﯾﺎﻟﻨﯿﺰ ا ْو دﻣﯿﺮ‬ ‫ﻋﺎﺷﯿﻐﯽ ﺗﻮمتﺎﻣﯿﺰدﯾﺮ‪ .‬ﮐﯿﻠﯿﺸﻪﻟﺸﻤﯿﺶ دوﺷﻮﻧﺠﻪﻟﺮﯾﻤﯿﺰآراز ﻗﯿﺮاﻏﯿﻨﺪا ﮔﺰن اﯾﻨﮏﻟﺮی‬ ‫ﺳﻮﺳﻮز ﻗﻮﯾﺪو‪ .‬ﭼﻮﻧﮑﯽ آراز ﯾﺎﻟﻨﯿﺰ آﯾﺮﯾﻠﯿﻖ ﺳﯿﻤﮕﻪﺳﯽدﯾﺮ‪ .‬ﺗﻮﺗﺎﻟﯿﻢ ﻫﺌﭻ ﺑﻮ اؤﻟﮑﻪ‬ ‫ده ﺟﺎﻧﻠﯽ آﺷﯿﻖ ﯾﻮﺧﺪو‪ .‬ﻫﺎﻣﯽﺳﯽ دﻣﯿﺮﻟﻪﺷﯿﺐ ﺑﻮ آﺟﯽ دوروﻣﺪان ﺑﯿﺮ آﻧﻠﯿﻖ‬ ‫اوﻟﺴﺎ ﺑﺌﻠﻪ‪ ،‬ﺷﺌﻌﺮ دﯾﻨﺠﻠﯿﮕﯿﻨﻪ ﺳﯿﻐﯿﻨامق اﯾﺴﺘﻪﺳﻢ‪ ،‬ﮐﯿﻤﯽ ﮔﺆرﻣﻪﻟﯽﯾﻢ؟ آﺧﯽ ﭼﻮﺧﻮ‬ ‫ادﺑﯿﺎﺗﯽ دﯾﻨﺠﻠﯿﮏ آﻻﻧﯽ دوﺷﻮﻧﻮر‪ .‬ﺑﻮ »ﻗﺎﻻﺑﺎﻟﯿﻖ دوﻧﯿﺎدا« »ﻣﻨﻪ ﺑﯿﺮ اوزاﻧﯿﻢ ﯾﱤ‬ ‫وﺋﺮدﯾﮕﯿﻨﻪ« اورﮐﺪن ﻣﯿﻨﺘﺪارام »ﻗﻬﻮهﭼﯽ ﻗﺎرداش«‪.‬‬

‫د ْوﻏﻮم‪ -‬اؤﻟﻮم‬

‫~‪~ Talk‬‬

‫‪wondrous‬‬ ‫‪deeds‬‬ ‫‪by MOHAMMAD ESTELAMI‬‬ ‫‪WHEN:‬‬ ‫‪Saturday, 22 August - 7:30pm‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour‬‬ ‫‪LOCATION:‬‬ ‫‪Miss Lou’s,‬‬ ‫‪Harbourfront Centre‬‬

‫ﮐﯿﻤﻠﯿﮏ‬ ‫ﺷﺎﻋﯿﺮ »ﺑﺎﺷﻼدی ﯾ ْﻮل آراﻣﺎﻏﺎ« ا ْو ﯾ ْﻮل »ﻣﯿﻦ ﺑﯿﺮ ﯾﺎﻣﺎق ﺑﺎﯾﺮاﻏﺎ« ﭼﺎﺗﺪی ﻫﺌﭻ‬ ‫ده ﭼﺘﯿﻦ دﺋﯿﯿﻠﻤﯿﺶ‪ .‬دﯾﻞ ﺳﺆزﺟﻮﯾﻮﻧﻮ دﯾﻠﻪ ﮔﺘﯿﺮﻣﻪدن ده دﯾﻠﯿﻤﯿﺰده ﯾﺎزﻣﺎق‬ ‫اوﻻرﻣﯿﺶ‪ .‬ﺑﻮ ﻗﺎﯾﺘﺎرﯾﺶ ﺑﺎﺑﮑﺪن‪ ،‬ﻗﯿﻠﯿﻨﺠﺪان‪ ،‬ﻗﯿﺮآﺗﺪان‪ ،‬ﺷﺎﻫﻼردان‪ ،‬ﯾ ْﻮخ؛ »ﺑﯿﺮ اﺳﮑﯽ‬ ‫ﻣﺎﻫﻨﯽ«دان ﺑﺎﺷﻼﻣﯿﺶ‪» .‬ﻣﺎﻫﻨﯽﻧﯽ ﺳﺎﺗﯿﺐ ﭼﺆرک آﻻﻧﻼر« ﺑﻮ ﯾ ْﻮﻟﻮن آزاﻧﻼرﯾﺪﯾﺮ‪.‬‬ ‫ﺗﱪﯾﺰﯾﻦ‪ ،‬ﺑﺎﮐﯽﻧﯿﻦ ﯾﱤﯾﻨﻪ ﻗﻮﻣﻮن ﮐﻬﮏ ﮐﻨﺪﯾﻨﻪ‪ ،‬زﻧﮕﺎﻧﯿﻦ ﺳﻬﺮوردﯾﻨﻪ ﺳﺆﯾﮑﻪﻧﯿﺮ‪.‬‬ ‫اؤﻟﮑﻪﻣﯿﺰﯾﻦ اوﻧﻮدوﳌﻮش ﺑﺆﻟﮕﻪﻟﺮیﻧﯿﻦ »ﺧﯿﺰاﻧﯽ« رﻗﺺ اﺋﺪﯾﺮ‪ .‬ﺷﺎﻋﯿﺮ ﺑﯿﺮ آز دا‬ ‫درﯾﻨﻪ ﮔﺌﺪﯾﺮ »ﻋﯿﺮاق ﺗﻮرﮐﻤﻦﻟﺮی«‪» ،‬ﺷَ َﺴﻮن ﻗﺎدﯾﻨﯽ«‪» ،‬ﺳﺎﻟﻮر ﻗﯿﺰی«‪» ،‬ﻧﻮاﯾﯽﻧﯿﻦ‬ ‫ﺗﻮووز ﺑﺎﻏﯽ« آراﯾﺎ ﮔﻠﺪﯾﮑﺠﻪ‪ ،‬آﳌﺎ ﯾ ْﻮﻟﻮ ورﻗﻠﺮﯾﻨﺪه ﺗﻮرک دوﻧﯿﺎﺳﯽ ﯾﺎﻟﻠﯽ ﮔﺌﺪﯾﺮ‪ .‬آﻣام‬ ‫ﺷﺎﻋﯿﺮﯾﻦ »ﻣﯿﻦ ﺑﯿﺮ ﯾﺎﻣﺎق« اوﳌﺎﺳﯽ ﺑﯿﻠﻤﻪدن ا َﻟﯿﻨﻪ اﯾﺶ وﺋﺮﯾﺮ‪.‬‬

‫اؤزﮔﻪﻟﺮﯾﻦ ﺑﻮﻏﺪاﺳﯽ‬

‫ﻗﺪﯾﻢ اﯾﻨﺴﺎن اؤزوﻧﻮ ﺗﺎﻧﺮی ﯾﺎراﻧﯿﺸﯽ دوﺷﻮﻧﻪرک دﯾﻨﯽ اﯾﻨﺎﻧﺠﻼر و ﻣﯿﻔﯿﮏ‬ ‫»ﺳﺌﻮﮔﯽ وار اﯾﺪی« دﺋﯿﯿﻦ ﺷﺎﻋﯿﺮی اؤﻟﺪورﺳﻪﻟﺮ »ﮔﺌﺠﻪ ﺷﺎﻫﻼرﯾﻦ«‪-‬ی ﻗﯿﻨﺎﻣﺎﯾﺎﺟﺎﻏﺎم‪ .‬ﮔﻠﻪﻧﮏﻟﺮﯾﻦ ﭼﺮﭼﯿﻮهﺳﯿﻨﺪه دوﺳﺘﺎق اﯾﺪی‪ .‬ﺑﺌﻠﻪ اﯾﻨﺴﺎن ا ْوﻻیﻻر ﺣﺎﻗﻘﯿﻨﺪا‬ ‫آﺧﯽ ا ْو ﺷﺎﻋﯿﺮﯾﻦ ﺑﺌﯿﻨﯿﻨﺪه »ﯾ ْﻮرﻏﻮن ﻗﺎدﯾﻦ ﺣﯿﺎت د ْوﻏﻮر« ﻗﺎدﯾﻦ ﺳﺎﭼﻼرﯾﻨﯽ‬ ‫دوﺷﻮمنﻪﯾﯿﺐ‪ ،‬ﺑﻠﮑﻪ اﯾﻨﺎﻧﯿﺐ ﯾﺎﺷﺎﯾﯿﺮدی‪ .‬آﻣام ﻣﻮدﺋﺮن اﯾﻨﺴﺎن اؤزﮔﻮرﻟﺸﺪﯾﮑﺠﻪ‬ ‫ﮐﯿﻤﯽﻟﺮﯾﻦ آﺳﯿﻠامﺳﯿﻨﺎ ﮔﺆره ﻫﺆرور‪...‬‬ ‫اؤزوﻧﻮ ﯾﺌﻨﯽدن ﺗﻌﺮﯾﻒ اﺋﺪﯾﺐ‪ ،‬ﮐﯿﻢ اوﻟﻮب‪ ،‬ﮐﯿﻤﻠﺮدن اوﳌﺎ ﺳﻮروﺳﻮﻧﻮ ﺑﺎﺷﻘﺎ‬ ‫ﮔﺌﺠﻪ ﺷﺎﻫﻼری ﺑﯿﻠﻤﻪﺳﯿﻦ‪ /‬ﺳﻮﭼﻠﻮدور ﻣﻨﯿﻢ آﻧﺎم‪ /‬ﺳﻮﭼﻠﻮدور ﺑﻮ ﻣﺰار‪ /‬ا ْو‪ ،‬ﻣﻨﯽ ﺑﻮ ﮐﯿﻤﻠﯿﮏﻟﻪ ﯾﺎﻧﯿﺘﻼدی‪ .‬ﺑﻮ ﯾﺎﻧﯿﺘﻼﻣﺎ ﺳﻮرﺟﯿﻨﺪه دﯾﻨﯽ اﯾﻨﺎﺟﻼ ﻣﯿﻔﯿﮏ ﮔﻠﻪﻧﮏ ﺑﯿﺮداﻫﺎ‬ ‫دوﻧﯿﺎﯾﺎ ﮔﺘﯿﺮدی‪ /‬ﺳﯿﻨﻪ ﺳﺎﻧﺪﯾﻐﯿﻦ آﭼﯿﺐ ﮐﺌﭽﻤﯿﺶ ﻣﯿﻔﻠﺮﯾﻤﯽ ﯾﺌﺘﯿﺮدی‪ /‬آﻧﺎم دﺋﺪی‬ ‫ﺑﺎش ﻗﺎﻟﺪﯾﺮدی‪ ،‬آﻣام اﯾﻨﺎﻧﺞ ﮐﯿﻤﯽ ﯾﻮخ‪ ،‬ﺗﺎرﯾﺨﯽ ﺗﺠﺮوﺑﻪﻟﺮ ﮐﯿﻤﯽ‪ .‬ﺑﯿﺮ ﭼﻮخ ﯾﺎزارﯾﻤﯿﺰ‬ ‫اؤﯾﺮﻧﺪﯾﻢ‪ /‬ﺑﻮردان اوزاق اﻫﺮدی‪ /‬اﻫﺮ ﮔﺆزل ﺷﻬﺮدی‪ /‬ﺑﻮردان اوزاق ﻣﺎراﻏﺎ‪ /‬ﺗﺌﻠﯿﻢ‬ ‫ﺗﺎرﯾﺨﯽ ﺗﺠﺮوﺑﻪﻟﺮﯾﻨﯽ ﺗﻮرک ﮐﯿﻤﻠﯿﮕﯿﻨﺪن ﯾﻮخ‪ ،‬اﯾﺴﻼﻣﻼ ﯾﺎﻧﺎﺷﯽ ﮔﻠﻦ ﺳﺎﻣﯽ‬ ‫دی‪/‬‬ ‫ﮔﻠﻤﯿﺮ داراﻏﺎ‪ /‬ﺑﻮردان اوزاق ﻣﯿﯿﺎﻧﺎ‪ /‬ﮔﻮل‪ ،‬ﺳﻮﻧﺒﻮﻟﻪ داﯾﺎﻧﺎ‪ /‬ﺗﱪﯾﺰ اوﺳﺘﻮ ﮔﻮﻧﺌﯽ‬ ‫ﻣﯿﻒﻟﺮﯾﻨﺪن آﻟﺪﯾﻼر‪ .‬اﺋﻠﻪ ﺷﺎﻋﯿﺮ ﺑﺎﯾﺎتﯾﻨﺪا»ﻣﯿﻦ ﺑﯿﺮ ﯾﺎﻣﺎق« ﮐﯿﻤﻠﯿﮕﯿﻨﺪه‪ ،‬ﺣﻮا‪ ،‬آدم‪،‬‬ ‫ﮐﻮﭼﻪﻟﺮﯾﻨﺪه ﻣﺌﯽدی‪ /‬آرازی آﯾﯿﺮدﯾﻼر‪ /...‬ﻣﺎﻫﻨﯽﻻرﯾﻦ ﺳﻮﻧﻮﻧﺪا‪ /‬ﻫﻤﻪﺷﻪ ﺑﻮ‬ ‫اﺑﻮاﻟﺒﴩ‪ ،‬ﻫﺎﺑﯿﻞ‪ ،‬ﻗﺎﺑﯿﻞ‪ ،‬ﻗﺎرون‪ ،‬داﻧﯿﺎل ﻧﺒﯽ و دؤرد ﺧﻠﯿﻔﻪ ﮐﯿﻤﯽ »اؤزﮔﻪ ﺑﻮﻏﺪاﻻرﯾﻨﯽ‬ ‫ﻣﺎﻫﻨﯽﻧﯽ‪ /‬ﺣﺰﯾﻦ‪ -‬ﺣﺰﯾﻦ ا ْوﺧﻮدو‪ /‬ا ْو‪ ،‬دﺋﯿﯿﺮدی ﺑﯿﺮ زاﻣﺎن‪ /‬ﺑﻮ آﯾﺮﯾﻠﯿﻖ ﯾ ْﻮﺧﻮدو‪/‬‬ ‫اون اﺋﻠﻪﻣﻪﺳﯽ (( ﮔﺆز اؤﻧﻮﻧﺪه دﯾﺮ‪.‬‬ ‫ﯾﺎﻧﯽ ﻫﺆروکﻟﺮﯾﻠﻪ‪ /‬دار آﻏﺎﺟﯽ ﺑﺎﺷﯿﻨﺪا‪ /‬ﻣﻨﻪ ﮐﻨﺪﯾﺮ ﺗ ْﻮﺧﻮدو‪...‬‬ ‫ﺑﺌﻠﻪﮐﯽ »دار آﻏﺎﺟﻼری اوﺟﺎدﯾﺮ« ا ْوﻧﻼری ﮐﺴﻤﻪﯾﻪ ﮔﻮﺟﻮﻣﻮز ﭼﺎمتﺎدی‪ ،‬آﻣام ‪...‬‬ ‫و ﺳﻮﻧﻮﻧﺪا‬

‫ﺣﴪت‬ ‫ﺟﺎﻣﺎل ﺛﻮرﯾﯿﺎ ﻓﻮﻟﮑﻮﻟﻮرو ﺷﺌﻌﺮه دوﺷﻤﻦ دمئﯿﺶ‪ ،‬ﭼﻮﻧﮑﯽ ﺷﺎﻋﯿﺮﯾﻦ ﯾﺌﻨﯽﻟﯿﮕﯿﻨﻪ‬ ‫ﯾﻮل وﺋﺮﻣﻪﯾﯿﺐ‪ ،‬ﺷﺌﻌﺮی اؤز ﮐﯿﻠﯿﺸﻪﻟﺮﯾﻨﺪه دوﺳﺘﺎق اﺋﺪﯾﺮ‪ .‬ﺑﯿﺰده ﻫﻤﻪﺷﻪ ﻗﯿﺰی‬ ‫»آﳌﺎ آﻏﺎجﻻرﯾﻨﯽ ﮐﺴﺪﯾﮏ‪،‬آﻻﻧﯽ ﯾ ْﻮﺧﺪو« ﺗﻮت آﻏﺎﺟﻼرﯾﻨﯽ اﯾﺴﺘﻪﯾﻦ ﭼﻮﺧﻮدو‪ .‬ﺑﯿﺰﯾﻢ ﺳﺎرای‪،‬ﭼﺎﯾﯽ آراز ﮔﺆرﻣﮏ دارﻟﯿﻐﯽ ﭼﺌﺸﯿﺪﻟﯽ ﯾﻮروﻣﻼرا ﻣﺌﯿﺪان اوﺧﻮﯾﻮب‪ .‬ﮐﯿﻤﯽﻟﺮی‬ ‫ﺑﺆﻟﮕﻪده‪ :‬ﺗﻮت آﻏﺎﺟﯽ ﺳﺌﯿﯿﺪ ا ْوﺟﺎﻏﯽﻧﯿﻦ ﭘﺎﯾﯽدﯾﺮ دﺋﯿﻪ ﻣﺜﻞ وار‪ .‬ﺑﻮ ﻣﺜﻠﯽ ﯾﺎرادﯾﺐ ده ﻗﯿﺰی ﺳﺎرای ﮔﺆرﻣﮏ دارﻟﯿﻐﯽﻧﯽ آﭼﺴﯿﻨﻼر دﺋﯿﻪ ﻫﺌﻠﻦ‪ ،‬ﻟﺌﺪا‪ ،‬ﻣﺎرﻗﺎرﯾﺘﺎﻧﯽ‬ ‫ﯾﺎﯾﺎﻧﻼر ﺑﯿﺰی‪ ،‬ﺑﯿﺰدن آﯾﯿﺮﻣﺎﻏﯽ ﻫﺮ ﯾﺆﻧﻠﻮ دوﺷﻮﻧﻮرﻣﻮشﻟﺮ‪ .‬ﻗ ْﻮﭘﻮز‪ ،‬ﺗﺎر‪ ،‬ﯾﺎﻟﻨﯿﺰ ﺗﻮت‬ ‫ﺳﻮروﯾﻮب ﺑﻮرا ﮔﺘﯿﺮﯾﺮﻟﺮ‪ .‬ﻣﻨﯿﻢ ﺑﻮﻧﻼرا دمئﻪﻟﯽ ﺳﺆزوم ﯾﻮخ‪ ،‬آﻣام ﯾﺎﺷﺎر ﮐامل ﺑﺌﻠﻪ‬ ‫آﻏﺎﺟﯿﻨﺪان ﭼﯿﺨﺎر‪ .‬ﺗﻮت آﻏﺎﺟﯽ ﮐﺴﯿﻠﯿﺐ ﺳﺌﯿﺪ اوﺟﺎﻏﯿﻨﺪا ﯾﺎﻧﺪﯾﺮﯾﻠﺴﺎ »ﺳ ْﻮﻧﻮﻧﺠﻮ‬ ‫ﺳﺆﯾﻠﻪﯾﯿﺮ‪ :‬اﯾﺸﻠﺘﺪﯾﮕﯿﻢ ﺳﺆزﻟﺮ‪ ،‬ﭼﮑﺪﯾﮕﯿﻢ آدﻻر‪ ،‬ﺑﻮرادا ﯾﺎﺷﺎﯾﺎن ﻣﯿﻨﻠﺮ اﯾﻨﺴﺎﻧﯿﻦ‬ ‫ﻣﺎﻫﻨﯽﻧﯽ‪ ،‬ﯾﺎﻟﻨﯿﺰ اوﺟﺎق اﺋﺸﯿﺪهﺟﮏ« ﺑﻮداغ ﻣﺎﻫﻨﯽﺳﯿﺰ ﻗﺎﻟﺴﺎ‪ ،‬ﻧﻪﯾﯽ »ﺳﺎﺗﯿﺐ‬ ‫اورﺗﺎق ﻣﺤﺼﻮﻟﻮ‪ ،‬ﻫﺎﺑﺌﻠﻪ ﯾﺎزارﻻ اوﺧﻮﺟﻮﻧﻮن ﺳﯿﻨامز ﮐﺆرﭘﻮﺳﻮدور‪.‬‬ ‫ﭼﺆرک آﻻﺟﺎق« ﭼﺆرکﺳﯿﺰ ﻗﺎﻻﺟﺎق‪ ،‬ﺳﺎﺗﻘﯿﻦﺳﯿﺰ ﻗﺎﻻﺟﺎق‪...‬‬ ‫ﺑﯿﺰی‪ ،‬ﻣﺎﻫﻨﯽ ﺳﺴﯿﻨﻪ ﺣﴪت ﻗ ْﻮﯾﺎﻧﻼر»ﻟﺌﯿﻼﻧﯿﻦ ﻫﺬﯾﺎﻧﯿﻨﺎ ﻗﻮﻧﺎق« ﯾﻮخ‪ ،‬ﮐﺮﺑﻼﺳﯿﻨﺎ‬ ‫ﺑﺎﯾﺎتﯾﻦ ﺷﺌﻌﺮﻟﺮی ﻓ ْﻮﻟﮑﻮﻟﻮرﺳﻮز دﺋﯿﯿﻞ ‪» :‬آﯾﯽ ﮔﺆروب دﻟﯽ اوﳌﺎق«‪» ،‬اﯾﻼن اﯾﻠﯽ«‪،‬‬ ‫آﻏﻼداﻧﻼر‪ ،‬آﻧﻼﻣﺎدﯾﻼر»داﻟﻐﺎﻻمنﺎﺳﺎ ﺗﺌﻠﻠﺮ« »ﭘﺮن‪ -‬ﭘﺮن ا ْوﻻﺟﺎق ﺷﻮﺷﻪﻟﺮ«‪.‬‬ ‫»دده ﻗ ْﻮرﻗﻮد ﺑ ْﻮﯾﻼری«‪» ،‬ﮐ ْﻮرا ْوﻏﻠﻮﯾﻼ ﮐﺌﭽﻞ ﺣﻤﺰه ﻧﺎﻏﯿﻠﯽ«‪» ،‬ﻗﺒﯿﺮ اوﺳﺘﻪ ﺳﯿﻨﺎن‬ ‫»اوﺷﺎﻗﻠﯿﻘﺪا آی اﻟﻠﺮﯾﻨﯽ آﻟﺪامتﯿﺸﺪی ﮔﺆﳌﻪﺟﻪده«؟ ﺳﻨﺪن اؤﻧﺠﻪ ده ﭼﺎﯾﺪا ﺷﻬﺮﯾﺎری ﮐﻮزهﻟﺮ« و»زﻧﮕﺎﻧﯿﻦ ﻗﺎﻓﻼﻧﯿﻤﺘﯿﻞ اﯾﺴﺘﮏﻟﺮی«‪.‬‬ ‫آﻟﺪامتﯿﺸﺪی‪ .‬ﺷﻬﺮﯾﺎر ﻗﻮردون ﭼﺎﯾﺎ دوﺷﻤﻮش ﮔﺆزوﻧﻮ ﮔﺆروب ﻗﺎﭼﻤﯿﺸﺪی‪ .‬ﻧﺌﯿﻠﻪﺳﯿﻦ‬ ‫ﺑﯿﻠﻤﯿﺮﻣﯿﺶ ﻗﻮرد اوزو ﻣﻮﺑﺎرک ا ْوﻻر‪ .‬ﮔﺆروم ﻫﺮ ﻧﻪﯾﻪ ﺣﴪت ﻗﺎﻟﺴﯿﻦ ﺑﯿﺰی »ﴍاﺑﺎ‪،‬‬ ‫و ﺑﺎﺷﻘﺎ اؤرﻧﮏﻟﺮی ﮔﺆزﻟﺠﻪﺳﯿﻨﻪ ﺳﻄﯿﺮﻟﺮده ﯾﻮرد ﺳﺎﳌﯿﺶ‪ ،‬آﻣام ﺑﺎﺷﺎردﯾﻐﯽ ﻗﺪر‬ ‫»آﺟﯽ‬ ‫ﺷﺎﻫامﺗﺎ‪ ،‬ﺷﻌﺮه« ﻫﺮ ﻧﻪﯾﻪ ﺣﺘﺘﺎ ﻣﻮﺑﺎرک ﻗﻮرد اوزوﻧﻪ ﺣﴪت ﻗ ْﻮﯾﺎﻧﻼر‪ .‬ﺗﮑﺠﻪ‬ ‫ﮐﯿﻠﯿﺸﻪﻟﺸﻤﮑﺪن اوزاﻗﻼﺷﻤﯿﺶ‪ .‬ﺑﻮرادا ﻗﯿﺰ ﺳﺎدهﺟﻪ ﻗﯿﺰدﯾﺮ‪» .‬ﻗﺎﭼﯿﺐ آﻧﺎﺳﯿﻨﺎ دﺋﯿﯿﺮ‬ ‫ﮔﻮﻧﻠﺮه« ﺣﴪت دﺋﯿﯿﻠﯿﮏ‪.‬‬ ‫آﻧﺎ ا ْو ا ْوﻏﻼن دﻟﯽدﯾﺮ«‪ .‬ﺑﻮردا ﻗﺎﺑﯿﻞ ﺳﺌﻮﯾﻠﯿﺮ‪ ،‬ﮐ ْﻮرا ْوﻏﻠﻮ ﯾﺎﻟﻮارﯾﺮ‪ ،‬ﺣﺘﺘﺎ ﮐﯿﺘﺎﺑﯿﻦ ﻗﺎﺑﯿﻖ‬ ‫آﳌﺎﻻری آﻟﯿﺸﺪﯾﻐﯿﻤﯿﺰ ﻗﯿﺰﯾﻞ آﳌﺎ دﺋﯿﯿﻞ‪ ،‬ﺳﺎریدﯾﺮ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:44 AM‬‬

‫‪127-128-History & Literature-Ebrahim Savalan- EDITED.indd 127‬‬

‫‪HISTORY AND LITERATURE‬‬

‫»آﳌﺎ ﯾﻮﻟﻮ«دا ﮔﺌﺪن ﻣﻀﻤﻮﻧﺎ ﺑﯿﺮ ﺑﺎﺧﯿﺶ‬ ‫ﮔﻮﻧﺌﯽ آذرﺑﺎﯾﺠﺎن ﭼﺎﻏﺪاش ﺷﻌﺮی ﻓﻮرم ﺑﺎﺧﯿﻤﯿﻨﺪان ﭼﻮخ ﭼﺌﺸﯿﺪﻟﯽدﯾﺮ‪،‬آﻣﺎ‬ ‫ﺑﻮ ﭼﯿﻠﻐﯿﻦ ﺷﻌﺮ ﻣﻀﻤﻮن ﺑﺎﺧﯿﻤﯿﻨﺪان‪ ،‬ﻗﻮﺗﺴﺎل ﺑﯿﺮ ﻣﺰارﯾﻦ ﮔﺆﯾﺮﭼﯿﻨﯽ ﮐﯿﻤﯽ‬ ‫داوراﻧﯿﺮ‪ .‬ﻫﺮﯾﺎﻧﺪان اوﭼﻮرﺳﺎ‪ ،‬ﺳﻮﻧﻮﻧﺪا ﺑﯿﺮ اوچ اوﺗﺎﻗﻠﯽ اوﺟﺎﻏﺎ ﺳﯿﻐﯿﻨﯿﺮ‪ .‬ﮐﯿﻤﯿﻦ‬ ‫اورهﯾﯿﻨﺪن ﻗﺎﻧﺎدﻻﻧﯿﺮﺳﺎ ﻧﻬﺎﯾﺖ اورﺗﺎق ﺑﯿﺮ ﮔﻮﻧﺒﺬه ﻗﻮﻧﻮر‪ .‬ﺷﺎﻋﯿﺮ اﺋﭙﯿﮏ روﺣﻠﻮ‬ ‫اوﻟﺴﺎدا‪ ،‬ﺑﺌﻠﻪ ﺣامﺳﻪﻟﺮﯾﻦ ﺳﻮﻧﻮ ﺗﺮاژدی اوﻟﻮر‪ .‬ﻟﯿﺮﯾﮏ روﺣﻠﻮ اوﻟﻮرﺳﺎ ﻟﯿﺮﯾﺰﻣﯽ رﺋﺎل‬ ‫ﯾﺎﺷﺎﻣﻼ ﻗﻮل ﺑﻮﯾﻮن اوﻟﻮر‪ .‬ﻟﯿﺮﯾﺰم ﺷﺎﻋﯿﺮﯾﻦ اﯾﭻ دوﻧﯿﺎﺳﯿﺪﯾﺮ ﻟﯿﺮﯾﺰمده ان اؤمنﻠﯽ‬ ‫ﻓﺎﮐﺘﻮر ﺷﺎﻋﯿﺮﯾﻦ ﺷﺨﺼﯽ ﮐﯿﻤﻠﯿﮕﯽدﯾﺮ‪ ،‬ﮔﯿﺰﻟﯿﻦ ﮐﯿﻤﻠﯿﮕﯽ‪.‬‬ ‫آﻣﺎ ﺳﺎﻧﮑﯽ ﻫﻤﻪﺷﻪ ﭼﺎﺧﻨﺎﺷامدا اوﻻن آذرﺑﺎﯾﺠﺎن ﻣﺤﯿﻄﯽ ‪،‬ﺷﺎﻋﯿﺮه اﯾﭻ دوﻧﯿﺎﯾﺎ‬ ‫ﻗﺎﭘﯿﻠﯿﺐ‪ ،‬ﮔﯿﺰﻟﯿﻦ دوﯾﻐﻮﻻرﯾﻨﯽ ﮐﺸﻒ اﺋﺘﻤﮏ ﺣﺎﻗﻘﯿﻨﯽ وﺋﺮﻣﯿﺮ‪ .‬ﺑﺌﻠﻪﻟﯿﮑﻠﻪ ﻟﯿﺮﯾﺰم‬ ‫ﺗﻮﭘﻠﻮﻣﺴﺎلﻻﺷﯿﺮ و ﺷﺨﺼﯽ ﺑﯿﺮ رﺋﺎﻟﯿﺰﻣﻪ دؤﻧﻮﺷﻮر‪ .‬ﺑﯿﺮ ﭼﻮخ ﺷﺎﻋﯿﺮﯾﻦ ﮐﺆﻧﻮل‬ ‫ﮔﺆﯾﺮﭼﯿﻨﯽ ﺑﻮ ﮔﻮﻧﺒﺬﻟﯽ ﻣﺰارﯾﻦ ﺗﻮﭘﻠﻮم آدﻟﯽ اوﺗﺎﻏﯿﻨﺎ آداﺧﻼﻧﯿﺮ‪.‬‬ ‫دوﻧﯿﺎ وارﮐﻦ‪ ،‬ﺑﺎﺗﯽدان دوﻏﻮﯾﺎ ﮔﻠﯿﺐ ‪-‬ﮔﺌﺪن ﺗﻮرک ﺷﺎﻋﯿﺮﻟﺮیﻧﯿﻦ اﯾﻠﮏ دوراﻏﯽ‬

‫ﺗﻮﭘﻠﻮﻣﺪور‪ .‬اوﻧﺪان ﻗﺎﭼامق اﯾﺴﺘﻪﺳﻪﻟﺮده ﺑﺌﻠﻪ‪ ،‬ﺑﺎﺗﯽ اؤﻟﮑﻪﻟﺮﯾﻨﺪه ﺳﻮرﮔﻮن‬ ‫ﯾﺎﺷﺎﺳﺎﻻردا ﺑﺌﻠﻪ‪ ،‬ﺗﻮﭘﻠﻮم ﭘﯿﺴﺨﻮﻟﻮژﯾﺴﯽ‪ ،‬اوﻧﻼرﯾﻦ اﯾﭻ دوﻧﯿﺎﻻرﯾﻨﺎ ﻗﺎﻟﯿﺐ ﮔﻠﻪﺟﮏ‪.‬‬ ‫ﺣﺒﯿﺐ ﺳﺎﻫﯿﺮ‪ ،‬ﺗﻮﭘﻠﻮﻣﻮن آﺟﯽ دوﻧﯿﺎﺳﯿﻨﺪان ﻗﺎﭼﯿﺐ ‪ ،‬ﻗﻮل ﻗﯿﭽﯿﻨﯽ اوزادﯾﺐ‪ ،‬اؤز‬ ‫دوﻧﯿﺎﺳﯿﻨﺪا ﺷﺎﻋﯿﺮاﻧﻪ ﯾﺎﺷﺎﻣﺎق اﯾﺴﺘﻪدی آﻣﺎ ﺗﻮﭘﻠﻮﻣﻮن اوﻻﯾﻼری ﮔﻮﺟﻠﻮ و درﯾﻦ‬ ‫اﺋﺘﮑﯿﻠﯽ اوﻟﺪوﻏﻮﻧﺎ ﮔﺆره اوﻧﻮ راﺣﺎت ﺑﻮراﺧامدی‪ ،‬ﺷﯿﺦ ﻣﺤﻤﺪ ﺧﯿﺎﺑﺎﻧﯽ ﺧﺎﻃﯿﺮهﺳﯽ‪،‬‬ ‫رﺿﺎﺧﺎن اﯾﻞﻟﺮی ‪ ،‬ﺑﯿﺮی ﮔﻮﻟﻮﺷﻠﻮ ﺑﯿﺮی آﻏﻼﯾﯿﺸﻠﯽ اذ آﯾﻼری و ﺳﻮرﮔﻮﻧﻠﻮک ﮔﻮﻧﻠﺮی‬ ‫اوﻧﻮن ﻓﺮدی ارادهﺳﯿﻨﯽ ﻗﺎﻧﺪاﻟﻼﯾﯿﺐ اؤز آردﯾﺠﺎ ﺳﻮرودو‪ .‬ﺷﺎﻋﯿﺮﯾﻦ ﺧﯿﺎل ﻗﻮﺷﻮ‬ ‫ﺑﻮ اوﺟﺎﻏﯿﻦ ﺗﻮﭘﻠﻮم اوﺗﺎﻏﯿﻨﺪان اوﭼﻮب ﮐﺌﭽﻤﯿﺶ دوراﻏﯿﻨﺎ ﻗﻮﻧﻮر‪ .‬ﮐﺌﭽﻤﯿﺶ ﺑﻠﮑﻪ‬ ‫ده ﺗﻮزاﻗﺪﯾﺮ ﺑﻠﮑﻪ ده ﮔﻠﻪﺟﻪﯾﯿﻦ ﯾﻮل ﺑﻠﺪﭼﯽﺳﯽدﯾﺮ‪ .‬ﮐﺌﭽﻤﯿﺶ ﺳﺎﻫﯿﺮده ﺑﯿﺮ‬ ‫اﻧﺴﺎن ﯾﺎﺷﺎﻣﯽ ﻗﺪر اوزاﻧﯿﺮ ﺳﻬﻨﺪده ‪،‬دده ﻗﻮرﻗﻮد ﻧﺎﻏﯿﻠﻼرﯾﻨﺎ ﻗﺮ ﺑﻮﯾﻼﻧﯿﺮ‪ .‬اﯾﺸﯿﻖ‬ ‫ﺗﺎﻧﺮﯾﻼرﯾﻨﺪان ﮔﻮج آﻟﯿﺮ داﻫﺎ‪ -‬داﻫﺎ اوزاﻗﻼرا اﯾﻠﮑﯿﻦ ﯾﺎراﻧﯿﺸﺎ آداﺧﻼﻧﯿﺮ‪.‬‬ ‫ﺑﯿﺮی وار اﯾﺪی ﺑﯿﺮی ﯾﻮخ اﯾﺪی ﻗﺎراﺧﺎن وار اﯾﺪی اﯾﺸﯿﻖ ﻗﺎراﻧﻠﯿﻐﯿﻦ‬ ‫ﺑﻄﻨﯿﻨﺪن دوﻏﺪو‪ .‬ﻫﻤﯽ ﻗﺎراﻧﻠﯿﻖ وار اﯾﺪی ﻫﻤﯽ اؤﻟﻮم؛ ﺑﻌﻀﻦ‬ ‫ﺑﯿﺮی ﺑﺎﺷﻘﺎﺳﯿﻨﯽ ﺑﻮﻏﻮر ﺑﻌﻀﻦ ﺑﯿﺮی ﺑﯿﺮﯾﻨﺪن دوﻏﻮردو‪.‬‬ ‫ﯾﺎراﻧﯿﺶ ‪ ،‬دوﻏﻮﻣﻮ اؤﻟﻮم ﺷﺎﻋﯿﺮ ﻟﺮﻣﯿﺰﯾﻦ اوﭼﻮﻧﺠﻮ‬ ‫دوراﻏﯿﺪﯾﺮ و ﺑﻮ ﻣﺰارﯾﻦ اوﭼﻮﻧﺠﻮ و ﺳﻮﻧﻮﻧﺠﻮ‬ ‫ﻫﻤﻦ اﯾﻠﮑﯿﻦ ﭼﺎﻏﻼردان "ﺑﯿﺰ" اوﻟﺪوﻏﻮﻣﻮز‬ ‫اوﺗﺎﻏﯽ‬ ‫ﺷﯽ دا وار اﯾﺪی و ﺑﻮ ﺑﺎﺷﻘﺎﺳﯽ ﺑﯿﺰی‬ ‫ﺣﺎﻟﺪا ﺑﺎﺷﻘﺎ‬ ‫ﮔﻮﻧﻪ ﻗﺪر ﺳﺎده ﺟﻪ ﺑﺎﺷﻘﺎﺳﯿﺪﯾﺮ‪ .‬ﺑﻮ‬ ‫ﺑﻮﻏامدﯾﻐﯽ‬ ‫ﻗﯿﺮاﻏﯿﻨﺪا ﺑﯿﺮاؤزﮔﻪ ﻗﻮﯾﻼق‪ .‬اﯾﻨﺪﯾﺴﻪ‬ ‫ﻗﻮﺗﺴﺎل ﮔﻮﻧﺒﺬﯾﻦ‬ ‫اؤزﮔﻪ ﻗﻮﯾﻼﻏﯿﻨﯽ »ﺳﯿﺪ ﺣﯿﺪر‬ ‫ﺑﻮ اوچ دوراﻏﯽ و ﺑﯿﺮ‬ ‫ﺑﯿﺮﻟﯿﮑﺪه اوﺧﻮﯾﻮروق‪.‬‬ ‫ﺑﯿﺎت«ﯾﻦ آﳌﺎ ﯾﻮﻟﻮ ﮐﯿﺘﺎﺑﯿﻨﺪان‬ ‫ﭘﺎرﭼﺎﻻر »آﳌﺎ ﯾ ْﻮﻟﻮ«‬ ‫اﯾﮑﯽ دﯾﺮﻧﺎق آراﺳﯿﻨﺪا ﮔﻠﻦ‬ ‫ﮐﯿﺘﺎﺑﯿﻨﺪان آﻟﯿﻨﻤﯿﺶ‪...‬‬

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‫اﺑﺮاﻫﯿﻢ رﺷﯿﺪی )ﺳﺎواﻻن(‬ ‫ﺷــﺎﻋﺮ‪ ٬‬ﻧﻮﯾﺴــﻨﺪه و ﻓﺎرغاﻟﺘﺤﺼﯿــﻞ رﺷــﺘﻪ‬ ‫ﻣﻬﻨﺪﺳــﯽ ﻣﮑﺎﻧﯿــﮏ از داﻧﺸــﮕﺎه اروﻣﯿــﻪ‬ ‫اﺳــﺖ‪ .‬در دورهی داﻧﺸــﺠﻮﯾﯽ ﻣﺪﯾــﺮ‬ ‫ﻣﺴــﻮوﻟﯽ ﻧﴩﯾــﻪ »اوﻟــﺪوز«‪ ،‬ﴎدﺑﯿــﺮی‬ ‫ﻧﴩﯾــﻪ داﻧﺸــﺠﻮﯾﯽ »ﺑﻮﻟــﻮت« و ﻋﻀﻮﯾــﺖ‬ ‫در ﻫﯿﺌــﺖ ﺗﺤﺮﯾﺮﯾــﻪ ﻧﴩﯾــﺎت داﻧﺸــﺠﻮﯾﯽ‬ ‫»ﺑﺎﺧﯿــﺶ« و »اوﯾﺎﻧﯿــﺶ« را در ﮐﺎرﻧﺎﻣــﻪ ﺧﻮد‬ ‫دارد‪ .‬او ﻫﻤﭽﻨﯿــﻦ ﻋﻀــﻮ ﻫﯿﺌــﺖ ﻣﻮﺳــﺲ‬ ‫»ﮐﺎﻧــﻮن ﮔﻔــﺖ و ﮔــﻮی متﺪنﻫــﺎ« و دﺑﯿــﺮ‬ ‫»ﮐﺎﻧــﻮن ﻓﺮﻫﻨــﮓ و ادب اﺳــﺘﺎد ﺷــﻬﺮﯾﺎر«‬ ‫در داﻧﺸــﮕﺎه اورﻣﯿــﻪ ﺑــﻮده و ﺑــﻪ ﻋﻨــﻮان‬ ‫دﺑﯿــﺮ‪ ،‬ﭼﻨﺪﯾــﻦ ﮐﻨﮕــﺮه و ﺳــﻤﯿﻨﺎر ﻋﻠﻤــﯽ‬ ‫در ﺧﺼــﻮص ﺗﺎرﯾــﺦ و ﻓﺮﻫﻨــﮓ آذرﺑﺎﯾﺠــﺎن‬ ‫ﺑﺮﮔــﺰار ﮐــﺮده اﺳــﺖ‪ .‬ﮐﻨﮕﺮهﻫــﺎی ﭘﺮﻓﺴــﻮر‬ ‫»ﻣﺤﻤــﺪ ﺗﻘــﯽ زﻫﺘﺎﺑــﯽ« و اﺳــﺘﺎد »ﻋﻠــﯽ‬ ‫ﺳــﻠﯿﻤﯽ« از ﺟﻤﻠــﻪ آنﻫﺎﺳــﺖ‪ .‬اﺑﺮاﻫﯿــﻢ‬ ‫ﺳــﺎواﻻن ﻫﻤﭽﻨﯿــﻦ ﺳــﺎﺑﻘﻪ ﺗﺪرﯾــﺲ زﺑــﺎن‬ ‫ﺗﺮﮐــﯽ در داﻧﺸــﮕﺎهﻫﺎ و آﻣﻮزﺷــﮕﺎهﻫﺎی‬ ‫ﻣﺨﺘﻠــﻒ در ﺷــﻬﺮﻫﺎی اﯾــﺮان را دارد و در‬ ‫اﯾــﻦ ﻧﻮﺷــﺘﻪ ﺑــﻪ ﺑﺮرﺳــﯽ اﺷــﻌﺎر »ﺳــﯿﺪ‬ ‫ﺣﯿــﺪر ﺑﯿــﺎت« ﭘﺮداﺧﺘــﻪ اﺳــﺖ‪ .‬ﺑــﻪ ﻋﻘﯿــﺪه‬ ‫او ﺳــﯿﺪ ﺣﯿــﺪر ﺑﯿــﺎت در ﮐﻨــﺎر »ﻫــﺎدی‬ ‫ﻗﺎراﭼــﺎی« و »ﻣﺤﻤﺪرﺿــﺎ ﻟﻮاﯾــﯽ« ﺳــﻪ ﺿﻠــﻊ‬ ‫ﺷــﺎﻋﺮان ﺟــﻮان اﻣــﺮوز آذرﺑﺎﯾﺠــﺎن را ﺗﺸــﮑﯿﻞ‬ ‫ﻣﯽ دﻫﻨــﺪ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:44 AM‬‬

‫‪127-128-History & Literature-Ebrahim Savalan- EDITED.indd 128‬‬

‫‪HISTORY AND LITERATURE‬‬

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‫ﺑە ﻫﯚی ﻫەﻟﻮﻣەرﺟﯽ دژواری ﺳﯿﺎﺳﯽ ﻟە ﮐﻮردﺳﺘﺎن‪ ،‬ﺑەﺷێﮑﯽ ﺑەرﭼﺎوی داﻧﯿﺸﺘﻮاﻧﯽ‬ ‫ﮐﻮردﺳﺘﺎن ﭘەڕﯾﻮەی ﺋەوروﭘﺎ و ﺋەﻣﺮﯾﮑﺎی ﺑﺎﮐﻮور و ﺋﻮﺳﱰاﻟﯿﺎ ﺑﻮون ﮐە ﺳەدان‬ ‫ﻧﻮوﺳەر و ﻫﻮﻧەرﻣەﻧﺪی ﮐﻮردﯾﯿﺸﯿﺎن ﻟە ﻧﺎودا ﺑﻮون‪ .‬ﺋﺎزادﯾﯽ ﭼﺎﻻﮐﯿﯽ ﻓەرﻫەﻧﮕﯽ‬ ‫ﻟەو واڵﺗە ﭘێﺸﮑەوﺗﻮواﻧەدا ﻫەﻟﻮﻣەرﺟێﮑﯽ ﻟەﺑﺎری ﺑﯚ ﻧﻮوﺳەراﻧﯽ ﮐﻮرد ﭘێﮑﻬێﻨﺎ و‬ ‫ﺗەﻧﺎﻧەت ﻟە ﮐﯚﺗﺎﯾﯽ ﻧەوەدەﮐﺎن ژﻣﺎرەی ﻧﻮوﺳەراﻧﯽ ﮐﻮردی داﻧﯿﺸﺘﻮوی ﺳﻮێﺪ ﻟە‬ ‫ژﻣﺎرەی ﻧﻮوﺳەراﻧﯽ ﻧێﻮﺧﯚی ﮐﻮردﺳﺘﺎن زﯾﺎﺗﺮ ﺑﻮوە‪.‬‬ ‫ﻫەڵﺒەت ﺋەوە ﺣﻮﮐﻤێﮑﯽ ﮔﺸﺘﯽ ﻧﯿﯿە و زۆر ﺟﺎر ﻧﻮوﺳەراﻧﯽ ﮐﻮرد ﻟە ﻧﺎوﺧﯚی‬ ‫ﮐﻮردﺳﺘﺎﻧﯿﺶ ﺗﻮاﻧﯿﻮﯾﺎﻧە ﯾﺎرﻣەﺗﯿﯽ ﭘەرەﺳەﻧﺪﻧﯽ ڕەوﺗﯽ ڕۆﻣﺎﻧﯽ ﮐﻮردی ﺑﺪەن‪.‬‬ ‫ﻋەﺗﺎی ﻧەﻫﺎﯾﯽ ﻟە ﺑﺎﻧە‪ ،‬ﺷﺎرێﮑﯽ ﺑﭽﻮوﮐﯽ ڕۆژﻫەاڵﺗﯽ ﮐﻮردﺳﺘﺎن‪ ،‬ﻣﺎﻣﯚﺳﺘﺎی‬ ‫ﻗﻮﺗﺎﺑﺨﺎﻧە ﺑﻮو ﮐە دوای ﺷﯚڕﺷﯽ ‪ ١٩٧٩‬ﮐﺎرەﮐەﯾﺎن ﻟێ ﺋەﺳﺘﺎﻧﺪەوە و ﻧﺎردﯾﺎﻧەوە‬ ‫ﻣﺎڵ‪ .‬ﻋەﺗﺎ ﺑﯚ ﺑﮋﯾﻮی ﺑﻨەﻣﺎڵەﮐەی دوﮐﺎﻧێﮑﯽ ﺑﭽﻮوﮐﯽ ﺋﺎوﻣﯿﻮەﻓﺮۆﺷﯽ داﻧﺎ‪ .‬ڕۆژێﮏ‬ ‫دوﮐﺎﻧەﮐەی ﺑە ﺳەر ﺷﺎﮔﺮدەﮐەﯾﺪا ﺑەﺟێﻬێﺸﺖ و ﻟە ژێﺮزەﻣﯿﻨﯽ ﻣﺎڵەﮐەﯾﺎﻧﺪا‬ ‫دەﺳﺘﯽ ﮐﺮد ﺑە ﻧﻮوﺳﯿﻦ‪ .‬ﻧەﻫﺎﯾﯽ ﺋﯿﺪی ﻧەﮔەڕاﯾەوە ژﯾﺎﻧﯽ ﺋﺎﺳﺎﯾﯽ و ﺳﺎاڵﻧﯽ ﺳﺎڵ‬ ‫ﻟەو ژێﺮزەﻣﯿﻨەدا ﺧەرﯾﮑﯽ ﻧﻮوﺳﯿﻦ ﺑﻮو‪ .‬ﺟﮕە ﻟە ﺳێ ﮐﯚﻣەڵە ﭼﯿﺮۆک و وەرﮔێڕاﻧﯽ‬ ‫ﭼەﻧﺪﯾﻦ ڕۆﻣﺎن‪» ،‬ﮔﻮڵﯽ ﺷﯚران« و »ﺑﺎڵﻨﺪەﮐﺎﻧﯽ دەم ﺑﺎ« و »ﮔﺮەوی ﺑەﺧﺘﯽ ﻫەاڵڵە«‬ ‫ﺳێ ڕۆﻣﺎﻧﻦ ﮐە ﻟە ڕووی ﻓﯚرم و ﺷێﻮازی ﮔێڕاﻧەوەوە ﺋەدەﺑﯽ ﮐﻮردﯾﯿﺎن ﭼەﻧﺪ‬ ‫ﻫەﻧﮕﺎوێﮏ ﺑﺮدە ﭘێﺸەوە‪.‬‬

‫~‪~ Talk‬‬

‫‪naosh-e‬‬ ‫‪rostam‬‬ ‫‪by ALI ATABAKI‬‬ ‫‪WHEN:‬‬ ‫‪Sunday, 23 August - 1:30pm‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour‬‬ ‫‪LOCATION:‬‬ ‫‪Miss Lou’s,‬‬ ‫‪Harbourfront Centre‬‬

‫ﻗﺮﺗﺎﻧﯽ وﺷە و ڕﺳﺘە و ﭘﺎراﮔﺮاﻓەﮐﺎﻧﯽ ﻟە دڵﺪاﯾە‪ .‬ﻟە ﺑﺎﮐﻮوری ﮐﻮردﺳﺘﺎن‪ ،‬ﻧﻮوﺳەر و‬ ‫ﻫﻮﻧەرﻣەﻧﺪی ﮐﻮرد ﺑە ﺗﺎواﻧﯽ ﻧﻮوﺳﯿﻦ ﺑە ﮐﻮردی ﯾﺎن ﺧﺮاوەﺗە زﯾﻨﺪان‪ ،‬ﯾﺎن ﻧﺎﭼﺎر‬ ‫ﺑﻮوە ﭘەڕﯾﻮەی ﻫەﻧﺪەران ﺑێ‪ ،‬ﻫێﻨﺪێﮏ ﺟﺎرﯾﺶ‪ ،‬وەک ﻣﻮوﺳﺎ ﺋەﻧﺘەر‪ ،‬ﺑە ﺗﺎواﻧﯽ‬ ‫دەرﺑڕﯾﻨﯽ ﺑﯿﺮوڕا ﻟە ﻻﯾەن ﮐەﺳﺎﻧﯽ ﺳەر ﺑە دەوڵەﺗەوە ﮐﻮژراوە‪.‬‬ ‫ﺋێﺴﺘﺎ ﭘﺮﺳﯿﺎر ﺋەوەﯾە‪ :‬ﻧﻮوﺳەری ﺑێ ﺟﯿﺮە و ﻣﻮاﺟﯿﺒﯽ ﮐﻮرد‪ ،‬ﮐە ﺋەﮔەر ﺷﺎﻧﺴﯽ‬ ‫ﭼﺎﭘﯽ ڕۆﻣﺎﻧەﮐەﺷﯽ ﻫەﺑﻮوﺑێ‪ ،‬ﻟە ﺟﯿﺎﺗﯽ ﺧﻮێﻨەر‪ ،‬ﻣەمئﻮوری دەزﮔﺎ ﺋەﻣﻨﯿﯿەﺗەﮐﺎن‬ ‫ﭼﺎوەڕواﻧﯿﺎن ﮐﺮدووە‪ ،‬ﺑﯚﭼﯽ ﻣﮑﻮڕ ﺑﻮوە ﻟە ﺳەر ﻧﻮوﺳﯿﻦ؟‬ ‫ڕاﻣﺎﻧێﮑﯽ زۆری ﻧﺎوێ ﺑﯚﺋەوەی ﻣﺮۆڤ ﺑە وەاڵﻣێﮑﯽ ﻟەو دەﺳﺘە ﺑﮕﺎ‪ :‬ﻫەﺳﺘﯽ‬ ‫ﺑەرﭘﺮﺳﯿﺎرێﺘﯽ؛ ﻫەڵﺒەت ﺧﻮﻟﯿﺎش‪ .‬ﺋەوە دروﺷﻢ ﻧﯿﯿە ﺋەﮔەر ﺑڵێﯿﻦ ﻟە ﮐﻮردﺳﺘﺎن‪،‬‬ ‫ﺑە دێﮋاﯾﯽ ﺳەدەی ڕاﺑﺮدوو‪ ،‬ﻧﻮوﺳﯿﻦ ﺟﯚرێﮏ ﺑﻮوە ﻟە ﺧەﺑﺎت‪ .‬ﮐﺎﺗێ زﻣﺎن وەک‬ ‫ﺳەرەﮐﯿﱰﯾﻦ ﺋێﻠێﻤێﻨﺘﯽ ﻧﺎﺳﻨﺎﻣەی ﻧەﺗەوەﯾﯽ ﻫەڕەﺷەی ﻓەوﺗﺎﻧﯽ دەﮐەوێﺘە ﺳەر‪،‬‬ ‫ﮐەﺳﺎﻧێﮏ ﺋﺎﻣﺎدە دەﺑﻦ ﺑﺎﺟﯽ ﺑﯚ ﺑﺪەن‪ .‬ﻫەﺗﺎ ﺋێﺴﺘﺎ ﺋەرﮐﯽ ڕۆﻣﺎﻧﯽ ﮐﻮردی‪ ،‬وێڕای‬ ‫ﮔێڕاﻧەوەی ﺋەﭬﯿﻦ‪ ،‬ﺷەڕ‪ ،‬ﻣەرگ و ژﯾﺎﻧﯽ ﻣﺮۆﭬﯽ ﮐﻮرد‪ ،‬ﺧەﺑﺎﺗێﮏ ﺑﻮوە ﺑﯚ ﭘﺎراﺳﺘﻨﯽ‬ ‫زﻣﺎن و ﻧﺎﺳﻨﺎﻣە‪.‬‬ ‫ﺑەاڵم ﺗﯚ ﺑڵێﯽ ﺋەﻣە ﭼﺎرەﻧﻮوﺳﯽ ﺗﺎﻫەﺗﺎﯾﯽ ڕۆﻣﺎﻧﯽ ﮐﻮردی ﺑێ؟‬

‫ﺋﺎڵوﮔﯚڕی ﺳﯿﺎﺳﯽ و ﮐﯚﻣەاڵﯾەﺗﯽ و ﻓەرﻫەﻧﮕﯿﯽ ﮔەﻟﯽ ﮐﻮرد ﻟە ﻫەﻣﻮو ﭘﺎرﭼەﮐﺎﻧﯽ‬ ‫ﺑە درێﮋاﯾﯽ ﺳﺎاڵن ﻟە ﮐﻮردﺳﺘﺎﻧﺪا‪ ،‬ﺑﯚ داﻫێﻨﺎن و ﺧﻮڵﻘﺎﻧﯽ ﺑەرﻫەﻣﯽ ﮔەورە و‬ ‫ﮐﻮردﺳﺘﺎن ﻟە ﺑﯿﺴﺖ ﺳﺎڵﯽ ڕاﺑﺮدوودا‪ ،‬ﻧﯿﺸﺎﻧەﮐﺎﻧﯽ ﺗێﭙەڕﯾﻦ ﻟەو دۆﺧە دژوارەﻣﺎن‬ ‫ﮔﺮاﻧﯽ وەک ڕۆﻣﺎن‪ ،‬ﮐەﺷﻮﻫەواﯾەﮐﯽ ﻟەﺑﺎر ﻟە ﺋﺎرادا ﻧەﺑﻮوە‪ .‬ﻧﻮوﺳەری ﮐﻮرد‬ ‫ﭘێ ﻧﯿﺸﺎن دەدەن‪ .‬ﺋێﺴﺘﺎ ﮐﻮرد ﻟە ﺑﺎﺷﻮور و ڕۆژﺋﺎوا ﺧﺎوەﻧﯽ ﺣﮑﻮﻣەﺗﯽ ﻧﯿﻤﭽە‬ ‫دەﮔەڵ ﭼەﻧﺪﯾﻦ ﮐێﺸەی ﺟﯿﺪدی ﺑەرەوڕوو ﺑﻮوە ﮐە زۆر ﺟﺎر ﺗﻮوﺷﯽ ﻧﺎﺋﻮﻣێﺪی و ﺳەرﺑەﺧﯚی ﺧﯚﯾەﺗﯽ‪ .‬ﻟە ﺑﺎﮐﻮور دۆزی ﮐﻮرد ﺑەﮔﺸﺘﯽ و دۆﺧﯽ ﻓەرﻫەﻧﮕﯿﯿەﮐەی‬ ‫دەﺳﺖﺑەرداﻧﯿﺎن ﮐﺮدووە‪.‬‬ ‫ﺑەﺗﺎﯾﺒەﺗﯽ ﭘێﺸﮑەوﺗﻨﯽ ﺑەرﭼﺎوی ﺑە ﺧﯚﯾەوە دﯾﻮە‪ .‬ﻟە ڕۆژﻫەاڵﺗﯿﺶ ﺳەرەڕای‬ ‫درێﮋەی ﺳﯿﺎﺳەﺗﯽ ﺳەرﮐﻮت و ﺳڕﯾﻨەوە‪ ،‬ﺟﻮواڵﻧەوەﯾەﮐﯽ ﻟەﺳەرﺧﯚی ﻓەرﻫەﻧﮕﯽ و‬ ‫ﮔەورەﺗﺮﯾﻦ ﮐێﺸەی ﻧﻮوﺳەری ﮐﻮرد ﻧەﺑﻮوﻧﯽ ﺧﻮێﻨەر ﺑﻮوە‪ .‬ﮐێﺸەی ﺑێ ﺧﻮێﻨەری‬ ‫ﺋەدەﺑﯽ ﻟە ﺋﺎراداﯾە‪.‬‬ ‫ﺑﯚ ﻧﻮوﺳەراﻧﯽ ﺋەﻣﺮﯾﮑﺎی ﻻﺗﯿﻦ‪ ،‬وەک ﺑﺎرﮔﺎس ﯾﻮوﺳﺎ ﺋﺎﻣﺎژەی ﭘێﺪەﮐﺎ‪ ،‬ﺋەﮔەر‬ ‫ﻟە ﺑﺎﺷﻮور ﺑەاڵم‪ ،‬دوای ﺷەڕی ﮐەﻧﺪاو و داﻣەزراﻧﯽ ﺣﮑﻮﻣەﺗﯽ ﻫەرێﻤﯽ ﮐﻮردﺳﺘﺎن‪،‬‬ ‫ﭘەﯾﻮەﻧﺪی ﺑە ﻗﯚﻧﺎﻏێﮑﯽ دﯾﺎرﯾﮑﺮاوی ڕاﺑﺮدووەوە ﻫەﺑێ‪ ،‬ﺗﺎ ﺋێﺴﺘﺎش ﺑﯚ ﻧﻮوﺳەری‬ ‫ﮐﻮرد دەرﻓەﺗێﮑﯽ زێڕﯾﻨﯽ ﺑﯚ ﭼﺎﻻﮐﯿﯽ ﺋەدەﺑﯽ و ﻓەرﻫەﻧﮕﯽ دەﺳﺖ ﮐەوت‪ .‬دەﯾﺎن‬ ‫ﮐﻮرد ﮐێﺸەﯾەﮐﯽ زەق و زﯾﻨﺪووﯾە‪ .‬ﺋەﮔەر ﭼﺎوﭘﯚﺷﯽ ﻟە ﺗﯿﺮاژی ﺳەروو دە ﻫەزار‬ ‫ﻧﺎﴍ و دەزﮔﺎی ﺑاڵو ﮐﺮدﻧەوەی ﺣﮑﻮﻣﯽ و ﺋەﻫﻠﯽ داﻣەزران‪ .‬ڕۆﻣﺎﻧﯽ ﮐﻮردی‬ ‫داﻧەﯾﯽ ﻫێﻨﺪێﮏ ڕۆﻣﺎﻧﯽ ﮐﻮردی ﺑﮑەﯾﻦ‪ ،‬ﻧێﻮﻧﺠﯿﯽ ﺗﯿﺮاژی ڕۆﻣﺎﻧﯽ ﮐﻮردی ﻟە ‪ ١٠٠٠‬ﻟەم ﻣﺎوەﯾەدا ﻟە ڕووی ﭼەﻧﺪاﯾەﺗﯽ و ﭼﻠﯚﻧﺎﯾەﺗﯽ ﮔەﺷەی ﮐﺮدووە‪ .‬ﻧﻮوﺳەراﻧﯽ‬ ‫داﻧە ﺗێﻨەﭘەڕﯾﻮە‪ .‬ﺋەﻣە ﺑﯚ ﻣﯿﻠﻠەﺗێﮑﯽ ﭼەﻧﺪﯾﻦ ﻣﯿﻠﯿﯚﻧﯽ ژﻣﺎرەﯾەﮐە ﻟە ﭘەﻧﺎ ﺳﯿﻔﺮ‪.‬‬ ‫ﺑەﺷەﮐﺎﻧﯽ دﯾﮑەی ﮐﻮردﺳﺘﺎن ﺑﯚ ﭼﺎﭘﯽ ﺑەرﻫەﻣەﮐﺎﻧﯿﺎن ﭘەﻧﺎﯾﺎن ﺑﯚ ﺑﺎﺷﻮور ﻫێﻨﺎوە‪.‬‬ ‫ﻟەﺑەر ﺋەوە ﻧﻮوﺳەری ﮐﻮرد ﻫەرﮔﯿﺰ ﻧەﯾﺘﻮاﻧﯿﻮە ﻟە ڕێﮕﺎی ﻧﻮوﺳﯿﻨەوە ﺑﮋی و ﺑﯚ‬ ‫وردە وردە ﺧەرﯾﮑە ﭘﯿﺸەﺳﺎزﯾﯽ ﭼﺎپ ﻟە داﯾﮏ دەﺑێ و ﻫەﻗﯽ ﻧﻮوﺳﯿﻦ‪ ،‬ﺋەﮔەرﭼﯽ‬ ‫ﺑەڕێﭼﻮون ﭘەﻧﺎی ﺑﺮدۆﺗە ﺑەر ﭘﯿﺸەﯾەﮐﯽ ﺗﺮ‪ .‬ﻫﯚﮐﺎری ﮐەﻣﯿﯽ ﺧﻮێﻨەر ﺟﯚراﺟﯚرن‪ :‬ﻟە ﻗەﺑﺎرەﯾەﮐﯽ ﺑﭽﻮوﮐﺪا‪ ،‬دەدرێ ﺑە ڕۆﻣﺎﻧەﮐﺎﻧﯽ دﻧﯿﺎ ﺑﯚ ﺳەر زﻣﺎﻧﯽ ﮐﻮردی ﮔﻮرﺟﱰ‬ ‫ﻗەدەﻏەﺑﻮوﻧﯽ ﺧﻮێﻨﺪن ﺑە زﻣﺎﻧﯽ ﮐﻮردی ﻟە ﻫێﻨﺪێﮏ ﻟە ﭘﺎرﭼەﮐﺎﻧﯽ ﮐﻮردﺳﺘﺎن )ﻫەﺗﺎ ﺑﻮوە‪ .‬ﺋەﮔەرﭼﯽ ﻫێﺸﺘﺎ ژﻣﺎرەی ﮐەﺳﺎﻧﯽ ﻣەﻧﻔﺎﻧﺸﯿﻦ ڕێﮋەﯾەﮐﯽ ﺑەرﭼﺎوی ﻧﻮوﺳەراﻧﯽ‬ ‫ﺋێﺴﺘﺎش ﻟە ڕۆژﻫەاڵت و ﺑﺎﮐﻮور و ﺗﺎ ﺋەم دواﯾﯿەش ﻟە ڕۆژﺋﺎوای ﮐﻮردﺳﺘﺎن(‪ ،‬ﮐﺰﯾﯽ ﮐﻮرد ﭘێﮏدەﻫێﻨێ و ﺋەﮔەرﭼﯽ ﮔەﻟێﮏ ﻟە ﮐێﺸە ﺋﺎﻣﺎژەﭘێﮑﺮاوەﮐﺎن ﮐەموزۆر ﻟە‬ ‫ﻓەرﻫەﻧﮕﯽ ﺧﻮێﻨﺪﻧەوە‪ ،‬ﻫەژاری و ﮐەﻣﯿﯽ ﮐﺘێﺒﺨﺎﻧەی ﮔﺸﺘﯽ‪.‬‬ ‫ﺑەر دەم ﻧﻮوﺳەری ﻧێﻮﺧﯚی واڵﺗﻦ‪ ،‬ﺑەاڵم ڕۆﻣﺎﻧﻨﻮوﺳﯽ ﮐﻮرد ﻫەن و زۆرﯾﺸﻦ ﮐە ﻟە‬ ‫ﻧﻮوﺳەران‪ .‬ﺧﻮێﻨەری ڕۆﻣﺎن ﺑە ﺷێﻮەﯾەﮐﯽ ﺑێ ﭘێﺸﯿﻨە ڕووی ﻟە زﯾﺎد ﺑﻮوﻧە‪ .‬ڕەوﺗﯽ‬ ‫ﮐﯚﺳﭙێﮑﯽ ﺗﺮی ﺑەردەم ﻧﻮوﺳەری ﮐﻮرد ﻻﻧﯿﮑەم ﻟە ﻫێﻨﺪێﮏ ﭘﺎرﭼەی ﮐﻮرﺳﺘﺎن وەک وەرﮔێڕاﻧﯽ ﮐﻮردﺳﺘﺎن دەژﯾﻦ و دەﻧﻮوﺳﻦ و ﺑاڵو دەﮐەﻧەوە‪.‬‬ ‫ﺑﺎﮐﻮور و ڕۆژﻫەاڵت ﺳﺎﻧﺴﯚری ﺣﮑﻮﻣەﺗﯽ و ﻧەﺑﻮوﻧﯽ ﺋﺎزادﯾﯽ دەرﺑڕﯾﻨە‪ .‬ﺋەم ﮐﺎرە‬ ‫ﻟە ﻻﯾەﮐﯽ دﯾﮑەوە ﻫﺎﺗﻨﯽ ﻣﯚدێﺮﻧﯿﺘە و ﮔەﺷەی ﺋﺎﺑﻮوری و ﮐﯚﻣەاڵﯾەﺗﯽ و ﭼﻮوﻧە‬ ‫ﺑە ﺗﺎﯾﺒەت ﻟە ﺋێﺮان ﺑە ﭘﺎﺳﺎوی ﺑەﻫﺎ ﺋەﺧﻼﻗﯽ و ﺋﺎﯾﯿﻨﯿﯿەﮐﺎﻧەوە دەﮐﺮێ و ﺗەﻧﺎﻧەت‬ ‫ﺳەری ﺋﺎﺳﺘﯽ ﺧﻮێﻨﺪەواری‪ ،‬ﮔﯚڕاﻧێﮑﯽ ﺑەرﭼﺎوی ﻟە ﺟﯿﻬﺎﻧﺒﻮوﻧﯽ ﺗﺎﮐﯽ ﮐﻮرددا‬ ‫ڕۆﻣﺎﻧﯽ وەرﮔێڕدراو ﻟە زﻣﺎﻧﺎﻧﯽ ڕۆژﺋﺎواﯾﯿﺶ ﻟە ﺗﯿﺨﯽ ﺳﺎﻧﺴﯚری دەوڵەت دەرﺑﺎز‬ ‫ﭘێﮏﻫێﻨﺎوە‪ .‬ﺋەﻣە و ﺋەو ﻫەﻣﻮو ﮐﺎرەﺳﺎت و ڕووداو و ﮐێﺸە ﻓﯿﺰﯾﮑﯽ و زەﯾﻨﯿﯿﺎﻧەی‬ ‫ﻧﺎﺑﻦ‪ .‬ﭘﺮۆﺳەی وەرﮔﺮﺗﻨﯽ ﻣﯚڵەﺗﯽ ﺑاڵوﺑﻮوﻧەوە زۆر ﺟﺎر ﻟە ﻫﯽ ﻧﻮوﺳﯿﻦ زەﻣﺎنﮔﺮ‬ ‫ﻣﺮۆﭬﯽ ﮐﻮرد ﻟە ﺳەد ﺳﺎڵﯽ راﺑﺮدوودا دەﺳﺖ و ﭘەﻧﺠەی دەﮔەڵ ﻧەرم ﮐﺮدوون‪،‬‬ ‫و ﺗﺎﻗەتﺑەرﺗﺮە‪ .‬ﺧﺮاﭘﱰﯾﻦ دەرەﻧﺠﺎﻣﯽ ﻧەﺑﻮوﻧﯽ ﺋﺎزادﯾﯽ ﻧﻮوﺳﯿﻦ ﺧﯚﺳﺎﻧﺴﯚرﮐﺮدﻧە؛ ﻣﺎدەی ﺧﺎو و دەﺳﺖﻟێﻨەدراوی ﺳەدان رۆﻣﺎﻧﯽ ﺟﻮاﻧﯽ ﺑﯚ ڕۆﻣﺎﻧﻨﻮوﺳﯽ ﮐﻮرد داﺑﯿﻦ‬ ‫ﮐﺎﺗێ ﻧﻮوﺳەر ﺑﯚﺧﯚﯾﺴﻨﻮور ﺑﯚ ﺧەﯾﺎڵ و ﻗەڵەﻣەﮐەی دادەﻧێ و ﺑەردەوام ﺗﺮﺳﯽ‬ ‫ﮐﺮدووە‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-09 1:22 PM‬‬

‫‪129-130-History & Literature-Soleyman Delsoz-EDITED.indd 129‬‬

‫‪HISTORY AND LITERATURE‬‬

‫ﯾەﮐەم ﻧﻮﺳﺨەی ڕۆﻣﺎﻧﯽ »ﮐﺎرﻣﺎﻣﺰ«ﮐە ﺳﺎڵﯽ ‪ ١٩٧٤‬ﻧﻮوﴎاﺑﻮو ﻟە ﮐﺎﺗﯽ‬ ‫دەﺳﺖﺑەﺳەرﮐﺮاﻧﯽ ﻧﻮوﺳەرەﮐەی‪ ،‬ﻋەﻟﯽ ﺣەﺳەﻧﯿﺎﻧﯽدا‪ ،‬ﺷﻮێﻨەون ﺑﻮو‪ .‬دوای‬ ‫ﺷﯚڕش‪ ،‬ﮐﺎرﻣﺎﻣﺰ ﻟە ﺑﺎرودۆﺧﯽ ﺷەڕی ﭘﺎرﺗﯿﺰاﻧﯿﺪا ﺑﯚ ﺟﺎری دووﻫەم ﻧﻮوﴎاﯾەوە‪.‬‬ ‫ﺑەاڵم ﺷەوێﮏ ﻟە ﮐﺎﺗﯽ ﭘەڕﯾﻨەوەی ﭘێﺸﻤەرﮔەﮐﺎن ﺑە ﭼﯚﻣﯽ ﮔەورەی ﮐەڵﻮێ«دا‪،‬‬ ‫ﺑە ﺋﺎودا ﭼﻮو‪ .‬ﻧﻮﺳﺨەی ﺳێﻬەﻣﯽ ﮐﺎرﻣﺎﻣﺰ ﻟە ﮔﻮﻧﺪێﮑﯽ ﻧﺰﯾﮏ ﻫەوﺷﺎر ﮐەوﺗە ﺑەر‬ ‫ﻫێﺮﺷﯽ ﺧﯚﻣﭙﺎرە و ﺳﻮوﺗﺎ‪ .‬ﻧﻮﺳﺨەی ﭼﻮارەم ﺑەﺧﺘەوەرﺗﺮ ﺑﻮو‪ .‬ﻧە ﺋﺎو ﺑﺮدی و ﻧە‬ ‫ﺳﻮوﺗﺎ‪ .‬ﺑەاڵم ﺋەوە ﺳەرەﺗﺎی دەورەﯾەﮐﯽ دوورودرێﮋ و ﺗﺎﻗەتﺑەری ﭼﺎوەڕاﻧﯽ ﺑﻮو‬ ‫ﺑﯚ ﭼﺎپ‪ .‬ﺗﺎ ﺋەوەی ﻟە ﺳەرەﺗﺎی ﻧەوەدەﮐﺎﻧﺪا ﻻﭘەڕە زەردﺑﻮوەﮐﺎن دەﮔەڵ ﻧﻮوﺳەر‪،‬‬ ‫ﮐە ﺋەوﯾﺶ ﺋﯿﺪی ﭘﯿﺮ ﺑﻮوﺑﻮو‪ ،‬ڕێﮕﺎی ﻫەﻧﺪەراﻧﯽ ﮔﺮﺗە ﺑەر‪ .‬ﺳەرەﺗﺎ ﺑﯚ ﻫﯚڵەﻧﺪ و‬ ‫دواﯾە ﺑﯚ دامنﺎرک‪ .‬ﺳەرەﻧﺠﺎم‪ ،‬ﺣەوت ﺳﺎڵ دوای ﺋەوەی ﻧﻮوﺳەر ﻟە ﮐﺎﺗﯽ وەرﮔﺮﺗﻨﯽ‬ ‫ﻣﺎﻓﯽ ﭘەﻧﺎﺑەرﯾﺪا ﻟە دامنﺎرک ﺑە ﺳەﮐﺘەی دڵ ﻣﺮد‪ ،‬ﮐﺎرﻣﺎﻣﺰ ﻟە ﻻﯾەن ﺑاڵوﮐەرەوەﯾەﮐﯽ‬ ‫ﮐﻮردی ﻟە ﻫﯚڵەﻧﺪ ﭼﺎپ و ﺑاڵو ﮐﺮاﯾەوە‪.‬‬ ‫ﺋەوە ﺗەﻧﯿﺎ منﻮوﻧەﯾەﮐە ﻟە ﭼﺎرەﻧﻮوﺳﯽ ڕۆﻣﺎن و ﻧﻮوﺳەری ﮐﻮرد‪.‬‬ ‫ﮐﻮردﺳﺘﺎن ﺑە درێﮋاﯾﯽ ﺳەدەی ڕاﺑﺮدوو »ﮐﯚڵﯚﻧﯿﯿەﮐﯽ ﻧێﻮدەوڵەﺗﯽ« ﺑﻮوە‪ .‬ﺳﻨﻮور‪،‬‬ ‫ﮐە وەک ﺧﺎﭼێﮏ ﮐﻮرﺳﺘﺎﻧﯽ ﮐﺮدووە ﺑە ﭼﻮار ﮐەرﺗەوە‪ ،‬ﻫەر ﺑە ﺗەﻧﯿﺎ ژﯾﺎﻧﯽ ﺳﯿﺎﺳﯿﯽ‬ ‫ﺋەو ﺧەڵﮑەی ﻟێﮏ داﻧەﺑڕﯾﻮە‪ ،‬ﺑەڵﮑﻮ ﻟە درێﮋﻣﺎوەدا‪ ،‬ﻓەرﻫەﻧﮓ و زﻣﺎﻧﯿﺸﯽ ﻟێﮏ‬ ‫ﭘەرﺗەوازە ﮐﺮدووە‪ .‬ﻟە ﺋەﻧﺠﺎﻣﯽ ﺋەو ﺳﻨﻮوراﻧەﯾە ﮐە ﺋێﺴﺘﺎ ﮐﻮرد ﻻﻧﯿﮑەم دوو‬ ‫ﺳﺘﺎﻧﺪاردی ﻧﻮوﺳﯿﻦ و دوو ﭘﯿﺘﯽ ﺟﯿﺎوازی ﻫەﯾە‪ :‬ﺳﯚراﻧﯽ و ﮐﻮرﻣﺎﻧﺠﯽ‪ ،‬ﻫەروەﻫﺎ‬ ‫ﭘﯿﺘﯽ ﺋﺎراﻣﯽ و ﻻﺗﯿﻦ‪.‬‬ ‫ﻟە ﺳەدەی ڕاﺑﺮدوودا ﻟە ﻫەﻣﻮو ﭘﺎرﭼەﮐﺎﻧﯽ ﮐﻮردﺳﺘﺎن ﭼﺎﻻﮐﯿﯽ ﻓەرﻫەﻧﮕﯽ و‬ ‫ﺋەدەﺑﯽ‪ ،‬ﺑە ڕادە و ﺷێﻮازی ﺟﯿﺎواز‪ ،‬ﺋﯿﻨﮑﺎر و ﺳەرﮐﻮت ﮐﺮاوە و ﺑە ﺗﺎواﻧﯽ ﺳﯿﺎﺳﯽ ﻟە‬ ‫ﻗەڵەم دراوە‪ .‬ﺋەﮔەر ﮔەﺷەی ڕۆﻣﺎن ﻻی ﮔەﻻﻧﯽ دﻧﯿﺎ‪ ،‬ﭘەﯾﻮەﻧﺪی ﺑە ﺋﺎﺳﺘﯽ ﮔەﺷەی‬ ‫ﻣﯚدێﺮﻧﯿﺘە و ﺑﻮوﻧﯽ ﺋێﻠێﻤێﻨﺖﮔەﻟﯽ وەک ﺋﺎوەزﺧﻮازی‪ ،‬ﭘەرەی ﺋﺎﺑﻮوری‪ ،‬ﺳێﮑﯚﻻرﯾﺰم‪،‬‬ ‫ﺋﺎزادی و ﺗﺎکﺧﻮازﯾﯿەوە ﻫەﺑﻮوﺑێ‪ ،‬ﺑﯚ ﮐﻮردی ژێﺮدەﺳﺖ زﯾﺎﺗﺮ ﭘەﯾﻮەﻧﺪی ﺑە‬ ‫دەرەﺗﺎﻧﯽ ﺳﯿﺎﺳﯿﯿەوە ﺑﻮوە‪ .‬ﻟە ﮐﻮێ ﺷﯚڕﺷﯽ ڕزﮔﺎرﯾﺨﻮازﯾﯽ ﮐﻮرد ﺳەرﮐەوﺗﻨێﮑﯽ ﺑە‬ ‫دەﺳﺖ ﻫێﻨﺎﺑێ‪ ،‬زﻣﺎن و ﺋەدەب و ڕۆژﻧﺎﻣەﮔەرﯾﯽ ﮐﻮردی ﺑﻮوژاوەﺗەوە و‪ ،‬ڕۆﻣﺎﻧﯽ‬ ‫ﮐﻮردی ﺳەری ﻫەڵﻬێﻨﺎوە‪.‬‬

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‫ﻫەﻣﻮو ﻧﺎﻫەﻣﻮارﯾﯿەک ﺗﻮاﻧﯿﺒﯽ ﺑەرﻫەﻣێﮏ‬ ‫ﻧﻮوﺳەری ﮐﻮرد ﻟە ﻧﺎوﺧﯚ ﺳەرﺑﺎری‬ ‫ﺑﺨﻮڵﻘێﻨێ‪ ،‬ﭼﺎرەﻧﻮوﺳێﮑﯽ ﺑﺎﺷﱰ ﻟە ﻋەﻟﯽ ﺣەﺳەﻧﯿﺎﻧﯽ ﺑە ﻧﺴﯿﺐ ﻧەﺑﻮوە‪ .‬ﻟە ﺑەر ﺋەوە‬ ‫ﻧﻮوﺳەری ﮐﻮرد ﺗەﻧﯿﺎ ﮐﺎﺗێﮏ ﺗﻮاﻧﯿﻮﯾەﺗﯽ ڕۆﻣﺎن ﺑﻨﻮوﺳێ ﮐە ﭘەڕﯾﻮەی ﻫەﻧﺪەران‬ ‫ﺑﻮوە‪ .‬ﺋەﻣە ڕاﺳﺘﯿﯿەﮐﯽ ﻣێﮋووﯾﯿە ﮐە »ﻧﯿﺸﺘامﻧﯽ ڕاﺳﺘەﻗﯿﻨەی ڕۆﻣﺎﻧﯽ ﮐﻮردی ﻣەﻧﻔﺎ‬ ‫ﺑﻮوە‪ «.‬ﺑەاڵم ﻧﺎﺑێ ﻟەﺑﯿﺮﻣﺎن ﺑﭽێ‪ ،‬ﻫەر ڕۆﻣﺎﻧێﮑﯽ ﮐﻮردی ﮐە ﻟە ﻫەﻧﺪەراﻧﯿﺶ ﻟە‬ ‫داﯾﮏﺑﻮوە‪ ،‬ڕەﻧﮕﺪاﻧەوەی ﺋﺎڵوﮔﯚڕێﮑﯽ ﺳﯿﺎﺳﯽ ﺑﻮوە ﻟە ﮐﻮردﺳﺘﺎن‪.‬‬ ‫وەک ﭼﯚن ﯾەﮐەم ڕۆژﻧﺎﻣەی ﮐﻮردی ﻟە دەرەوەی ﮐﻮردﺳﺘﺎن‪ ،‬ﻟە ﻗﺎﻫﯿﺮە ﭼﺎپ ﮐﺮا‪،‬‬ ‫ﯾەﮐەم ڕۆﻣﺎﻧﯽ ﮐﻮردﯾﺶ‪» ،‬ﺷﭭﺎﻧﯽ ﮐﻮرد« ﺑە ﻗەڵەﻣﯽ ﻋەرەب ﺷەﻣﯚ ﻟە ﺋێﺮﯾﭭﺎن‪،‬‬ ‫ﭘﺎﯾﺘەﺧﺘﯽ ﺋەرﻣەﻧﺴﺘﺎﻧﯽ ﺳﯚﭬﯿەت‪ ،‬ﻟە داﯾﮏ ﺑﻮو‪.‬‬ ‫ڕۆﻣﺎﻧﯽ »ﭘێﺸﻤەرﮔە«ی ڕەﺣﯿﻤﯽ ﻗﺎزی ﺳﺎڵﯽ ‪ ١٩٦١‬ﻟە ﺑﺎﮐﯚی ﺋﺎزەرﺑﺎﯾﺠﺎن ﻧﻮوﴎا‬ ‫و دواﺗﺮ ﻟە ﺑەﻏﺪا ﺑاڵو ﮐﺮاﯾەوە‪ .‬ﻗﺎزی ﯾەﮐێﮏ ﻟەو ﺧﻮێﻨﺪﮐﺎرە ﮐﻮرداﻧە ﺑﻮو ﮐە ﻟە‬ ‫ﻻﯾەن ﮐﺎرﺑەدەﺳﺘﺎﻧﯽ ﮐﯚﻣﺎری دێﻤﻮﮐﺮاﺗﯽ ﮐﻮردﺳﺘﺎن ﻟە ﻣەﻫﺎﺑﺎد ﺑﯚ ﺧﻮێﻨﺪﻧﯽ ﺑﺎاڵ‬ ‫ﻧێﺮدراﺑﻮوە ﯾەﮐﯿەﺗﯽ ﺳﯚﭬﯿەت و ﮐﺎﺗێ ﮐﯚﻣﺎرەﮐە ڕووﺧﺎ‪ ،‬ﻧەﮔەڕاﯾەوە‪ .‬ڕۆﻣﺎﻧﯽ »ژاﻧﯽ‬ ‫ﮔەل« ﺳﺎڵﯽ ‪ ١٩٥٦‬ﺑە ﻗەڵەﻣﯽ ﺑﺮاﯾﻢ ﺋەﺣﻤەد ﻧﻮوﴎا‪ .‬ژاﻧﯽ ﮔەل ﻟە ﺗﺮﺳﯽ ﺳﺎﻧﺴﯚری‬ ‫ﺣﮑﻮﻣەﺗﯽ ﺋەوﺳﺎی ﻋێﺮاق ﻧﺎوی ﻋەرەﺑﯽ ﺑﯚ ﮐﺎراﮐﺘەر و ﺷﻮێﻨەﮐﺎﻧﯽ دﯾﺎری ﮐﺮان‬ ‫و ﭘێﺸﮑەش ﺑە ﺧەﺑﺎتﮔێڕاﻧﯽ ﺋەﻟﺠەزاﯾﺮ ﮐﺮا‪ ،‬ﺑەو ﺣﺎڵەﺷەوە ﺷﺎﻧﺴﯽ ﭼﺎﭘﯽ ﺑﯚ‬ ‫ﻧەڕەﺧﺴﺎ‪ .‬ﺑﺮاﯾﻢ ﺋەﺣﻤەد ﺑە ﺗﺎواﻧﯽ ﮐﺎری ﺳﯿﺎﺳﯽ ﮐەوﺗە زﯾﻨﺪان و دەﺳﺘﻨﻮوﺳﯽ‬ ‫ژاﻧﯽ ﮔەل ﻻی ﻫﺎوڕێﮑﺎﻧﯽ ﺑەﺟێ ﻣﺎ و ﺗﺎ ﺳﺎاڵﻧێ ﺑە ﻧﻬێﻨﯽ ﭘﺎرێﺰرا‪ .‬دوای ڕووداوە‬ ‫ﺳﯿﺎﺳﯿەﮐﺎﻧﯽ ﻋێﺮاق ﻧﻮوﺳەر ﻟە زﯾﻨﺪان ﻫﺎﺗە دەر و ﺳﺎڵﯽ ‪ ١٩٦٧‬ژاﻧﯽ ﮔەل ﮐەوﺗەوە‬ ‫دەﺳﺖ ﻧﻮوﺳەر‪ .‬ﺋەﻣﺠﺎرە ﻧﺎوی ﮐﻮردی ﺑﯚ ﮐەﺳﺎﯾەﺗﯿﯿەﮐﺎﻧﯽ ﮔێڕدراﯾەوە و ﺳێ‬ ‫ﺑەﺷﯽ ﻟە ﮔﯚﭬﺎری ڕزﮔﺎریدا ﺑاڵو ﮐﺮاﻧەوە‪ .‬دواﺟﺎر ﺳﺎڵﯽ ‪ ١٩٧٢‬ﻟە ﺳﻠێامﻧﯽ وەک‬ ‫ﮐﺘێﺐ ﺑاڵوی ﮐﺮاﯾەوە‪» .‬ﺑﯿﺮا ﻗەدەرێ« و »ڕۆﻧﯽ ﻣﯿﻨﺎ ﺋەﭬﯿﻨێ‪ ،‬ﺗﺎری ﻣﯿﻨﺎ ﻣﺮﻧێ« ﺑە‬ ‫ﻗەڵەﻣﯽ ﻣﺤەﻣەد ﺋﯚزۆن‪ ،‬ﺑەﻧﺎوﺑﺎﻧﮕﱰﯾﻦ ﻧﻮوﺳەری ﺑﺎﮐﻮوری ﮐﻮردﺳﺘﺎن ﻟە ﺳﻮێﺪ و‪،‬‬ ‫ﻫەروەﻫﺎ »ﭼﯿﺎﯾێﻦ ب ﺧﻮێﻦ ﺋﺎڤدای« ﻟە ﻧﻮوﺳﯿﻨﯽ ﺑﺎوە ﻧﺎزە‪ ،‬ڕۆﻣﺎﻧﻨﻮوﺳﯽ ﮐﻮردی‬ ‫ڕۆژﺋﺎوای ﮐﻮردﺳﺘﺎن‪ ،‬ﻟە ‪ ١٩٨١‬ﻟە ﻣﯚﺳﮑﯚ ﻧﻮوﴎان و ﺑاڵو ﮐﺮاﻧەوە‪ .‬ﺗەﻧﺎﻧەت »ﻣەرﮔﯽ‬ ‫ﺗﺎﻗﺎﻧەی دووﻫەم« و »ﺋێﻮارەی ﭘەرواﻧە« و ڕۆﻣﺎﻧە ﮔەورەﮐﺎﻧﯽ دﯾﮑەی ﺑەﺧﺘﯿﺎر ﻋەﻟﯽ‪،‬‬ ‫ڕۆﻣﺎﻧﻨﻮوﺳﯽ ﺑەرﺟەﺳﺘەی ﺑﺎﺷﻮوری ﮐﻮردﺳﺘﺎن‪ ،‬ﻟە ﺋﺎڵامن ﻧﻮوﴎان و ﻟە ﮐﻮردﺳﺘﺎن‬ ‫ﭼﺎپ و ﺑاڵو ﮐﺮاﻧەوە‪.‬‬

‫ﺳﻠێامن دڵﺴﯚز‬ ‫ﻧﻮﯾﺴــﻨﺪه و ﻣﱰﺟــﻢ در ﺳــﺎل ‪ ۱۹۷۲‬در‬ ‫ﭘﯿﺮاﻧﺸــﻬﺮ ﮐﺮدﺳــﺘﺎن ﻣﺘﻮﻟــﺪ ﺷــﺪ و اوﻟﯿــﻦ‬ ‫ﻧﻮﺷــﺘﻪ ادﺑــﯽ ﺧــﻮد را در ﺳــﺎل ‪۱۹۹۵‬‬ ‫در ﻣﺎهﻧﺎﻣــﻪ »ﴎوه« ﺑــﻪ ﭼــﺎپ رﺳــﺎﻧﺪ‪.‬‬ ‫ﻧﻮﺷــﺘﻪﻫﺎ‪ ،‬ﺷــﻌﺮﻫﺎ و ﺗﺮﺟﻤﻪﻫــﺎی او‬ ‫در ﺷــامر زﯾــﺎدی از ﻣﺎﻫﻨﺎﻣﻪﻫــﺎ و‬ ‫روزﻧﺎﻣﻪﻫــﺎی ﮐﺮدﺳــﺘﺎن در اﯾــﺮان و‬ ‫ﻋــﺮاق ﺑــﻪ ﭼــﺎپ رﺳــﯿﺪه اﺳــﺖ‪ .‬او ﺗــﺎ‬ ‫ﮐﻨــﻮن ﻧــﻪ ﮐﺘــﺎب ادﺑــﯽ و ﺳﯿﺎﺳــﯽ را از‬ ‫ﻓﺎرﺳــﯽ ﺑــﻪ ﮐــﺮدی ﺑﺮﮔﺮداﻧــﺪه ﮐــﻪ ﺣﺎﺻــﻞ‬ ‫اﯾــﻦ ﺗــﻼش‪ ،‬اﻓــﺰودن ﻫﺸــﺖ ﮐﺘــﺎب‬ ‫ﺑــﻪ ﻓﻬﺮﺳــﺖ ﮐﺘﺎبﻫــﺎی ﮐﺮدیﺳــﺖ‪.‬‬ ‫اﯾــﻦ ﻧﻮﯾﺴــﻨﺪه ﮐــﺮد ﻋــﻼوه ﺑــﺮ اﻧﺘﺸــﺎر‬ ‫ﭼﻨــﺪ ﻣﺎﻫﻨﺎﻣــﻪ و روزﻧﺎﻣــﻪ‪ ،‬ﻋﻀــﻮ ﮔــﺮوه‬ ‫ﺗﺤﺮﯾﺮﯾــﻪ ﻣﺎﻫﻨﺎﻣــﻪ »راﻣــﺎن« در ﮐﺮدﺳــﺘﺎن‬ ‫ﻋــﺮاق ﺑــﻮده و ﺑــﻪ ﻣــﺪت دو ﺳــﺎل ﻧﯿــﺰ‬ ‫در اﻧﺘﺸــﺎرات »ﻣﻮﮐﺮاﯾﺎﻧــﯽ« در ﺳــﻤﺖ‬ ‫ﴎدﺑﯿــﺮ ﺑــﻪ ﻓﺮﻫﻨــﮓ و ادب ﮐــﺮدی‬ ‫ﺧﺪﻣــﺖ ﮐــﺮده اﺳــﺖ‪ .‬او در ﺣــﺎل ﺣــﺎﴐ‬ ‫در ﺗﻮرﻧﺘــﻮ ﻓﻌﺎﻟﯿﺖﻫــﺎی ادﺑــﯽ ﺧــﻮد را‬ ‫اداﻣــﻪ ﻣﯽدﻫــﺪ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-09 1:22 PM‬‬

‫‪129-130-History & Literature-Soleyman Delsoz-EDITED.indd 130‬‬

‫‪HISTORY AND LITERATURE‬‬

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‫~‪~ talk‬‬

‫‪exile, love‬‬ ‫‪and poetry‬‬ ‫‪by LEILI ANVAR‬‬ ‫‪WHEN:‬‬ ‫‪SUNDAY, 23 AUGUST - 12:00PM‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour‬‬ ‫‪LOCATION:‬‬ ‫‪Miss Lou’s,‬‬ ‫‪Harbourfront Centre‬‬

‫ﺧﻮد را ذﻫﻨﺎ ﺑﺮای ﺟﺎنﺑﺎزی اﮔﺮ ﴐورﺗﯽ ﭘﯿﺶ آﻣﺪ‪ ،‬آﻣﺎده ﮐﻨﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ‪ ،‬در دﻧﯿﺎﯾﯽ اﮔﺮ ﺑﺘﻮاﻧﺪ ﺑﻪ ﻋﻠﻢ و ﻓﺮﻫﻨﮓ و ادب آن ﺧﺪﻣﺖ ﻣﯽﮐﻨﺪ و ﻫﻢ ﻏﺎﻓﻞ منﯽﻣﺎﻧﺪ ﮐﻪ‬ ‫ﮐﻪ دﺳﺘﱪد ﺑﻪ ﻣﻔﺎﺧﺮ ﻓﺮﻫﻨﮕﯽ ﮐﺸﻮرﻫﺎی دﯾﮕﺮ ﻫﯿﭻ ﻧﺎدر ﻧﯿﺴﺖ و ﯾﺎ ﻫﻮﯾﺖ ﻣﻠﺘﯽ آﺳﺎﯾﺶ او ﺑﻪ آﺳﺎﯾﺶ دﯾﮕﺮان واﺑﺴﺘﻪ اﺳﺖ‪ .‬ﻋﻮاﻃﻔﯽ ﻫﺴﺖ ﮐﻪ ﺑﺮﺗﺮ از ﻋﻼﻗﻪﻫﺎی‬ ‫دﺳﺘﺨﻮش ﻣﻄﺎﻣﻊ ﭘﻨﻬﺎﻧﯽ ﯾﺎ ﺗﻌﺼﺒﺎت ﮐﻮر ﻓﺮﻗﻪای ﻗﺮار ﻣﯽﮔﯿﺮد‪ ،‬ﻫﺮ ﺟﺎﻣﻌﻪای ﺑﺎﯾﺪ ﺷﺨﺼﯽ و ﻣﻠﯽ اﺳﺖ‪ .‬راﺳﺘﯽ و ﺧﯿﺮﺧﻮاﻫﯽ و ﺗﺮﺣﻢ و آﻧﭽﻪ آدﻣﯿﺖ و اﻧﺴﺎﻧﯿﺖ‬ ‫در ﺣﻔﻆ ﻣﯿﺮاث ﺧﻮد ﺑﮑﻮﺷﺪ و ﮐﻼه ﺧﻮد را ﻧﮕﺎه دارد‪ ،‬ﭼﻨﺎن ﮐﻪ ﺧﻮد ﻧﮕﺎرﻧﺪه ﻧﯿﺰ ﺧﻮاﻧﺪه ﻣﯽﺷﻮد از اﯾﻨﮕﻮﻧﻪ اﺳﺖ‪ ،‬ﻫﺮ ﭼﻨﺪ »وﻃﻦ ﭘﺮﺳﺖ« ﮐﺬاﯾﯽ ﻓﻐﺎن ﺑﺮدارد ﮐﻪ‬ ‫ﺑﻪ ﴐورت ﻣﮑﺮر ﭘﯽﺳﭙﺮ اﯾﻦ ﻃﺮﯾﻖ ﺷﺪهام و در ﻣﻘﺎﻟﻪای ﮐﻪ ﺑﻪ ﻧﺎم‬ ‫وﻃﻦ ﻣﻘﺪس و ﻣﻘﺪم اﺳﺖ و دﯾﻦﻣﺪار رﯾﺎﮐﺎر ﻓﺮﯾﺎد واﴍﯾﻌﺘﺎ ﴎ دﻫﺪ‪ .‬ﭘﯿﺸﻮاﯾﺎن‬ ‫»‪ «Persian Presence in the Islamic World‬ﺑﺮای ﻃﺒﻊ در دﺳﺖ ﺗﻬﯿﻪ دارم‪،‬‬ ‫آزﻣﻨﺪ و زﯾﺎدهﺟﻮی ﺳﯿﺎﺳﯽ و ﻧﻈﺎﻣﯽ ﭘﯿﻮﺳﺘﻪ اﻓﺮاد ﺳﺎدهدل را ﺑﻪ ﻋﻨﻮان وﻃﻦﭘﺮﺳﺘﯽ‬ ‫ﻫﻤﻪ ﺳﺨﻦ از ﮐﺎرﻫﺎﯾﯽ اﺳﺖ ﮐﻪ اﯾﺮاﻧﯿﺎن اﻧﺠﺎم دادهاﻧﺪ‪ ،‬ﻫﺮ ﭼﻨﺪ ﻏﺮﺿﻢ روﺷﻦ‬ ‫و دﻓﺎع از ﻣﻨﺎﻓﻊ ﻣﻠﯽ ﻓﺮﯾﻔﺘﻪاﻧﺪ و ﺑﺎ اﻧﮕﯿﺨنت اﺣﺴﺎﺳﺎت ﺑﺪوی در آنﻫﺎ آﻧﺎن را‬ ‫ﺳﺎﺧنت روﯾﺪادﻫﺎی ﺗﺎرﯾﺨﯽﺳﺖ‪ ،‬ﻧﻪ ﻣﺒﺎﻫﺎت‪ .‬در ﺣﻘﯿﻘﺖ ﺑﯿﺶ از آن ﮐﻪ ﻣﻮﺟﺐ‬ ‫رواﻧﻪ ﻣﯿﺪانﻫﺎی ﺟﻨﮓ ﮐﺮدهاﻧﺪ ﺗﺎ ﭘﺎﯾﻪﻫﺎی ﻗﺪرت و ﻣﺎلاﻧﺪوزی ﺧﻮد را ﺑﺎ اﺳﺘﺨﻮان‬ ‫ﻣﺒﺎﻫﺎت ﺑﺎﺷﺪ‪ ،‬ﻣﺎﯾﻪ ﺗﺄﺳﻒ و ﺣﺘﯽ ﴍﻣﻨﺪﮔﯽ اﺳﺖ ﮐﻪ روزﮔﺎری ﻧﻈﺎﯾﺮ ﺑﯿﺮوﻧﯽ و‬ ‫در ﺧﺎک ﺧﻔﺘﻪ اﯾﻦ ﻓﺮﯾﻔﺘﮕﺎن اﺳﺘﻮارﺗﺮ ﮐﻨﻨﺪ و ﺳﻔﺮه ﺧﻮد را از ﺧﻮن اﯾﻦ ﮐﺸﺘﮕﺎن‬ ‫ﺑﯿﻬﻘﯽ و ﺑﻬﺰاد از اﯾﻦ آب و ﺧﺎک ﺑﺮﺧﺎﺳﺘﻪاﻧﺪ و اﻣﺮوز ﻣﺎ ﻧﺘﻮاﻧﯿﻢ ﭼﯿﺰ ﻗﺎﺑﻠﯽ ﺑﻪ‬ ‫رﻧﮕﯿﻦﺗﺮ منﺎﯾﻨﺪ‪ .‬ﭘﯿﺸﻮاﯾﺎن ﺑﻪ ﻇﺎﻫﺮ آراﺳﺘﻪ و ﺑﻪ ﺑﺎﻃﻦ ﮐﺎﺳﺘﻪ ﻣﺬﻫﺒﯽ ﻧﯿﺰ ﮐﻪ داﻋﯿﻪ‬ ‫ﮔﻨﺠﯿﻨﻪ ﻋﻠﻢ و ادب ﺟﻬﺎن ﺑﯿﻔﺰاﯾﯿﻢ و در داﻧﺶ و ﺷﯿﻮه ﭘﮋوﻫﺶ رﯾﺰهﺧﻮار ﺧﺮﻣﻦ‬ ‫ﻗﺪرت در دل آنﻫﺎ ﻣﯽﺟﻮﺷﺪ و از دﯾﺮﺑﺎز ﻣﺮدم ﺳﺎده دل را ﺑﻪ ﻫﻤﯿﻦ ﻧﺤﻮ ﻓﺮﯾﻔﺘﻪ و‬ ‫دﯾﮕﺮان ﺑﺎﺷﯿﻢ‪.‬‬ ‫ﺑﻪ ﻋﻨﻮان دﻓﺎع از »ﻣﺬﻫﺐ ﺑﺮ ﺣﻖ« ﺑﻪ ﮐﺸﺘﺎر و ﻏﺎرت ﯾﮑﺪﯾﮕﺮ واداﺷﺘﻪاﻧﺪ‪ ،‬ﺑﻪ ﺟﺎی‬ ‫آن ﮐﻪ ﭘﯿﺎم آنﻫﺎ ﻣﺒﴩ ﺻﻠﺢ ﺑﺎﺷﺪ‪ ،‬در ﻋﻤﻞ ﻣﺮوج ﺟﻨﮓ ﺑﻮده اﺳﺖ‪ .‬ﮐﺎﻓﯽ اﺳﺖ‬ ‫اﻣــﺎ ﺑﺎﯾــﺪ ﴐورت ﻧﺎﻣﻄﻠــﻮب را ﺑﺎ آرﻣﺎﻧﯽ ﮐﻪ ﻣﯽﺑﺎﯾﺪ ﺟﻬﺖ ﻣﺎ را ﺗﻌﯿﯿﻦ ﮐﻨﺪ و ﻣﺴــﯿﺮ ﺟﻨﮓﻫﺎی ﺧﻮﻧﯿﻦ ﻣﯿﺎن ﮐﺎﺗﻮﻟﯿﮏﻫﺎ و ﭘﺮوﺗﺴﺘﺎنﻫﺎ در اروﭘﺎ و ﻣﻨﺎزﻋﺎت ﻣﻌﺘﻘﺪان ﺑﻪ‬ ‫ﻣﺎ را روﺷــﻦ ﺳــﺎزد ﻓﺮق ﮔﺬاﺷــﺖ‪ .‬زﻧﺪﮔﯽ ﻣﻌﻨﻮی و اﺧﻼﻗﯽ ﺑﴩ ﺗﻼش ﻣﺪاوﻣﯽ‬ ‫ﯾﮕﺎﻧﮕﯽ ﯾﺎ دوﮔﺎﻧﮕﯽ ذات ﻋﯿﺴﯽ در ﺧﺎورﻣﯿﺎﻧﻪ و آزار ﻣﺎﻧﻮﯾﺎن و ﻣﺰدﮐﯿﺎن در دوران‬ ‫در ﻣﻬﺎر ﮐﺮدن ﻧﻔﺲ ﺳــﺘﯿﺰهﮔﺮ و درﻧﺪهﺧﻮ و ﻋﺎدت دادن اﻓﺮاد ﺑﻪ ﭘﺎﺳــﺪاری ﺣﻖ‬ ‫ﺳﺎﺳﺎﻧﯽ و زﻧﺪی ﻗﺰداﯾﯽ در ﺧﻼﻓﺖ ﻣﻬﺪی و ﺗﻌﻘﯿﺐ ﻣﻌﺘﻘﺪان ﺑﻪ ﻗﺪم ﻗﺮآن در اﯾﺎم‬ ‫دﯾﮕﺮان ﺑﻮده اﺳــﺖ‪ .‬ﺟﻨﺒﻪ اﺧﻼﻗﯽ ادﯾﺎن ﻧﯿﺰ ﻣﺘﻮﺟﻪ اﯾﻦ ﻣﻌﻨﯽ اﺳــﺖ‪ .‬زﻧﺪﮔﯽ‬ ‫ﻣﺄﻣﻮن و ﻣﻌﺘﺼﻢ و ﻧﺰاع ﺳﻨﯽ و ﻗﺮﻣﻄﯽ در ﻗﺮن ﭼﻬﺎرم و ﺳﻨﯽﮐﺸﯽ ﺷﺎه اﺳامﻋﯿﻞ و‬ ‫ﺻﻠﺢآﻣﯿﺰ ﺟﺎﻣﻌﻪ وﻗﺘﯽ ﺑﻪ درﺳــﺘﯽ اﻣﮑﺎنﭘﺬﯾﺮ ﻣﯽﺷــﻮد ﮐﻪ زﯾﺎدهﻃﻠﺒﯽ در درون‬ ‫ﺷﯿﻌﻪﮐﺸﯽ ازﺑﮑﺎن و ﻗﺘﻞ ﻋﺎم ‪ ۴۰‬ﻫﺰار ﻋﻠﻮی ﺑﻪ دﺳﺖ ﺳﻠﻄﺎن ﺳﻠﯿﻢ ﻋﺜامﻧﯽ در ﻗﺮن‬ ‫ﻣﺎ ﺣﺪی ﺑﺸﻨﺎﺳــﺪ و ﻣﻬﺮ و آﺷــﺘﯽ و ﻧﯿﮏﺧﻮاﻫﯽ در ذﻫﻦ و وﺟﻮد ﻣﺎ رﯾﺸــﻪ ﺑﮕﯿﺮد دﻫﻢ و ﺑﺎﺑﯽﮐﺸﯽﻫﺎی اﯾﺮان و ﻣﻘﺎﺗﻼت اﻣﺮوزی ﺷﺒﻪ ﻗﺎره ﻫﻨﺪ را ﺑﻪ ﯾﺎد ﺑﯿﺎورﯾﻢ‪.‬‬ ‫و ﻓﻘﻂ ﺗﺮس از زور ﻧﺒﺎﺷــﺪ ﮐﻪ ﻣﺎ را از ﺗﺠﺎوز ﺑﺎز دارد و اﯾﻦ ﻣﺤﺘﺎج ﺗﺮﺑﯿﺖ اﺳــﺖ‪.‬‬ ‫ﺗﺮوﯾﺞ »وﻃﻦﭘﺮﺳــﺘﯽ«‪ ،‬آن ﮔﻮﻧﻪ ﮐﻪ ﻣﺮﺳــﻮم ﻏﺎﻟﺐ ﻧﻘﺎط دﻧﯿﺎﺳــﺖ‪ ،‬ﻣﻨﺎﻓﯽ ﺗﺮﺑﯿﺖ و ﭘﯿﺮوان ﻣﺬاﻫﺐ ﺧﺎورﻣﯿﺎﻧﻪ ﻏﺎﻟﺒﺎ ﻃﺒﻊ ﺧﻮدﭘﺮﺳﺖ و ﺑﯿﺪادﮔﺮ ﺧﻮد را راﻫﻨامی ﺗﺎوﯾﻞ‬ ‫ﺗﻠﻘﯿﻨﯽﺳــﺖ ﮐﻪ ﺑﻪ ﺻﻠﺢ و آﺳــﺎﯾﺶ راﻫﱪ ﺷــﻮد‪ .‬وﻃﻦﭘﺮﺳﺘﯽ ﮐﺎذب در واﻗﻊ ﺗﻌﻤﯿﻢ دﯾﻦ ﻗﺮار داده و ﺑﻪ اﯾﻦ ﻧﺘﯿﺠﻪ رﺳﯿﺪهاﻧﺪ ﮐﻪ راه رﺳﯿﺪن ﺑﻪ ﺣﻖ ﯾﮑﯽ ﺑﯿﺶ ﻧﯿﺴﺖ‬ ‫ﺧﻮدﺧﻮاﻫﯽ اﺳــﺖ؛ وﺳــﯿﻠﻪ ﭘﻮﺷــﯿﺪهای ﺑﺮای ﺑﺰرﮔﺪاﺷﺖ ﺧﻮد و ﺗﻔﺎﺧﺮ و ﺗﺸﻮﯾﻖ‬ ‫و آن راﻫﯽ اﺳﺖ ﮐﻪ ﺻﺎﺣﺐ داﻋﯿﻪ ﮔﺰﯾﺪه اﺳﺖ؛ ﻫﺮ ﮐﺲ اﻋﺘﻘﺎدی ﺟﺰ آن داﺷﺘﻪ‬ ‫ﺗﻌﺮض اﺳــﺖ‪ .‬اﻣﺎ »وﻃﻦدوﺳــﺘﯽ« ﻣﯽﺗﻮاﻧﺪ ﻣﻌﻨﯽ ﴍﯾﻒﺗﺮی داﺷﺘﻪ ﺑﺎﺷﺪ‪ ،‬ﻣﻌﻨﯽای ﺑﺎﺷﺪ‪ ،‬ﻣﻠﺤﺪ و ﺑﯽدﯾﻦ اﺳﺖ و ﻣﺮ ﮔﺎرزان‪ ،‬ﻫﺮ ﭼﻨﺪ ﺑﯽآزار و ﻧﯿﮑﻮﮐﺎر ﺑﺎﺷﺪ‪ .‬ﺑﺪ ﻧﺒﻮد‬ ‫ﮐﻪ ﻣﻨﺎﻓﯽ آزادﮔﯽ و ﺻﻠﺢﺟﻮﯾﯽ ﻧﺒﺎﺷــﺪ و ﺑﻪ رﻓﺎه و ﺑﻪزﯾﺴــﺘﯽ ﻫﻤﮕﺎﻧﯽ ﺑﯿﻨﺠﺎﻣﺪ‪.‬‬ ‫ﮐﻪ درﺳﯽ از ﺳﻨﺖ دﯾﻦداری در ﺧﺎوردور ﻣﯽآﻣﻮﺧﺘﯿﻢ ﮐﻪ ﺣﺘﯽ اﻟﺘﻘﺎط ادﯾﺎن را روا‬ ‫ﺑﻪ ﮔامن ﻣﻦ‪ ،‬وﻃﻦدوﺳــﺘﯽ راﺳــﺘﯿﻦ ﺑﯿﺶ از ﻫﻤﻪ اﯾﻦ اﺳــﺖ ﮐﻪ ﻫﺮ ﮐﺲ در ﻫﺮ‬ ‫ﻣﯽدارد و از آن ﻧﺰدﯾﮏﺗﺮ راه و روش ﻋﺮﻓﺎی ﺧﻮد ﻣﺎﺳﺖ ﮐﻪ از ﻣﺴﺠﺪ و ﮐﻠﯿﺴﺎ و‬ ‫ﮐﺎری ﮐﻪ ﻫﺴــﺖ‪ ،‬ﺑﻪ ﻣﻘﺘﻀﺎی آن وﻓﺎ ﮐﻨﺪ و داد آن را ﺑﺪﻫﺪ‪.‬‬ ‫ﮐﻨﺸﺖ و ﺣﺘﯽ ﻣﯿﺨﺎﻧﻪ ﻧﯿﺰ راﻫﯽ ﺑﻪ ﺧﺪا ﯾﺎﻓﺘﻪاﻧﺪ و ﺧﻮﺑﺎن آنﻫﺎ در ﺗﺮک ﺗﻌﺼﺐ و‬ ‫دوﺑﯿﻨﯽ و ﻋﻨﺎد ﮐﻮﺷﯿﺪهاﻧﺪ و دﯾﻦ درﺳﺖ را در ﻣﻬﺮورزی و ﺧﺪﻣﺖ ﺑﻪ ﺧﻠﻖ و ﺷﮑﺴنت‬ ‫اﮔﺮ ﭘﺰﺷﮏ اﺳﺖ‪ ،‬ﺻﻤﯿامﻧﻪ در درﻣﺎن ﺑﯿامران ﺑﮑﻮﺷﺪ و وﻗﺖ ﺧﻮد را ﻫﻤﻪ ﴏف‬ ‫ﻧﻔﺲ و ﻓﺮوﺗﻨﯽ و ﭘﺎﮐﯽ دل داﻧﺴﺘﻪاﻧﺪ و ﺑﻪ ﺑﺎﻃﻦ دﯾﻦ ﺗﻮﺟﻪ ﮐﺮدهاﻧﺪ‪ ،‬ﻧﻪ ﻇﻮاﻫﺮ‬ ‫زﻣﯿﻦ ﺑﺎزی و ﻗامرﻫﺎی ﺷﺒﺎﻧﻪ ﻧﮑﻨﺪ‪ ،‬ﺑﻠﮑﻪ ﻋﻤﺪه آن را ﺑﻪ ﻓﺮاﮔﺮﻓنت ﭘﯿﴩﻓﺖﻫﺎی‬ ‫ﺗﻔﺮﻗﻪ اﻓﮑﻦ آن‪ .‬در ﺑﯿﺸﱰ ﻧﻘﺎط دﻧﯿﺎ ﮐﺘﺎبﻫﺎی ﺗﺎرﯾﺦ و ادب ﮐﻪ ﻣﺮوج وﻃﻦﭘﺮﺳﺘﯽ و‬ ‫ﭘﺰﺷﮑﯽ ﺑﮕﺬراﻧﺪ‪ .‬اﮔﺮ ﻣﻌﻠﻢ اﺳﺖ‪ ،‬ﻫﻤﻪ در ﺑﻨﺪ ﺗﺮﺑﯿﺖ ﺷﺎﮔﺮدان ﺧﻮد ﺑﺎﺷﺪ و از‬ ‫ﻣﻠﺖﺧﻮاﻫﯽ و دﯾﻨﺪاریاﻧﺪ‪ ،‬در اﺳﺎس ﴎ در ﺧﺪﻣﺖ ﺣﺮص و ﻗﺪرت ﺟﻮﯾﯽ ﭘﯿﺸﻮاﯾﺎن‬ ‫ﭘﮋوﻫﺶ و اﻓﺰودن داﻧﺶ ﺧﻮد ﻏﺎﻓﻞ منﺎﻧﺪ‪ .‬اﮔﺮ ﺑﻘﺎل اﺳﺖ‪ ،‬ﮐﻢﻓﺮوﺷﯽ و ﮔﺮانﻓﺮوﺷﯽ ﺳﯿﺎﺳﯽ و ﻣﺬﻫﺒﯽ دارﻧﺪ و ﻫﺪف ﺑﺎﻃﻨﯽ آنﻫﺎ آﻣﺎده ﺳﺎﺧنت ﻋﺎﻣﻪ ﺑﺮای ﮐﺸﺘﻪ ﺷﺪن‬ ‫ﻧﮑﻨﺪ‪ .‬اﮔﺮ ﮐﺎرﻣﻨﺪ اداره اﺳﺖ‪ ،‬ﺧﻮد را ﺧﺎدم ﻣﺮدم ﺑﺪاﻧﺪ‪ ،‬رﺷﻮه ﻧﮕﯿﺮد و از ﮐﺎر ﻧﺪزدد‪ .‬در راه آز و ﺷﻬﻮت اﯾﻦ ﭘﯿﺸﻮاﯾﺎن در روز ﻣﺒﺎداﺳﺖ‪ .‬ﺧﻮاﻫﯿﺪ ﮔﻔﺖ ﺗﺎ دﯾﮕﺮان ﺳﺎﻟﮏ‬ ‫اﮔﺮ ﭘﺎﺳﺒﺎن اﺳﺖ‪ ،‬ﺑﺎ دزد ﻧﺴﺎزد و ﻫﺪﯾﻪ ﻧﺨﻮاﻫﺪ و در اﻧﺪﯾﺸﻪ ﺟﺎن و ﻣﺎل ﻣﺮدم‬ ‫اﯾﻦ راهاﻧﺪ ﭼﺎره ﻧﯿﺴﺖ‪ ،‬واﻻ دﺳﺖﺧﻮش ﺗﺠﺎوز دﯾﮕﺮان ﺧﻮاﻫﯿﻢ ﺷﺪ‪ .‬اﻣﺎ اﮔﺮ ﺗﻦ ﺑﻪ‬ ‫ﺑﺎﺷﺪ‪ .‬اﮔﺮ ﺑﺎزرﮔﺎن اﺳﺖ‪ ،‬ﺑﻪ ﻧﻔﻌﯽ ﻋﺎدﻻﻧﻪ ﺧﺮﺳﻨﺪ ﺑﺎﺷﺪ و اﺣﺘﮑﺎر و ﺳﻮدﺟﻮﯾﯽ از‬ ‫اﯾﻦ اﺳﺘﺪﻻل ﺑﺴﭙﺎرﯾﻢ‪ ،‬از اﯾﻦ دور ﺑﺎﻃﻞ رﻫﺎﯾﯽ ﻧﺨﻮاﻫﯿﻢ داﺷﺖ‪ .‬ﻣﻄﻠﻮب آن اﺳﺖ ﮐﻪ‬ ‫ﻓﺮﺻﺖ را روا ﻧﺪارد‪ .‬اﮔﺮ ﻗﺎﺿﯽ اﺳﺖ‪ ،‬ﺑﻪ ﺣﻖ داوری ﮐﻨﺪ‪ .‬اﮔﺮ وﮐﯿﻞ دﻋﺎوی اﺳﺖ‪،‬‬ ‫ﻧﺨﺴﺖ رﯾﺎی وﻃﻦﭘﺮﺳﺘﯽ ﺑﻪ ﻣﻌﻨﯽ راﯾﺞ آن را ﺑﺸﻨﺎﺳﯿﻢ و زﺑﺎن آن را درﯾﺎﺑﯿﻢ‪ .‬دﯾﮕﺮ‬ ‫راﺳﺖ را دروغ ﻧﮑﻨﺪ و ﻣﻮﮐﻞ ﺧﻮد را ﻧﻔﺮﯾﺒﺪ‪ .‬اﮔﺮ در ﮐﺎر ﺳﯿﺎﺳﺖ اﺳﺖ‪ ،‬ﺑﻬﺒﻮد ﺣﺎل آن ﮐﻪ ﮐﻮﺷﺶ ﻣﺎ ﻫﻤﻪ ﺑﺮای آﻣﺎده ﮐﺮدن ذﻫﻦﻫﺎ ﺑﺮای دﻓﺎع از ﺧﻮد ﺑﺎﺷﺪ ﻧﻪ ﻫﺠﻮم‬ ‫ﻣﺮدم و ﻣﺼﺎﻟﺢ راﺳﺘﯿﻦ ﮐﺸﻮر را راﻫﻨامی ﮔﻔﺘﺎر و ﮐﺮدار ﺧﻮد ﻗﺮار دﻫﺪ و اﮔﺮ ﴎﺑﺎز و دﺳﺘﱪد ﺑﻪ دﯾﮕﺮان‪ .‬ﺳﻮم آن ﮐﻪ در ﻋﯿﻦ آن ﮐﻪ در ﺣﻔﻆ آب و ﺧﺎک و ﻓﺮﻫﻨﮓ‬ ‫ﯾﺎ ﻓﺮﻣﺎﻧﺪه اﺳﺖ‪ ،‬ﺧﻮد را ﺑﺮای دﻓﺎع آﻣﺎده ﺑﺪارد و از دﺷﻤﻦ ﻧﮕﺮﯾﺰد‪ .‬اﯾﻦ اﺻﻠﯽ‬ ‫ﺧﻮد و ذﺧﺎﯾﺮ و ﻣﻔﺎﺧﺮ ﻣﻠﯽ ﻣﯽﮐﻮﺷﯿﻢ‪ ،‬از اﯾﻦ ﻧﮑﺘﻪ ﻏﺎﻓﻞ منﺎﻧﯿﻢ ﮐﻪ اﮔﺮ ﻣﻠﺖﭘﺮﺳﺘﯽ‬ ‫اﺳﺖ ﮐﻪ اﮔﺮ رﻋﺎﯾﺖ ﺷﻮد و ﺑﻪ ﺗﺮﺑﯿﺖ در ﺿﻤﯿﺮﻫﺎ ﺧﺎﻧﻪ ﺑﮕﯿﺮد‪ ،‬ﻣﺮدم را از ﺟﻨﮓ و ﻣﺮﺣﻠﻪ ﭘﯿﴩﻓﺘﻪﺗﺮی از ﻗﺒﯿﻠﻪﭘﺮﺳﺘﯽ و ﮐﺸﻤﮑﺶﻫﺎی ﻋﺸﯿﺮهای اﺳﺖ‪» ،‬ﺟﻬﺎندوﺳﺘﯽ«‬ ‫وﯾﺮاﻧﯽﻫﺎ و ﻣﺼﺎﯾﺐ آن در اﻣﺎن ﻧﮕﺎه ﺧﻮاﻫﺪ داﺷﺖ‪ .‬ﭼﻨﺎن ﮐﻪ ﻋﺒﯿﺪ زاﮐﺎﻧﯽ درﯾﺎﻓﺘﻪ ﻧﯿﺰ ﻣﺮﺣﻠﻪ ﺗﮑﺎﻣﻞ ﯾﺎﻓﺘﻪای از »وﻃﻦﭘﺮﺳﺘﯽ« اﺳﺖ‪ .‬ﻣﯽﺗﻮان آن را ﺗﺮوﯾﺞ ﮐﺮد و ﻋﺸﻖ‬ ‫ﺑﻮد و در ﻟﻄﯿﻔﻪای آورده اﺳﺖ‪» :‬ﻗﺰوﯾﻨﯽ ﺑﺎ ﮐامن ﺑﯽ ﺗﯿﺮ ﺑﻪ ﺟﻨﮓ ﻣﯽرﻓﺖ ﮐﻪ ﺗﯿﺮ آن را در دلﻫﺎ ﻧﺸﺎﻧﺪ و اﻣﯿﺪوار ﺑﻮد ﮐﻪ ﮐﻮﺷﺶﻫﺎی آﻏﺎزﯾﻦ در راه اﯾﻦ ﻫﺪف ﮐﻪ‬ ‫از ﺟﺎﻧﺐ دﺷﻤﻦ آﯾﺪ‪ ،‬ﺑﺮدارد‪ .‬ﮔﻔﺘﻨﺪ‪ :‬ﺷﺎﯾﺪ ﻧﯿﺎﯾﺪ‪ .‬ﮔﻔﺖ‪ :‬آن وﻗﺖ ﺟﻨﮓ ﻧﺒﺎﺷﺪ‪«.‬‬ ‫اﻣﺮوز ﺷﺎﻫﺪ آﻧﯿﻢ و ﺟﺴﺘﻪ ﮔﺮﯾﺨﺘﻪ ﺑﻪ ﮔﻮش ﻣﯽرﺳﺪ و ﻃﺮح وﺣﺪت اروﭘﺎ از ﮔﺎمﻫﺎی‬ ‫ﻧﺨﺴﺘﯿﻦ آن اﺳﺖ‪ ،‬روزی ﭘﯿﺮوز ﺷﻮد و رﻧﺞ ﺟﻨﮓ و زﺑﺎن ﺳﺘﯿﺰه و ﮐﺸﺘﺎر ﺑﻪ ﺗﺪرﯾﺞ از‬ ‫وﻃﻦﭘﺮﺳﺘﯽ راﺳﺘﯿﻦ و ﺧﺪﻣﺖ ﺑﻪ ﺟﺎﻣﻌﻪای ﮐﻪ ﻣﺎ را ﭘﺮورده اﺳﺖ اﯾﻦ اﺳﺖ‪ .‬ﻓﺮاﺗﺮ ﻣﯿﺎن ﺑﺮﺧﯿﺰد‪ .‬روزی ﺑﺮﺳﺪ ﮐﻪ »وﻃﻦﭘﺮﺳﺖ« ﺑﯽدﻏﺪﻏﮥ ﺧﺎﻃﺮ »ﺟﻬﺎ نﭘﺮﺳﺖ« ﺷﻮد و‬ ‫از اﯾﻦ‪ ،‬ﮐﺴﯽ ﮐﻪ وﻃﻦ ﺧﻮد را ﺑﻪ راﺳﺘﯽ دوﺳﺖ دارد در آﺑﺎداﻧﯽ آن ﻣﯽﮐﻮﺷﺪ‪،‬‬ ‫ﻫﻤﻪ ﻋﺎمل را ﺧﺎﻧﻪ ﺧﻮد ﺑﺸامرد و در آﺑﺎدی و ﺑﻪروزی آن ﺑﮑﻮﺷﺪ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:24 AM‬‬

‫‪131-133-History & Literature-Ehsan Yarshater-EDITED.indd 131‬‬

‫‪HISTORY AND LITERATURE‬‬

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‫ﺑﻪ دوﺳﺖ ﻓﺎﺿﻞ و ﺷﯿﺮﯾﻦ ﺳﺨﻨﻢ دﮐﱰ ﻣﺤﻤﺪﺟﻌﻔﺮ ﻣﺤﺠﻮب‬ ‫ﮐﻪ ﻫﻨﻮز از ﺑﻨﺪ ﺳﺘﯿﺰهﺧﻮﯾﯽ ﺑﺪوی ﻧﺮﺳﺘﻪ اﺳﺖ‪ ،‬ﻣﻤﺪوح و ﻣﻘﺪس ﺷﻤﺮده ﻣﯽﺷﻮد‪.‬‬ ‫وﻃﻦﭘﺮﺳﺖ ﮐﺴﯽﺳﺖ ﮐﻪ اﯾﺮان را ﻣﺎﯾﻪ ﻓﺨﺮ ﻋﺎمل ﺑﺸامرد و دﯾﮕﺮان را ﺧﻮار ﺑﺪارد‪.‬‬ ‫ﻗﺪرت اﯾﻦ ﺳﺘﯿﺰهﺧﻮﯾﯽ و ﮐﯿﻨﻪﺗﻮزی‪ ،‬ﮐﻪ در ﻟﺒﺎس ﻣﻌﺼﻮممنﺎی »وﻃﻦﭘﺮﺳﺘﯽ« روی‬ ‫ﻫﺮﮐﺲ ﺗﺮک و ﺗﺎزی را زﺷﺖﺗﺮ ﺗﺮﺳﯿﻢ ﮐﻨﺪ و ﺑﺮ آنﻫﺎ ﺗﯿﺰﺗﺮ ﺑﺘﺎزد‪ ،‬وﻃﻦﭘﺮﺳﺖﺗﺮ‬ ‫ﻣﯽمنﺎﯾﺪ‪ ،‬در ﺑﻌﻀﯽ ﺟﺎﻣﻌﻪﻫﺎ ﻫﻨﻮز ﺑﻪ ﺣﺪی اﺳﺖ ﮐﻪ اﮔﺮ ﮐﺴﯽ ﺑﻪ ﻋﻠﺖ ﻣﻈﺎمل و‬ ‫اﺳﺖ‪ ،‬ﺧﺎﺻﻪ اﮔﺮ ﻫﻨﮕﺎم ﻓﺨﺮﭘﺮدازی ﻣﺸﺖﻫﺎ را ﻫﻢ ﮔﺮه ﮐﻨﺪ و ﺧﻮن ﺑﻪ ﭼﻬﺮه‬ ‫ﺑﺪواﻧﺪ و رگﻫﺎی ﮔﺮدﻧﺶ ﺑﺮﺧﯿﺰد‪ .‬ﻫﺮﮐﻪ ﺑﺎﻧﮕﺶ در ﻧﮑﻮﻫﺶ ﻧﺎ اﯾﺮاﻧﯿﺎن ﺑﻠﻨﺪﺗﺮ ﺑﺎﺷﺪ ﺷﻘﺎوتﻫﺎﯾﯽ ﮐﻪ از آن ﻣﯽزاﯾﺪ ﺣﺘﯽ ﺗﺄﻣﻠﯽ در ﺗﺮوﯾﺞ ﺧﻮدﺳﺘﺎﯾﯽ ﻣﻠﯽ ﻧﺸﺎن ﺑﺪﻫﺪ‪،‬‬ ‫ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺑﯽﻋﻼﻗﮕﯽ ﺑﻪ وﻃﻦ ﻣﺘﻬﻢ ﻣﯽﺷﻮد‪ ،‬ﺑﻠﮑﻪ دور ﻧﯿﺴﺖ ﮐﻪ ﺑﻪ ﺧﯿﺎﻧﺖ ﺑﻪ‬ ‫و ﮐﯿﻦﻫﺎش ﻧﺴﺒﺖ ﺑﻪ آﻧﺎن ژرﻓﱰ در وﻃﻦﭘﺮﺳﺘﯽ ﺑﻠﻨﺪﻧﺎمﺗﺮ اﺳﺖ‪ .‬ﻫﺮ ﭼﯿﺰی را ﺑﻪ‬ ‫وﻃﻦ و ﻣﻘﺪﺳﺎت ﻣﻠﯽ و ﻣﺬﻫﺒﯽ ﻧﯿﺰ ﻣﺤﮑﻮم ﮔﺮدد‪ ،‬ﺗﺎ ﭼﻪ رﺳﺪ ﺑﻪ اﯾﻦ ﮐﻪ ﺧﻼف آن‬ ‫ﺿﺪش ﻣﯽﺗﻮان ﺷﻨﺎﺧﺖ‪ .‬ﻣﯿﺰان ﻣﻬﺮ ﻣﺎ ﺑﻪ وﻃﻦ‪ ،‬ﮐﯿﻦﻫﺎﯾﯽﺳﺖ ﮐﻪ ﺑﻪ ﻫﻤﺴﺎﯾﮕﺎن‬ ‫اﺑﺮاز ﮐﻨﯿﻢ‪ .‬ﺣامﺳﻪﴎاﯾﯽ در ﻣﺪح و ﺗﻬﻨﯿﺖ‪ ،‬ﺧﻮد روی دﯾﮕﺮ اﯾﻦ ﺳﮑﻪ اﺳﺖ‪ .‬ﻓﺮوﺗﻨﯽ را ﺑﮕﻮﯾﺪ‪ .‬ﺑﺎ اﯾﻦ ﻫﻤﻪ‪ ،‬ﺗﺮدﯾﺪ منﯽﺗﻮان ﮐﺮد ﮐﻪ اﮔﺮ ﺑﻨﺎﺳﺖ روزی ﺻﻠﺢ و ﺻﻔﺎی ﭘﺎﯾﺪار‬ ‫و ﺗﻮاﺿﻌﯽ ﮐﻪ در ﻓﺮد ﭘﺴﻨﺪﯾﺪه اﺳﺖ‪ ،‬آﻧﺠﺎ ﮐﻪ ﭘﺎی ﺟﺎﻣﻌﻪ و ﮐﺸﻮر ﺑﻪ ﻣﯿﺎن ﻣﯽآﯾﺪ در ﻋﺎمل ﺑﺮﻗﺮار ﺷﻮد‪ ،‬ﺑﺎﯾﺪ دﺳﺖ از ﺧﻮدﭘﺮﺳﺘﯽ در ﺟﺎﻣﻪ »وﻃﻦﭘﺮﺳﺘﯽ« ﺑﺮداﺷﺖ و‬ ‫از ﭘﯿﺸﻮاﯾﺎن ﺳﯿﺎﺳﯽ و ﻓﺮﻫﻨﮕﯽ ﮐﻪ ﺑﺎ ﺑﻬﺮهﺑﺮداری از اﺣﺴﺎﺳﺎت ﺑﺪوی اﻓﺮاد َﻋﻠَﻢ‬ ‫ﺑﻪ ﮐﻠﯽ ﻧﺎﭘﺴﻨﺪ اﺳﺖ‪ .‬ﺧﻮدﺳﺘﺎﯾﯽ اﺳﺖ ﮐﻪ ﻓﻀﯿﻠﺖ ﺑﻪ ﺷامر ﻣﯽرود‪.‬‬ ‫ﺑﺮﺗﺮی ﻣﻠﯽ ﺑﺮﻣﯽدارﻧﺪ و ﺑﻪ ﻋﻨﻮان ﺣﻔﻆ ﺧﺎﻧﻪ و ﻻﻧﻪ‪ ،‬دلﻫﺎی ﻣﺮدم را ﺑﻪ ﺧﺸﻢ‬ ‫و ﮐﯿﻨﻪ ﻣﯽآﻻﯾﻨﺪ دوری ﮔﺰﯾﺪ‪ .‬ﻫﻤﭽﻨﯿﻦ‪ ،‬ﺑﺎﯾﺪ ﺑﻪ ﻫﻤﻪ ﮐﺴﺎﻧﯽ ﮐﻪ ﺑﻪ اﻓﻐﺎﻧﯽ ﺑﻮدن‬ ‫اﯾﻦ ﮔﻮﻧﻪ ﺧﻮددوﺳﺘﯽ و ﮐﯿﻨﻪﺗﻮزی ﺑﺎ ﻫﻤﺴﺎﯾﻪ و ﺑﯿﮕﺎﻧﻪ ﻣﺨﺼﻮص ﻣﺎ ﻧﯿﺴﺖ‪ .‬در‬ ‫ﯾﺎ ﭼﯿﻨﯽ ﺑﻮدن ﯾﺎ ﺑﻠﻐﺎری ﺑﻮدن ﺧﻮد »اﻓﺘﺨﺎر« ﻣﯽﮐﻨﻨﺪ ﺑﻪ دﯾﺪه ﺗﺮدﯾﺪ ﻧﮕﺮﯾﺴﺖ‬ ‫ﺑﯿﺸﱰ ﻧﻘﺎط دﻧﯿﺎ ﺑﻪ ﺻﻮرﺗﯽ ﺧﻔﯿﻒﺗﺮ ﯾﺎ ﺷﺪﯾﺪﺗﺮ ﺑﻪ ﭼﺸﻢ ﻣﯽﺧﻮرد‪ .‬در ﺳﯿﺮی ﮐﻪ‬ ‫از ﺗﻌﺼﺒﺎت ﻋﺸﯿﺮهای آﻏﺎز ﺷﺪه و ﺑﻪ اﻧﺪﯾﺸﻪ ﯾﮕﺎﻧﮕﯽ ﺟﻬﺎن و وﺣﺪت ﻋﺎمل اﻧﺴﺎﻧﯽ و از ﺧﻮد ﭘﺮﺳﯿﺪ »اﻓﺘﺨﺎر« از ﭼﻪ روﺳﺖ؟ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﻓﻀﻞ ﭘﺪر و ﻧﯿﺎﮐﺎن اﺳﺖ‬ ‫و ﯾﺎ دﺳﺘﺎوردﻫﺎی ﺷﺨﺼﯽ؟ اﮔﺮ ﮐﺴﯽ ﺧﻮد ﮐﺎری ﮐﺮده اﺳﺖ‪ ،‬آﯾﺎ زﺷﺖ ﻧﯿﺴﺖ ﮐﻪ‬ ‫اﻧﺠﺎﻣﯿﺪه‪ ،‬ﺑﺮﺧﯽ ﻫﻨﻮز در ﻣﺮاﺣﻞ ﻧﺨﺴﺘﯿﻦ آن ﻗﺮار دارﻧﺪ‪ .‬ﺟﻨﮓﻫﺎی ﻗﺒﯿﻠﻪای ﮐﻪ‬ ‫در ﺑﻌﻀﯽ از ﻧﻘﺎط آﻓﺮﯾﻘﺎ ﺑﺎ ﺻﺤﻨﻪﻫﺎﯾﯽ وﺣﺸﺖاﻧﮕﯿﺰ از ﺧﺸﻮﻧﺖ و ﻗﺴﺎوت ﻫﻨﻮز ﻓﺨﺮﻓﺮوﺷﯽ ﮐﻨﺪ؟ و اﮔﺮ ﻧﺎزِش او ﺑﻪ ﻓﻀﻞ ﭘﺪران اﺳﺖ ﮐﻪ ﺑﺎﯾﺪ ﮔﻔﺖ ﭘﻬﻠﻮاﻧﯽ ﺑﻪ‬ ‫زور ﺑﺎزوی ﻣﺮده ﮐﺮدن اﺳﺖ‪ .‬اﻟﺒﺘﻪ ﻣﯽﺗﻮان در دﻧﯿﺎ ﺑﻪ اﻣﻮری اﻓﺘﺨﺎر ﮐﺮد‪ ،‬وﻟﯽ ﻧﻪ‬ ‫ﺑﺮوز ﻣﯽﮐﻨﺪ از اﯾﻦ ﻗﺒﯿﻞ اﺳﺖ‪ .‬آن ﭼﻪ اﻣﺮوز )ﺑﻪ ﺗﺎرﯾﺦ ﯾﺎدداﺷﺖ( در ﯾﻮﮔﺴﻼوی‬ ‫ﭘﯿﺸﯿﻦ ﻣﯽﮔﺬرد و ﯾﺎ ﺳﻮدان و ﻟﺒﻨﺎن و اﻓﻐﺎﻧﺴﺘﺎن را ﺑﻪ ﺧﺎک وﺧﻮن ﮐﺸﯿﺪه ﻧﯿﺰ ﺑﻪ ﺑﻪ ﻣﻄﻠﻖِ زاده ﺷﺪن در ﮐﺸﻮری ﯾﺎ ﺷﻬﺮی ﯾﺎ ﻗﺒﯿﻠﻪای‪ .‬زادﮔﺎه ﻣﺎ از اﺧﺘﯿﺎر ﻣﺎ ﺑﯿﺮون‬ ‫اﺳﺖ و در روﯾﺪاد آن ﺗﴫﻓﯽ ﻧﺪاﺷﺘﻪاﯾﻢ‪ .‬اﯾﻦ اﻓﺘﺨﺎرﻫﺎ و وﻃﻦﭘﺮﺳﺘﯽﻫﺎی ﮐﺎذب در‬ ‫واﻗﻊ از ﻧﻮع ﺟﻨﮓﻫﺎی ﻗﺒﯿﻠﻪای و ﻓﺮﻗﻪایﺳﺖ و از آﻧﺠﺎﺳﺖ ﮐﻪ ﻣﺮدم آن در ﻃﯽ‬ ‫ﺗﺎرﯾﺦ ﺧﻮد از آن ﮔﻮﻧﻪ ﺗﺮﺑﯿﺖ ذﻫﻨﯽ و ﻋﺎدات اﺟﺘامﻋﯽ ﮐﻪ ﻣﺜﻼ ﻣﺮدم اﺳﮑﺎﻧﺪﯾﻨﺎوی ﻧﻬﺎﯾﺖ ﻣﺎﻧﻊ ﺻﻠﺢ و ﺳﻼﻣﺖ ﻣﺎﺳﺖ و ﻣﺆﯾﺪ ﺟﻨﮓ و ﺷﻘﺎوت‪.‬‬ ‫ﺧﻮاﻧﻨﺪه ﺗﯿﺰﺑﯿﻦ ﺧﻮاﻫﺪ ﮔﻔﺖ ﭘﺲ در اﯾﻦ ﺟﻬﺎن آﺷﻔﺘﻪ ﮐﻪ ﻫﺮ ﮐﺲ دﺳﺘﺶ ﺑﺮﺳﺪ‬ ‫ﯾﺎ اﻧﮕﻠﺴﺘﺎن ﯾﺎ ﺳﻮﯾﯿﺲ را از ﺟﻨﮓﻫﺎی ﻧﮋادی و ﻣﺬﻫﺒﯽ ﺑﺎز ﻣﯽدارد‪ ،‬ﺑﺮﺧﻮردار‬ ‫ﮐﻼه از ﴎ دﯾﮕﺮی ﺑﺮ ﻣﯽدارد‪ ،‬ﭼﮕﻮﻧﻪ ﺑﺎﯾﺪ در ﺣﻔﻆ ﻣﻨﺎﻓﻊ ﺧﻮد ﮐﻮﺷﯿﺪ و ﮐﺎﺷﺎﻧﻪ‬ ‫ﻧﺸﺪهاﻧﺪ و اﺻﻞ ﺑﺮدﺑﺎری و ﺗﺴﺎﻫﻞ ﻣﯿﺎن آﻧﺎن ﭘﺎﯾﮕﺎه ﻣﺤﮑﻤﯽ ﻧﯿﺎﻓﺘﻪ اﺳﺖ‪.‬‬ ‫ﺧﻮد را از ﮔﺰﻧﺪ دﺷﻤﻦ ﻧﮕﺎه داﺷﺖ؟ اﮔﺮ ﺣﺲ وﻃﻦﭘﺮﺳﺘﯽ ﻣﺮدم ﺗﻘﻮﯾﺖ ﻧﺸﻮد‪،‬‬ ‫ﭼﮕﻮﻧﻪ ﻣﯽﺗﻮان ﭼﺸﻢ داﺷﺖ ﮐﻪ روز ﺣﺎدﺛﻪ ﻧﮕﺮﯾﺰﻧﺪ و ﭘﺎﯾﺪاری و ﺟﺎنﻓﺸﺎﻧﯽ‬ ‫در ﺑﺴﯿﺎری ﮐﺸﻮرﻫﺎی دﯾﮕﺮ ﻧﯿﺰ ﭼﻨﯿﻦ وﺿﻌﯽ ﺑﺎﻟﻘﻮه ﻣﻮﺟﻮد اﺳﺖ و اﮔﺮ ﺗﺮس از‬ ‫منﺎﯾﻨﺪ؟ آﯾﺎ ﺟﺰ اﯾﻦ اﺳﺖ ﮐﻪ ﺣﺲ وﻃﻦﭘﺮﺳﺘﯽ اﻓﺮاد را ﺗﻨﻬﺎ ﺑﺎ ﯾﺎدآوری دﻻوریﻫﺎ و‬ ‫ﺣﺎﮐﻢ ﻣﺴﺘﺒﺪی ﮐﻪ ﺑﺮ ﴎﯾﺮ ﻗﺪرت ﻧﺸﺴﺘﻪ اﺳﺖ ﻣﺎﻧﻊ ﻧﺸﻮد‪ ،‬اﻧﻔﺠﺎر ﮐﯿﻨﻪﻫﺎﯾﯽ‬ ‫اﻓﺘﺨﺎرات ﻣﻠﯽ و ﭘﯿﺮوزیﻫﺎی ﮔﺬﺷﺘﮕﺎن ﻣﯽﺗﻮان ﻧﯿﺮو ﺑﺨﺸﯿﺪ؟ ﮐﺴﯽ ﮐﻪ ﺑﻪ ﺧﺎمنﺎن و‬ ‫ﮐﻪ از دﯾﺮﺑﺎز ﺑﺎ ﻓﺨﺮﯾﻪﻫﺎی ﻗﻮﻣﯽ و ﺣامﺳﻪﻫﺎی ﻣﯿﻬﻨﯽ ﺗﻘﻮﯾﺖ ﺷﺪهاﻧﺪ‪ ،‬ﻣﺮدم را‬ ‫ﻣﯿﻬﻦ ﺧﻮد ﻋﺸﻖ ﻧﻮرزد‪ ،‬ﭼﮕﻮﻧﻪ از آن ﭘﺎﺳﺪاری ﺗﻮاﻧﺪ ﮐﺮد؟‬ ‫ﺑﻪ ﮐﺸﺘﺎر ﯾﮑﺪﯾﮕﺮ ﺧﻮاﻫﺪ ﮐﺸﺎﻧﺪ‪ .‬منﻮﻧﻪﻫﺎی آن ﮔﺎه ﮔﺎه در ﮐﺸﻮرﻫﺎی آﺳﯿﺎﯾﯽ و‬ ‫آﻣﺮﯾﮑﺎی ﻣﺮﮐﺰی و ﺟﻨﻮﺑﯽ ﺑﺮوز ﻣﯽﮐﻨﺪ و اﮐﻨﻮن ﺷﺎﻫﺪ ﻣﻨﻈﺮهﻫﺎی ﺧﻮﻧﯿﻨﯽ از آن‬ ‫اﯾﻦ ﻧﮑﺘﻪ ﺑﯽوﺟﻪ ﻧﯿﺴﺖ‪ ،‬ﻫﺮ ﭼﻨﺪ در اﺳﺎس ﺑﺎ اﺳﺘﺪﻻﻟﯽ ﮐﻪ ﻣﻤﮑﻦ اﺳﺖ ﭘﯿﺸﻮاﯾﺎن‬ ‫در اﻣﭙﺮاﺗﻮری ﺳﺎﺑﻖ ﺷﻮروی و اروﭘﺎی ﴍﻗﯽ ﻫﺴﺘﯿﻢ‪ .‬اﯾﻦ ﮐﯿﻨﻪای ﮐﻪ ﴏبﻫﺎ و‬ ‫ﻗﺒﯿﻠﻪای ﺑﺮای ﭘﺎﯾﺪاری در ﺑﺮاﺑﺮ ﻫﺠﻮم ﻣﺤﺘﻤﻞ ﻗﺒﯿﻠﻪای دﯾﮕﺮ ﭘﯿﺶ ﺑﮑﺸﻨﺪ ﯾﮑﺴﺎن‬ ‫ﮐﺮواتﻫﺎ و ﻣﺮدم ﺑﻮﺳﻨﯽ را ﺑﻪ ﺟﺎن ﻫﻢ اﻧﺪاﺧﺘﻪ و زﻧﺪﮔﯽ آنﻫﺎ را وﯾﺮان ﺳﺎﺧﺘﻪ‪،‬‬ ‫اﺳﺖ‪ .‬راﺳﺖ اﺳﺖ ﮐﻪ در دﻧﯿﺎﯾﯽ ﮐﻪ ﻫﻨﻮز دﺳﺘﮕﺎه ﻋﺎدﻟﯽ ﺑﺮ اﻣﻮر آن ﺣﮑﻤﻔﺮﻣﺎ‬ ‫ﻋﻤﺪﺗﺎ ﭘﺮداﺧﺘﻪ ﻫامن ﺟﺪا اﻧﺪﯾﺸﯽ و ﺷﻮرﻫﺎی ﻣﯿﻬﻨﯽ و ﻧﺎزشﻫﺎی وﻃﻦﭘﺮﺳﺘﺎﻧﻪ‬ ‫اﺳﺖ ﮐﻪ در ﺣامﺳﻪﻫﺎی آنﻫﺎ و ﺗﺒﻠﯿﻐﺎت »ﻣﻠﯽ« آنﻫﺎ ﺟﻠﻮهﮔﺮ اﺳﺖ و در دﻧﯿﺎﯾﯽ ﻧﯿﺴﺖ‪ ،‬ﻫﺮ ﮐﺸﻮری ﻧﺎﭼﺎر اﺳﺖ ﺑﺮای ﻧﮕﺎﻫﺪاری ﺧﻮد ﺳﭙﺎﻫﯽ داﺷﺘﻪ ﺑﺎﺷﺪ و ﻣﺮدم‬

‫اﯾــﻦ ﻣﻘﺎﻟــﻪ در ﻣﺠﻠــﻪ »اﯾﺮانﺷﻨﺎﺳــﯽ«‬ ‫ﺳــﺎل ‪ ،۵‬ﺷــامره ‪ ۱‬در ﺑﻬــﺎر ‪ ۱۳۷۲‬ﺑــﻪ ﻗﻠــﻢ‬ ‫اﺣﺴــﺎن ﯾﺎرﺷــﺎﻃﺮ ﺑــﻪ ﭼــﺎپ رﺳــﯿﺪه و در‬ ‫»اﯾﺮانﻧﺎﻣــﻪ«‪ ،‬ﺳــﺎل ‪ ،۳۰‬ﺷــامره ‪ ،۲‬ﺗﺎﺑﺴــﺘﺎن‬ ‫‪ ۱۳۹۴‬ﻧﯿــﺰ ﻣﺠــﺪدا ﻣﻨﺘــﴩ ﺷــﺪه اﺳــﺖ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-09 1:30 PM‬‬

‫‪131-133-History & Literature-Ehsan Yarshater-EDITED.indd 132‬‬

HISTORY AND LITERATURE

133

TIRGAN MAGAZINE AUGUST 2015

131-133-History & Literature-Ehsan Yarshater-EDITED.indd 133

2015-08-06 4:24 AM

‫‪VISUAL ARTS‬‬

‫‪134‬‬

‫ﮐﺎر ﮐﴪی ﻋﺎﺑﺪﯾﻨﯽ اﻧﺪﯾﺸﻤﻨﺪی در ﺗﺼﺎوﯾﺮ و ﺧﻄﻮط اﺳﺖ‪ .‬او ﻣﯿﺪان ﺗﺼﺎوﯾﺮ‬ ‫و ﻧﻘﻮش و ﺧﻄﻮط را ﺑﺮای آﻓﺮﯾﻨﺶ ﻫرنی و درﻧﻮردﯾﺪن ﻫﺰارﺗﻮی ﺧﻼﻗﯿﺖ و‬ ‫اﺑﺪاﻋﺎت در ﻋﺮﺻﻪ ﻓﺮﻫﻨﮓ و ﻗﻠﻢ و اﻧﺪﯾﺸﻪ ﺑﺮﮔﺰﯾﺪه؛ و در اﯾﻦ راه از دل ﻧﻘﺶ‬ ‫و ﻧﮕﺎر و ﻫرنﻫﺎی ﺑﴫی و ﻓﻀﺎﻫﺎی ذﻫﻨﯽ و ﺧﯿﺎﻟﯽ‪ ،‬اﴎاری ﻧﻮ ﻫﻮﯾﺪا ﻣﯽﮐﻨﺪ‪.‬‬ ‫ﮐﻠﻤﻪ‪ ،‬ﻧﻄﻔﻪ متﺎﻣﯽ ﺧﻼﻗﯿﺖﻫﺎی اوﺳﺖ‪ .‬و ﺷﮕﻔﺖ اﺳﺖ ﮐﻪ او ﮐﻠﻤﻪ را در‬ ‫ﻫﯿﺒﺖ و ﻫﯿﮑﻞ ﻣﯽﻧﮕﺮد؛ اﻣﺎ آﻧﭽﻪ ﺑﺮ ﮐِ ِ‬ ‫ﻠﮏ ﺧﯿﺎل اﻧﮕﯿﺰ ﻣﺼﻮر ﻣﯽﮐﻨﺪ ﺟﻮﻫﺮ و‬ ‫ﺣﻘﯿﻘﺖ ﮐﻠﻤﻪ اﺳﺖ‪ ،‬ﺣﺮﮐﺖ از ﻇﺎﻫﺮ ﺑﻪ ﺑﺎﻃﻦ‪.‬‬ ‫ﺳﺎﺧﺘﺎر ﻓﮑﺮی آﺛﺎر ﮐﴪی ﻋﺎﺑﺪﯾﻨﯽ رﯾﺸﻪ در آن »ﺣﮑﻤﺖ ﻣﴩﻗﯽ« دارد ﮐﻪ‬ ‫»ﺷﯿﺦ ﺷﻬﯿﺪ« ﺑﺮ آن ﻧﻈﺮ داﺷﺖ‪» :‬آﻧﭽﻪ ﻗﺎﺋﻢ اﺳﺖ ﮐﻠﻤﻪ اﺳﺖ و آﻧﭽﻪ َﺣﺼﯿﺪ‬ ‫اﺳﺖ ﻫﯿﮑﻞ ﮐﻠﻤﻪ اﺳﺖ ﮐﻪ ﺧﺮاب ﻣﯽﺷﻮد و ﻫﺮﭼﻪ زﻣﺎن ﻧﺪارد‪ ،‬ﻣﮑﺎن ﻧﺪارد«‬ ‫)رﺳﺎﻟﻪ آواز ﭘﺮ ﺟﱪﺋﯿﻞ‪ .‬ﺑﻨﺪ ﺑﯿﺴﺖ(‪ .‬ﺳﮑﻮتﻫﺎی ﻃﻮﻻﻧﯽ‪ ،‬ﺗﻨﻬﺎﯾﯽ ﺑﻪ وﺳﻌﺖ‬ ‫ﺳﺎلﻫﺎﯾﯽ ﺑﯽﭘﺎﯾﺎن‪ ،‬ﺧﯿﺎل و روﯾﺎﻫﺎﯾﯽ از ﺟﻨﺲ رﻧﮓ و ﻃﺮح‪ ،‬اِﺳﺘﺤﺎﻟﻪ ﮐﻠامت و‬ ‫ﻧﻘﺎط‪ ،‬ﻧﺸﺎن از ﻧﮕﺎرﮔﺮی او در ﻗﺎﻣﺖ ﻧﺎﻇﺮی ﺻﺎﺣﺐ ذوق و ﻋﻘﻞ دارد‪.‬‬ ‫ﺑﯽﺷﮏ ﺷﯿﺪاﯾﯽ و ﺷﻮرﯾﺪﮔﯽ او در ﺧﻠﻖ ﻣﻮﻗﻌﯿﺖﻫﺎی ﺑﺪﯾﻊ ﻫرنی را منﯽﺗﻮان‬ ‫ﻣﻐﻠﻮب ﻗﺎﻟﺐﻫﺎﯾﯽ ﭼﻮن ﮔﺮاﻓﯿﮏ و ﺗﺎﯾﭙﻮﮔﺮاﻓﯽ اﻧﮕﺎﺷﺖ‪ ,‬اﻣﺎ اﯾﻦ ﺑﻬﺎﻧﻪای ﺷﺪ‬ ‫ﺑﺮای ﻫﻤﺮاﻫﯽ او ﺑﺎ ﺟﺸﻦ آب و ﻧﺸﺎط اﯾﺮاﻧﯽ در اﻧﻘﻼب ﺗﺎﺑﺴﺘﺎﻧﯽ ﺗﻮرﻧﺘﻮ‪.‬‬ ‫ﻫﺮﭼﻨﺪ ﺑﺎ ﻇﺎﻫﺮی آرام و ﻟﺒﺨﻨﺪی ﻫﻤﯿﺸﮕﯽ ﻣﺎ را در روزﻫﺎی ﺳﺨﺖ ﺗﺪارک‬ ‫اﯾﻦ ﻣﺠﻠﻪ ﻫﻤﺮاﻫﯽ ﮐﺮد‪ ،‬اﻣﺎ ﺗﻌﻬﺪ و ﺗﻼش ﺑﯽدرﯾﻎ او در ﻫﻤﻪ اﯾﻦ ﻣﺪت‬ ‫ﯾﺎدﻣﺎن اﻧﺪاﺧﺖ ﮐﻪ ﺑﻪ ﻟﻄﻒ ﺳﺘﺎره ﺗﯿﺮ و ﺗﺒﺎر آرش‪ ،‬ﭘﺮدﯾﺲ ﻓﺮﻫﻨﮓ و ﻣﻌﺮﻓﺖ‬ ‫»وﻃﻦ« ﻫﺮﮔﺰ روی ﺳﯿﺎﻫﯽ و ﺗﺒﺎﻫﯽ ﺑﻪ ﺧﻮد ﻧﺨﻮاﻫﺪ دﯾﺪ‪.‬‬

‫ﮐﴪی ﻋﺎﺑﺪﯾﻨﯽ‬ ‫ﻃــﺮاح و ﮔﺮاﻓﯿﺴــﺖ ﺳــﺎﮐﻦ ﺗﻬــﺮان اﺳــﺖ‬ ‫ﮐــﻪ ﻋــﻼوه ﺑــﺮ ﺳــﺎﺑﻘﻪ ﺗﺪرﯾــﺲ در‬ ‫داﻧﺸــﮕﺎه‪ ،‬ﺗــﺎ ﺑــﻪ ﺣــﺎل در منﺎﯾﺸــﮕﺎهﻫﺎی‬ ‫ﻓــﺮدی و ﮔﺮوﻫــﯽ و ﺟﺸــﻨﻮارهﻫﺎی ﻣﻌﺘــﱪ‬ ‫داﺧﻠــﯽ و ﺑﯿﻦاﳌﻠﻠــﯽ از ﺟﻤﻠــﻪ »ﺟﺸــﻨﻮاره‬ ‫ﭘﻮﺳــﱰ ژاﭘــﻦ«‪ ،‬و »منﺎﯾﺸــﮕﺎه ﭘﻮﺳــﱰ زﺑــﺎن‬ ‫ﻣــﺎدری ﯾﻮﻧﺴــﮑﻮ« در ﻓﺮاﻧﺴــﻪ ﺣﻀــﻮر‬ ‫درﺧﺸــﺎن داﺷــﺘﻪ اﺳــﺖ‪ .‬او از ﺳــﺎل ‪۲۰۱۴‬‬ ‫ﻋﻀــﻮ اﻧﺠﻤــﻦ ﺟﻬﺎﻧــﯽ ﺗﺒﻠﯿﻐــﺎت )آیاِیاِی(‬ ‫اﺳــﺖ و آﺛــﺎرش در ﮐﺘــﺎب »وان ﺑــﺎی‬ ‫وان« ﻣﻨﺘــﴩ ﺷــﺪه ﮐــﻪ ﻣﻨﺘﺨﺒــﯽ از آﺛــﺎر‬ ‫ﻃﺮاﺣــﺎن ‪ ۴۸‬ﮐﺸــﻮر اﺳــﺖ‪ .‬آﺛــﺎر زﯾﺒــﺎی‬ ‫ﮐــﴪی ﻋﺎﺑﺪﯾﻨــﯽ در ﺳــﺎلﻫﺎی اﺧﯿــﺮ ﺑــﻪ‬ ‫ﺑﺴــﯿﺎری از ﺑﺮﻧﺎﻣﻪﻫــﺎ و رﺧﺪادﻫــﺎی ﺣــﻮزه‬ ‫ﻓﺮﻫﻨــﮓ‪ ،‬ﻫــرن و ادﺑﯿــﺎت اﯾــﺮان ﺟــﺎن و‬ ‫ﻫﻮﯾﺘــﯽ ﻣﻤﺘــﺎز ﺑﺨﺸــﯿﺪه و ﻣﺠﻠــﻪ ﺗﯿــﺮﮔﺎن‬ ‫ﻫــﻢ در اﯾــﻦ ﺷــامره ﺑــﻪ ﻟﻄــﻒ ﻫﻤﺮاﻫــﯽ‬ ‫او‪ ،‬از اﯾــﻦ ذوق و آﻓﺮﯾﻨــﺶ ﻋﻤﯿــﻖ ﻫــرنی‬ ‫ﺑﻬــﺮه ﻓــﺮاوان ﺑــﺮده اﺳــﺖ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 6:05 AM‬‬

‫‪134-Visual Art-Cassra Abedini.indd 134‬‬

‫‪VISUAL ART‬‬

‫‪135‬‬

‫‪Photograph by Nazanin Movafagh‬‬

‫آرش ﺗﻨﻬﺎﯾﯽ‬ ‫ﻃ ـﺮاح ﮔﺮاﻓﯿــﮏ و ﻧﻮﯾﺴــﻨﺪ ٔه اﯾﺮاﻧــﯽ اﺳــﺖ‪.‬‬ ‫او ﺑــﻪ ﻋﻨــﻮان ﯾﮑــﯽ از ﭼﻬﺮهﻫــﺎی ﻣﻬــﻢ‬ ‫ﻧﺴــﻞ ﭘﻨﺠــﻢ ﻃﺮاﺣــﺎن ﮔﺮاﻓﯿــﮏ اﯾــﺮان در‬ ‫ﺣــﻮز ٔه ﻃﺮاﺣــﯽ ﭘﻮﺳــﱰ ﻓﻌــﺎل و ﭘــﺮ ﮐﺎر‬ ‫اﺳــﺖ و اﻏﻠــﺐ آﺛــﺎرش را ﭘﻮﺳــﱰﻫﺎی ﺗﺌﺎﺗــﺮ‪،‬‬ ‫منﺎﯾﺸــﮕﺎه‪ ،‬ﮐﻨــﴪت‪ ،‬ﺑﺰرﮔﺪاﺷــﺖ و در‬ ‫ﻣﺠﻤــﻮع ﭘﻮﺳــﱰﻫﺎی روﯾﺪادﻫــﺎی ﻓﺮﻫﻨﮕــﯽ‬ ‫ﺗﺸــﮑﯿﻞ ﻣﯽدﻫﻨــﺪ‪ .‬آرش ﺗﻨﻬﺎﯾــﯽ ﺗــﺎ ﮐﻨــﻮن‬ ‫ﮐﺘﺎبﻫﺎﯾــﯽ در ﺑــﺎر ٔه ﻣﺮﺗﻀــﯽ ﻣﻤﯿــﺰ‪،‬‬ ‫ﮐﺎﻣـﺮان ﮐﺎﺗﻮزﯾــﺎن و ﮐﺘﺎﺑــﯽ ﺑــﺎ ﻋﻨــﻮان »ﺳــﯽ‬ ‫ﺳــﺎل ﺗﻨﻬﺎﯾــﯽ« از ﻣﺠﻤﻮﻋــ ٔﻪ ﻣﻘﺎﻟﻪﻫــﺎ و‬ ‫ﭘﻮﺳــﱰﻫﺎﯾﺶ ﻣﻨﺘــﴩ ﮐــﺮده اﺳــﺖ‪.‬‬

‫در اﺑﺘﺪا ﺑﮕﻮﯾﻢ اﯾﻦ ﻧﻮﺷﺘﻪ ﺷﺒﯿﻪ ﻧﻮﺷﺘﻪﻫﺎی ﻃﺮاﺣﺎن ﮔﺮاﻓﯿﮏ ﻧﯿﺴﺖ‪ .‬ﭼﺮا ﮐﻪ ﭘﺲ‬ ‫ازﺗﺠﺮﺑﻪ ﯾﮏ زﻧﺪﮔﯽ ﭘﺮ ﻓﺮاز و ﻧﺸﯿﺐ؛ ﺗﺤﺼﯿﻞ‪ ،‬ﮐﺎر و ﺗﺪرﯾﺲ و ﺗﺜﺒﯿﺖ و ﺷﻨﺎﺧﺘﻪ‬ ‫ﺷﺪن درﻃﺮاﺣﯽ ﮔﺮاﻓﯿﮏ‪ ،‬آن ﻗﺪر ﺗﺠﺮﺑﻪ ﮐﺮدن ﺑﺮاﯾﻢ ﻣﻬﻢ اﺳﺖ ﮐﻪ منﯽﺧﻮاﻫﻢ‬ ‫ﺧﻮدم را در ﭼﺎرﭼﻮب ﯾﮏ ﺷﻐﻞ ﺗﻌﺮﯾﻒ ﮐﻨﻢ‪ .‬ﮔﺮﭼﻪ ﻣﻦ را ﺑﺎ ﻋﻨﻮان ﻃﺮاح‪،‬‬ ‫ﻣﺪرس‪ ،‬ﭘﮋوﻫﺸﮕﺮ‪ ،‬ﮐﯿﻮرﯾﺘﻮر ﻣﯽﺷﻨﺎﺳﻨﺪ‪ .‬اﻣﺎ ﺗﺮﺟﯿﺢ ﻣﯽدﻫﻢ ﻓﻘﻂ ﺧﻮدم ﺑﺎﺷﻢ‪،‬‬ ‫آرش ﺗﻨﻬﺎﯾﯽ و اﺗﯿﮑﺘﯽ ﺑﻪ ﺧﻮدم ﻧﭽﺴﭙﺎﻧﻢ‪.‬‬ ‫در ﻧﺨﺴﺘﯿﻦ ﺳﺎل دﻫﻪ ﺷﺼﺖ در ﺗﻬﺮان ﭘﺲ از اﻧﻘﻼب و در آﻏﺎز ﺟﻨﮓ ﺑﻪ دﻧﯿﺎ‬ ‫آﻣﺪم‪ .‬ﺗﺠﺮﺑﻪﻫﺎﯾﯽ ﻣﺸﺎﺑﻪ اﻏﻠﺐ ﮐﻮدﮐﺎن اﻣﺎ ﮐﻨﺠﮑﺎوی در ﭘﯿﺪا ﮐﺮدن ﮐﺘﺎبﻫﺎی‬ ‫ﻣﺨﻔﯽ ﺷﺪه در ﺧﺎﻧﻪ‪ ،‬ﮐﺘﺎبﺧﻮاﻧﯽ و ﻋﻀﻮﯾﺖ در »ﮐﺘﺎﺑﺨﺎﻧﻪ ﮐﺎﻧﻮن«‪ ،‬ﮐﻮدﮐﯽ‬ ‫ﻣﻦ را ﺳﺎﺧﺖ‪ .‬در ﺳﺎلﻫﺎﯾﯽ ﮐﻪ ﻫرنﺳﺘﺎن رﻓنت ﺗﺎﺑﻮ ﻣﺤﺴﻮب ﻣﯽﺷﺪ و »ﮐﺎر ﺑﭽﻪ‬ ‫ﺗﻨﺒﻞﻫﺎ«‪ ،‬ﺑﻪ ﻫرنﺳﺘﺎن رﻓﺘﻢ‪ .‬ﮔﺮاﻓﯿﮏ ﺧﻮاﻧﺪم‪ ،‬ﺑﻌﺪ ﮐﺎرداﻧﯽ‪ ،‬ﴎﺑﺎزی و ﺑﻌﺪ از‬ ‫داﻧﺸﮑﺪه ﻫرنﻫﺎی زﯾﺒﺎی داﻧﺸﮕﺎه ﺗﻬﺮان ﻓﺎرغ اﻟﺘﺤﺼﯿﻞ ﺷﺪم‪ .‬ﻫرن و ﻓﻌﺎﻟﯿﺖﻫﺎی‬ ‫اﺟﺘامﻋﯽ دو رﮐﻦ ﻣﻬﻢ زﻧﺪﮔﯽ ﻣﻦ ﺑﻮده و ﻫﺴﺖ‪.‬‬ ‫ﺑﺨﺶ ﻣﻬﻤﯽ از ﮐﺎرم ﻃﺮاﺣﯽ ﭘﻮﺳﱰ و ﺟﻠﺪ ﮐﺘﺎب اﺳﺖ‪ .‬ﺑﺮای دهﻫﺎ منﺎﯾﺶ‪،‬‬ ‫منﺎﯾﺸﮕﺎه‪ ،‬ﺟﺸﻨﻮاره‪ ،‬ﮐﻨﴪت‪ ،‬ﻓﯿﻠﻢ و ﭘﻮﺳﱰ ﻃﺮاﺣﯽ ﮐﺮدهام ‪ .‬ﻫﻤﯿﻨﻄﻮر ﺑﺮای‬ ‫رﻣﺎنﻫﺎ‪ ،‬داﺳﺘﺎنﻫﺎ‪ ،‬منﺎﯾﺸﻨﺎﻣﻪﻫﺎ و ﻧﺎﴍان ﮔﻮﻧﺎﮔﻮﻧﯽ ﻃﺮاﺣﯽ ﺟﻠﺪ ﮐﺘﺎب ﮐﺮدهام‬ ‫‪.‬در ﮐﻨﺎر اﯾﻦﻫﺎ ﺳﺎﻋﺖﻫﺎ در ﺗﺎرﯾﺦ ﮔﺮاﻓﯿﮏ اﯾﺮان ﺟﺴﺘﺠﻮ ﮐﺮدهام‪ ،‬دهﻫﺎ ﻣﻘﺎﻟﻪ‪،‬‬ ‫ﯾﺎدداﺷﺖ‪ ،‬ﺳﺨرناﻧﯽ و ﮔﻔﺖ و ﮔﻮ درﺑﺎره ﺗﺎرﯾﺦ ﮔﺮاﻓﯿﮏ داﺷﺘﻪام ‪ .‬دو ﺳﻪ ﮐﺘﺎب‬ ‫ﻣﻨﺘﴩ ﮐﺮدهام و ﭼﻨﺪ ﭘﮋوﻫﺶ درﺑﺎره ﭘﻮﺳﱰﻫﺎی ﺗﺌﺎﺗﺮ اﯾﺮان‪ ،‬ﭘﻮﺳﱰﻫﺎی اﻧﻘﻼب و‬ ‫ﻏﯿﺮه ﮐﻪ آرام آرام ﺑﻪ ﭘﺎﯾﺎن ﻣﯽرﺳﺪ‪ .‬اﻣﺎ اﯾﻦﻫﺎ ﺑﻪ ﺗﻨﻬﺎﯾﯽ ﺑﺮاﯾﻢ ﺟﺬاب ﻧﯿﺴﺖ‪.‬‬ ‫ﭼﻨﺪ منﺎﯾﺸﮕﺎه ﮔﺮدآوری ﮐﺮدهام‪ :‬منﺎﯾﺸﮕﺎه »ﺑﯿﺴﺖ و ﭘﻨﺞ ﺳﺎل ﭘﻮﺳﱰ ﺗﺌﺎﺗﺮ اﯾﺮان«‬ ‫ﮐﻪ ﺑﺰرﮔﱰﯾﻦ منﺎﯾﺸﮕﺎه ﭘﻮﺳﱰ ﺗﺌﺎﺗﺮ در اﯾﺮان ﺗﺎ اﯾﻦ ﻟﺤﻈﻪ اﺳﺖ‪ .‬منﺎﯾﺸﮕﺎﻫﯽ درﺑﺎره‬ ‫»ﻓﺮوغ ﻓﺮﺧﺰاد در آﯾﻨﻪ ﻫرنﻫﺎی ﺗﺠﺴﻤﯽ« و دﯾﮕﺮی ﺑﺎ ﻋﻨﻮان »ﺟﻬﺎن ﭘﻬﻠﻮان«‬ ‫درﺑﺎره ﻏﻼﻣﺮﺿﺎ ﺗﺨﺘﯽ؛ منﺎﯾﺸﮕﺎهﻫﺎی ﭘﺮﻣﺨﺎﻃﺐ و ﭘﺮ ﴎ و ﺻﺪا ﮐﻪ ﺑﺴﯿﺎر ﻧﻘﺪ ﺷﺪ‬ ‫و ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺖ و از اﻧﺠﺎمﺷﺎن ﺑﺴﯿﺎر ﻟﺬت ﺑﺮدهام و ﺧﻮﺷﺤﺎمل‪ .‬اﻣﺎ اﯾﻦ‬ ‫ﻫﺎ ﻫﻢ ﻫﺪف ﻧﻬﺎﯾﯽام ﻧﯿﺴﺖ‪.‬‬ ‫ﻫﯿﭻﮐﺪام ﺑﯿﻘﺮاریام را آرام منﯽﮐﻨﺪ‪ .‬دوﺳﺖ داﺷﺘﻢ ﻧﺠﺎت درﯾﺎﭼﻪ اروﻣﯿﻪ را ﺑﻪ‬ ‫ﻣﻦ ﺑﺴﭙﺎرﻧﺪ‪ .‬ﯾﺎ ﺑﯿﺎﺑﺎنزداﯾﯽ از ﮐﻮﯾﺮﻫﺎی ﻣﺮﮐﺰی اﯾﺮان را‪ .‬ﻋﺎﺷﻖ ﻫﺮ ﮐﺎر ﺳﺨﺖ‬ ‫و ﻏﯿﺮ ﻣﻤﮑﻨﯽ ﻫﺴﺘﻢ و ﮐﻪ دﯾﮕﺮان از اﻧﺠﺎﻣﺶ واﻫﻤﻪ دارﻧﺪ ﭼﺮا ﮐﻪ ﺑﺎوردارم‬ ‫ﺧﻮاﺳنت ﺗﻮاﻧﺴنت اﺳﺖ‪ .‬ﻣﯽداﻧﻢ ﻫﺮ ﮐﺎری را ﺑﺎ ﴎﺳﺨﺘﯽ و ﻋﺎﺷﻘﺎﻧﻪ اﻧﺠﺎم ﺧﻮاﻫﻢ‬ ‫داد اﻣﺎ ﭘﺲ از اﻧﺠﺎﻣﺶ و ﺑﺎز آرزوی ﺑﺰرگﺗﺮی ﺧﻮاﻫﻢ داﺷﺖ‪.‬‬ ‫ﻫﺮ ﮐﺎری را ﮐﻪ اﻧﺠﺎم ﻣﯽدﻫﻢ اﻧﮕﺎر ﺑﺮای اوﻟﯿﻦ ﺑﺎر اﺳﺖ‪ .‬ﮐﺎری را اﻧﺠﺎم منﯽدﻫﻢ‬ ‫ﮐﻪ ﻋﺎﺷﻖاش ﻧﺒﺎﺷﻢ‪ .‬ﻫﻤﻪ اﯾﻦﻫﺎ را ﮔﻔﺘﻢ ﺗﺎ ﺑﮕﻮﯾﻢ ﻃﺮاﺣﯽ ﺟﻠﺪ ﻣﺠﻠﻪ ﺗﯿﺮﮔﺎن‬ ‫ﭼﻘﺪر ﺧﻮﺷﺤﺎمل ﮐﺮد‪ .‬ﺑﯿﺶ از ﻫﺮ ﮐﺎر دﯾﮕﺮی ﻟﺬتﺑﺨﺶ ﺑﻮد‪ .‬ﺧﻮاﻧﺪن دوﺑﺎره‬ ‫ﮐﺘﺎبﻫﺎ و ﻣﻘﺎﻻﺗﯽ در ﺑﺎره آرش؛ ﻃﺮاﺣﯽ و ﺑﺮﯾﺪن ﮐﻠﯿﺸﻪ ﺗﯿﺮاش و اﺳﭙﺮی‬ ‫ﮐﺮدناش ‪ .‬ﯾﺎد ﺧﺎﻃﺮهای از ﮐﻮدﮐﯽ اﻓﺘﺎدم‪ .‬ﺑﭽﻪ ﮐﻪ ﺑﻮدم ﻫﻤﺴﺎﯾﻪای داﺷﺘﯿﻢ‪،‬‬ ‫اﻓﴪ ژاﻧﺪارﻣﺮی و ﺷﻬﯿﺪ ﺷﺪ‪ .‬ﻫﺮ وﻗﺖ ﻣﻦ را در ﮐﻮﭼﻪ ﻣﯽدﯾﺪ ﺑﻪ ﻣﻦ ﻣﯽﮔﻔﺖ‬ ‫»آرش ﮐامﻧﮕﯿﺮ«‪ ،‬ﺣﺲ ﺧﯿﻠﯽ ﺧﻮﺑﯽ داﺷﺖ‪ .‬در ﺟﺎﯾﯽ ﮔﻔﺘﻪام ﺑﻪ ﻫﺮ آرﺷﯽ اﺣﺘامﻻ‬ ‫در ﮐﻮدﮐﯽ ﮔﻔﺘﻪاﻧﺪ ﮐامﻧﮕﯿﺮ‪ ،‬اﻣﺎ ﻣﻦ آن ﮐامﻧﮕﯿﺮ ﺑﻮدن را ﺧﯿﻠﯽ ﺟﺪی ﮔﺮﻓﺘﻪام و‬ ‫ﻫﻨﻮز دﻧﺒﺎل ﭘﯿﺪا ﮐﺮدن ﺗﯿﺮام ﻫﺴﺘﻢ‪.‬‬ ‫آن ﺗﯿﺮی ﮐﻪ ﺑﺎﯾﺪ ﺑﯿﺎﻓﮑﻨﻢ‪...‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:34 AM‬‬

‫‪135-Visual Arts-Arash Tanhai-EDITED.indd 135‬‬

‫‪VISUAL ARTS‬‬

‫آن ﭼﻪ ﻫرن اﻣﺮوز اﯾﺮان را ﻣﺘامﯾﺰ ﻣﯽﮐﻨﺪ ﺑﻪ ﻋﻘﯿﺪه‬ ‫ﻧﮕﺎرﻧﺪه ﻧﻪ ﺟﺮﯾﺎن ﻣﻤﯿﺰی ﺣﺎﮐﻢ ﺑﺮ آن ﮐﻪ ﭘﻮﻳﺎﻳﯽ آن‬ ‫اﺳﺖ‪ .‬در ﭼﻨﺪ دﻫﻪ اﺧﯿﺮ‪ ،‬ﻫرن اﯾﺮان ﺑﺎ ﴎﻋﺘﯽ ﻓﺰاﯾﻨﺪه‬ ‫در ﺣﺎل ﺷﮑﻮﻓﺎﯾﯽ در منﺎﯾﺶﻫﺎ و ﺑﺎزارﻫﺎی ﻫرنی ﻣﻌﺘﱪ‬ ‫ﺟﻬﺎﻧﯽ ﺑﻮده‪ .‬اﯾﻦ اﻣﺮ ﻧﻪ ﻓﻘﻂ ﺑﻪ ﺧﻼﻗﯿﺖ ﻫرنﻣﻨﺪان‬ ‫ﺑﺮﺟﺴﺘﻪ اﯾﺮاﻧﯽ در داﺧﻞ ﮐﺸﻮر واﺑﺴﺘﻪ اﺳﺖ‪ ،‬ﮐﻪ‬ ‫ﻫرنﻣﻨﺪان ﺷﺎﺧﺺ اﯾﺮاﻧﯽِ ﻣﻘﯿﻢ ﮐﺸﻮرﻫﺎی دﯾﮕﺮ ﻫﻢ‬ ‫ﺑﻪ ﻫامن اﻧﺪازه در اﯾﻦ ﺷﮑﻮﻓﺎﯾﯽ ﺳﻬﯿﻢ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻧﮑﺘﻪ ﻗﺎﺑﻞ ﺗﺎﻣﻞ در اﯾﻦ راﺑﻄﻪ‪ ،‬ﻧﻮﻋﯽ ﯾﮏدﺳﺘﯽ‬ ‫ﻣﻮﺿﻮﻋﯽﺳﺖ ﮐﻪ ﻫﻤﻪ آﺛﺎر اﯾﺮاﻧﯽ را از ﻏﯿﺮ اﯾﺮاﻧﯽ‬ ‫ﺟﺪا ﻣﯽﮐﻨﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﮐﻪ اﯾﻦ ﻣﻄﻠﺐ را منﯽﺗﻮان در‬ ‫ﻧﮕﺎﻫﯽ ﮔﺬرا و ﺳﻄﺤﯽ ﻣﻮﺷﮑﺎﻓﯽ ﮐﺮد‪ .‬اﻣﺎ ﺑﺎ وﺟﻮد متﺎم‬ ‫ﮔﺴﱰدﮔﯽ و ﺷﯿﻮهﻫﺎی ﻣﺘﻔﺎوت ﺑﯿﺎﻧﯽ‪ ،‬ﻧﻮﻋﯽ ﺗﺠﺮﺑﻪ‬ ‫ﻣﺸﱰک در اﯾﻦ آﺛﺎر‪ ،‬آنﻫﺎ را ﺑﻪ ﻫﻢ ﻣﺮﺑﻮط ﻣﯽﺳﺎزد‪.‬‬ ‫ﭘﺮداﺧنت ﺑﻪ اﯾﻦ ﻣﻮﺿﻮع ﻣﺴﺘﻠﺰم ﻧﮕﺎﻫﯽ ﻣﻮﺷﻜﺎﻓﺎﻧﻪ ﺑﻪ‬ ‫آن ﭼﻪ در ﻫرن اﻣﺮوز اﯾﺮاﻧﯽ ﻣﻮﺟﻮدﯾﺖ ﯾﺎﻓﺘﻪ ﻣﯽﺑﺎﺷﺪ‪.‬‬

‫‪The Bride by Simin Keramati‬‬

‫ﺳﺆاﱃ راﻳﺞ در اﻳﻦ راﺑﻄﻪ ﻫﺮازﮔﺎﻫﻰ از ﺟﺎﻧﺐ‬ ‫ﻧﻘﺎدان و ﻫرنﻣﻨﺪان ﻣﻌﺎﴏ ﻃﺮح ﻣﻰﺷﻮد و ﻫﺮ ﺑﺎر‬ ‫ﭘﺎﺳﺦﻫﺎ ﻛﺎﻣﻞﺗﺮ از ﻗﺒﻞ ﺑﻴﺎن ﻣﻰﺷﻮﻧﺪ‪ .‬اﯾﻦ ﮐﻪ آﯾﺎ‬ ‫»ﺟﻬﺎﻧﯽﺳﺎزی« ﻫرنﻣﻨﺪ اﯾﺮاﻧﯽ را ﺗﻬﺪﯾﺪ ﻣﯽﮐﻨﺪ؟ آﯾﺎ‬ ‫آﻧﭽﻪ اﯾﻦ ﻫرنﻫﺎ را ﯾﮑﺪﺳﺖ ﺟﻠﻮه ﻣﻰدﻫﺪ‪ ،‬ﻧﻮﻋﯽ‬ ‫ﺑﻠﻮغ ﻣﺸﱰک در درون ﺟﺎﻣﻌﻪ ﻫرنىﺳﺖ؟ ﯾﺎ در‬ ‫ﺣﻘﻴﻘﺖ ﻧﮕﺎه اﻧﺘﺨﺎبﮔﺮ ﺑﯿﮕﺎﻧﻪ؟ ﻫﺮ ﭼﻨﺪ در ﻧﻘﺪﻫﺎ‬ ‫و آﺛﺎر ﻫرنى ﻗﺎﺑﻞ ﺗﻮﺟﻬﻰ ﺑﻪ ﭘﺎﺳﺦ ﺑﻪ اﻳﻦ ﺳﻮاﻻت‬ ‫ﭘﺮداﺧﺘﻪ ﺷﺪه‪ ،‬اﻣﺎ اﻳﻦ ﻣﺴﺎﻟﻪ ﻫﻤﭽﻨﺎن ﭘﺎﺳﺦﻫﺎى‬ ‫دﻗﻴﻖﺗﺮ و ﺗﺤﻠﻴﻞﻫﺎى ﺑﻴﺸﱰى را ﻣﻰﻃﻠﺒﺪ‪ .‬آﻧﭽﻪ ﻣﻬﻢ‬ ‫اﺳﺖ اﻳﻦ ﻛﻪ ﻫرن اﻣﺮوز اﻳﺮان ﭼﻪ از ﺟﺎﻧﺐ ﻫرنﻣﻨﺪان‬ ‫ﺧﻼق و ﻓﻌﺎل داﺧﻞ اﻳﺮان و ﭼﻪ از ﺟﺎﻧﺐ ﻫرنﻣﻨﺪان‬ ‫اﻳﺮاىن ﻣﻘﻴﻢ ﻣامﻟﮏ دﻳﮕﺮ‪ ،‬وزﻧﻪاى ﺳﻨﮕني اﺳﺖ ﻛﻪ‬ ‫منﻰﺗﻮان آن را ﻧﺎدﻳﺪه ﮔﺮﻓﺖ‪ .‬اﻳﻦ ﺳﻨﮕﻴﻨﻰ ﻧﻪ ﺑﺮ وزﻧﻪ‬ ‫ﻣﻮﻗﻌﻴﺖ اﮔﺰوﺗﻴﮏ ﺳﻴﺎﳻ‪-‬اﺟﺘامﻋﻰ ﺧﺎص ﻣﻨﻄﻘﻪ‪ ،‬ﻛﻪ‬

‫ﺑﻪ درﺳﺘﻰ ﺑﺮ وزﻧﻪ ﭘﻮﻳﺎﻳﻰ‪ ،‬ﻗﺪرت ﺑﻴﺎﻧﮕﺮى و ﺧﻼﻗﻴﺖ‬ ‫آﮔﺎﻫﺎﻧﻪ ﻫرنﻣﻨﺪان در ﺑﻴﺎن ﻣﻮﺿﻮﻋﺎت ﻣﺮﺗﺒﻂ ﻗﺮار‬ ‫دارد‪.‬‬ ‫ﻳىك از ﭘﻴﭽﻴﺪهﺗﺮﻳﻦ ﺑﺮﺧﻮردﻫﺎﻳﻰ ﻛﻪ ﻣﻰﺗﻮان ﺑﺎ ﻫرن‬ ‫ﻣﻌﺎﴏ اﻳﺮان ﻛﺮد‪ ،‬ﭘﺮداﺧنت ﺑﻪ ﺷﻴﻮهﻫﺎى ﻣﺘﻔﺎوت ﺑﻴﺎىن‬ ‫در ﻫرنﻣﻨﺪان ﻓﻌﺎل در داﺧﻞ اﻳﺮان و ﻫرنﻣﻨﺪان ﻓﻌﺎل‬ ‫اﻳﺮاىن ﻣﻘﻴﻢ اروﭘﺎ و آﻣﺮﻳﻜﺎﺳﺖ‪ .‬اﮔﺮﭼﻪ ﭘﯿﺶﺗﺮ اﺷﺎره‬ ‫ﺷﺪ ﻛﻪ ﻧﻮﻋﻰ ﻧﮕﺎه ﻣﺸﱰک ﻓﻀﺎى ﻫرن ﻣﻌﺎﴏ اﻳﺮان را‬ ‫ﻣﺘامﻳﺰ ﻣﻰﻛﻨﺪ‪ ،‬اﻣﺎ ﻃﺒﻌﺎ ﻫرنﻣﻨﺪﻫﺎ در ﺑﺮﺧﻮرد ﺑﺎ آﺛﺎر‬ ‫ﻫرنیﺷﺎن ﺷﻴﻮهﻫﺎى ﺷﺨﴡ و ﻣﺨﺘﺺ ﺧﻮدﺷﺎن را‬ ‫دارﻧﺪ ﻛﻪ ﻫﺮ ﻳﮏ را از دﻳﮕﺮى ﻣﺘامﻳﺰ ﻣﻰﮔﺮداﻧﺪ‪ .‬ﺑﻪ‬ ‫ﺑﻴﺎن دﻳﮕﺮ اﻳﻦ ﺗﻔﺎوت ﻣﻘﻮﻟﻪاى دروىنﺗﺮ و آن ﺗﺸﺎﺑﻪ‬ ‫ﻣﻘﻮﻟﻪاى اﺟﺘامﻋﻰﺗﺮ و ﻋﻴﻨﻰﺗﺮ را در ﺑﺮ ﻣﻰﮔريﻧﺪ‪.‬‬ ‫ﺑﻪ ﻋﻨﻮان ﻣﺜﺎل در ﺑﺮﺧﻮرد ﺑﺎ ﻣﺴﺎﺋﻞ اﺟﺘامﻋﻰ روز‪،‬‬ ‫ﻋﻤﻮﻣﺎ در آﺛﺎر ﻫرنﻣﻨﺪان داﺧﻞ اﻳﺮان ﺑﻴﺎىن رﻣﺰﮔﻮﻧﻪﺗﺮ‪،‬‬ ‫ﺧﻠﻮتﺗﺮ و ﺗﻨﻬﺎﺗﺮ را ﻣﻰﺑﻴﻨﻴﻢ )اﻳﻦ ﺣﺲ ﺗﻨﻬﺎﻳﻰ و‬ ‫ﻓﺮدﻳﺖ ﺣﺘﻰ در آﺛﺎ ِر ﭘﺮ از ﻓﻴﮕﻮر ﻣﻮج ﻣﻰزﻧﺪ‪ (.‬ﻧﻮﻋﻰ‬ ‫ﻓﺮدﮔﺮاﻳﻰ ﻣﻄﻠﻖ در ﺗﻜﻴﻪ ﺑﺮ منﺎﻳﺶ ﻓﻀﺎی ﺧﺼﻮﴅ‪.‬‬ ‫اﻳﻦ در ﺣﺎﱃﺳﺖ ﻛﻪ ﻫرنﻣﻨﺪان ﻣﻘﻴﻢ ﺧﺎرج از اﻳﺮان‬ ‫ﻫامن ﻣﻮﺿﻮعﻫﺎ را در ﻏﺎﻟﺒﻰ ﻋﻠﻨﻰﺗﺮ و اﺟﺘامﻋﻰﺗﺮ‬ ‫و در ﻓﻀﺎﻫﺎ و ﺗﺮﻛﻴﺐﺑﻨﺪىﻫﺎى ﺑﻪ ﻣﺮاﺗﺐ ﭘﺮ ﴎ و‬ ‫ﺻﺪا ﺗﺮ ﺑﻪ ﺗﺼﻮﻳﺮ ﻣﻰﻛﺸﻨﺪ‪ .‬آن ﭼﻪ ﺑﻪ ﻃﻮر ﻣﺸﱰک‬ ‫در آﺛﺎر ﻫرنﻣﻨﺪان اﻳﺮاىن در داﺧﻞ و ﻳﺎ ﻣﻘﻴﻢ ﺧﺎرج از‬ ‫اﻳﺮان ﺑﻪ ﭼﺸﻢ ﻣﻰﺧﻮرد اﻳﻦ اﺳﺖ ﻛﻪ ﺟﻤﻠﮕﻰ ﻧﺴﺒﺖ‬ ‫ﺑﻪ اﻳﺪهآﻟﻴﺴﻢ ﺑﺎ دﻳﺪه ﺷﮏ و ﺗﺮدﻳﺪ ﻣﻰﻧﮕﺮﻧﺪ‪ .‬ﺑﺮ اﺳﺎس‬ ‫ﺗﺤﻠﻴﲆ ﻛﻪ ﻋﺒﺎس داﻧﺸﻮرى در ﻣﻘﺎﻟﻪ ﺧﻮد ﺗﺤﺖ ﻋﻨﻮان‬ ‫»ﺗﺤﻮﻻت ﺗﻜﺎن دﻫﻨﺪه در دو ﺳﻮى ﻣﺮزﻫﺎى ﺳﻴﺎﳻ در‬ ‫ﻫرن اﻳﺮان‪ :‬ﻗﺎﻓﻴﻪ ﺑﻨﺪى داﻧﺶ‪ ،‬داﻧﺴنت و ﻫﻮﻳﺖ« اراﺋﻪ‬ ‫ﻣﻰدﻫﺪ‪ ،‬ﻣﻰﺗﻮان اﻳﻦ ﻧﻜﺘﻪ را در ﻣﻘﺎﻳﺴﻪ ﻫرن ﻣﻌﺎﴏ‬ ‫در ﻗﺒﻞ و ﺑﻌﺪ از اﻧﻘﻼب ﻣﻮرد ﺑﺮرﳻ ﻗﺮار داد‪ .‬او در‬

‫ﻣﻘﺎﻟﻪ ﺧﻮد ﭼﻨني ﻣﯽﻧﻮﻳﺴﺪ‪» :‬ﻧﺴﻞ ﺟﺪﻳﺪ ﻫرنﻣﻨﺪﻫﺎى‬ ‫اﻣﺮوز اﻳﺮاىن‪ ،‬ﻛﻪ ﺑﻴﺸﱰ آنﻫﺎ ﻣﺘﻮﻟﺪﻳﻦ دﻫﻪﻫﺎى ‪۶۰‬‬ ‫و ‪ ۷۰‬ﻣﯿﻼدی و ﺣﺘﻰ ﺷامرى از آنﻫﺎ ﻧﻴﺰ ﻣﺘﻮﻟﺪﻳﻦ‬ ‫دﻫﻪ ‪ ٨٠‬ﻣﻰﺑﺎﺷﻨﺪ اﻏﻠﺐ زﻧﺪﮔﻰ ﻫرنﻳﺸﺎن در دوران‬ ‫ﺑﻌﺪ از اﻧﻘﻼب ﺷﻜﻞ ﮔﺮﻓﺘﻪ‪ .‬ﻳﻌﻨﻰ از ‪ ١٩٧٩‬ﺗﺎ ﻛﻨﻮن‪.‬‬ ‫ﺗﻔﺎوت دﻳﺪﮔﺎه ﻫرنﻣﻨﺪان در اﻳﻦ دو زﻣﺎن ﻣﺮﺑﻮط ﺑﻪ‬ ‫دو ﺳﻴﺎﺳﺖ ﻣﺘﻔﺎوت ‪ -‬ﭘﻬﻠﻮى و اﻧﻘﻼب اﺳﻼﻣﻰ‪ -‬ﺑﺴﻴﺎر‬ ‫ﭼﺸﻤﮕري اﺳﺖ‪ .‬ﺑﻪ اﻳﻦ ﺗﺮﺗﻴﺐ ﻛﻪ ﻫرنﻣﻨﺪان ﻓﻌﺎل در‬ ‫دوره ﻗﺒﻞ ﺑﺴﻴﺎر ﻗﻄﻌﻴﺖﭘﺬﻳﺮ و ﻣﻄﻠﻖﮔﺮا ﺑﻮدﻧﺪ ﺣﺎل‬ ‫آﻧﻜﻪ ﻫرنﻣﻨﺪان ﻓﻌﺎل در دوران ﺑﻌﺪى اﻳﻦ ﻗﺎﻃﻌﻴﺖ و‬ ‫ﻣﻄﻠﻖﮔﺮاﻳﻰ را از دﻳﺪﮔﺎﻫﻰ ﺑﺮ ﻫﻢ ﻣﻰرﻳﺰﻧﺪ ﻛﻪ رﻳﺸﻪ‬ ‫در ارزشﻫﺎ و ﻫﻮﻳﺖﻫﺎى ﻓﺮدى و ﮔﺮوﻫﻰ دارد‪ .‬ﻧﺴﻞ‬ ‫ﺟﺪﻳﺪﺗﺮ ﺑﺮﺧﻼف ﻧﺴﻞ ﻗﺪﻳﻢﺗﺮ‪ ،‬ﺑﺮ ﺷﮏ و ﺗﺮدﻳﺪ و ﺣﺘﻰ‬ ‫ﻋﺪم ﺑﺎور ﺧﻮد ﻧﺴﺒﺖ ﺑﻪ ﺻﺤﺖ روﻳﺪادﻫﺎى ﺗﺎرﻳﺨﻰ‬ ‫و ﻫﻮﻳﺖ ﻫﺎى ﻓﺮﻫﻨﮕﻰ ﮔﺮه ﺧﻮرده ﺑﺎ ﻓﺮدﻳﺖ داﻣﻦ‬ ‫ﻣﻰزﻧﺪ‪«.‬‬ ‫ﺑﺎ ﺗﺎﻛﻴﺪ ﺑﺮ اﻳﻦ ﺗﺤﻠﻴﻞ ﻣﻰﺗﻮان ﮔﻔﺖ ﺷﮏﮔﺮاﻳﻰ و ﻣﻄﻠﻖ‬ ‫ﮔﺮﻳﺰى‪ ،‬ﻓﺼﻞ ﻣﺸﱰىك اﺳﺖ ﻛﻪ ﺑﺎ وﺟﻮد متﺎم ﻧﮕﺮشﻫﺎ و‬ ‫ﺷﻴﻮهﻫﺎى ﺑﺮﺧﻮردى ﻣﺘﻔﺎوت در ﺗﮏ ﺗﮏ ﻫرنﻣﻨﺪان‪ ،‬ﺑﺮ‬ ‫ﺑﺪﻧﻪ ﻫرن ﻣﻌﺎﴏ اﻳﺮان ﺳﺎﻳﻪ ﮔﺴﱰده‪ .‬ﺑﻪ ﻃﻮر ﺧﻼﺻﻪ‬ ‫ﻣﻰﺗﻮان ﺑﻪ اﻳﻦ ﻧﻜﺘﻪ ﺑﺎ ﻗﻄﻌﻴﺖ اﺷﺎره ﻛﺮد ﻛﻪ ﻫرن‬ ‫ﻣﻌﺎﴏ اﻳﺮان درﺧﺸﺶ ﭼﺸﻤﮕريى در روﻳﺪادﻫﺎى‬ ‫ﻣﻌﺎﴏ ﻫرنى ﺟﻬﺎن ﻳﺎﻓﺘﻪ‪ .‬ﺑﺨﺶ اﻋﻈﻤﻰ از ﺑﺰرﮔﱰﻳﻦ‬ ‫ﺑﺎزار ﻫرن ﺧﺎورﻣﻴﺎﻧﻪ در ﺣﺎل ﺣﺎﴐ از ﻫرن ﻣﻌﺎﴏ‬ ‫اﻳﺮان ﺗﻐﺬﻳﻪ ﻣﻰﻛﻨﺪ‪ .‬در ﺟﺸﻨﻮارهﻫﺎ و ىبﻳﻨﺎلﻫﺎى‬ ‫ﻣﻌﺘﱪ ﺟﻬﺎىن ﺣﻀﻮر ﻫرنﻣﻨﺪان اﻳﺮاىن ﭼﺸﻤﮕري اﺳﺖ‪ .‬و‬ ‫ﻣﻬﻤﱰ از ﻫﻤﻪ ﺑﺎ وﺟﻮد ﭘﺮاﻛﻨﺪﮔﻰ ﺟﻐﺮاﻓﻴﺎﻳﻰ ﻫرنﻣﻨﺪان‬ ‫ﻓﻌﺎل در داﺧﻞ و ﺧﺎرج از اﻳﺮان‪ ،‬ﻫرنﻫﺎى ﺗﺠﺴﻤﻰ ﻣﺎ‬ ‫از ﭘﻮﻳﺎﻳﻰ و ﺗﻮامنﻨﺪى آﮔﺎﻫﺎﻧﻪاى ﺑﺮﺧﻮردار اﺳﺖ ﻛﻪ‬ ‫ﻫﻤﻪ اﻳﻦﻫﺎ را ﻣﻰﺗﻮان ﻧﻘﻄﻪ آﻏﺎزﻳﻦ ﺟﻨﺒﺶ ﻫرنى‬ ‫ﻣﻌﺎﴏ اﻳﺮان ﺑﺮﺷﻤﺮد‪.‬‬

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‫ﺳﯿﻤﯿﻦ ﮐﺮاﻣﺘﯽ‬ ‫ﻧﻘــﺎش و ﻓﻌــﺎل ﻫرنﻫــﺎی ﺗﺠﺴــﻤﯽ در‬ ‫زﻣﯿﻨــﻪ ﻫرنﻫــﺎی ﻣﻌــﺎﴏ اﯾــﺮان اﺳــﺖ‪ .‬او‬ ‫ﻣــﺪرک ﮐﺎرﺷﻨﺎﺳــﯽ ارﺷــﺪ »ﻫرنﻫــﺎی زﯾﺒــﺎ«‪،‬‬ ‫را از داﻧﺸــﮕﺎه ﺗﻬــﺮان درﯾﺎﻓــﺖ ﮐــﺮده و‬ ‫در زﻣﯿﻨــﻪ زﺑــﺎن اﻧﮕﻠﯿﺴــﯽ ﻫــﻢ ﺗﺤﺼــﻼت‬ ‫ﺧــﻮد را ﺗــﺎ ﻣﻘﻄــﻊ ﮐﺎرﺷﻨﺎﺳــﯽ اداﻣــﻪ داده‬ ‫اﺳــﺖ‪ .‬آﺛــﺎر ﺳــﯿﻤﯿﻦ ﮐﺮاﻣﺘــﯽ ﺗــﺎ ﺑــﻪ ﺣــﺎل‬ ‫در دهﻫــﺎ ﺟﺸــﻨﻮاره ﻣﻌﺘــﱪ ﻫــرنی از ژاﭘــﻦ‬ ‫و ﻫﻨﺪوﺳــﺘﺎن ﺗــﺎ ﴎاﴎ اروﭘــﺎ و آﻣﺮﯾــﮑﺎی‬ ‫ﺷــامﻟﯽ منﺎﯾــﺶ داده ﺷــﺪه و ﺟﺎﯾــﺰه ﺑــﺰرگ‬ ‫دوﺳــﺎﻻﻧﻪ »داﮐﺎ« را در ﺳــﺎل ‪ ۲۰۰۴‬از آن‬ ‫ﺧــﻮد ﮐــﺮده اﺳــﺖ‪ .‬ﻋــﻼوه ﺑــﺮ ﺗﺪرﯾــﺲ در‬ ‫داﻧﺸــﮑﺪه ﻫرنﻫــﺎی زﯾﺒــﺎی داﻧﺸــﮕﺎه آزاد‪،‬‬ ‫ﻋﻀــﻮ اﻧﺠﻤــﻦ ﻧﻘﺎﺷــﺎن اﯾــﺮان و ﻫﯿــﺎت‬ ‫ﻋﻠﻤــﯽ رﺷــﺘﻪ ﻫــرن داﻧﺸــﮕﺎه آزاد اﺳــﺖ‪.‬‬ ‫او در ﮐﺎرﻫــﺎی ﺧــﻮد‪» ،‬وﯾﺪﺋــﻮآرت« را ﮐــﻪ‬ ‫ﮔﺮاﯾﺸــﯽ ﺑﺮﺧﻮاﺳــﺘﻪ از ﻫرنﻫــﺎی ﺗﺠﺴــﻤﯽ‬ ‫ﺑــﻪ ﻣــﻮازات ﺳﯿﻨامﺳــﺖ‪ ،‬در دو ﻣﻘﻮﻟــﻪ‬ ‫»زﻣــﺎن و ﻣــﮑﺎن« و »رواﯾﺘــﯽ« ﺑﺮرﺳــﯽ ﮐــﺮده‬ ‫اﺳــﺖ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:01 AM‬‬

‫‪136-Visual Art-Simin Keramati-EDITED.indd 136‬‬

VISUAL ARTS

FINE

137

ART ‫مح‬ ‫مد سر‬

‫م‬ ‫هرداد‬ ‫ر‬ ‫ب‬ ‫ی‬ ‫ع‬ ‫الل‬

:‫دوم‬

‫نفر‬

‫خابی‬

‫ه‬

‫علی م‬

‫حم‬ ‫دیرا‬

‫د‬

‫امیر‬ ‫بهروز‬

‫یراد‬

‫ن‬ ‫فر سو‬

:‫م‬

‫نفر‬

‫نفر دو‬

‫ن‬

‫فر سو‬

‫ر‬: ‫م‬ ‫ضا زیر‬

‫کپور‬

:‫اول‬

‫نفر‬

‫س‬: ‫م‬ ‫یدمح‬

‫م‬

‫د صاد‬

‫قح‬ ‫سینی‬

:‫اول‬

ALI URN

RY ENTA

TOJO O H DP

UM DOC

ERS

MB Y ME

JUR

eh bzad a h a kh V Farro gg r Bre Pete vanrouh Ja Sam

TIRGAN MAGAZINE AUGUST 2015

137-138-Visual Art-Photo Winners.indd 137

2015-08-10 1:28 AM

138

VISUAL ARTS

TIRGAN MAGAZINE AUGUST 2015

137-138-Visual Art-Photo Winners.indd 138

2015-08-05 7:56 AM

‫‪CINEMA‬‬

‫‪139‬‬

‫~ ‪~ Cinema‬‬

‫‪window‬‬ ‫‪horse‬‬ ‫‪WHEN:‬‬

‫‪Friday, 21 August - 7:00pm‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour 45 Minutes‬‬ ‫‪LOCATION:‬‬ ‫‪Studio Theatre‬‬ ‫‪Harbourfront Centre‬‬

‫اﻓﺸﯿﻦ ﻏﻔﺎرﯾﺎن‬ ‫رﻗﺼﻨــﺪه‪ ،‬رﻗﺺﭘــﺮداز‪ ،‬ﮐﺎرﮔــﺮدان و‬ ‫ﺑﺎزﯾﮕــﺮ اﯾﺮاﻧﯽﺳــﺖ ﮐــﻪ در ﻓﻀــﺎی ﺑﺎﻟــﻪ‬ ‫ﻣــﺪرن‪ ،‬ﺗﺌﺎﺗــﺮ‪ ،‬رﻗــﺺ و ﮐﺎرﻫــﺎی منﺎﯾﺸــﯽ‬ ‫ﻓﻌﺎﻟﯿــﺖ ﻣﯽﮐﻨــﺪ‪ .‬او ﭘــﺲ از ﻣﻬﺎﺟــﺮت‬ ‫ﮔــﺮوه »رﻓﺮﻣﺎﻧــﺲ« را ﺑــﺮای اداﻣــﻪ‬ ‫آﻓﺮﯾﻨﺶﻫــﺎی ﻫــرنیاش در ﺟﺎﻣﻌــﻪای‬ ‫ﺗــﺎزه ﺑــﺮ ﭘــﺎ ﮐــﺮده و ﻫﻤﭽﻨــﺎن ﺧﺎﻟــﻖ‬ ‫آﺛــﺎری ﺗﺎﻣــﻞ ﺑﺮاﻧﮕﯿــﺰ در ﻋﺮﺻــﻪ ﻫرنﻫــﺎی‬ ‫ﺻﺤﻨــﻪای اﺳــﺖ‪» .‬رﻗﺼﻨــﺪه ﺻﺤــﺮا«‪،‬‬ ‫ﻧﺨﺴــﺘﯿﻦ ﻓﯿﻠــﻢ ﺑﻠﻨــﺪ »رﯾﭽــﺎرد رﯾﻤﻮﻧــﺪ«‬ ‫ﮐﺎرﮔــﺮدان ﺑﺮﯾﺘﺎﻧﯿﺎﯾﯽﺳــﺖ‪ .‬اﺛــﺮی ﮐــﻪ ﺑــﺮ‬ ‫اﺳــﺎس داﺳــﺘﺎن زﻧﺪﮔــﯽ اﻓﺸــﯿﻦ ﻏﻔﺎرﯾــﺎن‬ ‫ﺳــﺎﺧﺘﻪ ﺷــﺪه و واﮐﻨﺶﻫــﺎی ﻣﺘﻨﻮﻋــﯽ در‬ ‫ﺟﺸــﻨﻮارهﻫﺎی ﺳــﯿﻨامﯾﯽ درﭘــﯽ داﺷــﺖ‪.‬‬ ‫اﻓﺸــﯿﻦ ﻏﻔﺎرﯾــﺎن در اﯾــﻦ ﺑــﺎره ﺑــﺮای‬ ‫ﺗﯿــﺮﮔﺎن ﻧﻮﺷــﺘﻪ اﺳــﺖ‪.‬‬

‫ﺿﺒﻂ زﯾﺮزﻣﯿﻨﯽ ﺑﻪ ﻃﻮر ﻗﺎرچﮔﻮﻧﻪ در ﺟﺎی ﺟﺎی اﯾﺮان در اﯾﺮان ذﻫﻨﯿﺖﻫﺎ در راﺑﻄﻪ ﺑﺎ رﻗﺺ ﺑﺴﯿﺎر ﻣﺤﺪود ﻧﺎﻣﻤﮑﻦ ﻧﺒﻮده و ﻧﯿﺴﺖ و اﮔﺮ ﺑﺨﻮاﻫﯿﻢ ﻣﯽﺗﻮاﻧﯿﻢ‬ ‫ﭘﺎ ﺑﻪ ﻋﺮﺻﻪ ﻇﻬﻮر ﮔﺬاﺷﺘﻨﺪ و ﻫﺮ روز و ﺑﻪ دور از‬ ‫اﺳﺖ‪ ،‬اﯾﻨﮑﻪ ﭼﻄﻮر ﻣﯽﺗﻮاﻧﯿﻢ از اﯾﻦ ﻓﮑﺮ دﻓﺎع ﮐﻨﯿﻢ ﮐﺎر ﻣﺜﺒﺘﯽ اﻧﺠﺎم دﻫﯿﻢ و ﮐﺎری از ﮐﺎر ﭘﯿﺶ ﺑﱪﯾﻢ‪ .‬ﺑﺎ‬ ‫ﻓﻀﺎﻫﺎی رﺳﻤﯽ رﺷﺪ ﮐﺮدﻧﺪ و ﺗﻮﺳﻌﻪ ﯾﺎﻓﺘﻨﺪ )ﻣﺎﻧﻨﺪ‬ ‫ﮐﻪ رﻗﺺ ﺗﻨﻬﺎ ﻣﺤﺪود ﺑﻪ ﻗﺎﻟﺐﻫﺎ و ﮐﻠﯿﺸﻪﻫﺎی ذﻫﻨﯽ دﻧﯿﺎ در متﺎس ﺑﺎﺷﯿﻢ و ﺑﺎ اﯾﻦ ﻓﻀﺎی دوﮔﺎﻧﻪ ﺑﺎزی ﮐﻨﯿﻢ؛‬ ‫ﻫﯿﭽﮑﺲ ‪ ،‬ﯾﺎس و ‪ (...‬ﺗﺎ اﯾﻦ ﮐﻪ اﺧﯿﺮا ﻣﻮﺳﯿﻘﯽ رپ ﻣﺎ از رﻗﺺﻫﺎ ی ﺑﺰﻣﯽ و ﮐﺎﺑﺎرهای ﻧﯿﺴﺖ و ﻫرنیﺳﺖ ﻓﻀﺎی دوﮔﺎﻧﻪای ﮐﻪ زﻧﺪﮔﯽ روزﻣﺮه ﻫرنﻣﻨﺪان در اﯾﺮان‬ ‫زﯾﺮ ﻋﻨﻮان ﻣﺼﻮب »ﮔﻔﺘﺂواز« از وزارت ﻓﺮﻫﻨﮓ و‬ ‫ﮐﻪ ﺑﺴﯿﺎر ﮔﺴﱰدهﺗﺮ از اﯾﻦ ﻗﺎﻟﺐﻫﺎﺳﺖ و ﻣﯽﺗﻮاﻧﺪ‬ ‫را ﺷﮑﻞ ﻣﯽدﻫﺪ‪ .‬ﺳﭙﺲ ﺳﺎل ‪ ۱۳۸۸‬ﻓﺮا ﻣﯽرﺳﺪ‪ ،‬آن‬ ‫ارﺷﺎد اﺳﻼﻣﯽ ﻣﺠﻮز ﻧﴩ ﮔﺮﻓﺖ‪ .‬اﯾﻦ ﭼﻨﯿﻦ در اﯾﺮان ﺷﮑﻞﻫﺎی ﻣﺘﻨﻮع و ﭼﻨﺪﮔﺎﻧﻪای ﺑﻪ ﺧﻮد ﺑﮕﯿﺮد‪ .‬اﯾﻨﮑﻪ ﻗﺪر ﴎﯾﻊ‪ ،‬آن ﻗﺪر ﻋﺠﯿﺐ و واﻗﻌﯽ‪ .‬ﻣﺎ ﺑﺮای اﺟﺮای‬ ‫ﻫﻤﻪ ﭼﯿﺰ ﺑﻪ ﻧﻈﺮ ﻣﻤﻨﻮع و ﻫﯿﭻ ﭼﯿﺰ ﺑﻪ ﻧﻈﺮ ﻣﻤﮑﻦ رﻗﺺ ﻫﻢ ﻣﺎﻧﻨﺪ دﯾﮕﺮ اﺷﮑﺎل ﻫرنی ﻣﯽﺗﻮاﻧﺪ در‬ ‫منﺎﯾﺶ »ﻋﺠﯿﺐ وﻟﯽ واﻗﻌﯽ« ﺑﻪ »ﺟﺸﻨﻮاره ُﻣﻮﻟﻬﺎﯾﻢ«‬ ‫منﯽآﯾﺪ و در ﻋﯿﻦ ﺣﺎل ﻫﻤﻪ ﭼﯿﺰ ﺑﻪ ﻧﻈﺮ ﻣﻤﮑﻦ و‬ ‫ﭼﺎرﭼﻮب ﻗﻮاﻧﯿﻦ ﺟﺎری‪ ،‬ﺗﻌﺮﯾﻒ و در راﺳﺘﺎی ارزشﻫﺎ در آﳌﺎن دﻋﻮت ﺷﺪه ﺑﻮدﯾﻢ‪ .‬اﯾﻦ ﻃﻮر ﺑﻮد ﮐﻪ ﻣﺎ ﺑﻌﺪ‬ ‫ﻫﯿﭻ ﭼﯿﺰ ﻫﺮﮔﺰ واﻗﻌﺎ ﻣﻤﻨﻮع ﻧﯿﺴﺖ‪.‬‬ ‫و ﻓﺮﻫﻨﮓ ﮐﺸﻮرﻣﺎن ﺑﻪ درﺳﺘﯽ ﺗﺒﯿﯿﻦ ﺷﻮد و زﻧﺪﮔﯽ از آن ﻫﻤﻪ ﺗﻨﺶ در آن ﺳﺎل ﻋﺎزم آﳌﺎن ﺷﺪﯾﻢ‪ ،‬ﺳﻔﺮی‬ ‫ﻣﻦ در اﯾﻦ ﻓﻀﺎی ﮐﻤﯽ دوﮔﺎﻧﻪ اﺳﺖ ﮐﻪ ﺑﺰرگ ﺷﺪهام‪ .‬ﺧﻮد را دارا ﺑﺎﺷﺪ ‪.‬‬ ‫ﮐﻪ ﻣﻨﺠﺮ ﺑﻪ ﭘﻨﺞ ﺳﺎل ﺗﺒﻌﯿﺪ ﻣﻦ از اﯾﺮان و ﺳﮑﻮﻧﺘﻢ‬ ‫ﻣﻦ دﯾﭙﻠﻢ ﺧﻮد را در رﺷﺘﻪ ﺳﯿﻨام از ﻫرنﺳﺘﺎن ﺳﻮره‬ ‫در ﻓﺮاﻧﺴﻪ ﮔﺮدﯾﺪ‪.‬‬ ‫ﻣﺸﻬﺪ درﯾﺎﻓﺖ ﮐﺮدم و ﭘﺲ از آن ﻣﺸﻐﻮل ﺗﺤﺼﯿﻞ‬ ‫ﻣﺪهآی زﯾﺮزﻣﯿﻨﯽ‬ ‫در رﺷﺘﻪ منﺎﯾﺶ در داﻧﺸﮕﺎه ﺷﺪم‪ .‬در آن زﻣﺎن ﺑﺴﯿﺎر در ﭘﺎﯾﺎن ﺳﺎل ‪ ،۱۳۸۶‬منﺎﯾﺶ »ﻣﺪهآ« را ﮐﻪ ﮐﺎری‬ ‫رﻗﺼﻨﺪه ﺑﯿﺎﺑﺎن‬ ‫ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﺗﺌﺎﺗﺮ »ﮔﺮوﺗﻔﺴﮑﯽ« ﻗﺮار داﺷﺘﻢ‪ .‬آﮔﺎﻫﯽ‬ ‫زﯾﺮزﻣﯿﻨﯽ ﺑﻮد اﺟﺮا ﮐﺮدﯾﻢ‪ ،‬ﭼﻨﺪﯾﻦ ﻣﺎه متﺮﯾﻦ ﺑﺮای‬ ‫ﻫﺮﭼﻨﺪ اﯾﻦ ﻓﯿﻠﻢ اﻟﻬﺎم ﮔﺮﻓﺘﻪ ﺷﺪه از ﯾﮏ داﺳﺘﺎن‬ ‫اﻟﺒﺘﻪ‬ ‫رﻗﺺ‪ ،‬آرام آرام ﺑﻪ آﮔﺎﻫﯽﻫﺎی ﻣﻦ اﺿﺎﻓﻪ ﺷﺪ ﮐﻪ‬ ‫رﺳﻤﯽ‬ ‫ﻫﺎی‬ ‫ﻓﻀﺎ‬ ‫از‬ ‫دور‬ ‫ﺑﻪ‬ ‫و‬ ‫ﺑﯿﺎﺑﺎن‬ ‫در‬ ‫ا‬ ‫ﺮ‬ ‫اﺟ‬ ‫ﯾﮏ‬ ‫ﺗﻨﻬﺎ‬ ‫واﻗﻌﯽﺳﺖ ﮐﻪ ﺑﻪ ﻃﻮر ﺑﺪﯾﻬﯽ ﺑﺨﺸﯽ از زﻧﺪﮔﯽ ﻣﻦ‬ ‫دارد‪.‬‬ ‫ﻫﻤﻪ ﭼﯿﺰ ﺑﻪ ﻧﻮع ﺗﻌﺮﯾﻒ ﻣﺎ از رﻗﺺ ﺑﺴﺘﮕﯽ‬ ‫و ﻣﻌﻤﻮل منﺎﯾﺸﯽ و ﺑﺮای ‪ ۱۵‬متﺎﺷﺎﮔﺮ‪ .‬آن ﭼﻪ ﻣﻬﻢ‬ ‫را ﺷﺎﻣﻞ ﻣﯽﺷﻮد و ﻣﯽﺗﻮاﻧﺪ ﺑﻪ ﻃﻮر ﻣﺜﺒﺘﯽ ﻣﺎ را‬ ‫اوﻟﯿﻦ ﺑﺎر ﭘﺲ از ﺧﻮاﻧﺪن ﮐﺘﺎﺑﯽ از »ﯾﻮﺟﯿﻨﯿﻮ ﺑﺎرﺑﺎ«‬ ‫اﺳﺖ ﴐورﺗﯽ ﺑﻮد ﮐﻪ اﯾﻦ ﮐﺎر از دل آن ﺑﺮ ﻣﯽآﻣﺪ‪ .‬ﻣﺘﻮﺟﻪ ﻣﺴﺎﻟﻪی رﻗﺺ در اﯾﺮان ﮐﻨﺪ‪ ،‬اﻣﺎ زﻧﺪﮔﯽ اﻣﺮوز‬ ‫ﻧﺎم‬ ‫ﻣﺘﻮﺟﻪ ﺷﺪم ﮐﻪ آﻧﭽﻪ را اﻧﺠﺎم ﻣﯽدﻫﯿﻢ ﻣﯽﺗﻮاﻧﺪ‬ ‫ِ‬ ‫ﻋﯿﻦ‬ ‫در‬ ‫منﺎﯾﺶ‬ ‫ﻧﯿﭽﻪ«‪،‬‬ ‫زرﺗﺸﺖ‬ ‫ﮔﻔﺖ‬ ‫»ﭼﻨﯿﻦ‬ ‫ﻫامﻧﻨﺪ‬ ‫ﻣﻦ ﺑﺮاﺳﺎس اﯾﻦ ﻓﯿﻠﻢ ﻧﯿﺴﺖ‪ .‬منﯽﺗﻮان ﻫﻤﻪ زﻧﺪﮔﯽ و‬ ‫ﮐﺘﺎﺑﺶ‬ ‫رﻗﺺ ﻧﯿﺰ ﺑﻪ ﺧﻮد ﺑﮕﯿﺮد‪ .‬ﺑﺎرﺑﺎ ﺑﻪ ﺧﻮﺑﯽ در‬ ‫ﺣﺎل ﻫﻤﻪ و ﻫﯿﭻ ﮐﺲ را ﻣﺨﺎﻃﺐ ﻗﺮار ﻣﯽداد؛ ﻧﻮﻋﯽ ﺗﺠﺮﺑﻪ ﻣﻦ را در اﯾﻦ ﻓﯿﻠﻢ ﺧﻼﺻﻪ و ﺑﻪ ﻓﯿﻠﻤﻨﺎﻣﻪاش‬ ‫ﻧﺸﺎن ﻣﯽدﻫﺪ ﮐﻪ در ﺑﺴﯿﺎری از ﺳﻨﺖﻫﺎی منﺎﯾﺸﯽ‬ ‫ﻫﺪﯾﻪ ﮐﺮدن ﺧﻮد ﺑﻪ »ﻫﯿﭻ«‪ .‬ﺷﺎﯾﺪ ﻣﻌﻨﯽ واﻗﻌﯽ ﮐﺎر ﺗﻘﻠﯿﻞ داد‪.‬‬ ‫در ﴎاﴎ دﻧﯿﺎ و ﺑﻪ ﺧﺼﻮص در ﴍق‪ ،‬ﺗﻔﺎوﺗﯽ ﻣﯿﺎن‬ ‫ای‬ ‫ﺮ‬ ‫اﺟ‬ ‫اﯾﻦ‬ ‫از‬ ‫ﺑﻌﺪ‬ ‫ﺳﺎل‬ ‫در‬ ‫ﺑﺎﺷﺪ‪.‬‬ ‫ﻫﻤﯿﻦ‬ ‫ﻫﻢ‬ ‫زﯾﺮزﻣﯿﻨﯽ‬ ‫اﺷﺘﺒﺎه ﺧﻮاﻫﺪ ﺑﻮد ﮐﻪ ﻓﯿﻠﻢ رﻗﺼﻨﺪه ﺑﯿﺎﺑﺎن را ﻧﻘﺸﻪ‬ ‫ﺣﺘﯽ‬ ‫ﺗﺌﺎﺗﺮ و رﻗﺺ‪ ،‬ﺑﺎزﯾﮕﺮ و رﻗﺼﻨﺪه وﺟﻮد ﻧﺪارد و‬ ‫زﯾﺮزﻣﯿﻨﯽ‪ ،‬در ﭘﺮوژهای رﺳﻤﯽ و ﻣﺸﱰک ﺑﯿﻦ اﯾﺮان‬ ‫راه ﺧﻮد ﺑﺮای ﻓﻬﻢ ﭘﯿﭽﯿﺪﮔﯽﻫﺎی رﻗﺺ در ﺟﺎﻣﻌﻪ‬ ‫از ﯾﮏ واژه ﺑﺮای ﺧﻄﺎب ﮐﺮدن آنﻫﺎ اﺳﺘﻔﺎده ﻣﯽﺷﻮد‪ .‬و ﻣﮑﺰﯾﮏ ﴍﮐﺖ ﮐﺮدم‪ .‬اﯾﻦ منﺎﯾﺶ ﮐﻪ »ﳌﻨﻮس« ﻧﺎم‬ ‫اﯾﺮان ﮐﻨﯿﻢ‪ .‬اﯾﻦ ﻓﯿﻠﻢ ﻣﺴﺘﻨﺪی درﺑﺎره زﻧﺪﮔﯽ ﻣﻦ‬ ‫وﻟﯽ ﻣﺴﺎﻟﻪ در ﻏﺮب ﺑﺮﻋﮑﺲ اﺳﺖ؛ اﯾﻦ دو ﻫرن‬ ‫داﺷﺖ در ﺟﺸﻨﻮاره ﺗﺌﺎﺗﺮ ﻓﺠﺮ در ﺳﺎل ‪ ۱۳۸۷‬اﺟﺮا‬ ‫ﻧﯿﺴﺖ؛ ﺑﻠﮑﻪ ﻓﯿﻠﻤﯽ ﺗﺨﯿﻠﯽﺳﺖ ﮐﻪ در ﺑﺨﺶﻫﺎﯾﯽ‬ ‫ﻣﮑﺎن‬ ‫ﻏﺎﻟﺒﺎ از ﻫﻢ ﮔﺴﯿﺨﺘﻪاﻧﺪ و ﻧﻪ ﺗﺎرﯾﺦ ﻣﺸﺎﺑﻪ‪ ،‬ﻧﻪ‬ ‫و‬ ‫رﺳﻤﯽ‬ ‫ﺑﯿﻦ‬ ‫ﻫﻤﯿﺸﮕﯽ‬ ‫ﺑﺎزی‬ ‫اﯾﻦ‬ ‫ﺗﺮﺗﯿﺐ‬ ‫اﯾﻦ‬ ‫ﺑﻪ‬ ‫ﺷﺪ‪.‬‬ ‫از آن از ﯾﮏ داﺳﺘﺎن واﻗﻌﯽ اﻟﻬﺎم ﮔﺮﻓﺘﻪ ﺷﺪه اﺳﺖ‬ ‫آن‬ ‫دارﻧﺪ‪.‬‬ ‫ﻣﺸﺎﺑﻪ و ﻧﻪ ﺣﺘﯽ ﻣﺨﺎﻃﺐ ﻣﺸﺎﺑﻪ ﺑﻪ ﻫﻢ‬ ‫زﯾﺮزﻣﯿﻨﯽ ﺑﺮای ﻣﻦ ﻫﻤﻮاره ﻧﻮﻋﯽ ﭘﯿﺶ رﻓنت در ﻫﺮ‬ ‫و ﻣﺎﻧﻨﺪ دﯾﮕﺮ ﻓﯿﻠﻢﻫﺎ در آن ﺻﺤﻨﻪﻫﺎی ﺗﺨﯿﻠﯽ ﺑﺮای‬ ‫ﭼﻪ در آن زﻣﺎن ﺑﻪ ﻧﻈﺮم ﺟﺎﻟﺐ ﻣﯽآﻣﺪ اﯾﻦ ﺑﻮد ﮐﻪ در دو ﺟﺒﻬﻪ‪ ،‬ﺑﻪ ﻃﻮر ﻫﻤﺰﻣﺎن ﺑﻮد‪ :‬از ﻃﺮﻓﯽ ﭘﮋوﻫﺸﯽ‬ ‫ﺗﺎﺛﯿﺮاﺗﯽ دراﻣﺎﺗﯿﮏ وﺟﻮد دارد‪ .‬اﯾﻦ ﻓﯿﻠﻢ ﺑﺮ اﺳﺎس‬ ‫دﯾﮕﺮ‬ ‫ﻓﻀﺎی ﭘﮋوﻫﺶﻫﺎی »ﯾﻮﺟﯿﻨﯿﻮ ﺑﺎرﺑﺎ«‪ ،‬از ﮐﺎرﻣﺎن ﺗﺤﺖ ﻫرنی و رﻫﺎ ﺷﺪه از ﻫﺮ ﻣﺤﺪودﯾﺘﯽ و از ﻃﺮف‬ ‫ﺳﺎﺧﺘﺎر دراﻣﺎﺗﯿﮏ ﺧﻮد‪ ،‬ﺗﻨﺶﻫﺎ و ﮐﻨﺶﻫﺎی دراﻣﺎﺗﯿﮏ‬ ‫ﻋﻨﻮان رﻗﺺ ﻫﻢ دﻓﺎع ﮐﻨﯿﻢ‪ .‬اﻟﺒﺘﻪ ﺑﺎ رﻗﺺ ﻣﻌﺎﴏ‬ ‫ﭘﯿﺪا ﮐﺮدن ﺷﯿﻮهﻫﺎی ﺗﺎزه و راﻫﯽ ﺑﺮای ﻗﺎﺑﻞ ﭘﺬﯾﺮش ﺧﻠﻖ ﻣﯽﮐﻨﺪ ﮐﻪ ﻣﻨﺘﺞ ﺑﻪ ﺗﺎﺛﯿﺮاﺗﯽ دراﻣﺎﺗﯿﮏ ﻣﯽﮔﺮدﻧﺪ‬ ‫از ﻃﺮﯾﻖ ﻣﺸﺎﻫﺪه وﯾﺪﺋﻮﻫﺎی ﮐﻮﺗﺎﻫﯽ از ﻃﺮاﺣﺎن‬ ‫ﮐﺮدن ﻧﺘﺎﯾﺞ و مثﺮهﻫﺎی اﯾﻦ ﭘﮋوﻫﺶﻫﺎ در ﻓﻀﺎی‬ ‫اﻣﺎ اﯾﻦ روﯾﮑﺮد اﻟﺰاﻣﺎ متﺎم واﻗﻌﯿﺖ زﻧﺪﮔﯽ و ﺗﺠﺮﺑﻪ‬ ‫ﺑﺮ‬ ‫واﻟﺘﺰ«‬ ‫ﻣﺸﻬﻮر رﻗﺺ ﻫﻤﭽﻮن »ﭘﯿﻨﺎ ﺑﺎوش« و »ﺳﺎﺷﺎ‬ ‫ﺑﯿﺎﺑﺎن‪،‬‬ ‫در‬ ‫آ«‬ ‫»ﻣﺪه‬ ‫ای‬ ‫ﺮ‬ ‫اﺟ‬ ‫ﮐﻪ‬ ‫ﺳﺖ‬ ‫ﺑﺪﯾﻬﯽ‬ ‫رﺳﻤﯽ‪.‬‬ ‫ﻣﻦ را ﻧﺸﺎن منﯽدﻫﺪ‪ .‬ﻫامن ﻃﻮر ﮐﻪ متﺎم واﻗﻌﯿﺖ‬ ‫ﺗﻮﺟﻪ‬ ‫ﻣﻮرد‬ ‫روی اﯾﻨﱰﻧﺖ آﺷﻨﺎ ﺷﺪم‪ .‬اﻣﺎ آﻧﭽﻪ ﺑﯿﺸﱰ‬ ‫ﻧﻮﻋﯽ ﭘﺎﺳﺦ ﺑﻪ ﻧﻈﻢ ﺣﺎﮐﻢ در آن زﻣﺎن ﺑﻮد‪ .‬ﭘﺎﺳﺨﯽ‬ ‫اﯾﺮان را ﻧﯿﺰ ﻧﺸﺎن منﯽدﻫﺪ و ﺑﻪ ﺑﺮﺧﯽ ﮐﻠﯿﺸﻪﻫﺎ‬ ‫ﻣﻦ ﺑﻮده و ﻫﺴﺖ‪ ،‬ﻣﻌﺮﻓﯽ رﻗﺺ ﺑﻪ ﺷﯿﻮهای دﯾﮕﺮ و ﺑﻪ دﺷﻮاریﻫﺎی ﮐﺎر ﮐﺮدن در اﯾﺮان‪ ،‬آن ﻃﻮر ﮐﻪ‬ ‫درﺑﺎره اﯾﺮان داﻣﻦ ﻣﯽزﻧﺪ‪ .‬ﺗﺠﺮﺑﻪﻫﺎی زﻧﺪه ﻫﯿﭻ‬ ‫ﺑﺎز ﮐﺮدن ﮔﻔﺘامﻧﯽ ﺗﺎزه در ﺑﺎره رﻗﺺ در ﺟﺎﻣﻌﻪای ﺑﺎ ﻣﯽﺧﻮاﻫﯿﻢ‪ ،‬ﺷﯿﻮهای ﺑﺮای ﺑﯿﺎن ﻧﺎرﺿﺎﯾﺘﯽﻫﺎﯾامن ﺑﻮد رﺑﻄﯽ ﺑﻪ اﯾﻦ ﺟﻨﺒﻪﻫﺎی دراﻣﺎﺗﯿﮏ ﻧﺪارﻧﺪ‪ .‬ﺗﺠﺮﺑﻪﻫﺎ‬ ‫ﺣﺴﺎﺳﯿﺖﻫﺎی اﯾﺮان ﺑﻮد‪.‬‬ ‫و ﻫﻤﭽﻨﯿﻦ ﻧﺸﺎن از ﻣﯿﻞ ﻋﻤﯿﻖﻣﺎن ﺑﻪ ﺗﮑﺎن دادن‬ ‫در ﻫﺮﺟﺎی دﻧﯿﺎ ﺑﺴﯿﺎر ﭘﯿﭽﯿﺪهﺗﺮ و در ﻧﺘﯿﺠﻪ ﭘﻮﯾﺎ ﺗﺮ‬ ‫ﺧﻂﻫﺎ ﻣﯽداد‪ .‬ﻣﯿﻠﯽ ﮐﻪ ﺑﺎ ﺗﺠﺮﺑﻪ ﮐﺎرﻫﺎﯾﯽ ﺗﺎزه ﺑﺮوز از آن ﭼﯿﺰﻫﺎﯾﯽﺳﺖ ﮐﻪ ﻣﺎ در ﻓﯿﻠﻢﻫﺎ و ﯾﺎ رﺳﺎﻧﻪﻫﺎ‬ ‫ﭘﯿﺪا ﻣﯽﮐﺮد‪ ،‬ﺗﺠﺮﺑﻪ ﺷﯿﻮهﻫﺎی ﻧﻮﯾﻦ ﺑﯿﺎن ﺑﺮای دوری ﻧﻈﺎره ﻣﯽﮐﻨﯿﻢ‪ .‬واﻗﻌﯿﺖﻫﺎی اﯾﺮان ﻧﯿﺰ ﻣﺎﻧﻨﺪ ﻫﺮ‬ ‫ﺩﺭ ﺍﯾــﺮﺍﻥ ﻫﻤــﻪ ﭼﯿــﺰ ﺑــﻪ ﻧﻈــﺮ ﺟﺴنت از ﻓﻀﺎﻫﺎی ﻣﻌﻤﻮل و راﮐﺪ ﻫرنی ﮐﻪ در آن‬ ‫ﮐﺸﻮر دﯾﮕﺮ در دﻧﯿﺎ ﺑﻪ ﻣﺮاﺗﺐ ﺑﺴﯿﺎر ﭘﯿﭽﯿﺪهﺗﺮ از آن‬ ‫زﻣﺎن ﺑﺮ روی زﻧﺪﮔﯽ ﻫرنی ﺧﻮد اﺣﺴﺎس ﻣﯽﮐﺮدﯾﻢ‪.‬‬ ‫ﭼﯿﺰیﺳﺖ ﮐﻪ ﻓﮑﺮ ﻣﯽﮐﻨﯿﻢ و ﯾﺎ در رﺳﺎﻧﻪﻫﺎ ﻣﯽﺑﯿﻨﯿﻢ‪.‬‬ ‫ﳑﻨــﻮﻉ ﻭ ﻫﯿــﭻ ﭼﯿــﺰ ﺑــﻪ ﻧﻈــﺮ ﳑﮑــﻦ منﺎﯾﺶ »ﻣﺪهآ« ﺑﻪ ﮐﻤﮏ اﯾﻨﱰﻧﺖ و ﻋﮑﺲﻫﺎﯾﯽ ﮐﻪ از واﻗﻌﯿﺖ ﻣﺴﺎﻟﻪ رﻗﺺ ﻫﻢ در اﯾﺮان ﺑﻪ اﯾﻦ اﻧﺪازه ﮐﻪ‬ ‫آن ﻣﻨﺘﴩﮐﺮده ﺑﻮدﯾﻢ ﻣﺎ را در متﺎس ﺑﺎ ﺷﺨﺼﯿﺖﻫﺎی در ﻓﯿﻠﻢ رﻗﺼﻨﺪه ﺑﯿﺎﺑﺎن دراﻣﺎﺗﯿﮏ ﻧﺸﺎن داده ﺷﺪه‪،‬‬ ‫ﳕﯽﺁﯾــﺪ ﻭ ﺩﺭ ﻋﯿــﻦ ﺣــﺎﻝ ﻫﻤــﻪ ﺑﺰرگ ﺗﺌﺎﺗﺮ ﻫﻤﭽﻮن ﯾﻮﺟﯿﻨﯿﻮ ﺑﺎرﺑﺎ از »ﺗﺌﺎﺗﺮ اودﯾﻦ«‬ ‫دراﻣﺎﺗﯿﮏ ﻧﯿﺴﺖ‪ .‬ﺗﺠﺮﺑﻪﻫﺎی ﻫرنی ﺑﺎﯾﺴﺘﯽ ﻫﻤﻮاره‬ ‫ﻗﺮار داد‪ .‬روزی آن ﻫﺎ از دامنﺎرک ﺑﺮاﯾامن ﯾﮏ ﺑﺴﺘﻪ‬ ‫روﯾﮑﺮدی ﻧﻘﺎداﻧﻪ ﺑﻪ دﻧﯿﺎﯾﯽ ﮐﻪ در آن زﻧﺪﮔﯽ ﻣﯽﮐﻨﯿﻢ‬ ‫ﭼﯿــﺰ ﺑــﻪ ﻧﻈــﺮ ﳑﮑــﻦ ﻭ ﻫﯿــﭻ ﭼﯿــﺰ‬ ‫ﮐﺘﺎب و ﻓﯿﻠﻢ ﮐﻪ در آن زﻣﺎن ﺑﻪ راﺣﺘﯽ در اﯾﺮان ﯾﺎﻓﺖ داﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬ﻫﺮ ﭼﻨﺪ ﮔﺎﻫﯽ وﺳﻮﺳﻪ ﺷﻬﺮت ﻧﻈﻢ‬ ‫منﯽﺷﺪ ﻓﺮﺳﺘﺎدﻧﺪ ﺗﺎ اﯾﻦ ﮐﻪ ﺑﺘﻮاﻧﯿﻢ ﻫرنﻣﺎن را از ﻃﺮف ﺟﺮﯾﺎن اﯾﻦ ﺗﺠﺮﺑﻪﻫﺎ را در زﻧﺪﮔﯽ ﺑﺮﻫﻢ ﻣﯽزﻧﺪ و‬ ‫ﻫﺮﮔــﺰ ﻭﺍﻗﻌــﺎ ﳑﻨــﻮﻉ ﻧﯿﺴــﺖ‪.‬‬ ‫ﺧﻮدﻣﺎن و ﺑﻪ ﺷﯿﻮه ﺧﻮدﻣﺎن ﮔﺴﱰش دﻫﯿﻢ‪ .‬ﻫﻤﻪ اﯾﻦ ﺑﺎﻋﺚ ﻣﯽﺷﻮد ﮐﻪ ﺗﺠﺮﺑﻪﻫﺎی زﻧﺪه ﻫرنی در ﺳﯿﻼب‬ ‫ﻫﺎ ﻣﺮا ﺑﻪ اﯾﻦ ﻓﮑﺮ ﻓﺮو ﻣﯽﺑﺮد ﮐﻪ ﺑﺎ متﺎم ﻣﺸﮑﻼت و داﺳﺘﺎن ﭘﺮدازیﻫﺎ و ﻗﻬﺮﻣﺎن ﺳﺎزیﻫﺎی رﺳﺎﻧﻪای ﮔﻢ‬ ‫ﺳﺨﺘﯽﻫﺎی ﻣﻮﺟﻮد در اﯾﺮان آﻧﭽﻨﺎن ﻫﻢ ﻫﻤﻪ ﭼﯿﺰ‬ ‫ﺷﻮد و در ﺳﯿﻼب ﺑﺨﺸﮑﺪ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:27 AM‬‬

‫‪139-140-Cinema-Afshin Ghafarian-EDITED.indd 139‬‬

‫‪CINEMA‬‬

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‫دﻧﯿﺎی رﺳﻤﯽ و زﯾﺮزﻣﯿﻨﯽ‬

‫در اﯾﺮان‪ ،‬دﻧﯿﺎی »رﺳﻤﯽ« از دﻧﯿﺎی »زﯾﺮزﻣﯿﻨﯽ« اﻟﺰاﻣﺎ از ﻫﻢ ﺟﺪا ﻧﯿﺴﺖ و ﺑﺎ‬ ‫ﻫﻢ ﻧﻮﻋﯽ ﻫﻤﺰﯾﺴﺘﯽ دارﻧﺪ‪ .‬اﻣﺎ ﻧﻮع ﻧﮕﺎه ﺑﺴﯿﺎری از اﯾﺮاﻧﯿﺎن ﺧﺎرج از ﮐﺸﻮر‬ ‫و ﻫﻤﭽﻨﯿﻦ ﺑﺴﯿﺎری از رﺳﺎﻧﻪﻫﺎی ﻏﺮﺑﯽ ﺑﻪ اﯾﺮان‪ ،‬ﻧﮕﺎﻫﯽ دوﻗﻄﺒﯽ و ﺳﯿﺎه‬ ‫و ﺳﻔﯿﺪ اﺳﺖ‪ .‬ﺑﻪ اﯾﻦ ﻣﻌﻨﯽ ﮐﻪ در ﯾﮏ ﻃﺮف آدمﻫﺎی ﺧﻮب و در ﻃﺮف‬ ‫دﯾﮕﺮ آدم ﺑﺪﻫﺎ زﻧﺪﮔﯽ ﻣﯽﮐﻨﻨﺪ‪ ،‬ﮐﻪ ﺻﺪ اﻟﺒﺘﻪ ﻧﮕﺎﻫﯽ ﮐﺎﻣﻼ اﺷﺘﺒﺎه ﺑﻪ واﻗﻌﯿﺖ‬ ‫اﺟﺘامﻋﯽ‪ ،‬ﻫرنی و ﺣﺘﯽ ﺳﯿﺎﺳﯽ اﯾﺮان اﺳﺖ‪ .‬اﯾﻦ در ﺣﺎﻟﯽﺳﺖ ﮐﻪ در اﯾﺮان‬ ‫ﺑﺴﯿﺎری از ﻫرنﻣﻨﺪان از ﯾﮏ دﻧﯿﺎ ﺑﻪ دﻧﯿﺎی دﯾﮕﺮ رﻓﺖ و آﻣﺪ و در دل اﯾﻦ دو‬ ‫دﻧﯿﺎ زﻧﺪﮔﯽ ﻫرنیﺷﺎن را ﺗﺠﺮﺑﻪ ﻣﯽﮐﻨﻨﺪ و اﯾﻦ ﭼﻨﯿﻦ ﻫﻤﻮاره در ﺗﻼشاﻧﺪ ﺗﺎ‬ ‫ﻣﺤﺪودﯾﺖﻫﺎ را ﮐﻤﯽ ﻫﻞ دﻫﻨﺪ و اﻣﻮر را ﮐﻤﯽ ﻣﺘﺤﻮل ﮐﻨﻨﺪ و ﭘﯿﺶ ﺑﱪﻧﺪ‪.‬‬ ‫ﻣﻌﺘﻘﺪم ﮐﻪ اﺗﻔﺎﻗﺎ اﻣﺮوز اﯾﻦ ﭘﻮﯾﺎﯾﯽ در ﺟﺎﻣﻌﻪ اﯾﺮان از ﻧﻈﺮ ﻫرنی ﺑﺴﯿﺎر ﻫﻢ‬ ‫ﭘﺮمثﺮ اﺳﺖ‪ .‬ﺑﺮای منﻮﻧﻪ ﻣﻮﺳﯿﻘﯽ »رپ« ﺑﺮای ﻣﺪتﻫﺎ آن ﭼﻨﺎن ﻣﻨﻄﺒﻖ ﺑﺮ‬ ‫ﺳﯿﺎﺳﺖﻫﺎی ﻓﺮﻫﻨﮕﯽ اﯾﺮان ﻧﺒﻮد اﻣﺎ ﺑﺎ اﯾﻦ ﺣﺎل ﭼﻨﺪﯾﻦ ﮔﺮوه و اﺳﺘﻮدﯾﻮی‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:27 AM‬‬

‫‪139-140-Cinema-Afshin Ghafarian-EDITED.indd 140‬‬

‫‪CINEMA‬‬

‫ﺑﺮد دﯾﻦ‪ :‬اﯾﺮان ﻣﺜﻞ ﺧﯿﻠﯽ از ﮐﺸﻮرﻫﺎی دﯾﮕﺮ ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ ﺑﺰرﮔﯽ در ﴎاﴎ دﻧﯿﺎ دارد‪ .‬ﻓﯿﻠﻢﺳﺎزان ﻣﻘﯿﻢ‬ ‫ﺧﺎرج از اﯾﺮان ﻣﯽﺗﻮاﻧﻨﺪ ﮐﺎرﻫﺎی ﺑﺴﯿﺎر ﭘﺮﺑﺎرﺗﺮی ﺑﺴﺎزﻧﺪ ﭼﻮن ﻣﯽﺗﻮاﻧﻨﺪ دو ﻓﺮﻫﻨﮓ را ﺑﺎ ﻫﻢ در ﮔﻔﺘﮕﻮ‬ ‫در ﻧﻈﺮ ﺑﮕﯿﺮﻧﺪ‪ .‬ﻣﺎ ﺧﯿﻠﯽ ﺧﻮشﺷﺎﻧﺲ ﺑﻮدﯾﻢ ﮐﻪ اﻣﯿﺮ ﻧﺎدری ﺑﺎ دو ﻓﯿﻠﻤﺶ ﮐﻪ ﺑﯿﺶ از ﺳﯽ ﺳﺎل ﭘﯿﺶ در‬ ‫اﯾﺮان ﺳﺎﺧﺘﻪ ﺣﻀﻮر داﺷﺖ‪ .‬آﻗﺎی ﻧﺎدری ﻣﺪت ﻃﻮﻻﻧﯽ ﺧﺎرج از اﯾﺮان زﻧﺪﮔﯽ ﮐﺮده و در ژاﭘﻦ‪ ٬‬اﯾﺘﺎﻟﯿﺎ و‬ ‫آﻣﺮﯾﮑﺎ ﻓﯿﻠﻢ ﺳﺎﺧﺘﻪ اﻣﺎ ﻣﻮﻗﻊ متﺎﺷﺎی دوﺑﺎره ﻓﯿﻠﻢﻫﺎﯾﺶ ﻣﯽﺗﻮاﻧﺴﺘﯿﺪ ﺑﺒﯿﻨﯿﺪ ﮐﻪ ﻫﻨﻮز ﻫﻢ ﭼﻪ ﻗﺪر ﺑﻪ‬ ‫آنﻫﺎ اﺣﺴﺎس ﻧﺰدﯾﮑﯽ ﻣﯽﮐﻨﺪ‪ ،‬ﺷﮕﻔﺖ اﻧﮕﯿﺰ ﺑﻮد‪.‬‬

‫اﯾﺪه »اﻟﻒ ﻣﺜﻞ اﯾﺮان« از ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﻓﺮاﯾﺒﻮرگ ﮔﺮﻓﺘﻪ ﺷﺪ و ﺣﺎﻻ ﻫﻢ در‬ ‫ﺗﻮرﻧﺘﻮ ﺗﺤﻘﻖ ﯾﺎﻓﺘﻪ‪ ،‬آﯾﺎ ﻓﮑﺮ ﻣﯽﮐﻨﯿﺪ ﮐﻪ اﯾﻦ روﯾﺪاد ﺑﻪ ﻋﻨﻮان ﺑﺨﺸﯽ از ﺑﺮﻧﺎﻣﻪﻫﺎی ﺟﺸﻨﻮاره‬ ‫ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ ﺑﺎز ﻫﻢ اﺗﻔﺎق ﺑﯿﻔﺘﺪ؟‬

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‫ﻏﯿﺮﻣﻌﻤﻮل و آزاد! اوﻟﺶ »ﮐﺮﯾﺲ ﻓﻮﺟﯽ وارا« در »ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ادﯾﻨﺒﻮرگ« ﺗﺎ ﺣﺪی اﯾﺮان را‬ ‫ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار داد و روی ﺳﯿﻨامی ﻗﺒﻞ اﻧﻘﻼب ‪ ۱۳۵۷‬متﺮﮐﺰ ﮐﺮد و ﺑﻌﺪ ﻃﯽ ﻣﻼﻗﺎﺗﯽ ﺑﺎ ﺑﺮد دﯾﻦ‪ ،‬ﺧﺎﻧﻪ‬ ‫ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ ﺗﺼﻤﯿﻢ ﮔﺮﻓﺖ آن ﺑﺮﻧﺎﻣﻪ را ﻫامن ﻃﻮر ﮐﻪ در ﻓﺮاﯾﺒﻮرگ ﺑﺮﮔﺰار ﺷﺪه ﺑﻮد‪ ،‬در ﺗﻮرﻧﺘﻮ ﻧﯿﺰ‬ ‫منﺎﯾﺶ دﻫﺪ‪» .‬ﺗﺎرﯾﺦ ﺳﯿﻨامی اﯾﺮان ار ﻧﮕﺎه ﺳﺎزﻧﺪﮔﺎﻧﺶ« ﺣﺎﻻ ﺑﻪ ﻟﻄﻒ ﺑﺮد دﯾﻦ و ﺧﺎﻧﻪ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ ﯾﮏ‬ ‫ﭼﯿﺰ زﻧﺪه اﺳﺖ‪ .‬اﯾﻦ ﺑﺮﻧﺎﻣﻪ ﺗﻐﯿﯿﺮ ﮐﺮده‪ :‬ﻣﻬامﻧﺎن ﻧﺴﺒﺖ ﺑﻪ ﻓﺮاﯾﺒﻮرگ ﻓﺮق ﮐﺮدﻧﺪ‪ ٬‬اﻣﯿﺮ ﻧﺎدری ﺣﻀﻮر‬ ‫داﺷﺖ و در ﺣﺎﻟﯽ ﮐﻪ ﺑﻌﻀﯽ ﻓﯿﻠﻢﻫﺎ ﮐﻪ اﻣﮑﺎن منﺎﯾﺶ در ﻓﺮاﯾﺒﻮرگ و ادﯾﻨﺒﻮرگ را داﺷﺘﻨﺪ‪ ،‬ﻣﺘﺎﺳﻔﺎﻧﻪ‬ ‫ﻧﺸﺪ در ﺗﻮرﻧﺘﻮ منﺎﯾﺶ ﭘﯿﺪا ﮐﻨﻨﺪ )ﺧﺎﻧﻪ ﺳﯿﺎه اﺳﺖ‪ ٬‬ﺧﺸﺖ و آﯾﻨﻪ(‪ .‬ﺑﻌﻀﯽ ﻫﻢ دوﺑﺎره اﺣﯿﺎ ﺷﺪﻧﺪ ﻣﺜﻞ‬ ‫»ﺣﺎﺟﯽ آﻗﺎ آﮐﺘﻮر ﺳﯿﻨام«‪» ،‬ﯾﮏ اﺗﻔﺎق ﺳﺎده«‪» ،‬ﺑﺎغ ﺳﻨﮕﯽ« و »آب‪ ،‬ﺑﺎد‪ ،‬ﺧﺎک«‪ .‬اﯾﻦ ﯾﮑﯽ از اﻫﺪاف‬ ‫ﻣﺎ‪ ،‬ﯾﻌﻨﯽ ﻣﺮور آﺛﺎر ﮔﺬﺷﺘﻪ ﺑﻮد و ﺑﺎﯾﺪ ﺑﻪ ﺑﺮد دﯾﻦ ﺗﱪﯾﮏ ﺑﮕﻮﯾﯿﻢ ﭼﻮن ﻣﯽداﻧﻢ ﺧﯿﻠﯽ ﺗﻼش ﮐﺮد ﺗﺎ‬ ‫ﭘﻮﺳﱰﻫﺎی ﻗﺎﺑﻞ منﺎﯾﺸﯽ ﺑﺮای اﯾﻦ ﺷﺎﻫﮑﺎرﻫﺎ ﭘﯿﺪا ﮐﻨﺪ‪.‬‬

‫ﺑﺮد دﯾﻦ‪ :‬ﻣﺎ ﺳﺎﺑﻘﻪ ﻃﻮﻻﻧﯽ ﺑﺮﻧﺎﻣﻪرﯾﺰی ﻫﻢ در ﺟﺸﻨﻮاره و ﻫﻢ در ﺧﺎﻧﻪ ﻓﯿﻠﻢ )ﺳﺎﺑﻘﺎ ﺧﺎﻧﻪ ﻓﯿﻠﻢ اﻧﺘﺎرﯾﻮ(‬

‫ﺟﻌﻔﺮ ﭘﻨﺎﻫﯽ »ﺗﺎﮐﺴﯽ« )‪ (۱۳۹۳‬را ﻋﻠﯽرﻏﻢ ﴍاﯾﻂ ﺑﻪ ﺷﺪت ﺳﺨﺖ ﺑﺮای رﺳﺎﻧﺪن ﭘﯿﺎﻣﺶ ﺑﻪ‬ ‫دارﯾﻢ‪ ،‬از ﺟﻤﻠﻪ ﻣﺮور آﺛﺎر ﻋﺒﺎس ﮐﯿﺎرﺳﺘﻤﯽ و اﺧﯿﺮا ﻫﻢ ﺟﻌﻔﺮ ﭘﻨﺎﻫﯽ‪ .‬ﻣﺎ ﻫﻤﭽﻨﺎن ﺑﺮﻧﺎﻣﻪ ﻓﯿﻠﻢﻫﺎی‬ ‫اﯾﺮاﻧﯽ را اداﻣﻪ ﺧﻮاﻫﯿﻢ داد اﻣﺎ ﺗﺼﻮر ﻣﯽﮐﻨﻢ اﺣﺘامﻻ راهﻫﺎی ﻣﺨﺘﻠﻔﯽ ﺑﺮای ﺗﻮﺟﻪ ﺑﻪ ﺳﯿﻨامی اﯾﺮان ﻣﺜﻞ دوﺳﺘﺪاران ﺳﯿﻨامی اﯾﺮان ﺗﻮﻟﯿﺪ ﮐﺮد‪ .‬ﭘﯿﺎم ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ ﺑﺮای ﻓﯿﻠﻢﺳﺎزان‬ ‫اﯾﺮاﻧﯽ ﭼﯿﺴﺖ؟‬ ‫ﻫﻤﯿﻦ ﺑﺮﻧﺎﻣﻪ ﮐﻪ ﺧﯿﻠﯽ ﺧﺎص ﺑﻮد ﭘﯿﺪا ﮐﻨﯿﻢ‪.‬‬ ‫آﯾﺎ ﭘﯿﺶﺑﯿﻨﯽ ﻣﯽﮐﻨﯿﺪ ﮐﻪ ﺟﺸﻨﻮارﻫﺎی ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺷﻬﺮﻫﺎی دﯾﮕﺮ ﻫﻢ ﻣﺘﺎﺛﺮ از اﯾﻦ ﺑﺮﻧﺎﻣﻪ‬ ‫اﯾﻦ ﮐﺎر را اداﻣﻪ ﺑﺪﻫﻨﺪ؟‬

‫ﺗﯿﺮی ژوﺑﯿﻦ‪ :‬اﻣﯿﺪوارﯾﻢ‪ .‬ﯾﮏ ﺧﺎﻧﻪ ﻓﯿﻠﻢ اﺳﮑﺎﻧﺪﯾﻨﺎوﯾﺎﯾﯽ و ﯾﮏ ﺟﺎی ﺗﺎرﯾﺨﯽ در آﻣﺮﯾﮑﺎ ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ‬ ‫ﮐﻪ ﻋﻼﻗﻪﻣﻨﺪ ﺑﻪ اﯾﻦ ﮐﺎر ﺑﺎﺷﻨﺪ‪ .‬اﻣﺎ ﺗﺮﺟﯿﺢ ﻣﯽدﻫﯿﻢ ﺗﺎ زﻣﺎﻧﯽ ﮐﻪ اﯾﻦ ﺳﺎزﻣﺎنﻫﺎ ﺧﻮدﺷﺎن ﺗﺎﯾﯿﺪ ﻧﮑﺮدﻧﺪ‬ ‫ﺧﱪ را ﻣﻨﺘﴩ ﻧﮑﻨﯿﻢ‪ .‬ﺑﻌﺪ از ﻣﺎهﻫﺎ ﮐﺎر ﺳﺨﺖ در ﻓﺮاﯾﺒﻮرگ‪ ٬‬ﻣﺘﻘﺎﻋﺪ ﮐﺮدن ﺧﯿﻠﯽ از ﻓﯿﻠﻢﺳﺎزﻫﺎی‬ ‫اﯾﺮاﻧﯽ ﺑﺮای ﻣﻌﺮﻓﯽ ﺣﺘﯽاﻻﻣﮑﺎن ﺳﻪ ﻓﯿﻠﻢ ﻣﻮرد ﻋﻼﻗﻪﺷﺎن‪ ٬‬ﺗﻮﺿﯿﺢ ﺑﻪ ﻣﻘﺎﻣﺎت اﯾﺮاﻧﯽ ﮐﻪ اﯾﻦ ﯾﮏ ﮐﺎر‬ ‫ﻓﺮﻫﻨﮕﯽﺳﺖ ﺗﺎ ﯾﮏ ﭘﺮوژه ﺳﯿﺎﺳﯽ‪ ٬‬ﭘﯿﺪا ﮐﺮدن ﭘﻮﺳﱰﻫﺎی زﯾﺒﺎ و‪ ...‬اﺣﺴﺎس ﻣﯽﮐﺮدم ﮐﻪ ده ﻣﺎه ﺧﯿﻠﯽ‬ ‫زود ﮔﺬﺷﺖ و ﺣﯿﻒ اﺳﺖ اﮔﺮ ﻓﻘﻂ ﺑﺮای ﻓﺮاﯾﺒﻮرگ داﺷﺘﻪ ﺑﺎﺷﯿﻤﺶ‪ .‬اﯾﻦ ﮐﺎر ﻣﯽﺗﻮاﻧﺪ زﻧﺪﮔﯽ ﮐﻨﺪ‪ ٬‬ﺳﻔﺮ‬ ‫ﮐﻨﺪ‪ ٬‬رﺷﺪ ﮐﻨﺪ و درک ﺑﻬﱰی از ﻓﺮﻫﻨﮓ ﻓﻮقاﻟﻌﺎده ﻓﺎرﺳﯽ ﺑﻪ ﻫﻤﺮاه داﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬اﻣﺎ ﮐﺪام ﺳﺎزﻣﺎن‬ ‫ﻣﯽﺗﻮاﻧﺪ ﺑﻪ منﺎﯾﺶ ﴎی دوم‪ ،‬آن ﻫﻢ در ﺻﻨﻌﺖ ﻓﯿﻠﻤﯽ ﻋﻼﻗﻪﻣﻨﺪ ﺑﺎﺷﺪ ﮐﻪ ﺑﻪ ﻧﻈﺮ ﻣﯽآﯾﺪ ﻣﺸﻐﻮل‬ ‫اﻧﺤﺼﺎر ﻓﮑﺮی ﺧﻮد ﺑﺎﺷﺪ؟ ﻣﮕﺮ ﺷﻮر و ﻋﻼﻗﻪ ﻣﺤﺾ و ﻋﺸﻖ‪-‬ﻓﯿﻠﻢﻫﺎی واﻗﻌﯽ‪ .‬آن ﻫﻢ در ﭼﻨﺪ ﺳﺎزﻣﺎن‬

‫ﺑﺮد دﯾﻦ‪ :‬ﺑﺮای ﻧﺸــﺎن دادن ﺣﻘﯿﻘﺖ وﺟﻮدﺗﺎن ﺑﻪ ﻫﺮ وﺳــﯿﻠﻪای ﮐﻪ ﻣﯽﺗﻮاﻧﯿﺪ ﺑﻪ ﻓﯿﻠﻢ ﺳــﺎﺧنت اداﻣﻪ‬ ‫دﻫﯿــﺪ‪ .‬ﻓﮑــﺮ ﻣﯽﮐﻨــﻢ آﻗــﺎی ﭘﻨﺎﻫﯽ ﺧﯿﻠﯽ ﻋﺎﻟﯽ ﻧﺸــﺎن دادﻧﺪ ﮐﻪ ﻣﯿﺰان ﺑﻮدﺟﻪ ﻣﻬﻢ ﻧﯿﺴــﺖ‪ ،‬ﺑﻠﮑﻪ‬ ‫ﺑﺰرﮔﯽ اﯾﺪه ﻣﻬﻢ اﺳــﺖ‪.‬‬

‫در آﺧﺮ ﻣﯽﺧﻮاﻫﻢ ﺑﭙﺮﺳﻢ ﮐﻪ ﻓﮑﺮ ﻣﯽﮐﻨﯿﺪ ﻫﺪف اﺻﻠﯽ اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﭼﻪ ﺑﺎﺷﺪ؟ آﯾﺎ ﺑﯿﺸﱰ‬ ‫ﺑﺮای ﻣﻌﺮﻓﯽ ﺑﺨﺸﯽ از ﺳﯿﻨامی اﯾﺮان ﺑﻪ ﮐﺎﻧﺎداﯾﯽﻫﺎﺳﺖ ﯾﺎ ﻧﺸﺎن دادن درک ﻋﻤﯿﻖﺗﺮ ﺟﺸﻨﻮاره‬ ‫ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ از ﺳﯿﻨامی ﺟﻬﺎن؟‬

‫ﻫﺪف ﻣﺎ از اﯾﻦ ﻣﺠﻤﻮﻋﻪ اﯾﻦ ﺑﻮد ﮐﻪ ﻓﯿﻠﻢﻫﺎ را آن ﺟﻮری ﮐﻪ ﺑﺎﯾﺪ دﯾﺪه ﻣﯽﺷﺪﻧﺪ ﺑﺮای منﺎﯾﺶ روی ﭘﺮده‬ ‫ﺳﯿﻨام ﺑﯿﺎورﯾﻢ‪ .‬دﯾﺪن اﯾﺮاﻧﯽﻫﺎی زﯾﺎدی ﮐﻪ ﺑﺮای دوﺑﺎره دﯾﺪن ﻓﯿﻠﻢﻫﺎﯾﯽ ﻣﯽآﻣﺪﻧﺪ ﮐﻪ ﺑﺨﺶ ﻣﻬﻤﯽ از‬ ‫زﻧﺪﮔﯽﺷﺎن ﺷﺪه‪ ،‬ﻫﯿﺠﺎن اﻧﮕﯿﺰ ﺑﻮد‪ .‬از ﻃﺮف دﯾﮕﺮ ﻫﻢ ﺑﻪ ﻫامن اﻧﺪازه دﯾﺪن ﻗﴩ ﻣﺨﺘﻠﻔﯽ از ﻣﺨﺎﻃﺒﺎن‬ ‫ﻏﯿﺮ اﯾﺮاﻧﯽ ﮐﻪ اﯾﻦ ﺷﺎﻫﮑﺎرﻫﺎ را ﺑﺮای اوﻟﯿﻦ ﺑﺎر متﺎﺷﺎ ﻣﯽﮐﺮدﻧﺪ ﺗﺠﺮﺑﻪای ﺑﺎارزش ﺑﻮد‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:05 AM‬‬

‫‪142-144-Cinema-Tiff- EDITED.indd 142‬‬

‫‪CINEMA‬‬

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‫~‪~ cinema‬‬

‫‪abbas‬‬ ‫‪kiarostami:‬‬ ‫‪a report‬‬ ‫‪bY BAHMAN MAGHSOUDLOU‬‬ ‫‪WHEN:‬‬ ‫‪Saturday, 22 August - 6:45pm‬‬ ‫‪DURATION:‬‬ ‫‪2 Hour‬‬ ‫‪LOCATION:‬‬ ‫‪Studio Theatre,‬‬

‫ﺳﯿﻨامی واﻗﻊﮔﺮای اﺟﺘامﻋﯽ اﯾﺮان ﺷﻬﺮت زﯾﺎد و ﻃﺮﻓﺪاران ﭘﺮ و ﭘﺎ ﻗﺮﺻﯽ‬ ‫ﺑﺮای ﻓﯿﻠﻢﺳﺎزان اﯾﺮاﻧﯽ ﺑﻪ ﻫﻤﺮاه داﺷﺘﻪ ﮐﻪ ﻣﺪام ﺑﺎ ﻣﻮاﻧﻊ ﺳﯿﺎﺳﯽ و‬ ‫ﻣﺬﻫﺒﯽ در روﻧﺪ ﺗﻮﻟﯿﺪ ﻓﯿﻠﻢﺷﺎن ﻣﺒﺎرزه ﮐﺮدهاﻧﺪ‪ .‬ﺗﺎ ﭼﻪ اﻧﺪازه ﻓﮑﺮ ﻣﯽﮐﻨﯿﺪ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎﯾﯽ ﻣﺜﻞ »اﻟﻒ ﻣﺜﻞ اﯾﺮان« اﯾﻦ ﻣﺤﺪودﯾﺖﻫﺎ و ﻣﻮاﻧﻊ ﻣﻮﺟﻮد در‬ ‫ﺻﺤﻨﻪﻫﺎی ﻫرنی اﯾﺮان را ﺑﺎزﺗﺎب دﻫﺪ؟‬

‫ﺑﺮد دﯾﻦ‪ ،‬ﻣﺪﯾﺮ ارﺷﺪ ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ‪ :‬ﺑﺪون ﺷﮏ ﺳﯿﻨامی اﯾﺮان از‬ ‫ﺧﯿﻠﯽ ﭘﯿﺸﱰﻫﺎ ﺑﺎ ﻣﺤﺪودﯾﺖﻫﺎ و ﻣﻮاﻧﻌﯽ ﻣﻮاﺟﻪ ﺑﻮده‪ ٬‬ﻫﺮﭼﻨﺪ اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﻧﺸﺎن‬ ‫ﻣﯽدﻫﺪ ﮐﻪ ﭼﻘﺪر ﮐﻢ روی ﮐﯿﻔﯿﺖ ﻓﯿﻠﻢﻫﺎی ﺗﻮﻟﯿﺪ ﺷﺪه ﺗﺎﺛﯿﺮ ﮔﺬاﺷﺘﻪ‪ .‬اﻣﯿﺮ ﻧﺎدری‬ ‫ﺧﻄﺎب ﺑﻪ ﯾﮑﯽ از ﭘﺮﺳﺶﻫﺎﯾﯽ ﮐﻪ از او ﭘﺮﺳﯿﺪه ﺷﺪ‪ ،‬ﻣﯽﮔﻮﯾﺪ ﮐﻪ »ﺳﺎﻧﺴﻮر در‬ ‫ﺣﻘﯿﻘﺖ وادارش ﮐﺮده ﺗﺎ ﻓﯿﻠﻢﻫﺎی ﺑﻬﱰی ﺑﺴﺎزد‪«.‬‬

‫‪Harbourfront Centre‬‬

‫در ﮐﻨﺎر ﺳﯿﻨامی اﯾﺮان ﮐﻪ ﻣﺤﺪود ﺑﻪ ﻣﺨﺎﻃﺒﺎن ﻏﺮب ﺷﺪه‪ ،‬ﻓﯿﻠﻢﺳﺎزان‬ ‫ﺑﯿﻦاﳌﻠﻠﯽ ﭼﺸﻢاﻧﺪاز ﻏﻢاﻧﮕﯿﺰی از اﯾﺮان را ﺑﻪ واﺳﻄﻪ ﮐﻠﯿﺸﻪ و اﯾﺪﺋﻮﻟﻮژی‬ ‫ﻣﺴﻠﻂ منﺎﯾﺶ دادهاﻧﺪ‪ .‬آﯾﺎ ﻣﯽﺷﻮد ﮔﻔﺖ ﮐﻪ ﺗﻼش »اﻟﻒ ﻣﺜﻞ اﯾﺮان« ﺑﺮای‬ ‫ﻧﺸﺎن دادن ﺳﯿﻨام و ﻓﯿﻠﻤﺴﺎزی اﯾﺮان روﯾﮑﺮد ﻣﺘﻔﺎوﺗﯽ اﺳﺖ؟‬

‫ﺑﺮد دﯾﻦ‪ :‬ﺧﻮﺑﯽ اﯾﻦ ﻣﺠﻤﻮﻋﻪ در اﯾﻦ اﺳﺖ ﮐﻪ ﺑﻪ متﺎﺷﺎﭼﯿﺎن ﺗﺼﺎوﯾﺮ ﻣﺘامﯾﺰی از‬ ‫آﻧﭽﻪ ﮐﻪ اﺣﺘامﻻ درﺑﺎره اﯾﺮان ﻣﯽداﻧﻨﺪ ﻣﯽدﻫﺪ‪ .‬ﻓﯿﻠﻢﻫﺎی »اﻟﻒ ﻣﺜﻞ اﯾﺮان« ﻫﻤﻪ‬ ‫ﭼﯿﺰ را ﻧﺸﺎن ﻣﯽدﻫﻨﺪ‪ .‬از ﺗﻼش ﻃﺒﻘﻪ ﮐﺎرﮔﺮ در ﺣﻮﻣﻪ ﺷﻬﺮ در ﻓﯿﻠﻢ »ﻃﺒﯿﻌﺖ‬ ‫ﺑﯽﺟﺎن« ﮔﺮﻓﺘﻪ ﺗﺎ ﻓﯿﻠﻤﯽ در ﻓﻀﺎی ﻃﺒﻘﻪ ﻣﺘﻮﺳﻂ ﺟﺎﻣﻌﻪ ﻣﺜﻞ »ﺟﺪاﯾﯽ ﻧﺎدر از‬ ‫ﺳﯿﻤﯿﻦ«‪ .‬اﻣﯿﺪوارﯾﻢ ﮐﻪ ﻣﺨﺎﻃﺒﺎن ﻧﺎآﺷﻨﺎ ﺑﺎ ﺗﺠﺴﻢ ﭘﺮﺑﺎرﺗﺮی از اﯾﺮان ﻧﺴﺒﺖ ﺑﻪ آﻧﭽﻪ‬ ‫ﮐﻪ در اﺧﺒﺎر و ﻓﯿﻠﻢﻫﺎی ﻫﺎﻟﯿﻮودی ﻣﯽﺑﯿﻨﻨﺪ‪ ،‬ﺳﺎﻟﻦﻫﺎ را ﺗﺮک ﮐﻨﻨﺪ‪ .‬ﺗﺼﻮر ﻣﯽﮐﻨﻢ‬

‫ﻣﺨﺎﻃﺒﺎن اﯾﺮاﻧﯽ ﻣﯽﺗﻮاﻧﻨﺪ اول از ﻫﻤﻪ اﯾﻦ ﺷﺎﻫﮑﺎرﻫﺎی ﺳﯿﻨامی اﯾﺮان را روی ﭘﺮده‬ ‫ﺳﯿﻨام ﺑﺒﯿﻨﻨﺪ‪ ٬‬ﺑﺮای ﺑﻌﻀﯽﻫﺎ ﻫﻢ اوﻟﯿﻦ ﺑﺎر اﺳﺖ ﮐﻪ اﺗﻔﺎق ﻣﯽاﻓﺘﺪ و ﻫﻤﭽﻨﯿﻦ‬ ‫ﻣﯽﺗﻮاﻧﻨﺪ ﺑﻪ ﻋﻨﻮان ﯾﮏ ﺟﺎﻣﻌﻪ دور ﻫﻢ ﺟﻤﻊ ﺑﺸﻮﻧﺪ و ﺗﺠﺮﺑﻪ ﺧﻮﺑﯽ ﮐﻨﻨﺪ ﮐﻪ ﺑﺮای‬ ‫ﺧﻮدﺷﺎن ﺧﯿﻠﯽ آﺷﻨﺎﺗﺮ اﺳﺖ‪.‬‬

‫»ﺧﺎﻧﻪ ﺳﯿﻨامی اﯾﺮان« ﯾﺎ ﻫامن اﺗﺤﺎدﯾﻪ اﺻﻨﺎف ﺳﯿﻨامی اﯾﺮان ﺗﻨﻬﺎ‬ ‫اﻧﺠﻤﻨﯽﺳﺖ ]در ﻧﻮع ﺧﻮدش در اﯾﺮان[ ﮐﻪ در ﺳﺎلﻫﺎی اﺧﯿﺮ ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﻧﺎﺑﺴﺎﻣﺎﻧﯽﻫﺎی ﺳﯿﺎﺳﯽ ﺑﺎ ﭼﺎﻟﺶﻫﺎی ﺟﺪی روﺑﺮو ﺑﻮده‪ .‬ﺑﺮای ﺟﻠﻮﮔﯿﺮی از‬ ‫ﮔﺬرا ﺑﻮدن »ﻧﮕﺎهﻫﺎ«ﯾﯽ ﮐﻪ ﺣﺎﻻ رو ﺑﻪ ﺳﻤﺖ ﺳﯿﻨامی اﯾﺮان ﺑﺎز ﺷﺪه‪ ٬‬آﯾﺎ‬ ‫ﺷام ﺑﺮﻧﺎﻣﻪای ﺑﺮای ﮔﺴﱰش راﺑﻄﻪ ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ ﺑﺎ ﺧﺎﻧﻪ‬ ‫ﺳﯿﻨامی اﯾﺮان در آﯾﻨﺪه دارﯾﺪ؟‬

‫ﺑــﺮد دﯾــﻦ‪ :‬ﻣــﺎ ﺑﺮای اﯾﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺎ ﺧﺎﻧﻪ ﺳــﯿﻨامی اﯾﺮان ﮐﺎر ﻧﮑﺮدﯾﻢ اﻣﺎ ﺑﻨﺎ دارﯾﻢ‬ ‫ﮐﻪ ﻓﯿﻠﻢﻫﺎی اﯾﺮاﻧﯽ را ﻫﻢ در ﻣﺤﻞ ﺑﺮﮔﺰاری ﺳــﺎﻻﻧﻪﻣﺎن‪ ٬‬ﻣﺮﮐﺰ »‪TIFF Bell‬‬ ‫‪ «Lightbox‬و ﻫﻢ در ﺟﺸــﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ در ﻣﺎه ﺳــﭙﺘﺎﻣﱪ ‪۲۰۱۵‬‬ ‫منﺎﯾﺶ ﺑﺪﻫﯿﻢ‪.‬‬

‫درﺻﺪ زﯾﺎدی از ﻓﯿﻠﻢﺳﺎزان اﯾﺮاﻧﯽ از ﻧﺴﻞﻫﺎی ﻣﺨﺘﻠﻒ ﺑﺎ ﻧﮕﺎهﻫﺎ و‬ ‫ﺳﺒﮏﻫﺎی ﮐﺎﻣﻼ ﻣﺘﻔﺎوت‪ ،‬وﺟﻪ ﻣﺸﱰﮐﯽ را ﺑﻪ اﺷﱰاک ﻣﯽﮔﺬارﻧﺪ‪» ،‬ﻣﻬﺎﺟﺮت‪«.‬‬ ‫در ﺑﺮﻧﺎﻣﻪﻫﺎﯾﯽ ﻣﺜﻞ »اﻟﻒ ﻣﺜﻞ اﯾﺮان« آﯾﺎ ﺷام ﻫﻤﮑﺎری ﺑﺎ ﻓﯿﻠﻢﺳﺎزان ﻣﻬﺎﺟﺮ‬ ‫و منﺎﯾﺶ آﺛﺎرﺷﺎن را ﭘﯿﺶﺑﯿﻨﯽ ﮐﺮدهاﯾﺪ؟‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:05 AM‬‬

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‫‪CINEMA‬‬

‫‪144‬‬

‫ﺻﻨﻌــﺖ ﺳــﯿﻨام ﺑــﻪ ﻋﻨــﻮان ﻫــرن ﻫﻔﺘــﻢ‪ ،‬درﯾﭽــﻪای ﻣﻨﺎﺳــﺐ ﺑـﺮای ﺷــﻨﺎﺧﺖ ﻣﺨﺘﺼــﺎت ﻓﺮﻫﻨﮕــﯽ‪ ،‬اﺟﺘامﻋــﯽ و ﺳﯿﺎﺳــﯽ ﺟﻮاﻣــﻊ اﺳــﺖ‪ .‬از ﻫﻤﯿــﻦ رو آﺷــﻨﺎﯾﯽ ﺑــﺎ ﺳــﯿﻨامی ﻏﻨــﯽ اﯾـﺮان از وﺟــﻪ ﺗﺎرﯾﺨــﯽ‪ ،‬ﻣﺤﺘﻮاﯾــﯽ و‬ ‫زﯾﺒﺎﯾﯽﺷﻨﺎﺳــﯽ ﺑــﻪ ﻣــﺮدم ﺳــﺎﯾﺮ ﮐﺸــﻮرﻫﺎ و اﯾﺮاﻧﯿــﺎن ﻣﻬﺎﺟــﺮ ﻧﺴــﻞ اول و دوم ﻣﯽﺗﻮاﻧــﺪ ﻓﺮﺻﺘــﯽ ﻣﻨﺎﺳــﺐ ﺑ ـﺮای ﺗﻌﺎﻣــﻞ ﻓﺮﻫﻨﮕــﯽ و ﺑــﺎز ﺷــﺪن اﻓﻖﻫــﺎ ﺑــﻪ ﺳــﻮی ﭘﯿﭽﯿﺪﮔﯽﻫــﺎی ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ در ﺻــﺪ ﺳــﺎل‬ ‫اﺧﯿــﺮ ﺑﺎﺷــﺪ‪ .‬منﺎﯾــﺶ ﴎی ﻓﯿﻠﻢﻫــﺎی اﯾﺮاﻧــﯽ ﺑــﺎ ﻋﻨــﻮان »اﻟــﻒ ﻣﺜــﻞ اﯾـﺮان« در ﺷــﻬﺮ ﺗﻮرﻧﺘــﻮ‪ ،‬واﮐﻨﺶﻫــﺎی ﺑﺴــﯿﺎری در ﺑﯿــﻦ ﻣﻨﺘﻘــﺪان و ﻋﻼﻗﻪﻣﻨــﺪان در ﭘــﯽ داﺷــﺖ‪ .‬در ﻫﻤﯿــﻦ راﺳــﺘﺎ ﻣﺴــﻮول ارﺷــﺪ ﺟﺸــﻨﻮاره‬ ‫ﺑﯿﻦاﳌﻠﻠــﯽ ﻓﯿﻠــﻢ ﺗﻮرﻧﺘــﻮ و ﻓﺮاﯾﺒــﻮرگ در ﮔﻔــﺖ و ﮔــﻮ ﺑــﺎ ﻣﺠﻠــﻪ ﺗﯿــﺮﮔﺎن از اﻫــﺪاف‪ ،‬ﮐﺎﺳــﺘﯽﻫﺎ و ﺑﺮﻧﺎﻣﻪﻫــﺎی آﯾﻨــﺪه‪ ،‬ﺑــﻪ ﺧﺼــﻮص ﻧﮕﺎهﺷــﺎن ﺑــﻪ ﺳــﯿﻨام و ﺟﺎﻣﻌــﻪ ﺳــﯿﻨامﯾﯽ اﯾ ـﺮان ﮔﻔﺘﻪاﻧــﺪ‪ .‬ﺑــﺎ ﺳــﭙﺎس از اﻣﯿــﺮ‬ ‫ﮔﻨﺠــﻮی و ﻫﻮﻣــﻦ رﺿــﻮی‪ ،‬دو ﻋﻀــﻮ ﻓﻌــﺎل ﮔــﺮوه ﺳــﯿﻨامﯾﯽ »ﻧــﻪ ﻣــﺎ ﻧــﻪ ﺳــﯿﻨام« ﮐــﻪ در ﺗﻬﯿــﻪ اﯾــﻦ ﮔﻔــﺖ و ﮔــﻮ رﺳــﺎﻧﻪ ﺗﯿــﺮﮔﺎن را ﯾــﺎری دادﻧــﺪ‪.‬‬ ‫ﻣﻤﮑﻦ اﺳﺖ روﻧﺪ اﻧﺘﺨﺎب ﻓﯿﻠﻢ و اﯾﻦ ﮐﻪ ﭼﺮا اﯾﻦ ﮔﺮوه ﺧﺎص ﻓﯿﻠﻢ ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺖ را ﺑﺮای ﻫﺮ ﮐﺎرﮔﺮدان اﯾﺮاﻧﯽ ﮐﻪ ﺗﻮاﻧﺴﺘﻢ ﻧﺎﻣﻪ ﻧﻮﺷﺘﻢ‪ ٬‬اﺻﻼ ﻣﻬﻢ ﻧﺒﻮد ﮐﻪ داﺧﻞ ﮐﺸﻮرﺷﺎن ﻫﺴﺘﻨﺪ ﯾﺎ ﺧﺎرج‪.‬‬ ‫ﭼﻬﺎرده ﻓﯿﻠﻢﺳﺎز ﻗﺒﻮل ﮐﺮدﻧﺪ ﮐﻪ ﯾﮑﯽ‪ ٬‬دو ﺳﻪ ﺗﺎ از ﻓﯿﻠﻢﻫﺎی ﻣﻮرد ﻋﻼﻗﻪﺷﺎن را ﻣﻌﺮﻓﯽ ﮐﻨﻨﺪ‪ .‬اﯾﻦ ﻃﻮر‬ ‫ﺗﻮﺿﯿﺢ دﻫﯿﺪ؟‬ ‫ﺗﯿﺮی ژوﺑﯿﻦ‪ ،‬ﮐﺎرﮔﺮدان ﻫرنی‪ ٬‬ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﻓﺮاﯾﺒﻮرگ‪ :‬اول از ﻫﻤﻪ اﻧﮕﯿﺰهاش اﺻﻼ ﺑﻪ ﺧﺎﻃﺮ ﺑﻪ ﻧﻈﺮم آﻣﺪ ﮐﻪ ﻫﻤﯿﻦ ﺣﺎﻻش ﻫﻢ ﭼﻬﺎرده ﺗﺎ ﻓﯿﻠﻢ ﻓﻬﺮﺳﺖ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽﺳﺖ‪ .‬آنﻫﺎ ‪ ۲۷‬ﻋﻨﻮان را ﻣﻌﺮﻓﯽ‬ ‫ﻣﻨﺎﻓﻊ ﻣﺎﻟﯽ ﺑﻪ وﺟﻮد ﻧﯿﺎﻣﺪ‪ ٬‬ﭼﻪ ﺑﺮای »ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﻓﺮاﯾﺒﻮرگ« و ﭼﻪ ﺑﺮای ﺧﻮدم‪ ٬‬ﺑﻠﮑﻪ‬ ‫ﮐﺮدﻧﺪ‪ ٬‬اﯾﻦ اﻵن ﻣﻮﻓﻘﯿﺖ ﺑﺴﯿﺎر ﺑﺰرﮔﯽﺳﺖ ﮐﻪ ﺑﻪ ﮐﻤﮏ ﺟﺸﻨﻮارهﻫﺎی »ﻓﺮاﯾﺒﻮرگ«‪» ٬‬ادﯾﻨﺒﻮرگ« و اﻻن‬ ‫از ﻋﻼﻗﻪ ﺷﺪﯾﺪم و ﻫﻤﭽﻨﯿﻦ ﻣﺤﺮوﻣﯿﺘﻢ از ﺳﯿﻨام و ﻓﺮﻫﻨﮓ اﯾﺮان ﴎﭼﺸﻤﻪ ﮔﺮﻓﺖ‪ .‬ﻋﻼﻗﻪ ﺷﺪﯾﺪ‪ ٬‬ﭼﻮن‬ ‫ﻫﻢ در ﺗﻮرﻧﺘﻮ ﻣﻮﻓﻖ ﺷﺪهاﯾﻢ ﮐﻪ ﺑﯿﺴﺖ و ﯾﮑﯽ از اﯾﻦ ﻓﯿﻠﻢﻫﺎ را دوﺑﺎره زﻧﺪه ﮐﻨﯿﻢ‪ .‬ﺑﻪ ﻟﯿﺴﺖ ﮐﻪ ﻧﮕﺎه‬ ‫ﺑﯽﻋﻼﻗﻪﮔﯽ ﻧﺴﺒﺖ ﺑﻪ ﭼﻨﯿﻦ ﺳﯿﻨامﯾﯽ ﺑﻪ وﺿﻮح ﺑﺮای ﻫﺮ ﻋﺸﻖ ﻓﯿﻠﻤﯽ ﻏﯿﺮﻣﻤﮑﻦ اﺳﺖ و ﻣﺤﺮوﻣﯿﺖ‪٬‬‬ ‫ﮐﻨﯿﺪ »ﺟﻨﻮب ﺷﻬﺮ« )‪ (۱۳۳۷‬ﻓﺮخ ﻏﻔﺎری‪» ٬‬ﺳﻪ ﻗﺎپ« )‪ (۱۳۵۰‬زﮐﺮﯾﺎ ﻫﺎﺷﻤﯽ‪» ٬‬ﭼﺸﻤﻪ« )‪ (۱۳۵۰‬آرﺑﯽ‬ ‫ﭼﻮن ﻫﺮ ﺳﺎل ﮐﻪ ﺑﺎ دوﺳﺘﺎن اﯾﺮاﻧﯽ ﺑﯿﺸﱰی ﮔﻔﺖ و ﮔﻮ ﻣﯽﮐﺮدم؛ ‪-‬ﺑﻪ ﺧﺼﻮص ﮐﺎرﮔﺮدانﻫﺎ‪ -‬ﭼﻬﺮهﻫﺎﺷﺎن آواﻧﺴﯿﺎن‪» ٬‬ﺗﻨﮕﻨﺎ« )‪ (۱۳۵۲‬اﻣﯿﺮﻧﺎدری‪» ٬‬ﮐﻨﺪو« )‪ (۱۳۵۴‬ﻓﺮﯾﺪون ﮔﻠﻪ‪» ٬‬ﻧﻔﺲ ﻋﻤﯿﻖ« )‪ (۱۳۸۱‬ﭘﺮوﯾﺰ‬ ‫ﺷﻬﺒﺎزی ﻫﻨﻮز ﻫﻢ ﺑﺎز ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﻣﯽﮔﯿﺮﻧﺪ‪ .‬آرزوﯾﻢ اﯾﻦ اﺳﺖ ﮐﻪ ﺑﻌﺪ از ﺧﺎﻧﻪ ﻓﯿﻠﻢ ﺟﺸﻨﻮاره‬ ‫را ﻣﯽدﯾﺪم ﮐﻪ ﭼﻪ ﻃﻮر ﻣﻮﻗﻊ ﺻﺤﺒﺖ درﺑﺎره ﻓﯿﻠﻢﻫﺎﯾﯽ ﮐﻪ ﮐﺎﻣﻼ ﺑﺮاﯾﻢ ﻧﺎﺷﻨﺎﺧﺘﻪ ﺑﻮد‪ ،‬ﻫﯿﺠﺎنزده‬ ‫ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ ﺳﺎزﻣﺎنﻫﺎی دﯾﮕﺮ ﻫﻢ اﯾﻦ »ﺗﺎرﯾﺦ ﺳﯿﻨامی اﯾﺮان از ﻧﮕﺎه ﺳﺎزﻧﺪﮔﺎﻧﺶ« را ﻣﻮرد‬ ‫ﻣﯽﺷﺪﻧﺪ‪ .‬ﺑﻪ ﺧﻮدم ﮔﻔﺘﻢ ﮐﯽ ﺑﻬﱰ از ﻓﯿﻠﻤﺴﺎزﻫﺎی اﯾﺮاﻧﯽ ﻣﯽﺗﻮاﻧﺪ دو ﯾﺎ ﺳﻪ ﺗﺎ از ﺗﺎﺛﯿﺮﮔﺬارﺗﺮﯾﻦ‬ ‫ﺗﻮﺟﻪ ﻗﺮار دﻫﻨﺪ‪ ٬‬ﺑﺮای اﯾﻦ ﻓﯿﻠﻢﻫﺎ ﭘﻮﺳﱰ ﺗﻬﯿﻪ ﮐﻨﻨﺪ و ﺣﺘﺎ ﺑﻌﻀﯽ ﻓﯿﻠﻤﺴﺎزﻫﺎ را ﺑﻪ ﻓﻬﺮﺳﺖ اﺿﺎﻓﻪ ﮐﻨﻨﺪ‪.‬‬ ‫ﻓﯿﻠﻢﻫﺎﯾﯽ ﮐﻪ ﺗﺎ ﺑﻪ ﺣﺎل در ﮐﺸﻮرﺷﺎن ﺳﺎﺧﺘﻪ ﺷﺪه را ﺑﻪ ﻣﻦ ﻣﻌﺮﻓﯽ ﮐﻨﺪ؟ ﺑﻪ ﻫﻤﯿﻦ ﺳﺎدﮔﯽ‪ .‬اﻣﺎ ﺑﺮای‬ ‫ﻋﻤﻠﯽ ﺷﺪن ﻣﺸﮑﻼت زﯾﺎدی داﺷﺘﻢ‪ .‬در ﻧﻬﺎﯾﺖ ﮐﺎرﮔﺮداﻧﺎن اﯾﺮاﻧﯽ اﯾﻦ ﻣﺠﻤﻮﻋﻪ را اﻧﺘﺨﺎب ﮐﺮدﻧﺪ‪ .‬ﻣﻦ‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:05 AM‬‬

‫‪142-144-Cinema-Tiff- EDITED.indd 144‬‬

‫‪CINEMA‬‬

‫‪145‬‬

‫~‪~ cinema‬‬

‫‪residents‬‬ ‫‪of one way‬‬ ‫‪street‬‬ ‫‪WHEN:‬‬

‫‪Saturday, 22 August - 10:00am‬‬ ‫‪DURATION:‬‬ ‫‪1 hour 30 minutes‬‬ ‫‪LOCATION:‬‬ ‫‪Studio Theatre,‬‬ ‫‪Harbourfront Centre‬‬

‫ﻋﺎرف ﻣﺤﻤﺪی‬

‫‪Photography Courtesy of Arsalan Baraheni‬‬

‫ﻫﻤﺰﻣــﺎن ﺑــﺎ ﺗﺤﺼﯿــﻞ در رﺷــﺘﻪ ادﺑﯿــﺎت‬ ‫ﻓﺎرﺳــﯽ‪ ،‬دوره ﻓﯿﻠﻢﺳــﺎزی را ﻧﯿــﺰ در‬ ‫اﻧﺠﻤــﻦ ﺳــﯿﻨامی ﺟﻮاﻧــﺎن در اﯾــﺮان ﺑــﻪ‬ ‫ﭘﺎﯾــﺎن ﺑــﺮد‪ .‬ﮐﺘــﺎب »ﺳــﯿﻨامی اﯾــﺮان‪:‬‬ ‫اﻣــﺮوز‪ ،‬دﯾــﺮوز« ﻣﺠﻤﻤﻮﻋــﻪای از ﮔﻔــﺖ و‬ ‫ﮔﻮﻫــﺎی او ﺑــﺎ ﺳــﯿﻨامﮔﺮان ﺑﺮﺟﺴــﺘﻪ اﯾــﺮان‬ ‫را در ﺑــﺮ ﻣﯽﮔﯿــﺮد‪ .‬ﻣﺴــﺘﻨﺪﻫﺎی »اﺗﻮﺑــﻮس«‬ ‫)‪ (۲۰۰۴‬و »اﻓﻖﻫــﺎی روﺷــﻦ« )‪(۲۰۰۷‬‬ ‫و »ﺑﺎزﻣﺎﻧــﺪهای از ﻣــﺎﮔﺎدان« )‪ (۲۰۱۴‬از‬ ‫ﺳــﺎﺧﺘﻪﻫﺎی او در ﻋﺮﺻــﻪ ﺗﺼﻮﯾــﺮ اﺳــﺖ‪.‬‬ ‫ﻋــﺎرف ﻣﺤﻤــﺪی ﺟﻮاﯾــﺰ ﻣﺘﻌــﺪدی ﺑــﺮای‬ ‫ﺳــﺎﺧﺖ ﻣﺴــﺘﻨﺪ‪ ،‬ﺑﺮﮔــﺰاری ﮐﺎرﮔﺎهﻫــﺎی‬ ‫ﻓﯿﻠﻢﺳــﺎزی و ﻓﻌﺎﻟﯿﺖﻫــﺎی ﻓﺮﻫﻨﮕــﯽ‬ ‫در ﮐﺎﻧــﺎدا ﺑــﻪ ﺧــﻮد اﺧﺘﺼــﺎص داده و ﺑــﻪ‬ ‫ﻋﻨــﻮان ﻣﺸــﺎور‪ ،‬ﺑﺨــﺶ ﺳــﯿﻨامی ﺗﯿــﺮﮔﺎن را‬ ‫ﻫﻤﺮاﻫــﯽ ﻣﯽﮐﻨــﺪ‪.‬‬

‫ﺟﺸﻨﻮاره دوﺳﺎﻻﻧﻪ ﻓﺮﻫﻨﮕﯽ و ﻫرنی ﺗﯿﺮﮔﺎن اﻣﺴﺎل‬ ‫ﮐﺎووﺳﯽ‪ ،‬ﻫﮋﯾﺮ دارﯾﻮش‪ ،‬ﺳﻬﺮاب ﺷﻬﯿﺪ ﺛﺎﻟﺚ‪ ،‬ﻓﺮﯾﺪون ]ﺧﴪو ﺳﯿﻨﺎﯾﯽ[‪ ،‬ﺧﻮن ﺑﺎزی ]رﺧﺸﺎن ﺑﻨﯽ اﻋﺘامد[‪ ،‬و‬ ‫ﻧﯿﺰ ﻫﻤﭽﻮن دورهﻫﺎی ﮔﺬﺷﺘﻪ در ﺑﺨﺶ ﺳﯿﻨام آﺛﺎری ﮔﻠﻪ‪ ،‬ﻓﺮﯾﺪون رﻫﻨام‪ ،‬ﺑﻬﻤﻦ ﻓﺮﻣﺎنآرا و ﮐﺎﻣﺮان ﺷﯿﺮدل ﭼﻬﺎرﺷﻨﺒﻪ ﺳﻮری ]اﺻﻐﺮ ﻓﺮﻫﺎدی[ از آﺛﺎری ﺑﻮدﻧﺪ ﮐﻪ‬ ‫از ﻓﯿﻠﻢﺳﺎزان اﯾﺮاﻧﯽ را ﺑﻪ منﺎﯾﺶ ﻣﯽﮔﺬارد‪ .‬ﺳﯿﻨام‬ ‫ﺗﻌﺪادی از اﯾﻦ ﺗﺤﺼﯿﻞﮐﺮدﮔﺎن ﺳﯿﻨامی ﻏﺮب ﻫﺴﺘﻨﺪ‪ .‬ﻋﻠﯿﺮﻏﻢ ﻋﺪم ﺣﻀﻮر ﮐﺎرﮔﺮداﻧﺎﻧﺸﺎن ﺑﺎ اﺳﺘﻘﺒﺎل ﻣﺮدم‬ ‫ﮐﻪ ﻫرن ﻫﻔﺘﻢ ﻟﻘﺐ داده ﺷﺪه ﺑﯽﺷﮏ ﯾﮑﯽ از‬ ‫در ﺳﺎﻟﻦﻫﺎی منﺎﯾﺶ روﺑﺮو ﺷﺪﻧﺪ‪.‬‬ ‫ﻣﻬﻤﱰﯾﻦ اﺑﺰارﻫﺎی ﭼﻨﺪ ﺑﻌﺪیﺳﺖ ﮐﻪ ﻣﯽﺗﻮاﻧﺪ اﻧﻮاع ﭘﺲ از اﻧﻘﻼب اﺳﻼﻣﯽ در اﯾﺮان ﺳﯿﻨامی اﯾﺮان ﻓﺮاز و‬ ‫ﻓﯿﻠﻢﻫﺎی ﴎﮔﺮم ﮐﻨﻨﺪه‪ ،‬اﻧﺪﯾﺸﻤﻨﺪ و ﯾﺎ ﺟﺮﯾﺎنﺳﺎز را‬ ‫ﻧﺸﯿﺐﻫﺎی زﯾﺎدی را ﻃﯽ ﮐﺮد و ﺳﯿﺎﺳﺖﮔﺬاریﻫﺎی‬ ‫ﻣﻮﺿﻮع اﻣﺴﺎل ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن »وﻃﻦ« اﺳﺖ و ﺑﻪ‬ ‫در زﻣﯿﻨﻪﻫﺎی ﻣﺨﺘﻠﻒ ﺗﻮﻟﯿﺪ ﮐﻨﺪ‪ .‬ﺻﻨﻌﺖ ﻓﯿﻠﻢﺳﺎزی‬ ‫دوﻟﺖ ﺟﺪﯾﺪ ﺑﺎﻋﺚ ﺷﺪ ﺗﻌﺪاد زﯾﺎدی از ﻫرنﻣﻨﺪان ﺑﻪ ﻫﻤﯿﻦ ﻣﻨﻈﻮر ﺑﺨﺶ ﺳﯿﻨامی ﺟﺸﻨﻮاره ﻧﯿﺰ ﺳﻌﯽ ﮐﺮده‬ ‫ﻫﺎﻟﯿﻮود در ﻏﺮب و ﺑﺎﻟﯿﻮود در ﴍق ﺑﺎ وﻗﻮف ﺑﻪ ﺗﺎﺛﯿﺮ ﺧﺼﻮص ﻫرنﭘﯿﺸﮕﺎن زن و ﻣﺮد در ﻫامن ﺳﺎلﻫﺎی‬ ‫ﺗﺎ ﻋﻼوه ﺑﺮ آﺛﺎر وﻃﻨﯽ در ﺣﺪ اﻣﮑﺎن‪ ،‬از ﻫرنﻣﻨﺪاﻧﯽ‬ ‫ﻋﻤﯿﻖ اﯾﻦ رﺳﺎﻧﻪ ﺑﺮ ﺗﻮده ﻣﺮدم ﻋﻼوه ﺑﺮ ﺳﻮد اﻗﺘﺼﺎدی اوﻟﯿﻪ ﺟﻼی وﻃﻦ ﮐﻨﻨﺪ‪ .‬ﺗﻌﺪادی از آﻧﺎن ﺑﺎ ﮔﺬﺷﺖ‬ ‫ﻫﻢ ﮐﻪ ﺑﻪ ﻫﺮ دﻟﯿﻠﯽ ﺗﺠﺮﺑﻪ ﮐﺎر دور از وﻃﻦ را‬ ‫ﮐﻼن ﺣﺎﺻﻞ از ﭘﺨﺶ ﺗﻮﻟﯿﺪاﺗﺸﺎن‪ ،‬در اﺑﻌﺎد ﺳﯿﺎﺳﯽ و ﺳﺎلﻫﺎ و ﺗﻐﯿﯿﺮات ﺑﻪ وﺟﻮد آﻣﺪه در ﻓﻀﺎی ﺳﯿﺎﺳﯽ‬ ‫داﺷﺘﻨﺪ دﻋﻮت ﮐﻨﺪ‪ .‬ﭘﯿامن ﻣﻌﺎدی‪ ،‬ﻣﺎﻧﯿﺎ اﮐﱪی و‬ ‫ﻓﺮﻫﻨﮕﯽ ﻧﯿﺎز اﻫﺪاف ﺧﺎص ﺧﻮد را ﺗﺎﻣﯿﻦ ﻣﯽﮐﻨﻨﺪ‪.‬‬ ‫ﺗﻮاﻧﺴﺘﻨﺪ ﺑﻪ اﯾﺮان ﺑﺎزﮔﺮدﻧﺪ و ﻋﺪهای ﺗﺎ ﺑﺎ اﻣﺮوز‬ ‫ﺑﻬﻤﻦ ﻣﻘﺼﻮدﻟﻮ ﻫرنﻣﻨﺪاﻧﯽ ﻫﺴﺘﻨﺪ ﮐﻪ ﺗﺎ ﭼﻨﺪﻣﺎه‬ ‫ﻫﻤﭽﻨﺎن در ﻏﺮﺑﺖ ﺑﻪ ﴎ ﻣﯽﺑﺮﻧﺪ ‪ .‬اﻣﺎ ﺟﺪای از‬ ‫ﻣﺎﻧﺪه ﺑﻪ ﺑﺮﮔﺰاری ﺟﺸﻨﻮاره آﻣﺎدﮔﯽ ﺧﻮد را ﺑﺮای‬ ‫ﻇﺎﻫﺮا ﻣﺮدان ﺳﯿﺎﺳﺖ در اﯾﺮان از ﻫامن دوران‬ ‫ﺳﺘﺎرﮔﺎن ﺳﯿﻨامی ﻗﺒﻞ از اﻧﻘﻼب‪ ،‬ﺳﯿﻨامﮔﺮاﻧﯽ از‬ ‫ﴍﮐﺖ در ﺗﯿﺮﮔﺎن ‪ ۲۰۱۵‬اﻋﻼم ﮐﺮدﻧﺪ‪ .‬ﺳﯿﻨامی ﻣﺴﺘﻨﺪ‬ ‫آﻏﺎزﯾﻦ ﻓﻌﺎﻟﯿﺖ ﺳﯿﻨام در اﯾﺮان ﺑﻪ اﻫﻤﯿﺖ اﯾﻦ‬ ‫ﻧﺴﻞ ﺟﺪﯾﺪﺗﺮ ﻫﻢ ﺑﺎ وﺟﻮد ﺷﻬﺮﺗﯽ ﮐﻪ در ﺳﯿﻨامی‬ ‫ﻧﯿﺰ از ﺑﺨﺶﻫﺎﯾﯽﺳﺖ ﮐﻪ ﺑﺮای اوﻟﯿﻦ ﺑﺎر ﺑﻪ ﺻﻮرت‬ ‫ﺳﻮﻏﺎﺗﯽ ﻏﺮب از ﺳﻮی ﻣﻈﻔﺮاﻟﺪﯾﻦ ﺷﺎه ﻗﺎﺟﺎر آﮔﺎه‬ ‫ﭘﺲ از اﻧﻘﻼب ﺑﻪ دﺳﺖ آوردﻧﺪ ﺑﻪ دﻟﯿﻞ ﺑﺮﺧﯽ ﺑﯽ‬ ‫ﺟﺪیﺗﺮی در ﺳﯿﻨامی ﺗﯿﺮﮔﺎن ﺑﻪ آن ﭘﺮداﺧﺘﻪ ﺧﻮاﻫﺪ‬ ‫ﺷﺪه ﺑﻮدﻧﺪ‪ .‬در دﯾﺎﻟﻮﮔﯽ از ﻓﯿﻠﻢ ﻧﺎﴏاﻟﺪﯾﻦ ﺷﺎه‬ ‫ﻣﻬﺮیﻫﺎ و ﯾﺎ ﻣﺨﺎﻟﻔﺖﻫﺎ ﺑﺎ ﻓﻀﺎی ﻣﻮﺟﻮد‪ ،‬ﺧﻮاﺳﺘﻪ‬ ‫ﺷﺪ‪ .‬ﯾﮑﯽ از اﯾﻦ ﻣﺴﺘﻨﺪﻫﺎ ﻓﯿﻠﻢ »ﻋﺒﺎس ﮐﯿﺎرﺳﺘﻤﯽ‪،‬‬ ‫آﮐﺘﻮر ﺳﯿﻨام ]ﻣﺤﺴﻦ ﻣﺨﻤﻠﺒﺎف[‪ ،‬اﻣﯿﺮ ﮐﺒﯿﺮ ﺧﻄﺎب‬ ‫و ﻧﺎﺧﻮاﺳﺘﻪ و در اوج ﺷﻬﺮت ﺗﺼﻤﯿﻢ ﺑﻪ ﻣﻬﺎﺟﺮت‬ ‫ﯾﮏ ﮔﺰارش« ﺳﺎﺧﺘﻪ ﺑﻬﻤﻦ ﻣﻘﺼﻮدﻟﻮ‪ ،‬ﮐﺎرﮔﺮدان‪ ،‬ﺗﻬﯿﻪ‬ ‫ﺑﻪ ﻧﺎﴏاﻟﺪﯾﻦ ﺷﺎه ﻣﯽﮔﻮﯾﺪ‪» :‬اﮔﺮ ﻧﯿﺖ ﯾﮏ ﺳﺎﻟﻪ‬ ‫ﮔﺮﻓﺘﻨﺪ‪ .‬ﻧﺎمﻫﺎﯾﯽ ﭼﻮن اﻣﯿﺮ ﻧﺎدری‪ ،‬ﻣﺤﺴﻦ و ﺳﻤﯿﺮا‬ ‫ﮐﻨﻨﺪه و ﮐﺎرﺷﻨﺎس ﺳﯿﻨامﺳﺖ ﮐﻪ ﺑﺎ دﺳﺖﻣﺎﯾﻪ ﻗﺮار‬ ‫دارﯾﺪ ‪ ،‬ﮔﻨﺪم ﺑﮑﺎرﯾﺪ‪ ،‬اﮔﺮ ﻧﯿﺖ ده ﺳﺎﻟﻪ دارﯾﺪ‪ ،‬درﺧﺖ ﻣﺨﻤﻠﺒﺎف‪ ،‬ﺑﻬﻤﻦ ﻗﺒﺎدی‪ ،‬ﺳﻮﺳﻦ ﺗﺴﻠﯿﻤﯽ‪ ،‬ﮔﻠﺸﯿﻔﺘﻪ‬ ‫دادن اوﻟﯿﻦ اﺛﺮ ﺑﻠﻨﺪ ﺳﯿﻨامﯾﯽ اﯾﻦ ﺳﯿﻨامﮔﺮ ﺑﻪ ﻧﺎم‬ ‫ﺑﮑﺎرﯾﺪ‪ ،‬اﮔﺮ ﻧﯿﺖ ﺻﺪ ﺳﺎﻟﻪ دارﯾﺪ‪ ،‬آدم ﺗﺮﺑﯿﺖ ﮐﻨﯿﺪ‪،‬‬ ‫ﻓﺮاﻫﺎﻧﯽ و ﺑﺴﯿﺎری دﯾﮕﺮ ﮐﻪ ﻫﺮ ﮐﺪام ﺑﻪ دﻻﯾﻠﯽ در »ﮔﺰارش«‪ ،‬ﺑﺎ ﺑﺎزی ﺷﻬﺮه آﻏﺪاﺷﻠﻮ ﺑﻪ ﺑﺮرﺳﯽ اﻫﻤﯿﺖ‬ ‫ﺳﯿﻨامﺗﻮﮔﺮاف‪ ،‬آدم ﺗﺮﺑﯿﺖ ﻣﯽﮐﻨﺪ‪«.‬‬ ‫ﺣﺎل ﺣﺎﴐ ﺑﻪ ﻓﻌﺎﻟﯿﺖﻫﺎی ﻫرنی در ﮐﺸﻮرﻫﺎی دﯾﮕﺮ ﮐﺎرﻫﺎی ﮐﯿﺎرﺳﺘﻤﯽ در ﺳﯿﻨامی ﺟﻬﺎن ﭘﺮداﺧﺘﻪ و ﺑﺎ‬ ‫ﻣﺸﻐﻮل ﻫﺴﺘﻨﺪ‪ .‬در اﯾﻦ ﻣﯿﺎن ﺳﯿﻨامﮔﺮاﻧﯽ ﻫﻢ ﻫﺴﺘﻨﺪ ﻗﺮاردان ﻧﻈﺮات او در ﮐﻨﺎر ﻫرنﻣﻨﺪان و ﻣﻨﺘﻘﺪان‬ ‫اﻣﺎ ﺳﯿﻨامی اﯾﺮان اﮔﺮ ﭼﻪ اوﻟﯿﻦ اﺛﺮ ﺧﻮد را ﺑﺎ ﻓﯿﻠﻢ‬ ‫ﮐﻪ ﺑﻪ واﺳﻄﻪ ﺟﻮاﯾﺰ ﻣﻌﺘﱪی ﮐﻪ در ﺟﺸﻨﻮارهﻫﺎی‬ ‫اﯾﺮاﻧﯽ و ﺧﺎرﺟﯽ و ﻧﮕﺎﻫﺸﺎن ﺑﻪ آﺛﺎر او‪ ،‬درﯾﭽﻪ‬ ‫ﺻﺎﻣﺖ »آﺑﯽ و راﺑﯽ« ﺳﺎﺧﺘﻪ آواﻧﺲ اوﮔﺎﻧﯿﺎﻧﺲ از‬ ‫ﺟﻬﺎﻧﯽ ﮐﺴﺐ ﮐﺮدﻧﺪ ﻣﻮرد ﺗﻮﺟﻪ ﺗﻬﯿﻪ ﮐﻨﻨﺪﮔﺎن ﻏﺮﺑﯽ دﯾﮕﺮی را ﺑﺮای آﺷﻨﺎﯾﯽ ﺑﺎ اﯾﻦ ﻓﯿﻠﻤﺴﺎز ﻣﻄﺮح اﯾﺮاﻧﯽ‬ ‫اراﻣﻨﻪ ﻣﻬﺎﺟﺮ و ﺗﺤﺼﯿﻞﮐﺮده ﻣﺴﮑﻮ در ﺗﺎرﯾﺦ ﺳﯿﻨام ﻗﺮار ﮔﺮﻓﺘﻨﺪ ﺗﺎ ﺑﺎ ﴎﻣﺎﯾﻪ آنﻫﺎ ﻓﯿﻠﻢ ﺧﻮد را ﺑﺴﺎزﻧﺪ‪.‬‬ ‫در ﺳﯿﻨامی دﻧﯿﺎ ﻣﯽﮔﺸﺎﯾﺪ‪ .‬ﺗﯿﺮﮔﺎن ﻫﻤﭽﻨﯿﻦ در ﻧﻈﺮ‬ ‫ﺑﻪ ﺛﺒﺖ رﺳﺎﻧﺪ اﻣﺎ ﻋﻤﺪه آﺛﺎر ﻣﻄﺮح و ﺑﻪ ﺧﺼﻮص‬ ‫ﻋﺒﺎس ﮐﯿﺎرﺳﺘﻤﯽ و اﺻﻐﺮ ﻓﺮﻫﺎدی دو منﻮﻧﻪ ﺷﺎﺧﺺ از دارد ﺗﺎ در ﺟﺸﻨﻮاره دو ﺳﺎﻻﻧﻪ آﯾﻨﺪه ﺑﺨﺶ ﻣﺴﺎﺑﻘﻪ‬ ‫اوﻟﯿﻦ ﻓﯿﻠﻢ ﻧﺎﻃﻖ اﯾﺮان »دﺧﱰ ﻟﺮ ‪ «۱۳۱۲-‬ﺗﻮﺳﻂ‬ ‫ﻓﯿﻠﻢﺳﺎزاﻧﯽ ﻫﺴﺘﻨﺪ ﮐﻪ در اﯾﺮان ﻣﺎﻧﺪﻧﺪ و ﻓﻘﻂ ﺑﺮای ﻓﯿﻠﻢ ﮐﻮﺗﺎه را ﻧﯿﺰ در ﮐﻨﺎر ﻋﮑﺎﺳﯽ و داﺳﺘﺎنﻧﻮﯾﺴﯽ‬ ‫ﻋﺒﺪاﻟﺤﺴﯿﻦ ﺳﭙﻨﺘﺎ در ﻫﻨﺪوﺳﺘﺎن ﺗﻮﻟﯿﺪ ﺷﺪ‪ .‬ﺳﭙﻨﺘﺎ‬ ‫ﺳﺎﺧﺖ ﻓﯿﻠﻢﺷﺎن ﺳﻔﺮ ﮐﺮدﻧﺪ‪.‬‬ ‫در ﺑﺮﻧﺎﻣﻪﻫﺎی ﺧﻮد ﺟﺎ دﻫﺪ‪.‬‬ ‫ﮐﻪ ﻋﺎﺷﻖ ادﺑﯿﺎت ﮐﻬﻦ اﯾﺮان و ﻣﺮدی ﻣﯿﻬﻦﭘﺮﺳﺖ‬ ‫ﺑﻮد ﺑﻪ ﺗﺸﻮﯾﻖ ﻋﻠﯽاﺻﻐﺮ ﺣﮑﻤﺖ‪ ،‬وزﯾﺮ ﻣﻌﺎرف آن‬ ‫و ﺣﺎﻻ ﭘﺲ از ﭼﻨﺪ دﻫﻪ‪ ،‬ﺟﺸﻨﻮاره ﻓﺮﻫﻨﮕﯽ و ﻫرنی ﺳﯿﻨامی ﺗﯿﺮﮔﺎن ﻫﻤﻮاره ﺳﻌﯽ ﮐﺮده ﺗﺎ ﺑﺎ ﺗﮑﯿﻪ ﺑﺮ‬ ‫دوران ﻓﯿﻠﻢﻫﺎﯾﯽ ﺑﺎ ﻣﺎﯾﻪﻫﺎی ﻣﻠﯽ‪ ،‬ادﺑﯽ و ﺗﺎرﯾﺨﯽ‬ ‫ﺗﯿﺮﮔﺎن در »ﻫﺎرﺑﺮ ﻓﺮاﻧﺖ ﺳﻨﱰ ﺗﻮرﻧﺘﻮ« ﻧﯿﺰ ﺑﺮای‬ ‫ارزشﻫﺎ و ﺗﺠﺮﺑﯿﺎت ﺳﯿﻨامﮔﺮان ﻧﺴﻞ ﻗﺪﯾﻤﯽﺗﺮ و‬ ‫ﭼﻮن ﻓﺮدوﺳﯽ‪ ،‬ﺷﯿﺮﯾﻦ و ﻓﺮﻫﺎد ‪ ،‬ﻟﯿﻠﯽ و ﻣﺠﻨﻮن را‬ ‫ﭘﻨﺠﻤﯿﻦ ﺑﺎر ﻣﯿﺰﺑﺎن ﺳﯿﻨامی اﯾﺮان درﻏﺮﺑﺖ اﺳﺖ ﮐﻪ منﺎﯾﺶ آﺛﺎر ﻣﻄﺮح اﯾﺸﺎن‪ ،‬ﻓﻀﺎﯾﯽ را ﻧﯿﺰ ﺑﺮای دﯾﺪه‬ ‫در ﻫﻨﺪوﺳﺘﺎن ﺳﺎﺧﺖ و در اﯾﺮان ﺑﻪ منﺎﯾﺶ ﮔﺬاﺷﺖ‪ .‬ﺑﻪ ﻧﻮﻋﯽ ﻣﯽﺗﻮان »ﺳﯿﻨامی وﻃﻦ در ﻏﺮﺑﺖ« ﻧﺎﻣﯿﺪ‪ .‬ﺷﺪن آﺛﺎر ﺧﻮب ﺳﯿﻨامﮔﺮان ﻧﺴﻞﻫﺎی ﺟﻮانﺗﺮ ﺑﺎز ﮐﻨﺪ‬ ‫ﺑﺎ اﯾﻦ ﺗﻮﺿﯿﺢ ﻣﯽﺗﻮان ﮔﻔﺖ ﮐﻪ آﻏﺎز ﺳﯿﻨامی اﯾﺮان‬ ‫ﺗﺎ از اﯾﻦ ﻃﺮﯾﻖ اﯾﺮاﻧﯿﺎن ﻣﻘﯿﻢ ﮐﺎﻧﺎدا و ﻏﯿﺮ اﯾﺮاﻧﯽﻫﺎی‬ ‫ﺑﻪ ﻧﻮﻋﯽ در ﻏﺮﺑﺖ ﺷﮑﻞ ﮔﺮﻓﺖ‪ .‬ﺑﻌﺪﻫﺎ و ﺑﺎ ﭘﯿﴩﻓﺖ ﺑﺨﺶ ﺳﯿﻨامی ﺗﯿﺮﮔﺎن از اوﻟﯿﻦ دور ﺑﺮﮔﺰاری ﺟﺸﻨﻮاره ﻋﻼﻗﻤﻨﺪ ﺑﻪ ﺳﯿﻨامی اﯾﺮان ﻓﺮﺻﺘﯽ ﺑﯿﺎﺑﻨﺪ ﺗﺎ از درﯾﭽﻪ‬ ‫ﺳﯿﻨام در اﯾﺮان‪ ،‬ﺗﻮﻟﯿﺪات ﻣﺸﱰک ﺑﺎ ﮐﺸﻮرﻫﺎی ﻏﺮﺑﯽ ﺗﺎ ﺑﻪ ﺣﺎل ﻋﻠﯽ رﻏﻢ متﺎﻣﯽ ﻣﺸﮑﻼت و ﻣﻮاﻧﻌﯽ‬ ‫دورﺑﯿﻦ ﺳﯿﻨامﮔﺮان‪ ،‬ﺑﺎ ﻓﺮﻫﻨﮓ و ﻣﺴﺎﺋﻞ اﺟﺘامﻋﯽ‬ ‫و ﴍﻗﯽ ﺑﺎﻋﺚ ﺷﺪ ﺗﺎ ﻫرنﻣﻨﺪان اﯾﺮاﻧﯽ ﻓﯿﻠﻢﺳﺎزی‬ ‫ﮐﻪ ﺑﺮ ﴎ راه ﺧﻮد داﺷﺘﻪ‪ ،‬ﺗﻮاﻧﺴﺘﻪ اﺳﺖ ﻣﯿﺰﺑﺎن‬ ‫ﻣﻮﺟﻮد در ﺟﺎﻣﻌﻪ ﻣﺎ ﺑﯿﺸﱰ آﺷﻨﺎ ﺷﻮﻧﺪ‪.‬‬ ‫درﻏﺮﺑﺖ را ﻫﻢ ﺗﺠﺮﺑﻪ ﮐﻨﻨﺪ و ﺳﺎلﻫﺎ ﺑﻌﺪ ﻫﻢ‬ ‫ﺳﯿﻨامﮔﺮان ﻣﻄﺮﺣﯽ ﭼﻮن ﺑﻬﻤﻦ ﻓﺮﻣﺎنآرا‪ ،‬ﮐﺎﻣﺒﻮزﯾﺎ‬ ‫ﻓﯿﻠﻢﺳﺎزاﻧﯽ ﮐﻪ در ﻏﺮب ﺗﺤﺼﯿﻞﮐﺮده و ﯾﺎ ﺗﺠﺮﺑﻪ ﮐﺎر ﭘﺮﺗﻮی‪ ،‬ﻫامﯾﻮن ارﺷﺎدی‪ ،‬ﺷﯿﺮﯾﻦ ﻧﺸﺎط و ﺟﻌﻔﺮ واﻟﯽ اﻣﯿﺪوارم ﮐﻪ ﺑﺎ ﻫﻤﯿﺎری و ﻫﻤﺪﻟﯽ ﻫﻤﻮﻃﻨﺎن ﺟﺸﻨﻮاره‬ ‫در ﺳﯿﻨامی ﻏﺮب را داﺷﺘﻨﺪ‪ ،‬آﻣﻮﺧﺘﻪﻫﺎﯾﺸﺎن را ﺑﺎ ﺧﻮد ﺑﺎﺷﺪ‪ .‬اﮔﺮﭼﻪ ﺑﺮﺧﯽ از ﻫرنﻣﻨﺪان دﻋﻮت ﺷﺪه ﺑﻪ دﻟﯿﻞ ﺗﯿﺮﮔﺎن و دﯾﮕﺮ ﺟﺸﻨﻮارهﻫﺎی اﯾﺮاﻧﯽ ﮐﻪ در ﻫﺮﮐﺠﺎی‬ ‫ﺑﻪ وﻃﻦ آوردﻧﺪ ﺗﺎ در ﺳﯿﻨامی ﻣﯿﻬﻨﯽ ﺧﻮد ﺑﻪ ﮐﺎر‬ ‫ﻣﺸﮑﻼت اﺧﺬ وﯾﺰا و ﯾﺎ ﻣﺸﻐﻠﻪ ﮐﺎری ﻧﺘﻮاﻧﺴﺘﻨﺪ در‬ ‫دﻧﯿﺎ در ﭘﯽ اﻋﺘﻼی ﻓﺮﻫﻨﮓ و ﻫرن ﻏﻨﯽ و ﺑﺎ ﻗﺪﻣﺖ‬ ‫ﺑﱪﻧﺪ و ﻫﻢ اﯾﻦﻫﺎ ﺧﻮد ﯾﮑﯽ از ﭘﺎﯾﻪﻫﺎی ﻣﻬﻢ »ﻣﻮج ﺟﺸﻨﻮاره ﺣﻀﻮر ﭘﯿﺪا ﮐﻨﻨﺪ اﻣﺎ آﺛﺎرﺷﺎن ﺑﻪ روی ﭘﺮده ﮐﺸﻮرﻣﺎن ﻫﺴﺘﻨﺪ ﺑﺘﻮاﻧﻨﺪ ﻫﺮ ﺑﺎر ﭘﺮﺑﺎرﺗﺮ از ﻗﺒﻞ ﺑﻪ‬ ‫ﻧﻮ ﺳﯿﻨام« ﺷﺪﻧﺪ‪ .‬ﺳﯿﻨامﮔﺮان ﻧﺎﻣﺪاری ﭼﻮن دارﯾﻮش رﻓﺖ و ﺑﺎ اﺳﺘﻘﺒﺎل متﺎﺷﺎﮔﺮان رو ﺑﺮو ﺷﺪ‪ .‬ﻓﯿﻠﻢﻫﺎﯾﯽ‬ ‫ﻓﻌﺎﻟﯿﺖﻫﺎی ﻣﺴﺘﻤﺮ ﺧﻮد اداﻣﻪ دﻫﻨﺪ‪.‬‬ ‫ﻣﻬﺮﺟﻮﯾﯽ‪ ،‬ﭘﺮوﯾﺰ ﮐﯿﻤﯿﺎوی‪ ،‬ﻓﺮخ ﻏﻔﺎری‪ ،‬ﻫﻮﺷﻨﮓ‬ ‫ﭼﻮن ﻧﺎﺧﺪاﺧﻮرﺷﯿﺪ ]ﻧﺎﴏ ﺗﻘﻮاﯾﯽ[‪ ،‬آوازﻫﺎی ﺳﮑﻮت‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:40 AM‬‬

‫‪145-Cinema-Aref Mohammadi-EDITED-2.indd 145‬‬

‫‪CINEMA‬‬

‫‪146‬‬

‫~‪~ cinema‬‬

‫‪melbourne‬‬ ‫‪WHEN:‬‬

‫‪Saturday, 22 August - 6:45pm‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour 30 Minutes‬‬ ‫‪LOCATION:‬‬ ‫‪Studio Theatre,‬‬ ‫‪Harbourfront Centre‬‬

‫‪Photograph by Thomas Lavelle/Getty Images‬‬

‫ﭘﯿامن ﻣﻌﺎدی‬ ‫در ﻧﯿﻮﯾــﻮرک ﻣﺘﻮﻟــﺪ ﺷــﺪه و ﺳــﺎلﻫﺎ ﺑــﻪ‬ ‫ﻋﻨــﻮان ﻓﯿﻠﻤﻨﺎﻣﻪﻧﻮﯾــﺲ ﻓﻌﺎﻟﯿــﺖ داﺷــﺖ‬ ‫ﺗــﺎ اﯾﻨﮑــﻪ ﺑــﺎ ﺑــﺎزی در ﻓﯿﻠــﻢ »درﺑــﺎره اﻟــﯽ«‬ ‫وارد ﻋﺮﺻــﻪ ﺳــﯿﻨام ﺷــﺪ و ﺑــﺮای ﺑــﺎزی در‬ ‫»ﺟﺪاﯾــﯽ ﻧــﺎدر از ﺳــﯿﻤﯿﻦ« ﺑﺮﻧــﺪهی ﺟﺎﯾــﺰه‬ ‫ﺧــﺮس ﻧﻘــﺮهای ﺑﻬﱰﯾــﻦ ﺑﺎزﯾﮕــﺮ ﻧﻘــﺶ ﻣــﺮد‬ ‫از ﺟﺸــﻨﻮاره ﻓﯿﻠــﻢ ﺑﺮﻟﯿــﻦ ﺷــﺪ‪ .‬ﻣﻌــﺎدی در‬ ‫ﺳــﺎل ‪ ۱۳۸۵‬اوﻟﯿــﻦ ﻓﯿﻠــﻢ ﮐﻮﺗــﺎه ﺧــﻮد ﺑــﻪ‬ ‫ﻧــﺎم »ﻣﺎﺗﯿــﮏ« را ﮐﺎرﮔﺮداﻧــﯽ ﮐــﺮد‪ .‬او در‬ ‫ﺳــﺎل ‪ ۱۳۸۹‬ﻓﯿﻠــﻢ ﺑﻠﻨــﺪ »ﺑــﺮف روی ﮐﺎجﻫــﺎ«‬ ‫را ﺳــﺎﺧﺖ ﮐــﻪ ﺑــﺎ اﺳــﺘﻘﺒﺎل ﺧــﻮب ﻣﺨﺎﻃﺒــﺎن‬ ‫ﻣﻮاﺟــﻪ ﺷــﺪ‪ .‬ﮐﻤــﭗ اﺷــﻌﻪ اﯾﮑــﺲ )‪۲۰۱۴‬‬ ‫ﭘﯿــﱰ ﺳــﺘﻠﺮ( و آﺧﺮﯾــﻦ ﺷــﻮاﻟﯿﻪﻫﺎ )‪۲۰۱۵‬‬ ‫ﮐﺎزﺋﻮاﮐــﯽ ﮐﯿﺮﯾــﺎ( آﺧﺮﯾــﻦ ﻓﯿﻠﻢﻫــﺎی اﮐ ـﺮان‬ ‫ﺷــﺪه اوﺳــﺖ‪ .‬ﭘﯿــامن ﻣﻌــﺎدی ﺑ ـﺮای منــﺎش‬ ‫ﻓﯿﻠــﻢ ﻣﻠﺒــﻮرن و ﺟﻠﺴــﻪ ﭘﺮﺳــﺶ و ﭘﺎﺳــﺦ‬ ‫ﻣﻬــامن ﺗﯿــﺮﮔﺎن ‪ ۲۰۱۵‬اﺳــﺖ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 7:59 AM‬‬

‫‪146-Cinema-Peyman Moadi-EDITED.indd 146‬‬

‫‪THEATRE‬‬

‫‪147‬‬

‫~ ‪~ Theatre‬‬

‫‪1001st night,‬‬ ‫‪a play‬‬ ‫‪reading‬‬ ‫‪by BAHRAM BEYZAIE‬‬ ‫‪WHEN:‬‬ ‫‪Saturday, 22 August - 2:30pm‬‬ ‫‪Sunday, 23 August - 1:00pm‬‬ ‫‪DURATION:‬‬ ‫‪1 Hour 30 Minutes‬‬ ‫‪LOCATION:‬‬ ‫‪Brigantine Room,‬‬ ‫‪Harbourfront Centre‬‬

‫ﺷام آﺛﺎر ﻣﺘﻌﺪدی را ﺑﻪ روی ﺻﺤﻨﻪ ﺑﺮدهاﻳﺪ‪ .‬از ﺟﻤﻠﻪ ﺑﻌﴤ از اﻳﻦ منﺎﻳﺸﻨﺎﻣﻪﻫﺎ‬ ‫آﺛﺎر اﻳﺮاﻧﯽ ﺑﻮدهاﻧﺪ ﻛﻪ ﺑﻪ زﺑﺎن اﻧﮕﻠﻴﺴﯽ ﺑﺮﮔﺮداﻧﺪهاﻳﺪ‪ .‬ﭼﻪ ﻃﻮر ﻣﯽﺷﻮد ﻛﻪ ﺑﻪ‬ ‫آﺳﺎﻧﯽ ﺑﺎ ﻣﺨﺎﻃﺒﺎن ﺧﺎرﺟﯽ ارﺗﺒﺎط ﺑﺮﻗﺮار ﻣﯽﻛﻨﻴﺪ؟‬ ‫در ﻫرن ﻫﯿﭻ ﭼﯿﺰی ﺑﻪ آﺳﺎﻧﯽ ﮐﺴﺐ منﯽﺷﻮد‪ .‬ﯾﮑﯽ از ﻋﻤﺪهﺗﺮﯾﻦ اﻫﺪاف ﻫﺮ ﻫرنی‬ ‫و ﭼﺎﻟﺶ ﻫﺮ ﻫرنﻣﻨﺪی ارﺗﺒﺎط ﺑﺎ ﻣﺨﺎﻃﺐ اﺳﺖ‪ .‬اﮔﺮ ﻣﻦ دﻟﯿﻞ‪ ،‬ﻧﮕﺎه و ﯾﺎ ﺑﺮداﺷﺖ‬ ‫درﺳﺖ و ﻣﺸﺨﺼﯽ ﺑﺮای ﺗﺮﺟﻤﻪ و ﮐﺎرﮔﺮداﻧﯽ آﺛﺎر اﯾﺮاﻧﯽ ﻧﺪاﺷﺘﻢ‪ ،‬ﺑﺪون ﺗﺮدﯾﺪ در‬ ‫ارﺗﺒﺎط ﺑﺎ ﻣﺨﺎﻃﺐ ﻏﯿﺮ اﯾﺮاﻧﯿﻢ ﮐﻪ ‪ ۸۰‬درﺻﺪ از متﺎﺷﺎﭼﯿﺎن ﻣﻦ را ﺗﺸﮑﯿﻞ ﻣﯽدﻫﻨﺪ‬ ‫دﭼﺎر ﻣﺸﮑﻞ ﻣﯽﺷﺪم‪ .‬در ﻃﻮل ‪ ۲۶‬ﺳﺎل ﮔﺬﺷﺘﻪ ﻫﻔﺖ اﺛﺮ از آﺛﺎر منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺴﺎن‬ ‫ﺑﺮﺟﺴﺘﻪ اﯾﺮان را ﺗﺮﺟﻤﻪ و ﮐﺎرﮔﺮداﻧﯽ ﮐﺮدهام‪ .‬اﻟﺒﺘﻪ اﮐرث ﺗﺮﺟﻤﻪﻫﺎ ﺑﺎ ﻫﻤﮑﺎری دوﺳﺖ‬ ‫و ﻫﻤﮑﺎر ﺧﻮب ﮐﺎﻧﺎدایام‪ ،‬ﭘﯿﱰ ﻓﺎرﺑﺮﯾﺞ ﺑﻮده )ﭘﻨﺞ منﺎﯾﺸﻨﺎﻣﻪ از ﺑﻬﺮام ﺑﯿﻀﺎﯾﯽ‪،‬‬ ‫ﯾﮏ منﺎﯾﺸﻨﺎﻣﻪ از زﻧﺪهﯾﺎد ﻋﺒﺎس ﻧﻌﻠﺒﻨﺪﯾﺎن و ﯾﮏ منﺎﯾﺸﻨﺎﻣﻪ از ﻣﺤﻤﺪ رﺣامﻧﯿﺎن(‪.‬‬ ‫اﻧﺘﺨﺎب ﻣﻦ ﺑﺮای ﺗﺮﺟﻤﻪ و ﺗﻮﻟﯿﺪ اﯾﻦ ﮐﺎرﻫﺎ در وﺣﻠﻪ اول ارﺗﺒﺎط ﻓﮑﺮی روﺣﯽ ﻣﻦ‬ ‫ﺑﺎ آنﻫﺎ ﺑﻮده‪ .‬در ﺿﻤﻦ در متﺎﻣﯽ اﯾﻦ آﺛﺎر ﻣﻦ اﺑﻌﺎدی ﻋﻤﯿﻖﺗﺮ و ﮔﺴﱰدهﺗﺮی را‬ ‫ﯾﺎﻓﺘﻪام ﮐﻪ ﻓﺮاﺗﺮ از ﻣﺮزﻫﺎی ﻓﺮﻫﻨﮕﯽ و ﻗﻮﻣﯽ اﯾﺮان ﻗﺮار ﻣﯽﮔﯿﺮﻧﺪ‪ .‬ﺑﻪ ﻋﻨﻮان ﻣﺜﺎل‬ ‫آﺛﺎر ﺑﯿﻀﺎﯾﯽ ﻋﻤﯿﻘﺎ اﯾﺮاﻧﯽاﻧﺪ و رﯾﺸﻪ در اﺳﻄﻮرهﻫﺎ و ﻓﺮﻫﻨﮓ ﴎزﻣﯿﻦﻣﺎن دارﻧﺪ‪.‬‬ ‫در ﻋﯿﻦ ﺣﺎل او ﻫﻤﭽﻮن ﺑﺴﯿﺎری از منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺴﺎن ﺑﺰرگ ﺟﻬﺎن‪ ،‬ﻧﮕﺎﻫﺶ ﺑﻪ‬ ‫اﻧﺴﺎن و ﻫﺴﺘﯽ ﺟﻬﺎﻧﺸﻤﻮل اﺳﺖ و ﻣﯽﺗﻮاﻧﺪ ﻓﺮاﺗﺮ از ﻣﺮزﻫﺎی ﻓﺮﻫﻨﮕﯽ ﴎزﻣﯿﻦاش‬ ‫ﺑﺮود و ﺑﺎ ﻣﺨﺎﻃﺐ ﻏﯿﺮ اﯾﺮاﻧﯽ ارﺗﺒﺎط ﺑﺮﻗﺮار ﮐﻨﺪ‪ .‬ﻣﻦ ﺑﻪ ﻋﻨﻮان ﮐﺎرﮔﺮدان آن اﺑﻌﺎد‬ ‫ﺟﻬﺎﻧﺸﻤﻮل را ﺗﻘﻮﯾﺖ و ﺗﺎﮐﯿﺪ ﻣﯽﮐﻨﻢ‪» .‬آرش« ﺑﯿﻀﺎﯾﯽ‪ ،‬ﺑﻪ ﻋﻨﻮان ﻣﺜﺎل‪ ،‬در ﻣﻮرد‬ ‫ﻗﻬﺮﻣﺎﻧﯽﻫﺎ و ﻣﻠﯽﮔﺮاﯾﯽﻫﺎی دورﻏﯿﻦ ﻧﯿﺴﺖ‪ .‬ﺗﻢﻫﺎی اﺻﻠﯽ آرش ﺑﯿﻀﺎﯾﯽ رﯾﺎﮐﺎری‬ ‫و ﺑﯽرﺣﻤﯽ ﺳﯿﺎﺳﺖﻣﺪاران اﺳﺖ و ﺗﻨﻬﺎﯾﯽ آرش ﮐﻪ ﻗﺮﺑﺎﻧﯽ ﺳﯿﺎﺳﺖﺑﺎزی ﺣﮑﺎم و‬ ‫ﻧﺎآﮔﺎﻫﯽ ﻣﺮدﻣﺶ ﻣﯽﺷﻮد‪ .‬اﯾﻦ ﺗﻢﻫﺎ ﺟﻬﺎﻧﺸﻤﻮلاﻧﺪ و آﺷﻨﺎ ﺑﺮای ﻣﺨﺎﻃﺒﺎﻧﯽ از ﻫﺮ‬ ‫ﻣﻠﯿﺖ و ﻗﻮﻣﯽ‪ .‬ﺑﻪ ﻫﻤﯿﻦ دﻟﯿﻞ اﺟﺮاﻫﺎی آرش ﻣﺎ در ﮐﺎﻧﺎدا‪ ،‬ﮐﻮﺑﺎ‪ ،‬ﮐﻠﻤﺒﯿﺎ و ﺑﻮﺳﻨﯽ ﺑﺎ‬ ‫اﺳﺘﻘﺒﺎل ﻣﺨﺎﻃﺒﺎن اﯾﻦ ﮐﺸﻮرﻫﺎ روﺑﺮو ﺷﺪ‪ .‬آنﻫﺎ ﻫﯿﭻ ﮔﺎه ﻓﮑﺮ ﻧﮑﺮدﻧﺪ ﮐﻪ اﯾﻦ اﺛﺮی‬ ‫اﯾﺮاﻧﯽﺳﺖ و ﺑﻪ آنﻫﺎ ﻣﺮﺑﻮط منﯽﺷﻮد‪ .‬ﺗﺮﺟﻤﻪ »ﻣﺮگ ﯾﺰدﮔﺮد« ﺑﻬﺮام ﺑﯿﻀﺎﯾﯽ در ﺳﺎل‬ ‫‪ ۱۹۹۴‬و ﺗﺮﺟﻤﻪ »داﺳﺘﺎنﻫﺎی از ﺑﺎرش ﻣﻬﺮ و ﻣﺮگ« اﺛﺮ ﻋﺒﺎس ﻧﻌﻠﺒﻨﺪﯾﺎن در ﺳﺎل‬ ‫‪ ۲۰۰۴‬ﺟﻮاﯾﺰ ﺗﺮﺟﻤﻪ و اﻗﺘﺒﺎس را از آن ﺧﻮد ﮐﺮدﻧﺪ‪ .‬اﯾﻦ ﺧﻮد ﻧﺸﺎﻧﯽ از ارﺗﺒﺎط آﺛﺎر‬ ‫اﯾﺮاﻧﯽ ﺑﺎ ﻣﺨﺎﻃﺒﺎن ﺧﺎرﺟﯽﺳﺖ‪.‬‬

‫آﻣﻮﺧﺘﻪام و در رﺷﺪ ﻣﻦ ﺑﻪ ﻋﻨﻮان ﻫرنﻣﻨﺪ ﻧﻘﺶ ﻣﻬﻤﯽ داﺷﺘﻪاﻧﺪ‪ .‬در اﯾﻦ ارﺗﺒﺎط‬ ‫ﺑﻪ ﺷﺒﺎﻫﺖﻫﺎ و ﺗﻔﺎوتﻫﺎ ﻣﯿﺎن اﻧﺴﺎنﻫﺎ ﭘﯽ ﺑﺮدهام‪ .‬آﻣﻮﺧﺘﻪام ﮐﻪ ﻧﻘﺎط ﻣﺸﱰک‬ ‫اﻧﺴﺎنﻫﺎ ﺑﻪ ﻣﺮاﺗﺐ ﺑﯿﺸﱰ از ﺗﻔﺎوتﻫﺎی آنﻫﺎﺳﺖ‪ .‬اﻣﺎ اﮐرث اﻧﺴﺎنﻫﺎ ﻟﺠﻮﺟﺎﻧﻪ ﺑﺮ‬ ‫ﻧﻘﺎط اﺧﺘﻼف ﺧﻮد ﺑﺎ دﯾﮕﺮان ﭘﺎﻓﺸﺎری ﻣﯽﮐﻨﻨﺪ‪ .‬از ﻧﻈﺮ ﺣﺮفﻫﺎی ﻫﺮ ﺗﻮﻟﯿﺪ در‬ ‫ﮐﺸﻮری دﯾﮕﺮ و ﯾﺎ ﮐﺎر ﺑﺎ ﻓﺮﻫﻨﮕﯽ دﯾﮕﺮ درﻫﺎی ﺟﺪﯾﺪی ﺑﺮ روﯾﻢ ﺑﺎز ﮐﺮدهاﻧﺪ ﮐﻪ ﺑﻪ‬ ‫ﻧﻮﻋﯽ در ﺗﻮﻟﯿﺪات ﺑﻌﺪیام ﻣﻮﺛﺮ ﺑﻮدهاﻧﺪ‪.‬‬

‫ﺳﯽ ﺳﺎل زﻧﺪﮔﯽ ﻫرنی در ﺧﺎرج از ﻛﺸﻮر ﭼﻪ ﺗﺠﺮﺑﻪﻫﺎﻳﯽ ﺑﺮاﻳﺘﺎن ﺑﻪ ﻫﻤﺮاه داﺷﺘﻪ‬ ‫و ﺗﺌﺎﺗﺮ اﻣﺮوز اﻳﺮان را در ﭼﻪ ﺟﺎﻳﮕﺎﻫﯽ ﻧﺴﺒﺖ ﺑﻪ اﻳﻦ ﺗﺠﺮﺑﻪ ارزﻳﺎﺑﯽ ﻣﯽﻛﻨﻴﺪ؟‬ ‫ﺑﺎ متﺎم دﻟﺘﻨﮕﯽﻫﺎﯾﻢ ﺑﺮای اﯾﺮان‪ ،‬از ﻣﻬﺎﺟﺮﺗﻢ ﺑﻪ ﻧﻬﺎﯾﺖ ﺧﺮﺳﻨﺪم‪ .‬ﺗﺼﻮر ﻣﯽﮐﻨﻢ در‬ ‫ﺣﺪ ﺗﻮاﻧﻢ ﺑﻬﱰﯾﻦ ﺑﻬﺮهﺑﺮداری را از ﻣﻬﺎﺟﺮت ﮐﺮدهام‪ .‬از ﺟﺎﯾﮕﺎﻫﯽ ﮐﻪ در ﺗﺌﺎﺗﺮ ﮐﺎﻧﺎدا‬ ‫ﮐﺴﺐ ﮐﺮده و ﻣﻮاﻧﻊ ﺑﯽﺷامری را ﮐﻪ در ﻃﻮل اﯾﻦ ﺳﺎلﻫﺎ ﺑﺮ آنﻫﺎ ﻏﺎﻟﺐ آﻣﺪهام‬ ‫ﺑﺴﯿﺎر راﺿﯿﻢ‪ .‬در ﻃﻮل اﯾﻦ ﺳﺎلﻫﺎ ﺑﻪ ﺷﯿﻮه و ﺳﺒﮏ ﺧﺎﺻﯽ از ﺗﺌﺎﺗﺮ دﺳﺖ ﯾﺎﻓﺘﻪام‬ ‫ﮐﻪ ﻣﺨﺘﺺ ﺧﻮدم اﺳﺖ و ﺷﺒﺎﻫﺖ ﺑﻪ ﮐﺎر ﻫﯿﭻ ﮐﺎرﮔﺮداﻧﯽ دﯾﮕﺮ ﻧﺪارد‪ .‬ﺟﺎﯾﮕﺎﻫﻢ و‬ ‫ﻣﻮﻓﻘﯿﺖﻫﺎﯾﻢ در ﺗﺌﺎﺗﺮ اﯾﻦ ﮐﺸﻮر ﺑﻪ آﺳﺎﻧﯽ ﺑﻪ دﺳﺖ ﻧﯿﺎﻣﺪه‪ .‬ﭘﺬﯾﺮش ﻫرنﻣﻨﺪی از‬ ‫اﯾﺮان‪ ،‬ﮐﺸﻮری ﮐﻪ ﻧﺎﻣﺶ ﺑﺎ ﺑﻨﯿﺎدﮔﺮاﯾﯽ و ﻗﴩﯾﺖ ﻣﺬﻫﺒﯽ آﻣﯿﺨﺘﻪ ﺑﻮد در ﺟﺎﻣﻌﻪ‬ ‫ﺗﺌﺎﺗﺮی اﯾﻦ ﮐﺎﻧﺎدا‪ ،‬ﮐﺎری ﺑﻮد ﺑﺲ دﺷﻮار‪ .‬در ده ﺳﺎل اول ﻣﻬﺎﺟﺮت ﺑﺎ ﻣﺴﺎﺋﻞ ﺷﺪﯾﺪ‬ ‫اﻗﺘﺼﺎدی درﮔﯿﺮ ﺑﻮدم‪ .‬ﺑﻪ ﺻﻮرت متﺎموﻗﺖ در داﻧﺸﮕﺎه درس ﻣﯽﺧﻮاﻧﺪم و ﻫﻤﺰﻣﺎن‬ ‫ﺑﺮای ﺣامﯾﺖ از ﺧﺎﻧﻮداهام‪ ،‬ﺑﻪ ﺻﻮرت متﺎموﻗﺖ ﮐﺎر ﻣﯽﮐﺮدم‪ .‬روزی ‪ ۱۴‬ﺗﺎ ‪ ۱۶‬ﺳﺎﻋﺖ‬ ‫ﮐﺎر‪ :‬از ﭘﺨﺶ روزﻧﺎﻣﻪ و ﭘﯿﺘﺰا ﮔﺮﻓﺘﻪ ﺗﺎ ﮐﺎر در رﺳﺘﻮران و راﻧﺪن اﺗﻮﺑﻮس ﻣﺪرﺳﻪ‪.‬‬ ‫از اﯾﻦ ﮐﺎرﻫﺎ ﺑﻪ ﻫﯿﭻ وﺟﻪ ﴍﻣﻨﺪه ﻧﯿﺴﺘﻢ‪ .‬ﴐورت زﻧﺪﮔﯽ ﺑﻮد و ﻣﯽﺑﺎﺳﺖ ﮐﺎر‬ ‫ﻣﯽﮐﺮدم‪ .‬ﺿﻤﻨﺎ اﯾﻦ ﮐﺎرﻫﺎ در ﺷﮑﻞ دادن ﺷﺨﺼﯿﺖ ﻓﺮدی و ﻫرنیام در دراز ﻣﺪت‬ ‫ﺑﺴﯿﺎر ﻣﻮﺛﺮ ﺑﻮدﻧﺪ‪ .‬ارﺗﺒﺎط روزﻣﺮه ﺑﺎ اﻧﺴﺎنﻫﺎی ﻋﺎدی ﻣﺮا از ﺧﻮد ﻣﻬﻢﺑﯿﻨﯽ و ادا و‬ ‫اﺻﻮلﻫﺎی آرﺗﯿﺴﺘﯿﮏ و روﺷﻨﻔﮑﺮی رﻫﺎ ﮐﺮد‪ .‬ﺗﺎﺛﯿﺮات و ﺗﺠﺮﺑﯿﺎﺗﯽ آن دوران ﮐﻪ آﻧﺎن‬ ‫را ﺗﺠﺮﺑﯿﺎت زﻧﺪﮔﯽ ﻣﯽﻧﺎﻣﻢ‪ ،‬ﺑﻪ ﺻﻮرت ﻣﺴﺘﻘﯿﻢ و ﻏﯿﺮ ﻣﺴﺘﻘﯿﻢ در ﮐﺎرﻫﺎی ﻫرنﯾﻢ‬ ‫ﻣﻨﻌﮑﺲاﻧﺪ‪ .‬در ﻣﻮرد ﺟﺎﯾﮕﺎه ﺗﺌﺎﺗﺮ اﯾﺮان منﯽداﻧﻢ ﮐﻪ ﭼﻘﺪر ﺣﻖ ﻧﻈﺮ و ﺻﺤﺒﺖ‬ ‫ﻣﯽﺗﻮاﻧﻢ داﺷﺘﻪ ﺑﺎﺷﻢ ﭼﻮن ﺑﻪ ﻣﺪت ‪ ۳۲‬ﺳﺎل اﺳﺖ از اﯾﺮان و ﻓﻌﺎﻟﯿﺖﻫﺎی ﺗﺌﺎﺗﺮی‬ ‫آن ﺟﺎ دورم اﻣﺎ ﻫﻤﯿﺸﻪ ﺳﻌﯽ ﮐﺮدهام از ﻃﺮﯾﻖ اﯾﻨﱰﻧﺖ و دوﺳﺘﺎن ﺗﺌﺎﺗﺮیام در اﯾﺮان‬ ‫اﺧﺒﺎر ﺟﺎﻣﻌﻪ ﺗﺌﺎﺗﺮی آن ﺟﺎ را دﻧﺒﺎل ﮐﻨﻢ‪ .‬ﻣﻦ در ﻣﻘﺎﺑﻞ ﺑﺴﯿﺎری از منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺴﺎن‪،‬‬ ‫مشــکل تئاتــر ایــران در نبــود تــداوم و ﮐﺎرﮔﺮداﻧﺎن و دﺳﺖاﻧﺪرﮐﺎران ﺗﺌﺎﺗﺮ اﯾﺮان ﴎ ﺗﻌﻈﯿﻢ ﻓﺮود ﻣﯽآورم‪ .‬ﭼﻮن ﻣﯽداﻧﻢ‬ ‫ﮐﻪ در ﻃﻮل اﯾﻦ ‪ ۳۶‬ﺳﺎل ﭼﮕﻮﻧﻪ و ﺑﺎ ﭼﻪ ﺗﻼﺷﯽ ﺑﺮای ﴎ ﭘﺎ ﻧﮕﻪ داﺷنت ﺗﺌﺎﺗﺮ اﯾﺮان‬ ‫گســیختگی جتربیــات اســت‪ .‬در تــداوم زﺣﻤﺖ ﮐﺸﯿﺪه و ﺣﺘﯽ ﺧﻄﺮ ﮐﺮدهاﻧﺪ‪ .‬ﻣﺸﮑﻞ ﺗﺌﺎﺗﺮ اﯾﺮان ﺑﻪ ﻧﻈﺮ ﻣﻦ در ﻧﺒﻮد‬ ‫منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺴﺎن و ﮐﺎرﮔﺮداﻧﺎن ﺑﺮﺟﺴﺘﻪ ﻧﯿﺴﺖ‪ .‬ﻣﺸﮑﻞ ﺗﺌﺎﺗﺮ اﯾﺮان در ﻧﺒﻮد ﺗﺪاوم و‬ ‫جتربیــات اســت کــه زبــان یــا شــیوه تئاتــری ﮔﺴﯿﺨﺘﮕﯽ ﺗﺠﺮﺑﯿﺎت اﺳﺖ‪ .‬در ﺗﺪاوم ﺗﺠﺮﺑﯿﺎت اﺳﺖ ﮐﻪ زﺑﺎن ﯾﺎ ﺷﯿﻮه ﺗﺌﺎﺗﺮی ﺷﮑﻞ‬ ‫ﻣﯽﮔﯿﺮد و ﺷﮑﻮﻓﺎ ﻣﯽﺷﻮد‪ .‬ﺑﺴﯿﺎری از ﮐﺎرﻫﺎی منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺴﺎن اﯾﺮان ﻫﺮﮔﺰ ﻓﺮﺻﺖ‬ ‫شــگل میگیــرد و شــکوفا میشــود‪.‬‬ ‫ﯾﺎ اﺟﺎزه اﺟﺮا ﭘﯿﺪا منﯽﮐﻨﻨﺪ ﺗﺎ منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺲ اﺛﺮش را در ﺻﺤﻨﻪ و ﻋﻤﻞ ﺗﺠﺮﺑﻪ ﮐﻨﺪ‬ ‫و ﺑﻪ ﻧﻘﺎط ﻗﺪرت و ﺿﻌﻒ ﮐﺎرش ﭘﯽ ﺑﱪد‪ .‬ﺟﻮان و ﮐﺎرﮔﺮدان ﻣﺴﺘﻌﺪی ﮐﻪ ﮐﺎری را‬ ‫ﻛﺎﻧﺎدا ﴎزﻣني ﺑﺴﻴﺎری از ﻣﻬﺎﺟﺮان ﺷﺪه‪ ،‬ﺑﺎ رﻳﺸﻪﻫﺎ و ﻓﺮﻫﻨﮓﻫﺎی ﻣﺘﻔﺎوت‪.‬‬ ‫ﺑﻪ ﺻﺤﻨﻪ ﻣﯽﺑﺮد ﻫﯿﭻ ﺗﻀﻤﯿﻨﯽ ﻧﺪارد ﮐﻪ ﺑﺘﻮاﻧﺪ ﮐﺎر ﺑﻌﺪیاش را ﺗﻮﻟﯿﺪ ﮐﺮده و زﺑﺎن‬ ‫دﻳﺎﻟﻮگﻫﺎی ﻓﺮﻫﻨﮕﯽ ﻛﻪ از راه ﺗﺌﺎﺗﺮ ﺑﺎ دﯾﮕﺮ ﻣﻠﯿﺖﻫﺎ ﺑﺮﻗﺮار ﻛﺮدهاﻳﺪ ﺗﺎ ﭼﻪ ﺣﺪ در ﯾﺎ ﺷﯿﻮه منﺎﯾﺸﯽاش را ﭘﺎﻻﯾﺶ دﻫﺪ‪ .‬ﻫﺮﮔﺎه ﺣﺮﮐﺖ ﺗﺌﺎﺗﺮی ﻣﯽآﯾﺪ ﮐﻪ ﺷﮑﻞ ﺑﮕﯿﺮد و‬ ‫ﺷﮑﻮﻓﺎ ﺷﻮد‪ ،‬آن ﺣﺮﮐﺖ ﺑﺎ ﺳﯿﺎﺳﺖﻫﺎی ﻣﺨﺮب و ﻏﻠﻂ روﺳﺎی دوﻟﺘﯽ ﯾﺎ ﺟﺎ ﺑﻪ ﺟﺎﯾﯽ‬ ‫ﻛﺎرﻫﺎی ﺷام اﺛﺮ ﮔﺬاﺷﺘﻪ اﺳﺖ؟‬ ‫ﺑﺪون ﺗﺮدﯾﺪ دﻳﺎﻟﻮگﻫﺎی ﻓﺮﻫﻨﮕﯽ ﮐﻪ ﺑﺎ اﻗﻮام و ﻣﻠﻞ دﻳﮕﺮ ﺑﺮﻗﺮار ﻛﺮدهام ﺗﺎﺛﯿﺮ ﻣﻬﻤﯽ آﻗﺎﯾﺎن در ﻗﺪرت از ﻫﻢ ﻓﺮو ﻣﯽﭘﺎﺷﺪ و ﻧﺎمتﺎم ﺑﺎﻗﯽ ﻣﯽﻣﺎﻧﺪ‪.‬‬ ‫در ﮐﺎرﻫﺎی ﻣﻦ داﺷﺘﻪ‪ .‬در ارﺗﺒﺎط و ﮔﻔﺖ و ﮔﻮ ﺑﺎ اﻗﻮام و ﻣﻠﯿﺖﻫﺎی ﻣﺨﺘﻠﻒ ﺑﺴﯿﺎر ﺗﺌﺎﺗﺮ اﯾﺮان ﭘﺮ اﺳﺖ از ﺗﺠﺮﺑﻪﻫﺎی ﻧﺎ متﺎم‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:01 AM‬‬

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‫‪THEATRE‬‬

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‫ﺳــﻬﯿﻞ ﭘﺎرﺳــﺎ ﻓﺎرغاﻟﺘﺤﺼﯿــﻞ رﺷــﺘﻪ ﻫرنﻫــﺎی منﺎﯾﺸــﯽ از داﻧﺸــﮑﺪه ﻫرنﻫــﺎی زﯾﺒــﺎی داﻧﺸــﮕﺎه ﺗﻬ ـﺮان اﺳــﺖ ﮐــﻪ ﭘــﺲ از ﻣﻬﺎﺟــﺮت ﺑــﻪ ﮐﺎﻧــﺎدا در »داﻧﺸــﮕﺎه ﯾــﻮرک« ﺑــﻪ اداﻣــﻪ ﺗﺤﺼﯿــﻞ ﭘﺮداﺧــﺖ‪ .‬او ﺑــﺎ ﻫﻤﺮاﻫــﯽ‬ ‫»ﭘﯿــﱰ ﻓﺎرﺑﺮﯾــﺞ«‪ ،‬ﺑﻨﯿﺎنﮔــﺬار و ﮐﺎرﮔــﺮدان ﻫــرنی ﮔــﺮوه »‪ «Modern Times Stage Company‬اﺳــﺖ ﮐــﻪ ﺑﯿﺸــﱰ ﺗﻮﻟﯿﺪاﺗــﺶ ﻣﺘﺎﺛــﺮ از ﻓﺮﻫﻨــﮓ ﴍق ﺑــﻪ وﯾــﮋه ﻓﺮﻫﻨــﮓ اﯾﺮاﻧﯽﺳــﺖ‪ .‬ﭘﺎرﺳــﺎ ﺗــﺎ ﺑــﻪ ﺣــﺎل ﻫﻔــﺖ اﺛــﺮ‬ ‫از منﺎﯾﺸﻨﺎﻣﻪﻧﻮﯾﺴــﺎن اﯾﺮاﻧــﯽ را ﺗﺮﺟﻤــﻪ‪ ،‬ﮐﺎرﮔﺮداﻧــﯽ و ﺑــﻪ روی ﺻﺤﻨــﻪ ﺑــﺮده و ﺑــﻪ ﺧﺎﻃــﺮ ﻓﻌﺎﻟﯿﺖﻫﺎﯾــﺶ ﺑﯿــﺶ از ﭘﻨﺠــﺎه ﺑــﺎر ﻧﺎﻣــﺰد درﯾﺎﻓــﺖ ﺟﻮاﯾــﺰ ﻣﻌﺘــﱪ ﻫــرنی در ﮐﺎﻧــﺎدا ﺷــﺪه اﺳــﺖ‪» .‬داﺳــﺘﺎنﻫﺎﯾﯽ از ﺑــﺎرش‬ ‫ﻣﻬــﺮ و ﻣــﺮگ« ﻋﻨــﻮان ﮐﺘــﺎب او ﺑــﻪ زﺑــﺎن اﻧﮕﻠﯿﺴﯽﺳــﺖ ﮐــﻪ ﺗﻮﺳــﻂ ﻧــﺎﴍ ﮐﺎﻧﺎداﯾــﯽ ﺑــﻪ ﭼــﺎپ رﺳــﯿﺪه و ﺷــﺎﻣﻞ ﻣﺠﻤﻮﻋــﻪ ﺗﺮﺟﻤﻪﻫــﺎی او از ﭼﻬــﺎر منﺎﯾﺸــﻨﺎﻣﻪ اﯾﺮاﻧﯽﺳــﺖ‪ .‬داﯾــﺮه ﻓﻌﺎﻟﯿﺖﻫــﺎی او ﻣﺤــﺪود ﺑــﻪ آﺛــﺎر‬ ‫اﯾﺮاﻧــﯽ ﻧﯿﺴــﺖ و ﺗــﺎ ﮐﻨــﻮن آﺛــﺎر ﮐﻼﺳــﯿﮑﯽ ﻫﻤﭽــﻮن »ﻣﮑﺒــﺚ« ﻧﻮﺷــﺘﻪ ﺷﮑﺴــﭙﯿﺮ و »در اﻧﺘﻈــﺎر ﮔــﻮدو« اﺛــﺮ ﺳــﺎﻣﻮﺋﻮل ﺑﮑــﺖ را ﻧﯿــﺰ در ﮐﺎﻧــﺎدا ﮐﺎرﮔﺮداﻧــﯽ و اﺟـﺮا ﮐــﺮده اﺳــﺖ‪» .‬ﻋﺮوﺳــﯽ ﺧــﻮن«‪ ،‬ﻧﻮﺷــﺘﻪ ﻓﺪرﯾﮑــﻮ‬ ‫ﮔﺎرﺳــﯿﺎ ﻟــﻮرﮐﺎ ﮐــﻪ در ﻣــﺎه ﻣــﺎرچ ‪ ۲۰۱۵‬در ﺗﻮرﻧﺘــﻮ ﺑــﻪ روی ﺻﺤﻨــﻪ رﻓــﺖ‪ ،‬ﺗﺎزهﺗﺮﯾــﻦ منﺎﯾــﺶ ﺳــﻬﯿﻞ ﭘﺎرﺳﺎﺳــﺖ ﮐــﻪ در ﻫﺸــﺖ رﺷــﺘﻪ ﻧﺎﻣــﺰد ﺟﺎﯾــﺰه ﻣﻌﺘــﱪ ﺗﺌﺎﺗــﺮی »‪ «Dora Mavor Moore Award‬ﺷــﺪ‪ .‬ﺳــﻬﯿﻞ ﭘﺎرﺳــﺎ‬ ‫ﮐــﻪ در ﻋﯿــﻦ ﻓﺮوﺗﻨــﯽ و ﺳــﺎدﮔﯽ ﻫﻤــﻮاره از ﺑﻬﱰﯾﻦﻫــﺎی ﻋﺮﺻــﻪ ﺗﺌﺎﺗــﺮ در ﮐﺎﻧــﺎدا ﺑــﻮده‪ ،‬اﻣــﺮوز ﺑــﻪ اذﻋــﺎن ﮐﺎرﺷﻨﺎﺳــﺎن و ﻣﻨﺘﻘــﺪان ﻫــرنی از ﮔﻨﺠﯿﻨﻪﻫــﺎی ﻓﺮﻫﻨﮕــﯽ ﮐﺎﻧــﺎدا و ﺟﺎﻣﻌــﻪ اﯾﺮاﻧــﯽ ﺑــﻪ ﺷــامر ﻣــﯽرود‪ .‬ﺑــﻪ‬ ‫ﺑﻬﺎﻧــﻪ ﺑﺮﮔـﺰاری ﺟﺸــﻨﻮاره ﺗﯿــﺮﮔﺎن ﺑــﺎ او ﮔﻔــﺖ و ﮔﻮﯾــﯽ داﺷــﺘﯿﻢ ﮐــﻪ از ﻧﻈﺮﺗــﺎن ﻣﯽﮔــﺬرد‪:‬‬

‫‪Photograph by Zahra Saleki‬‬

‫آﻗﺎی ﭘﺎرﺳﺎ اﮔﺮ ﺑﺨﻮاﻫﻴﻢ از ﺗﺌﺎﺗﺮ و ﻧﮕﺎه ﺳﻬﻴﻞ ﭘﺎرﺳﺎ ﺻﺤﺒﺖ ﻛﻨﻴﻢ‪ ،‬ﺑﺎﻳﺪ از ﭼﻪ ﺑﮕﻮﻳﻴﻢ؟‬ ‫ﺳﻮال دﺷﻮاریﺳﺖ‪ .‬ﺳﺨﺖﺗﺮﯾﻦ ﮐﺎر ﺑﺮای ﻣﻦ اﯾﻦ اﺳﺖ ﮐﻪ از ﺧﻮدم و ﻧﮕﺎﻫﻢ ﺑﻪ ﺗﺌﺎﺗﺮ ﺻﺤﺒﺖ ﮐﻨﻢ‪.‬‬ ‫ﺣﺪود ‪ ۳۰‬ﺳﺎل اﺳﺖ ﮐﻪ ﻣﺪام و ﭘﯿﻮﺳﺘﻪ ﮐﺎر ﻣﯽﮐﻨﻢ و ﻣﯽآﻓﺮﯾﻨﻢ‪ .‬ﺑﯿﺶ از ‪ ۴۰‬اﺛﺮ در ﮐﺎﻧﺎدا و ﺳﺎﯾﺮ‬ ‫ﮐﺸﻮرﻫﺎ ﮐﺎرﮔﺮداﻧﯽ ﮐﺮدهام‪ .‬ﻧﮕﺎﻫﻢ ﺑﻪ ﺗﺌﺎﺗﺮ و ﺷﯿﻮهﻫﺎی اﺟﺮاﯾﯽ آن در ﻃﻮل اﯾﻦ ﺳﺎلﻫﺎ ﻣﺪام در ﺣﺎل‬ ‫ﺗﻐﯿﯿﺮ و ﺗﺤﻮل ﺑﻮده‪ .‬در متﺎﻣﯽ اﯾﻦ ﺳﺎلﻫﺎ ﺑﯽوﻗﻔﻪ در ﺣﺎل ﺟﺴﺘﺠﻮ و ﮐﻨﮑﺎش ﺑﻮدهام‪ :‬ﺟﺴﺘﺠﻮ و‬ ‫ﮐﻨﮑﺎش ﺑﺮای ﯾﺎﻓنت ﺷﯿﻮه ﯾﺎ ﺳﺒﮏﻫﺎی ﻧﻮ منﺎﯾﺸﯽ‪ ،‬ﺟﺴﺘﺠﻮ و ﮐﻨﮑﺎش ﺑﺮای ﯾﺎﻓنت ﺧﻮد ﺑﺮای درک اﻧﺪﮐﯽ‬ ‫ﺑﯿﺸﱰ از ﺟﻬﺎن‪ ،‬ﻫﺴﺘﯽ و دﻧﯿﺎی ﭘﯿﺮاﻣﻮﻧﻢ‪ .‬در ﻧﺘﯿﺠﻪ منﯽداﻧﻢ از ﮐﺠﺎ و ﭼﻪ زاوﯾﻪای در ﻣﻮرد ﻧﮕﺎﻫﻢ ﺑﻪ‬ ‫ﺗﺎﺗﺮ ﺻﺤﺒﺖ ﮐﻨﻢ‪ .‬ﺗﺌﺎﺗﺮ ﻫرنیﺳﺖ ﮐﻪ ﻋﺎﺷﻘﺎﻧﻪ دوﺳﺘﺶ دارم‪ .‬ﺗﺌﺎﺗﺮ ﯾﺎر‪ ،‬ﻫﻤﺮاه و ﺑﻬﱰﯾﻦ رﻓﯿﻘﻢ ﺑﻮده‪.‬‬

‫رﻓﯿﻘﯽ ﮐﻪ ﺑﺎ آن دﻋﻮاﻫﺎ‪ ،‬ﻗﻬﺮﻫﺎ و آﺷﺘﯽﻫﺎ داﺷﺘﻪام‪ .‬ﻣﻦ ﺑﻪ ﺗﺌﺎﺗﺮ ﻣﺪﯾﻮﻧﻢ‪ .‬ﺗﺌﺎﺗﺮ ﺑﯽﻧﻬﺎﯾﺖ ﺑﻪ ﻣﻦ آﻣﻮﺧﺘﻪ‪،‬‬ ‫ﻣﺮا ﺑﻪ ﺑﺴﯿﺎری از ﮐﺸﻮرﻫﺎی ﺟﻬﺎن ﺑﺮده و دوﺳﺘﺎﻧﯽ از ﻫﺮ ﻧﮋاد‪ ،‬ﻗﻮم و ﻣﺬﻫﺒﯽ از ﭼﻬﺎر ﮔﻮﺷﻪ ﺟﻬﺎن‬ ‫ﺑﺮاﯾﻢ ﻓﺮاﻫﻢ آورده‪ .‬ﺗﺌﺎﺗﺮ و ﺳﺎﻟﻦ متﺮﯾﻦﻫﺎﯾﻢ ﺗﻨﻬﺎ ﺟﺎﺋﯽﺳﺖ ﮐﻪ ﺧﻮد واﻗﻌﯽام ﻫﺴﺘﻢ؛ آزاد و رﻫﺎ‪ .‬ﺗﺌﺎﺗﺮ‬ ‫ﺗﻨﻬﺎ ﻫرنیﺳﺖ ﮐﻪ ﻣﯽﺗﻮاﻧﻢ از ﻃﺮﯾﻖ آن ﺧﻮدم را ﺑﯿﺎن ﮐﻨﻢ و ﻧﮕﺮاﻧﯽﻫﺎ‪ ،‬اﺿﻄﺮابﻫﺎ و ﻧﺎﻫﻨﺠﺎریﻫﺎی‬ ‫دﻧﯿﺎی آﺷﻔﺘﻪ ﭘﯿﺮاﻣﻮﻧﻢ را در آن ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﺸﻢ‪ .‬در ﻣﻮرد ﺷﯿﻮه و ﺳﺒﮏ ﮐﺎرم ﺗﺮﺟﯿﺢ ﻣﯽدﻫﻢ ﮐﻪ ﺷﺨﺼﺎ‬ ‫ﺑﻪ آن ﻧﭙﺮدازم‪ .‬ﻧﻘﺪﻫﺎ‪ ،‬ﻧﻮﺷﺘﻪﻫﺎ و ﻧﻈﺮﯾﺎت در ﺑﺎره ﮐﺎرﻫﺎﯾﻢ در ‪ ۲۶‬ﺳﺎل ﮔﺬﺷﺘﻪ در ﻣﻄﺒﻮﻋﺎت ﮐﺎﻧﺎدا‬ ‫ﻣﻨﻌﮑﺲ ﺷﺪه و اﮐرث آنﻫﺎ از ﻃﺮﯾﻖ اﯾﻨﱰﻧﺖ ﻗﺎﺑﻞ دﺳﱰﺳﯽ ﻣﯽﺑﺎﺷﺪ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 5:01 AM‬‬

‫‪147-148-Theatre-Soheil Parsa-EDITED.indd 148‬‬

‫‪149‬‬

‫‪Photograph by Morteza Atabaki‬‬

‫ﺑﻬﺮام ﺑﯿﻀﺎﯾﯽ‬ ‫ﺗﯿــﺮﮔﺎن ‪ ۲۰۱۵‬ﺑــﺎ اﻓﺘﺨــﺎر ﺑﺮﻧﺎﻣــﻪ‬ ‫منﺎﯾﺶﺧﻮاﻧــﯽ ﺷــﺐ ﻫـﺰار و ﯾﮑــﻢ را ﺑــﺎ ﻧــرث‬ ‫ﻓﺎﺧــﺮ ﺑﻬــﺮام ﺑﯿﻀﺎﯾــﯽ و اﺟــﺮای درﺧﺸــﺎن‬ ‫ﻣــﮋده ﺷﻤﺴــﺎﯾﯽ ﺑــﻪ دوﺳــﺘﺪاران منﺎﯾــﺶ و‬ ‫ﻓﺮﻫﻨــﮓ و ادب اﯾــﺮان ﭘﯿﺸــﮑﺶ ﺧﻮاﻫــﺪ‬ ‫ﮐــﺮد‪ .‬اﯾــﻦ اﺟـﺮا داﺳــﺘﺎن ﮔﻔﺘــﻪ ﻧﺸــﺪه ﺷــﺎه‬ ‫ﺿﺤــﺎک )اژدﻫــﺎک( و ﻫﻤﴪاﻧــﺶ ﺷــﻬﺮﻧﺎز و‬ ‫ارﻧــﻮاز اﺳــﺖ ﮐــﻪ ﻫـﺰار ﺷــﺐ ﺑـﺮای ﭘﺎدﺷــﺎه‬ ‫داﺳــﺘﺎن ﺳــﺎﺧﺘﻪ و ﺑــﻪ اﯾــﻦ ﺗﺮﻓﻨــﺪ ﻫــﺮ ﺷــﺐ‬ ‫ﺟﻮاﻧــﯽ را از ﻣــﺮگ رﻫﺎﻧﯿﺪهاﻧــﺪ‪ .‬ﺷــﺐ‬ ‫ﻫـﺰار و ﯾﮑــﻢ ﺑــﻪ ﮔﻔﺘــﻪ اﺳــﺘﺎد ﺑﻴﻀﺎﻳــﯽ ﻫــﻢ‬ ‫دروازه ورود ﺑــﻪ »ﻫــﺰار اﻓﺴــﺎن« ﺑﺎﺳــﺘﺎﻧﯽ‬ ‫اﺳــﺖ‪ ،‬ﻫــﻢ اﻟــﻒ ﻟﻴﻠــﺔ و ﻟﻴﻠــﻪ ﻋﺮﺑــﯽ و‬ ‫ﻫــﻢ ﻗﺼــﻪ ﺑﻨﻴﺎدﻳــﻦ ﻫــﺰار و ﻳــﮏ ﺷــﺐ‬ ‫اﻣــﺮوزی‪ .‬ﻣــﮋده ﺷﻤﺴــﺎﯾﯽ در اﯾــﻦ اﺟــﺮا‬ ‫ﻗﺼــﻪ ﭘﺮﺗﻼﻃــﻢ ﺷــﺨﺼﯿﺖﻫﺎﯾﯽ را ﺧﻮاﻫــﺪ‬ ‫ﺧﻮاﻧــﺪ ﻛــﻪ ﺑــﺎ ﺗﺪﺑﯿــﺮ ﻣﻮﻓــﻖ ﻣﯽﺷــﻮﻧﺪ‬ ‫ﺗﻘﺪﻳــﺮ ﺧــﻮد را ﺗﻐﻴــري دﻫﻨــﺪ‪.‬‬

‫‪THEATRE‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:34 AM‬‬

‫‪149-Theatre-Bahram Beyzaie.indd 149‬‬

‫‪DANCE‬‬

‫از ﺳﻨﺖﻫﺎی ﻣﺤﺎﻓﻈﻪﮐﺎراﻧﻪ و ﻋﻤﺪﺗﺎ‬ ‫ﻣﺬﻫﺒﯽ ﺑﺎﺷﺪ‪ .‬در ﻋﯿﻦ ﺣﺎل رﻗﺺ‬ ‫ﻫﻤﻮاره در ﻓﺮﻫﻨﮓ و آﯾﯿﻦ اﯾﺮاﻧﯽ از‬ ‫دﯾﺮﺑﺎز ﺟﺎﯾﮕﺎه وﯾﮋهای داﺷﺘﻪ‪ .‬اﯾﻦ‬ ‫ﺗﻀﺎد و وﺣﺪت ﻧﺘﯿﺠﻪ ﭼﻪ ﻋﻮاﻣﻞ و‬ ‫روﻧﺪیﺳﺖ؟‬

‫ﻣﻦ ﻣﻌﺘﻘﺪم اﯾﻦ وﺿﻌﯿﺖ ﻧﺸﺎﻧﮕﺮ ﯾﮏ‬ ‫ﺷﺎﺧﺼﻪ ﻓﺮﻫﻨﮕﯽﺳﺖ ﺑﻪ ﻧﺎم ﺗﻀﺎد ﮐﻪ‬ ‫ﯾﮑﯽ از ﻋﻨﺎﴏ ﭘﺮرﻧﮓ ﻓﺮﻫﻨﮓ و ﺟﺎﻣﻌﻪ‬ ‫اﯾﺮان را ﺗﺸﮑﯿﻞ ﻣﯽدﻫﺪ‪ .‬ﺷام ﺑﺒﯿﻨﯿﺪ‬ ‫اﯾﻦ ﭘﺪﯾﺪه ﭼﮕﻮﻧﻪ در زواﯾﺎی ﻣﺨﺘﻠﻒ‬ ‫ﺟﻬﺎن اﯾﺮاﻧﯽ ﻣﺜﻼ ﺳﯿﺎﺳﺖ‪ ،‬ﻓﺮﻫﻨﮓ و‬ ‫ﺣﺘﯽ ﻋﺎﻃﻔﯽ ﺧﻮد را ﻧﺸﺎن داده اﺳﺖ‪.‬‬ ‫ﺗﺠﺪد در ﮐﻨﺎر ﺳﻨﺖﮔﺮاﯾﯽ‪ ،‬ﻧﻮعآوری ﭘﺎ‬ ‫ﺑﻪ ﭘﺎی ﺳﺘﯿﺰ ﺑﺎ ﻫﺮ ﭼﻪ ﮐﻪ ﺑﻮی ﺗﺤﻮل‬ ‫و ﺗﻮﺳﻌﻪ ﻣﯽدﻫﺪ‪ .‬اﯾﻦ ﯾﮏ ﺗﺮاژدی‬ ‫ﺗﺎرﯾﺨﯽﺳﺖ ﮐﻪ ﭘﺪﯾﺪه رﻗﺺ‪ ،‬ﻋﻠﯽرﻏﻢ‬ ‫ﺣﻀﻮر و ﺳﺎﺑﻘﻪ ﭼﻨﺎن دﯾﺮﯾﻦ‪ ،‬در ﺑﺴﱰ‬ ‫ﭼﻨﯿﻦ ﻓﺮﻫﻨﮓ ﺑﺎﺳﺘﺎﻧﯽ و ﭘﺮﺑﺎری‪ ،‬اﻣﺮوز‪،‬‬ ‫اﯾﻦ ﮔﻮﻧﻪ ﻣﻬﺠﻮر اﻓﺘﺎده و ﻣﻮرد ﺑﯽﻣﻬﺮی‬ ‫اﺳﺖ‪ .‬ﺑﻪ وﯾﮋه ﮐﻪ در دوران ﻣﻌﺎﴏ و ﺑﺎ‬ ‫روﻧﺪ ﺻﻨﻌﺘﯽ ﺷﺪن ﮐﺸﻮر‪ ،‬ﺑﺎ اﺑﺘﺬال در‬ ‫آﻣﯿﺨﺘﻪ ﺷﺪ‪.‬‬

‫آﻧﭽﻪ در اﯾﺮان ﺷﺎﻫﺪ ﻫﺴﺘﯿﻢ‪ ،‬اﯾﻦ‬ ‫اﺳﺖ ﮐﻪ داﻧﺶ ﻫﯿﭻ ﯾﮏ از اﺿﻼع‬ ‫ﻣﺜﻠﺚ رﻗﺺ‪ -‬رﻗﺼﻨﺪه‪ -‬ﺑﻴﻨﻨﺪه‬ ‫از دل ﻳﮏ دوره ﻃﻮﻻﻧﯽ آﻣﻮزش‬ ‫ﭘﻮﯾﺎ و ﻛﺸﻒ ﺗﻮاﻧﺎﯾﯽﻫﺎی ﭘﻨﻬﺎن‬ ‫ﺑﯿﺮون منﯽآﯾﺪ‪ .‬ﺑﺎ اﯾﻦ وﺻﻒ‪،‬‬ ‫ﻣﺤﻠﯽ‪ ،‬ﮐﻼﺳﯿﮏ و ﺑﺎﻟﻪ ﻣﻠﯽ ﺣﺎﺻﻞ‬ ‫ارزشﻫﺎی رﻗﺺ‬ ‫ﺷﺨﺼﯽﺳﺖ‪ .‬ﺣﺎل ﮐﻪ ﻓﺮﺻﺖ ﺷﻨﺎﺧﺖ‬ ‫رﺧﺪادﻫﺎی ﺗﺼﺎدﻓﯽ و ﭘﯿﮕﯿﺮیﻫﺎی‬ ‫ﺟﺎﯾﮕﺎه رﻗﺺ ﺑﺮای اﯾﺮاﻧﯿﺎن در ﺟﻮاﻣﻊ ﻣﻬﺎﺟﺮ ﺑﯿﺸﱰ اﺳﺖ‪ ،‬ﭼﻪ اﻣﺘﻈﺎری ﻣﯽﺗﻮان از دﯾﺎﺳﭙﻮرای‬ ‫اﯾﺮاﻧﯽ در ﻣﺸﺎرﮐﺖ‪ ،‬ﴎﻣﺎﯾﻪﮔﺬاری و ﮔﺴﱰش اﯾﻦ ﺣﺮﻓﻪ ﻫرنی داﺷﺖ؟‬

‫‪Photograph by Babak Rajabi‬‬

‫ﺣﺘامً‪ ،‬ﺻﺪاﻟﺒﺘﻪ و ﺑﯿﺶ از ﻫﻤﻪ از ﺳﺎزﻣﺎنﻫﺎی ﻓﺮﻫﻨﮕﯽ ﺑﺮونﻣﺮزی اﯾﻦ اﻧﺘﻈﺎر ﻣﯽرود‪ .‬ﻋﺪم ﺷﻨﺎﺧﺖ‬ ‫ﻋﻤﯿﻖ و درک ﺻﺤﯿﺢ از ﻣﻘﻮﻟﻪ رﻗﺺ ﺣﺮﻓﻪای )ﺗﺎﮐﯿﺪ ﻣﯽﮐﻨﻢ‪ ،‬رﻗﺺ ﺣﺮﻓﻪای(‪ ،‬ﻣﻮﺟﺐ اﯾﻦ ﺷﺪه ﮐﻪ‬ ‫ِ‬ ‫اﻣﮑﺎﻧﺎت ]ﺑﺮای آنﻫﺎ[ ﻧﺎﺷﻨﺎﺧﺘﻪ وﻟﯽ‬ ‫ﺑﺴﯿﺎری از ﺳﺎزﻣﺎنﻫﺎی ﻓﺮﻫﻨﮕﯽ ﺑﺮونﻣﺮزی اﯾﺮاﻧﯽ ﻓﺮﺻﺖﻫﺎ و‬ ‫ﺑﺎﻟﻘﻮه زﯾﺎدی را ﺑﺮای ﭘﯿﺸﱪد اﻫﺪاف ﺧﻮد از دﺳﺖ ﺑﺪﻫﻨﺪ‪ .‬زﺑﺎن رﻗﺺ‪ ،‬ﻣﺴﺘﻘﻞ از ﻫﺮ واژه و ﮐﻼﻣﯽ‪،‬‬ ‫ﻗﺎﺑﻠﯿﺖ ﺑﺮﻗﺮاری ارﺗﺒﺎط ﻣﺴﺘﻘﯿﻢ و ﺑﺪون واﺳﻄﻪ ﺑﺎ دﯾﮕﺮ ﻓﺮﻫﻨﮓﻫﺎ را داراﺳﺖ‪ .‬ﻣﮕﺮ ﻧﻪ اﯾﻦ اﺳﺖ ﮐﻪ‬ ‫ﺳﺎزﻣﺎنﻫﺎی ﺑﺮونﻣﺮزی ﻓﺮﻫﻨﮕﯽ اﯾﺮاﻧﯽ دﻏﺪﻏﻪ زﻧﺪه ﻧﮕﺎه داﺷنت ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯽ اﯾﺮان و ﮔﻔﺖوﮔﻮی ﺑﺎ‬ ‫ﻓﺮﻫﻨﮓﻫﺎی ﻣﯿﺰﺑﺎن را دارﻧﺪ؟ در اﯾﻦ ﺳﯽ و اﻧﺪی ﺳﺎل ﮔﺬﺷﺘﻪ ﺑﻪ ﻫﯿﭻ ﻫرنی ﻣﺜﻞ رﻗﺺ ﻇﻠﻢ ﻧﺸﺪه و‬ ‫ﻫﯿﭻ رﺷﺘﻪ ﻫرنیای در اﯾﺮانِ ﺑﻌﺪ از اﻧﻘﻼب اﯾﻦ ﭼﻨﯿﻦ در زﯾﺮ آواری از ﭘﯿﺶداوری و ﮐﺞﻓﻬﻤﯽ ﺑﻪ ﺑﻮﺗﻪ‬ ‫ﻓﺮاﻣﻮﺷﯽ ﺳﭙﺮده ﻧﺸﺪه اﺳﺖ‪ .‬رﻗﺺ اﯾﺮاﻧﯽ ﺑﺎ اﯾﻦ ﺗﺎرﯾﺦ ﮐﻬﻨﺶ ﺑﻪ ﻋﻨﻮان ﻋﻨﴫ ﻣﻬﻤﯽ از ﻓﺮﻫﻨﮓ اﯾﺮاﻧﯽ‪،‬‬ ‫اﺳﺘﺤﻘﺎق ﺟﺎﯾﮕﺎه ﺷﺎﯾﺴﺘﻪﺗﺮی را دارد‪ .‬ﮐﻮﺗﺎه ﺳﺨﻦ اﯾﻦ ﮐﻪ ﺧﻮدﺷﻨﺎﺳﯽ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ ﭘﯿﺮاﻣﻮن ﭘﺪﯾﺪه‬ ‫رﻗﺺ‪ ،‬ﺗﻐﯿﯿﺮ ﭘﯿﺶداوری ﻣﻨﻔﯽ ﺑﻪ ﮐﻨﺠﮑﺎوی ﺑﺮای ﮐﺴﺐ اﻃﻼﻋﺎت ﺑﯿﺸﱰ‪ ،‬ﻣﻌﺮﻓﯽ اﺻﻮﻟﯽ و اﯾﺠﺎد درک‬

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‫ﺻﺤﯿﺢ از ﻣﻘﻮﻟﻪ رﻗﺺ ﺣﺮﻓﻪای در ﻣﯿﺎن ﻋﻤﻮم ﻫﻤﻮﻃﻨﺎن‪ ،‬رﺷﺪ ﻓﻬﻢ و ﺑﺎﻻ ﺑﺮدن ﺳﻄﺢ ﺗﻮﻗﻊ و اﻧﺘﻈﺎر‬ ‫ﻋﻤﻮﻣﯽ ﺑﺮای دﯾﺪن ﮐﺎر ﺧﻮب و ﺑﺎﮐﯿﻔﯿﺖ‪ ،‬اﯾﺠﺎد ﺗﻮاﻧﺎﯾﯽ ﺗﺸﺨﯿﺺ رﻗﺺ ﻫرنی از رﻗﺺ ﻏﯿﺮ ﻫرنی‪ ،‬ﻫﻤﻪ‬ ‫و ﻫﻤﻪ در ﮔﺮو آﻣﻮزش ﻧﻈﺮی ﻣﺮدم و ﮐﺎر آﮐﺎدﻣﯿﮏ اﺳﺖ‪ .‬ﺗﺎ زﻣﺎن ﺗﻐﯿﯿﺮ روﯾﮑﺮد ﮐﺎرﮔﺰاران ﻓﺮﻫﻨﮕﯽ‬ ‫ﮐﺸﻮر ﻧﺴﺒﺖ ﺑﻪ ﭘﺪﯾﺪه رﻗﺺ‪ ،‬وﻇﯿﻔﻪ ﻣﺸﺎرﮐﺖ‪ ،‬ﴎﻣﺎﯾﻪﮔﺬاری و ﺗﻮﺳﻌﻪ ﺣﻮزه رﻗﺺﭘﮋوﻫﯽ ﻣﯽﺑﺎﯾﺴﺖ‬ ‫ﺑﻪ ﻋﻬﺪه دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ و ﮐﻮﺷﻨﺪﮔﺎن ﻓﺮﻫﻨﮕﯽ ﻓﺮﻫﯿﺨﺘﻪای ﺑﺎﺷﺪ ﮐﻪ ﻣﯽداﻧﻢ ﺑﻪ وﻓﻮر در ﻣﯿﺎن‬ ‫اﯾﺮاﻧﯿﺎن ﺑﺮونﻣﺮزی وﺟﻮد دارد وﻟﯽ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺷﻨﺎﺧﺖ ﻋﻤﯿﻘﯽ ﻧﺴﺒﺖ ﺑﻪ ﻫرن رﻗﺺ ﻧﺪارﻧﺪ‪.‬‬

‫ﺗﺮدﯾﺪی ﻧﯿﺴﺖ ﮐﻪ در اﯾﺮان اﻣﺮوز ﻋﻤﻼ اﻣﮑﺎن ﻓﻌﺎﻟﯿﺖ ﺑﻪ ﺷﯿﻮهای ﮐﻪ ﺷام دﻧﺒﺎل ﻣﯽﮐﻨﯿﺪ‬ ‫وﺟﻮد ﻧﺪارد‪ ،‬اﻣﺎ دﺷﻮاریﻫﺎی ﻓﻌﺎﻟﯿﺖ در ﺧﺎرج از اﯾﺮان ﻫﻢ ﮐﻢ ﻧﯿﺴﺘﻨﺪ‪ .‬اﯾﻦ ﻣﻮاﻧﻊ ﭼﻪ رﻧﮓ‬ ‫و ﺑﻮﯾﯽ دارد؟‬

‫ﺑﺰرﮔﱰﯾﻦ ﺷﺎﺧﺺ اﯾﻦ ﻣﻮاﻧﻊ ﻣﻌﺰﻟﯽﺳﺖ ﺑﻪ ﻧﺎم ﻋﺪم ﺷﻨﺎﺧﺖ ﺻﺤﯿﺢ اﯾﻦ ﻫرن ﺑﻪ وﺳﯿﻠﻪ ﻫﻤﻮﻃﻨﺎن و‬ ‫ﺳﺎزﻣﺎنﻫﺎی ﻓﺮﻫﻨﮕﯽ اﯾﺮاﻧﯽ ﮐﻪ ﻗﺎﻋﺪﺗﺎ ﻣﯽﺑﺎﯾﺴﺖ ﻣﺘﻮﻟﯿﺎن زﻧﺪه ﻧﮕﺎه داﺷنت اﯾﻦ ﻫرن در دوراﻧﯽ ﻣﯽﺑﻮدﻧﺪ‬ ‫ﮐﻪ رﻗﺺ در ﮔﺴﱰه ﻓﺮﻫﻨﮓ اﯾﺮاﻧﯽ ﺑﻪ ﻣﺤﺎق ﻓﺮاﻣﻮﺷﯽ اﻓﺘﺎد‪ .‬ﻓﮑﺮ منﯽﮐﻨﻢ ﺗﻌﺪاد زﯾﺎدی از ﻫﻤﻮﻃﻨﺎن‬ ‫ﻣﺎ از ﻋﻬﺪه ﺗﻌﺮﯾﻒ ﺳﺎده اﯾﻦ ﺳﻮال ﮐﻪ اﺻﻮﻻ »رﻗﺺ ﭼﯿﺴﺖ؟« ﺑﺮآﯾﻨﺪ‪ .‬اﮐرث اﯾﻦ ﻫﻤﻮﻃﻨﺎن رﻗﺺ را در‬ ‫ﺑﻬﱰﯾﻦ ﺣﺎﻟﺖ ﯾﮏ ﴎﮔﺮﻣﯽ ﻣﯽداﻧﻨﺪ‪ .‬ﺑﺴﯿﺎری از آنﻫﺎ از ﺷﻨﯿﺪن اﯾﻨﮑﻪ رﻗﺺ ﴎﻣﺎﯾﻪﻫﺎی ﮐﻼن دوﻟﺘﯽ‬ ‫ﺟﺬب و ﻣﴫوف ﻣﯽﮐﻨﺪ‪ ،‬ﯾﮏ ﺣﺮﻓﻪ اﺳﺖ‪ ،‬ﺳﻨﺪﯾﮑﺎی ﻣﺨﺼﻮص ﺑﻪ ﺧﻮد را دارد‪ ،‬ﺷﺎﻣﻞ ﺣﻘﻮق و ﻣﺰاﯾﺎی‬ ‫ﺑﺎزﻧﺸﺴﺘﮕﯽ ﻋﻤﻮﻣﯽ ﻣﯽﺷﻮد‪ ،‬ﻣﺪارج ﻋﺎﻟﯽ ﺗﺤﺼﯿﻠﯽ آن را ﺗﺎ ﻣﻘﻄﻊ ﻓﻮقدﮐﱰا ﻣﯽﺗﻮان دﻧﺒﺎل ﮐﺮد‪ ،‬ﺳﺎزﻣﺎن‬ ‫ﻣﻠﻞ روز ﺧﺎﺻﯽ را ﺑﺮای ﺑﺰرگداﺷﺖ آن ﺗﻌﯿﯿﻦ ﮐﺮده اﺳﺖ و ﻧﮑﺎت اﻇﻬﺮ ﻣﻦاﻟﺸﻤﺲ ﺑﺴﯿﺎر دﯾﮕﺮی‬ ‫از اﯾﻦ دﺳﺖ‪ ،‬ﺗﻌﺠﺐ ﻣﯽﮐﻨﻨﺪ‪ .‬ﺑﺮای ﻫﻤﯿﻦ ﻣﻨﻈﻮر اﺳﺖ ﮐﻪ ﻣﺎ در »ﺳﺎزﻣﺎن ﺑﺎﻟﻪ اﯾﺮان« از ﻫامن اوان‬ ‫ﺗﺎﺳﯿﺲ ﺑﺮآن ﺷﺪﯾﻢ ﮐﻪ رﻗﺺﭘﮋوﻫﯽ و آﻣﻮزش ﻧﻈﺮی اﯾﻦ رﺷﺘﻪ را در ﺻﺪر اوﻟﻮﯾﺖ ﻓﻌﺎﻟﯿﺖﻫﺎی ﺧﻮد ﻗﺮار‬ ‫دﻫﯿﻢ‪ .‬وﻟﯽ ﺑﺎز اذﻋﺎن ﻣﯽﮐﻨﻢ ﮐﻪ »ﻣﺎ اﻧﺪر ﺧﻢ ﮐﻮﭼﻪ اوﻟﯿﻢ!« ﻋﻠﺖ وﺟﻮدی و ﺳﻨﮓ ﺑﻨﺎی ﺳﺎزﻣﺎن ﺑﺎﻟﻪ‬ ‫اﯾﺮان ﭘﺪﯾﺪ آوردن ﯾﮓ ﮔﻔﺘامن ﻓﺮﻫﻨﮕﯽ و ﮔﻔﺖوﮔﻮی ﺑﯿﻦ ﻓﺮﻫﻨﮓﻫﺎﺳﺖ و ﺑﻪ ﻋﻨﻮان ﺗﻨﻬﺎ ﺳﺎزﻣﺎن ﻣﻨﻔﺮد‬ ‫اﺣﯿﺎ ﮐﻨﻨﺪه ﺑﺎﻟﻪ در ﻋﺮﺻﻪ ﻓﺮﻫﻨﮓ اﯾﺮاﻧﯽ‪ ،‬ﺗﻮاﻧﺎﯾﯽ ﻣﺤﺪودی ﺑﺮای ﺗﺄﺛﯿﺮﮔﺬاری دارد‪.‬‬

‫ﭼﺸﻢاﻧﺪاز ﻓﻌﺎﻟﯿﺖﻫﺎﯾﯽ ﻧﻈﯿﺮ آن ﭼﻪ ﺷام ﺑﻪ روی ﺻﺤﻨﻪ ﻣﯽﺑﺮﯾﺪ‪ ،‬رﻗﺺ ﺣﺮﻓﻪای و ﺻﺤﻨﻪای‪،‬‬ ‫ﭼﻪ در اﯾﺮان و ﭼﻪ در ﺧﺎرج از ﮐﺸﻮر ﭼﮕﻮﻧﻪ اﺳﺖ؟ اﻣﯿﺪوار ﻫﺴﺘﯿﺪ ﮐﻪ در ﺳﺎلﻫﺎی ﻧﻪ‬ ‫ﭼﻨﺪان دور در ﺗﻬﺮان اﻣﮑﺎن اﺟﺮا و آﻣﻮزش داﺷﺘﻪ ﺑﺎﺷﯿﺪ؟‬

‫رﻗﺺ ﺻﺤﻨﻪای در ﺟﺎﻣﻌﻪ اﻣﺮوزی اﯾﺮان وﺟﻮد دارد‪ ،‬اﻣﺎ ﺑﺎ ﻋﻨﻮان رﻗﺺ از اﯾﻦ منﺎﯾﺶﻫﺎ ﻧﺎم ﺑﺮده‬ ‫منﯽﺷﻮد‪ .‬ﺑﻪ اﯾﻦ ﺗﻮﻟﯿﺪات ﺻﺤﻨﻪای ﺣﺮﮐﺎت ﻣﻮزون‪ ،‬ﻣﯿﻢ ﺑﺎﻟﺖ‪ ،‬ﺗﺌﺎﺗﺮ ﻓﯿﺰﯾﮑﺎل‪ ،‬ﭘﺮﻓﻮرﻣﻨﺲ و ﻏﯿﺮه‬ ‫ﻣﯽﮔﻮﯾﻨﺪ‪ .‬اﻟﺒﺘﻪ ﮐﻪ اﯾﻦ ﻧﻮع از رﻗﺺﻫﺎی ﺻﺤﻨﻪای ﻣﻌﻤﻮﻻً ﻋﻨﺎﴏ ﻣﮑﻤﻞ منﺎﯾﺶﻫﺎﯾﯽ ﻣﺜﻞ ﺗﺌﺎﺗﺮﻧﺪ و‬ ‫ﻣﺘﺄﺳﻔﺎﻧﻪ از ﻣﻨﻈﺮ ﺣﺮﻓﻪای ﻓﻘﯿﺮ و ﮐﺎﻣﻼ ﺑﯽرﺑﻂ ﺑﻪ آن رﺷﺘﻪی ﻫرنی ﺟﺎ اﻓﺘﺎدهای ﻫﺴﺘﻨﺪ ﮐﻪ در ﻏﺮب‬ ‫از آن ﺑﻪ ﻋﻨﻮان ﻫرن رﻗﺺ ﺣﺮﻓﻪای ﻧﺎم ﺑﺮده ﻣﯽﺷﻮد‪ .‬رﻗﺺ‪ ،‬ﮔﻔﺘامن ﺑﯽﮐﻼم روح و ﺟﺎن ﺑﻪ واﺳﻄﻪ و‬ ‫وﺳﯿﻠﻪی ﺣﺮﮐﺖ ﺑﺮای رواﯾﺖ ﺣﺴﯽ ﭘﺮﺷﻮر و ﻓﺰاﯾﻨﺪه ﺑﺎ دﻧﯿﺎی ﭘﯿﺮاﻣﻮن اﺳﺖ‪ .‬اﯾﻦ ﯾﻌﻨﯽ ﻫرن‪ .‬ﺣﺎﻻ اﮔﺮ‬ ‫ﻫرن ﺑﻪ اﺑﺘﺬال ﮐﺸﯿﺪه ﺷﺪ‪ ،‬آن ﺑﺤﺚ دﯾﮕﺮیﺳﺖ‪ .‬از ﻃﺮﻓﯽ آﻣﻮزش ﺣﺮﻓﻪای رﻗﺺ ﺑﺮ اﺳﺎس اﺳﺘﺎﻧﺪاردﻫﺎ‬ ‫و ﻣﻌﯿﺎرﻫﺎی ﺷﻨﺎﺧﺘﻪﺷﺪه ﺑﯿﻦاﳌﻠﻠﯽ در داﺧﻞ ﮐﺸﻮر ﺣﺪود ﭼﻬﺎر دﻫﻪ اﺳﺖ ﮐﻪ وﺟﻮد ﺧﺎرﺟﯽ ﻧﺪارد‪.‬‬ ‫ﻫﻢﺳﺎز ﮐﺮدن ﻫرن رﻗﺺ ﺻﺤﻨﻪای‪ ،‬ﺑﻪ ﺧﺼﻮص ﺑﺎﻟﻪ ﺑﺎ ﻣﻮازﯾﻦ اﻋﺘﻘﺎدی‪ ،‬ﻓﺮﻫﻨﮕﯽ و اﺟﺘامﻋﯽ داﺧﻞ اﯾﺮان‬ ‫و در ﻋﯿﻦ ﺣﺎل ﺑﺴﱰﺳﺎزی ﻓﻌﺎﻟﯿﺖ ﺣﺮﻓﻪای اﯾﻦ رﺷﺘﻪ ﻫرنی در اﻧﻄﺒﺎق ﺑﺎ اﺳﺘﺎﻧﺪاردﻫﺎی ﺑﯿﻦاﳌﻠﻠﯽ ﮐﺎﻣﻼ‬ ‫اﻣﮑﺎنﭘﺬﯾﺮ اﺳﺖ‪ .‬اﯾﻦ را ﺑﺎﯾﺴﺖ ﺑﻪ ﺻﻮرت ﻋﻤﻠﯽ ﻧﺸﺎن داد و ﻣﻦ اﻣﯿﺪوار ﻫﺴﺘﻢ ﮐﻪ در ﺳﺎلﻫﺎی ﻧﻪ‬ ‫ﭼﻨﺪان دور در ﺗﻬﺮان اﻣﮑﺎن اﺟﺮا‪ ،‬آﻣﻮزش و در اﺧﺘﯿﺎر ﮔﺬاﺷنت ﺗﺠﺎرب ﺣﺮﻓﻪایام ﺑﻪ ﻧﺴﻞ ﺟﻮاﻧﯽ از‬ ‫ﮐﻮﺷﻨﺪﮔﺎن ﺟﺪی ﻫرن رﻗﺺ را داﺷﺘﻪ ﺑﺎﺷﻢ‪ .‬ﺟﺎﻣﻌﻪ اﯾﺮان ﺟﻮان‪ ،‬ﭘﻮﯾﺎ و ﻣﺴﺘﻌﺪ ﺗﻐﯿﯿﺮ و ﺗﻮﺳﻌﻪ اﺳﺖ‪.‬‬ ‫اﮔﺮ اﯾﻦ اﻣﯿﺪ وﺟﻮد ﻧﺪاﺷﺖ ﮐﻪ ﺑﺎﯾﺪ از متﺎﻣﯽ ﻓﻌﺎﻟﯿﺖﻫﺎی ﺧﻮد در زﻣﯿﻨﻪ رﻗﺺ اﯾﺮاﻧﯽ ﺑﺮای ﻫﻤﯿﺸﻪ‬ ‫ﺧﺪاﺣﺎﻓﻈﯽ ﻣﯽﮐﺮدم‪ .‬ﺗﺎ زﻣﺎن ﻓﺮا رﺳﯿﺪن اﻣﮑﺎن ﻓﻌﺎﻟﯿﺖ در اﯾﺮان‪ ،‬ﺳﺎزﻣﺎن ﺑﺎﻟﻪ اﯾﺮان در زﻣﯿﻨﻪ ﺗﻮﻟﯿﺪ‬ ‫آﻓﺮﯾﺪهﻫﺎی ﻫرنی رﻗﺺ و ﻫﻤﭽﻨﯿﻦ در ﺣﻮزه رﻗﺺﭘﮋوﻫﯽ ﻓﻌﺎل ﺧﻮاﻫﺪ ﺑﻮد‪ .‬وﻇﯿﻔﻪ ﻣﺎ روﺷﻦ ﻧﮕﺎه‬ ‫داﺷنت ﺑﺎرﻗﻪ اﻣﯿﺪی ﺑﺮای ﺑﺎزﮔﺸﺖ ﻫرن ﻓﺎﺧﺮ و وزﯾﻦ رﻗﺺ ﺻﺤﻨﻪای ﺑﻪ اﯾﺮان و اﯾﺠﺎد زﻣﯿﻨﻪ ﻓﻌﺎﻟﯿﺖ‬ ‫ﺣﺮﻓﻪای ﯾﮑﯽ از ﻧﻐﺰﺗﺮﯾﻦ و ﻣﺘﻌﺎﻟﯽﺗﺮﯾﻦ رﺷﺘﻪﻫﺎی ﻫرنﻫﺎی منﺎﯾﺸﯽ در »وﻃﻦ« ﻋﺰﯾﺰ اﺳﺖ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:41 AM‬‬

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‫ﺟﺎﻳﮕﺎه اﻧﻮاع رﻗﺺ در ﻓﺮﻫﻨﮓ اﻳﺮان ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻨﻮع ﻓﺮﻫﻨﮕﯽ ﻣﻮﺟﻮد‬ ‫در اﻗﻮام و ﻣﻠﻞ ﻣﺨﺘﻠﻒ و ﺑﺎورﻫﺎی ﮔﻮﻧﺎﮔﻮن ﻫﻤﻮاره ﻣﻮرد ﺑﺤﺚ ﺑﻮده‬ ‫و ﻫﺴﺖ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ رﻗﺺﻫﺎی ﻣﺤﻠﯽ رﯾﺸﻪ در ﻣﯿﺮاث ﺧﺎﻧﻮادﮔﯽ‬ ‫و ﻗﺒﯿﻠﻪای دارﻧﺪ و در ﺟﺮﯾﺎن ﻃﻮﻓﺎنﻫﺎی ﺳﯿﺎﺳﯽ‪ -‬اﺟﺘامﻋﯽ ﮐﻤﱰ‬ ‫ﺧﺪﺷﻪای ﺑﻪ ﺣﯿﺎت آنﻫﺎ وارد ﺷﻮد‪ .‬اﯾﻦ ﮔﺰاره ﺗﺎ ﭼﻪ ﺣﺪ درﺳﺖ اﺳﺖ‬ ‫و آﯾﺎ واﮔﺬاﺷنت رﻗﺺ ﻣﺤﻠﯽ ﯾﺎ ﻓﻮﻟﮑﻠﻮر ﺑﻪ ﻫﻤﯿﻦ ﭘﯿﻮﻧﺪﻫﺎی ﻋﺎﻃﻔﯽ‬ ‫و ﺧﻮدﺟﻮش ﺑﺮای ﺗﺎﻣﯿﻦ ﭘﯿﺶﻧﯿﺎزﻫﺎی ﻓﺮﻫﻨﮕﯽ در رﺷﺪ اﯾﻦ رﻗﺺﻫﺎ‬ ‫ﮐﺎﻓﯽﺳﺖ؟‬

‫~ ‪~ dance‬‬

‫‪les ballets‬‬ ‫‪persans‬‬ ‫‪by NIMA KIAN‬‬ ‫‪WHEN:‬‬ ‫‪Saturday, 22 August - 8:00pm‬‬ ‫‪Sunday, 23 August - 1:00pm‬‬ ‫‪DURATION:‬‬ ‫‪1 hour 30 minutes‬‬ ‫‪LOCATION:‬‬ ‫‪Fleck Dance Theatre,‬‬ ‫‪Harbourfront Centre‬‬

‫اﯾﻦ ﮔﺰاره ﺗﺎ ﺣﺪ زﯾﺎدی ﺻﺤﯿﺢ اﺳﺖ‪ .‬اﯾﻦ ﻧﻮع از رﻗﺺ ﮐﻤﱰ ﺣﺎﺻﻞ ﻧﻮعآوری‬ ‫و ﺑﯿﺸﱰ ﻣﺤﺼﻮ ِل ﺗﺪاوم ِ‬ ‫ﺳﻨﺖ ﺑﯿﺎن ﮔﺮوﻫﯽِ ﺟﺎﻣﻌﻪای ﮐﻮﭼﮏ از ﻣﺮدﻣﺎﻧﯽ اﺳﺖ‬ ‫ِ‬ ‫ﻣﺸﱰک ﺟﻤﻌﯽ را ﺑﺎ زﺑﺎن ﺣﺮﮐﺖ و‬ ‫ﮐﻪ ﺷﺎدی و ﻏﻢ و ﯾﺎ ﻫﺮ اﺣﺴﺎس دﯾﮕ ِﺮ‬ ‫اﯾامء و اﺷﺎره ﻣﻨﺘﻘﻞ ﻣﯽﮐﻨﻨﺪ‪ .‬رﻗﺺ ﻣﺤﻠﯽ در واﻗﻊ راوی ﺗﺠﺮﺑﻪﻫﺎی ﺟﻤﻌﯽِ‬ ‫ﻋﺸﺎﯾﺮ و روﺳﺘﺎﻧﺸﯿﻨﺎن اﺳﺖ‪ .‬از ﺑﯿﺶ از ﺻﺪ ﺳﺎل ﭘﯿﺶ ﮐﻪ رﻗﺺﻫﺎی ﻣﺤﻠﯽ‬ ‫ﺑﻪ ﻣﺠﺎﻣﻊ ﺑﺰرگﺗﺮ آورده و ﮐﻢ ﮐﻢ ﺑﻪ ﺷﻬﺮﻧﺸﯿﻨﺎن ﻣﻌﺮﻓﯽ ﺷﺪﻧﺪ‪ ،‬اﯾﻦ ﻧﻮع از‬ ‫رﻗﺺ در ﺳﻄﺢ ﻣﻠﯽ ﮐﺸﻮرﻫﺎ اﻫﻤﯿﺖ ﭘﯿﺪا ﮐﺮد ﭼﺮا ﮐﻪ ﺑﻪ ﻇﺮﻓﯿﺖ ﻫﻮﯾﺖﺑﺨﺸﯽ‬ ‫اﯾﻦ ﺳﻨﺖ زﯾﺒﺎ در ﺑﺴﱰی ﮐﻼنﺗﺮ از ﺧﻮاﺳﺘﮕﺎه اﺻﻠﯽ آن ﭘﯽ ﺑﺮده ﺷﺪ‪ .‬و‬ ‫اﻣﺎ واﮔﺬاﺷنت رﻗﺺ ﻣﺤﻠﯽ ﯾﺎ ﻓﻮﻟﮑﻠﻮر ﺑﻪ ﭘﯿﻮﻧﺪﻫﺎی ﻃﺒﯿﻌﯽ آن ﺑﺎ ﻣﺤﯿﻂ و‬ ‫ﺟﺎﻣﻌﻪای ﮐﻪ از دل آن ﺑﺮﺧﺎﺳﺘﻪ‪ ،‬ﻫﺮﮔﺰ ﻣﻨﺠﺮ ﺑﻪ رﺷﺪ اﯾﻦ رﻗﺺﻫﺎ‪ ،‬ﺣﺪاﻗﻞ‬ ‫در زﻣﺎﻧﻪ ﻣﺎ ﻧﺨﻮاﻫﺪ ﺷﺪ‪ .‬ﺑﺮای ﻣﺜﺎل‪ ،‬ﻋﻠﯽرﻏﻢ ﻣﺤﺪودﯾﺖ ﺷﺪﯾﺪ در ﻧﻮعآوری‬ ‫ﮔﻮﻧﻪ رﻗﺺﻫﺎی ﻓﻮﻟﮑﻠﻮر‪ ،‬رﻗﺺﻫﺎی ﻣﺤﻠﯽ اﻣﺮوز ﻣﺠﺎرﺳﺘﺎن ﺑﺎ رﻗﺺﻫﺎی ﻣﺤﻠﯽ‬ ‫دوﯾﺴﺖ ﺳﺎل ﭘﯿﺶ اﯾﻦ ﮐﺸﻮر ﺗﻔﺎوت دارد ﻫﺮ ﭼﻨﺪ ﮐﻪ از ﯾﮏ آﺑﺸﺨﻮر ﺣﺮﮐﺘﯽ‬ ‫و زﯾﺒﺎﯾﯽﺷﻨﺎﺧﺘﯽ ﺗﻐﺬﯾﻪ ﻣﯽﮐﻨﺪ‪ .‬ﻃﺒﯿﻌﺘﺎ ﻋﻠﺖ اﯾﻦ ﺗﻔﺎوت‪ ،‬ﻫﻢﺳﺎز ﺷﺪن اﯾﻦ‬ ‫ﮔﻮﻧﻪ رﻗﺺﻫﺎ ﺑﺎ زﻣﺎﻧﻪ اﺳﺖ‪ .‬ﮐﺎرﺑﺮی رﻗﺺﻫﺎی ﻣﺤﻠﯽ ﻫﻢ در ﻃﻮل زﻣﺎن ﺗﻐﯿﯿﺮ‬ ‫ﮐﺮده اﺳﺖ‪ .‬زﻣﺎﻧﯽ رﻗﺺ ﻣﺤﻠﯽ در ﺟﻤﻌﯽ ﮐﻮﭼﮏ وﺳﯿﻠﻪای ﺑﺮای ﺗﺠﻤﻊ و‬ ‫ﺗﻔﺮﯾﺢ ﺑﻮده وﻟﯽ اﻣﺮوز رﻗﺺﻫﺎی ﻣﺤﻠﯽ اﻫﻤﯿﺖ ﺑﺰرﮔﱰی ﯾﺎﻓﺘﻪاﻧﺪ‪ ،‬ﴎﻣﺎﯾﻪﻫﺎی‬ ‫ﺑﺰرگ دوﻟﺘﯽ ﺟﺬب ﻣﯽﮐﻨﻨﺪ و در ﻏﺎﻟﺐ ﯾﮏ ﭘﺪﯾﺪه اﺟﺘامﻋﯽ و ﻓﺮﻫﻨﮕﯽ ﮐﻪ از دل‬ ‫ﺳﻨﺖﻫﺎی ﻓﻮﻟﮑﻠﻮر ﯾﮏ ﻣﻠﺖ ﺑﺮ آﻣﺪه‪ ،‬در ﻣﺮاودات ﻓﺮﻫﻨﮕﯽ ﻣﻠﺖﻫﺎ ﻧﻘﺶ ﺑﺰرﮔﯽ‬ ‫اﯾﻔﺎ ﻣﯽﮐﻨﺪ‪.‬‬

‫اﮔﺮ ﺗﻔﮑﯿﮑﯽ ﺑﯿﻦ رﻗﺺ ﮐﻼﺳﯿﮏ اﯾﺮاﻧﯽ ﺑﺎ ﻓﻮﻟﮑﻠﻮر ﻗﺎﯾﻞ ﺷﻮﯾﻢ‪ ،‬آن وﻗﺖ‬ ‫ﴎﭼﺸﻤﻪ رﻗﺺ ﯾﺎ رﻗﺺﻫﺎی ﮐﻼﺳﯿﮏ اﯾﺮاﻧﯽ اﺣﺘامﻻ از ذﻫﻦ ﺧﻼق ﻃﺮاح‬ ‫ﻣﯽآﯾﺪ ﮐﻪ در آن منﺎدﻫﺎ و آﯾﯿﻦﻫﺎ و ارزشﻫﺎی ﺟﻤﻌﯽ ﻣﻠﺖﻫﺎی ﺳﺎﮐﻦ در‬ ‫ﻓﻼت اﯾﺮان ﻟﺤﺎظ ﺷﺪهاﻧﺪ‪ .‬ﺑﺎ اﯾﻦ وﺟﻮد ﻣﯽﺗﻮان رﻗﺺ ﮐﻼﺳﯿﮏ را »رﻗﺺ‬ ‫ﻣﻠﯽ« داﻧﺴﺖ؟‬

‫ﺧﯿﺮ‪ .‬ﺑﺒﯿﻨﯿﺪ اﺻﻮﻻً ﭼﯿﺰی ﺑﻪ ﻧﺎم »رﻗﺺ ﻣﻠﯽ اﯾﺮاﻧﯽ« وﺟﻮد ﻧﺪارد‪ .‬ﺑﻌﺪ از اﻧﻘﻼب‬ ‫اﺳﻼﻣﯽ ﺗﻌﺪادی از رﻗﺺﭘﮋوﻫﺎن اﯾﺮاﻧﯽ در ﺗﺤﻘﯿﻘﺎت آﮐﺎدﻣﯿﮏ ﺧﻮد ﺑﻪ اﺷﺘﺒﺎه از‬ ‫واژه »رﻗﺺ ﻣﻠﯽ« ﺑﺮای ﺗﻮﺿﯿﺢ وﺿﻌﯿﺖ رﻗﺺ و رﻗﺺ ﭘﺮدازی ﺻﺤﻨﻪای در دوران‬ ‫ﻗﺒﻞ از اﻧﻘﻼب اﺳﺘﻔﺎده ﮐﺮدﻧﺪ و اﯾﻦ ﻣﻨﺠﺮ ﺑﻪ ﮐﺞﻓﻬﻤﯽ ﺷﺪه ﮐﻪ ﻣﺪام در ﺣﺎل‬ ‫ﺗﮑﺮار اﺳﺖ‪ .‬ﯾﮏ ﻧﻮع ﺧﺎص از رﻗﺺ ﻣﺮﺳﻮم ﯾﮏ ﻣﻠﺖ را ﻣﯽﺗﻮان در ﯾﮏ ﮔﺴﱰه‬ ‫داﻧﺸﮕﺎﻫﯽ ﺑﺴﻂ و ﺗﻮﺳﻌﻪ داد و ﺑﺮ ﻣﺒﻨﺎی ﯾﮏ ﺧﻮاﺳﺖ ﻋﻤﻮﻣﯽ‪ ،‬ﮐﻪ در ﺗﺼﻤﯿﻢ‬ ‫دوﻟﺖ ﯾﮏ ﮐﺸﻮر ﺗﺒﻠﻮر ﭘﯿﺪا ﻣﯽﮐﻨﺪ‪ ،‬ﺑﻪ ﻃﻮر رﺳﻤﯽ ﺑﻪ ﻋﻨﻮان رﻗﺺ ﻣﻠﯽ ﺗﻌﯿﯿﻦ ﮐﺮد‪.‬‬ ‫رﻗﺺﻫﺎی ﻣﻠﯽ ﻣﮑﺰﯾﮏ‪ ،‬ﯾﻮﻧﺎن‪ ،‬ﻓﯿﻠﯿﭙﯿﻦ‪ ،‬اﺳﭙﺎﻧﯿﺎ‪ ،‬ﺗﺎﺟﯿﮑﺴﺘﺎن و آذرﺑﺎﯾﺠﺎن منﻮﻧﻪﻫﺎﯾﯽ‬ ‫از اﯾﻦ دﺳﺖ و ﺣﺎﺻﻞ ﭼﻨﯿﻦ ﻓﺮآﯾﻨﺪی ﻫﺴﺘﻨﺪ‪ .‬آﮐﺎدﻣﯿﺰهﺳﺎزی ﯾﮏ ﻧﻮع و ﯾﺎ ژاﻧﺮ‬ ‫ﺧﺎص از رﻗﺺ‪ ،‬ﮐﻪ در ﻣﺤﺪوده ﻓﺮﻫﻨﮕﯽ و ﺟﻐﺮاﻓﯿﺎﯾﯽ ﯾﮏ ﮐﺸﻮر ﻣﯽﮔﻨﺠﺪ‪ ،‬ﺗﻨﻬﺎ‬ ‫زﻣﺎﻧﯽ ﻣﻤﮑﻦ اﺳﺖ ﮐﻪ ﺟﻤﻌﯽ از ﻣﺘﺨﺼﺼﯿﻦ و ﻣﺤﻘﻘﯿﻦ اﯾﻦ ﺣﻮزه ﻫرنی ﺑﺎ ﺣامﯾﺖ‪،‬‬

‫ﻣﺎﻣﻮرﯾﺖ‬ ‫و ﻧﻈﺎرت دوﻟﺘﯽ‬ ‫ﺑﺮای ﺑﺴﻂ و ﺗﻮﺳﻌﻪ آن ﻧﻮع ﺧﺎص از‬ ‫رﻗﺺ دﺳﺖ ﺑﻪ ﮐﺎر ﺷﻮﻧﺪ و زﻣﯿﻨﻪ آﮐﺎدﻣﯿﺰهﺳﺎزی رﻗﺺ را و از‬ ‫ﻫﻤﻪ ﻣﻬﻤﱰ اﺑﺘﺬالزداﯾﯽ از ﺣﺮﮐﺎت ﻣﺮﺳﻮم ﺷﺪه ﺑﻪ وﺟﻮد آورﻧﺪ‪ .‬اﯾﻦ روﻧﺪ ﻫﺮﮔﺰ در‬ ‫اﯾﺮان اﺗﻔﺎق ﻧﯿﻔﺘﺎده اﺳﺖ‪ .‬ﺑﺎ اﯾﻨﮑﻪ در زﻣﺎن ﻗﺒﻞ از اﻧﻘﻼب ﺑﻪ رﻗﺺ ﺑﻪ ﻋﻨﻮان ﯾﮏ‬ ‫رﺷﺘﻪ ﻓﺎﺧﺮ ﻫرنی ﻧﮕﺮﯾﺴﺘﻪ ﻣﯽﺷﺪ و ﺑﺮای آن ﴎﻣﺎﯾﻪﮔﺬاری ﻓﺮاوان ﺷﺪ‪ .‬در آن زﻣﺎن‬ ‫ﻣﺘﺨﺼﺼﯿﻨﯽ در اﯾﻦ زﻣﯿﻨﻪ و اﺻﻮﻻ ﺑﺮﻧﺎﻣﻪای ﺑﺮای ﺗﻌﯿﯿﻦ و اﯾﺠﺎد رﻗﺺ ﻣﻠﯽ وﺟﻮد‬ ‫ﻧﺪاﺷﺖ‪ .‬ﺑﺎ اﯾﻦ ﺗﻮﺿﯿﺤﺎت‪ ،‬ﺗﻌﯿﯿﻦ و اراﺋﻪ ﮔﻮﻧﻪای ﺧﺎص از رﻗﺺ ﺑﻪ ﻋﻨﻮان رﻗﺺ ﻣﻠﯽ‬ ‫ﯾﮏ ﮐﺸﻮر در ﮔﺮو و ﻧﺘﯿﺠﻪ ﭘﺬﯾﺮش ﮐﻨﺸﮕﺮان ﺣﺮﻓﻪای و رﻗﺺﭘﮋوﻫﺎﻧﯽ اﺳﺖ ﮐﻪ‬ ‫در ﯾﮏ ﺣﻮزه آﮐﺎدﻣﯿﮏ و داﻧﺸﮕﺎﻫﯽ ﺗﺠﻤﯿﻊ و ﺷﻮر ﮐﺮده ﺑﺎﺷﻨﺪ‪ .‬ﭘﺲ ﭼﻮن ﭼﻨﯿﻦ‬ ‫ﭼﯿﺰی در ﻣﻮرد رﻗﺺﻫﺎی اﯾﺮاﻧﯽ اﺗﻔﺎق ﻧﯿﻔﺘﺎده‪ ،‬ﺑﻪ ﻫﯿﭻ ﮔﻮﻧﻪای از رﻗﺺﻫﺎی ﻣﺮﺳﻮم‬ ‫در ﻓﺮﻫﻨﮓ اﯾﺮان از ﺟﻤﻠﻪ رﻗﺺ ﮐﻼﺳﯿﮏ اﯾﺮاﻧﯽ ﮐﻪ ﻣﻠﻬﻢ از ﺳﻨﺖﻫﺎی رﻗﺺ درﺑﺎریِ‬ ‫ﺻﻔﻮی و ﻗﺎﺟﺎریﺳﺖ منﯽﺗﻮان رﻗﺺ ﻣﻠﯽ اﻃﻼق ﮐﺮد‪ .‬رﻗﺺ ﻣﻠﯽ ﻫﺮﮔﺰ ﺣﺎﺻﻞ‬ ‫ﻧﻮآوریﻫﺎ و ﺑﺪﻋﺖ ﮔﺬاریﻫﺎی ﺟﺴﺘﻪ ﮔﺮﯾﺨﺘﻪ و ﻧﺎﻣﻨﺴﺠﻢِ رﻗﺺﭘﺮدازان ﯾﮏ ﮐﺸﻮر‬ ‫و ﯾﺎ ﻓﺮﻫﻨﮓ ﺑﻪ ﺻﻮرت اﻧﻔﺮادی ﻧﯿﺴﺖ‪.‬‬

‫ﺗﺮﮐﯿﺐ رﻗﺺﻫﺎی ﮐﻼﺳﯿﮏ اﯾﺮاﻧﯽ ﺑﺎ ﺑﺎﻟﻪ و ﻣﺪلﻫﺎی ﺗﺎﺛﯿﺮﮔﺬار دﯾﮕﺮ ﺑﻪ ﺗﺠﺮﺑﻪ‬ ‫ﺟﺪﯾﺪی در رﻗﺺ اﯾﺮان اﻧﺠﺎﻣﯿﺪه ﮐﻪ ﻓﻌﺎﻟﯿﺖﻫﺎی ﺷام در ﺳﺎلﻫﺎی اﺧﯿﺮ ﺑﻪ‬ ‫ﺧﻮﺑﯽ آن را منﺎﯾﺎﻧﺪه اﺳﺖ‪ ،‬اﯾﻦ روﻧﺪ در ﺣﺪاﻗﻞ دوره ﭘﺲ از اﻧﻘﻼب ‪ ۵۷‬ﺗﺎ‬ ‫ﺑﻪ اﻣﺮوز ﺑﺎ ﭼﺎﻟﺶﻫﺎی ﺟﺪی روﺑﺮو ﺑﻮده ﮐﻪ ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﺪ ﺑﺨﺸﯽ از آن‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:41 AM‬‬

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‫‪DANCE‬‬

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‫‪Photograph by Peter Lear‬‬

‫ﻧﻈﺎم ﺳﯿﺎﺳﯽ ﮐﺸﻮر ﺑﺎﺷﺪ‪ ،‬اﯾﻦ ﭘﺎﺳﺦ ﻧﻪ ﮐﺎﻣﻞ‬ ‫ﺗﺠﺮﺑﻪ ﻣﻦ از ﺳﺎلﻫﺎ ﮐﺎر‪ ،‬ﻣﻄﺎﻟﻌﻪ و ﻣﺮاوده ﻫرنی‬ ‫اﺳﺖ و ﻧﻪ اﺻﻮﻻ ﺻﺤﯿﺢ‪ .‬اﯾﺮان ﺑﺎ ﺗﺎرﯾﺦ ﭼﻨﺪ‬ ‫در ارﺗﺒﺎط ﺑﺎ ﮐﻮﺷﻨﺪﮔﺎن ﺣﻮزه رﻗﺺ ﮐﺸﻮرﻫﺎی‬ ‫ﻫﺰارﺳﺎﻟﻪاش ﯾﮑﯽ از ﺧﻮاﺳﺘﮕﺎهﻫﺎی اﺻﻠﯽ رﻗﺺ‬ ‫ﻣﺨﺘﻠﻒ ﺧﺼﻮﺻﺎ در ﺳﺎزﻣﺎنﻫﺎ و ﻣﻮﺳﺴﺎت ﺑﺎﻟﻪ‬ ‫ﺑﻪ ﺷامر ﻣﯽرود‪ .‬در ﻃﻮل ﻫﺰاران ﺳﺎل اﯾﻦ ﭘﺪﯾﺪه‬ ‫ﻣﻠﯽ در ﮐﺸﻮرﻫﺎی آﺳﯿﺎی ﻣﯿﺎﻧﻪ و ﻣﺸﺎﻫﺪه اﯾﻦ‬ ‫ﺑﺨﺶ ﺟﺪاﯾﯽﻧﺎﭘﺬﯾﺮی از ﺳﻨﺖﻫﺎ‪ ،‬آﯾﯿﻦﻫﺎ و ﻓﺮﻫﻨﮓ ﮐﻪ ﻫﻤﺴﺎﯾﮕﺎن ﻣﺎ ﭼﮕﻮﻧﻪ از رﻗﺺ ﺑﻪ ﻋﻨﻮان ﯾﮏ‬ ‫ﻣﺮدﻣﺶ ﺑﻮده اﺳﺖ‪ .‬ﺣﻀﻮر رﻗﺺ ﺑﻪ ﺻﻮرت آﯾﯿﻨﯽ ﻋﻨﴫ ﻫﻮﯾﺖﺑﺨﺶ ﻣﻠﯽ ﺑﻬﺮه ﻣﯽﺑﺮﻧﺪ‪ ،‬ﺷﺎﻫﺪ‬ ‫و روﺣﺎﻧﯽ آن ﭼﻨﺎن ﮐﻪ ﺑﻪ ﻃﻮر ﻣﺜﺎل در ﺗﺼﻮف و‬ ‫اﯾﻦ ﻣﺪﻋﺎﺳﺖ ﮐﻪ در اﯾﻦ ﺣﻮزه ﻫرنی ﻇﺮﻓﯿﺖ‬ ‫ﻋﺮﻓﺎن اﯾﺮاﻧﯽ ﻣﺘﺒﻠﻮر اﺳﺖ‪ ،‬در ﻣﯿﻬﻦ ﻣﺎ ﺳﺎﺑﻘﻪای‬ ‫ﭼﺸﻢﮔﯿﺮی ﺑﺮای ﮔﻔﺖ و ﮔﻮ و ﺗﻌﺎﻣﻞ ﻓﺮﻫﻨﮕﯽ ﺑﺎ‬ ‫ﺑﯿﺶ از ﯾﮏ ﻫﺰاره دارد‪ ،‬ﯾﻌﻨﯽ ﻗﺪﻣﺘﯽ ﺑﯿﺶ از ﺗﺎرﯾﺦ ﺳﺎﯾﺮ ﻣﻠﺖﻫﺎ وﺟﻮد دارد‪ .‬ﻇﺮﻓﯿﺘﯽ ﮐﻪ ﺑﻪ اﻋﺘﻘﺎد ﻣﻦ‬ ‫ﺑﺴﯿﺎری از ﮐﺸﻮرﻫﺎی دﻧﯿﺎ‪ .‬در اﯾﺮان ﻣﻌﺎﴏ و ﭘﺲ در ﻣﯿﺎن ﻓﺮﻫﻨﮓﭘﺮوران و دوﺳﺘﺪاران ﻫرنﻫﺎی اﯾﺮاﻧﯽ‬ ‫از اﻧﻘﻼب اﺳﻼﻣﯽ ﻫرن رﻗﺺ ﻫﺮ ﭼﻨﺪ ﮐﻪ از آن ﺑﺎ‬ ‫ﺗﺎ ﮐﻨﻮن ﻧﺎﺷﻨﺎﺧﺘﻪ ﺑﺎﻗﯽ ﻣﺎﻧﺪه اﺳﺖ‪.‬‬ ‫ﻋﻨﺎوﯾﻦ ﺟﺪﯾﺪ ﻧﺎم ﺑﺮده ﻣﯽﺷﻮد و ﻋﻠﯿﺮﻏﻢ متﺎﻣﯽ‬ ‫ﺣﻮاﺷﯽ و اﻣﺎ و اﮔﺮﻫﺎﯾﺶ‪ ،‬ﺑﻪ ﻫﺮ ﺟﻬﺖ در ﻋﺮﺻﻪ‬ ‫زﻣﺎﻧﯽ‪ ،‬اﻣﭙﺮاﺗﻮری اﯾﺮان در ﻋﴫ ﺑﺎﺳﺘﺎن از ﻣﺮزﻫﺎی‬ ‫ﻫرنﻫﺎی منﺎﯾﺸﯽ ﮐﺸﻮر وﺟﻮد دارد‪.‬‬ ‫ﭼﯿﻦ ﺗﺎ ﻣﴫ ﮔﺴﱰده ﺑﻮد‪ .‬ﺳﯿﻄﺮه ﺟﻐﺮاﻓﯿﺎﯾﯽ و‬ ‫ﺳﯿﺎﺳﯽ اﯾﻦ اﻣﭙﺮاﺗﻮری ﺑﺮ ﺣﺴﺐ روﻧﺪ ﺗﺎرﯾﺦ ﻓﺮو‬ ‫ﺑﻪ ﺑﺎور ﻣﻦ وﺿﻌﯿﺖ ﻧﺎﺑﻬﻨﺠﺎر ﻫرن رﻗﺺ در ﮔﺴﱰه رﯾﺨﺖ‪ ،‬اﻣﺎ ﺳﯿﻄﺮه ﻓﺮﻫﻨﮕﯽ آن در متﺎم ﻓﻼت اﯾﺮان‬ ‫ﻓﺮﻫﻨﮓ ﻣﻌﺎﴏ اﯾﺮان‪ ،‬ﺑﻪ وﯾﮋه در داﺧﻞ ﮐﺸﻮر‪،‬‬ ‫ﻫﻨﻮز ﭘﺎ ﺑﺮﺟﺎﺳﺖ‪ .‬رﺷﺘﻪﻫﺎی ﻣﺴﺘﺤﮑﻤﯽ در ﺣﻮزه‬ ‫ﻣﻌﻠﻮل دو ﻋﻠﺖ اﺳﺖ‪ :‬اﺑﺘﺬال ﭼﻨﺪ ﺟﺎﻧﺒﻪای ﮐﻪ از زﺑﺎن‪ ،‬ادﺑﯿﺎت و ﻓﺮﻫﻨﮓ ﻫﻨﻮز اﯾﺮان را ﺑﺎ ﮐﺸﻮرﻫﺎی‬ ‫دﻫﻪﻫﺎی ﭘﯿﺶ )‪ ۴۰‬و ‪ ۵۰‬ﺧﻮرﺷﯿﺪی( داﻣﻨﮕﯿﺮش‬ ‫آﺳﯿﺎی ﻣﯿﺎﻧﻪ ﺑﻪ ﻫﻢ ﭘﯿﻮﻧﺪ ﻣﯽدﻫﺪ‪ .‬ﺗﻨﯿﺪن رﺷﺘﻪﻫﺎی‬ ‫ﺷﺪ و ﻣﻌﻀﻠﯽ ﺑﻪ ﻧﺎم ﻋﺪم ﺷﻨﺎﺧﺖ ﺻﺤﯿﺢ و واﻗﻌﯽ ارﺗﺒﺎﻃﯽ ﺗﺎزه ﺑﺎ ﻣﺮدﻣﺎن ﮐﺸﻮرﻫﺎی ﺷامﻟﯽ و‬ ‫از اﯾﻦ ﻫرن ﮐﻪ ﺷﺎﯾﺪ ﭘﯽآﻣﺪ ﭘﺪﯾﺪه اوﻟﯽﺳﺖ‪ .‬ﺑﻪ‬ ‫ﻫﻢﻓﺮﻫﻨﮓ اﯾﺮان‪ ،‬ﭘﺲ از ﻫﻔﺘﺎد ﺳﺎل اﻧﺰوای ﺗﺤﻤﯿﻠﯽ‬ ‫اﻋﺘﻘﺎد ﻣﻦ‪ ،‬ﺑﻪ وﺟﻮد آﻣﺪن ﻫﺮ ﺗﻐﯿﯿﺮی در اﯾﻦ‬ ‫دوران ﺷﻮروی‪ ،‬ﺑﺎﯾﺴﺖ از اﻫﺪاف ﻋﺎﻟﯿﻪ و ﻣﻠﯽ ﻣﺎ‬ ‫وﺿﻌﯿﺖ ﻧﺎﺑﻬﻨﺠﺎر ﻧﯿﺰ ﻣﻨﻮط ﺑﻪ اﻧﺪﯾﺸﯿﺪن ﭼﺎرهای ﺑﺎﺷﺪ‪ .‬ﻣﻦ ﺑﺨﺖ آن را داﺷﺘﻪام ﮐﻪ در رﺷﺘﻪای از‬ ‫»ﺑﻪ ﻧﺎم آﻣﻮزش ﻋﻤﻮﻣﯽ و ﮐﺎر آﮐﺎدﻣﯿﮏ« ﺑﺮای ﺑﻪ‬ ‫ﻫرنﻫﺎ ﻓﻌﺎل ﺑﺎﺷﻢ ﮐﻪ ﭘﺘﺎﻧﺴﯿﻞ ﻣﻨﺤﴫ ﺑﻪ ﻓﺮدی‬ ‫ﺑﯿﺮون ﮐﺸﯿﺪن ﻫرن واﻗﻌﯽ رﻗﺺ اﯾﺮاﻧﯽ از دو ورﻃﻪ ﺑﺮای ارﺗﺒﺎط و ﮔﻔﺖ و ﮔﻮ ﺑﺎ دﯾﮕﺮ ﻓﺮﻫﻨﮓﻫﺎ را دارد‬ ‫اﺑﺘﺬال و ﮐﺞﻓﻬﻤﯽﺳﺖ‪ .‬اﮔﺮ اﯾﻦ دو ﻋﺎﻣﻞ ﻧﻘﺼﺎن‬ ‫و از ﻃﺮﯾﻖ ﻫرن ﻣﺘﻌﺎﻟﯽ رﻗﺺ ﮐﺎﺷﻒ ﻧﻘﺎط ﻣﺸﱰک‬ ‫و ﻣﺤﺎق اﯾﻦ ﻫرن از ﻣﯿﺎن ﺑﺮداﺷﺘﻪ ﺷﺪ‪ ،‬اﻃﻤﯿﻨﺎن‬ ‫ﻓﺮﻫﻨﮕﯽ ﻓﺮاواﻧﯽ ﺑﯿﻦ اﯾﺮان و اﯾﻦ ﮐﺸﻮرﻫﺎ ﺑﺎﺷﻢ‪.‬‬ ‫دارم ﮐﻪ رﻗﺺ ﺣﺮﻓﻪای در ﻓﺮﻫﻨﮓ اﯾﺮاﻧﯽ ﺟﺎﯾﮕﺎه‬ ‫دﯾﮕﺮی ﺧﻮاﻫﺪ ﯾﺎﻓﺖ و ﺣﺘﯽ در ﻧﻈﺎم ﮐﻨﻮﻧﯽ اﯾﺮان رﻗﺺ اﯾﺮاﻧﯽ در اﻧﻮاع ﻣﺨﺘﻠﻒ آن از ﮐﻼﺳﯿﮏ ﺗﺎ‬ ‫ﻣﻮرد اﺳﺘﻘﺒﺎل ﺑﯿﺸﱰی ﻗﺮار ﺧﻮاﻫﺪ ﮔﺮﻓﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﻣﺤﻠﯽ‪ ،‬از ﺗﻠﻔﯿﻘﯽ ﺗﺎ ﻣﻌﺎﴏ‪ ،‬از آﯾﯿﻨﯽ ﺗﺎ ﻓﯽاﻟﺒﺪاﻫﻪ‬ ‫ﮐﻪ رﺳﯿﺪن ﺑﻪ اﯾﻦ ﻫﺪف ﻣﴩوط ﺑﻪ اﻧﺪﯾﺸﯿﺪن‬ ‫ﺷﻬﺮی ﻧﯿﺎز ﻣﱪﻣﯽ ﺑﻪ ﻧﻮآوری و اﺑﺘﺬالزداﯾﯽ در‬ ‫متﻬﯿﺪاﺗﯽ ﺑﺮای ﺳﺎزوارﺳﺎزی اﯾﻦ ﻫرن ﺑﺎ ﺑﺎورﻫﺎی‬ ‫ﭼﻬﺎر زﻣﯿﻨﻪ ﻓﺮم‪ ،‬ﻣﺤﺘﻮا‪ ،‬ﺗﮑﻨﯿﮏ و اﺟﺮا دارد‪ .‬ﺗﺎ‬ ‫اﻋﺘﻘﺎدی ﺑﺨﺶ ﺑﺰرﮔﯽ از ﻣﺮدم درونﻣﺮز و ﻣﻮازﯾﻦ اﯾﻦ ﻧﻮآوری و اﺑﺘﺬالزداﯾﯽ ﺑﻪ ﻫﻤﺖ ﮐﻨﺶﮔﺮان‬ ‫ﻣﻮﺟﻮد اﺟﺘامﻋﯽ ﮐﺸﻮر ﺑﺎﺷﺪ‪.‬‬ ‫و ﭘﮋوﻫﺶﮔﺮان اﯾﻦ رﺷﺘﻪ و ﺑﺎ ﺣامﯾﺖ ﮐﺎرﮔﺰاران‬ ‫در اﯾﻦ ﻣﯿﺎن و ﺗﺎ زﻣﺎن ﻓﺮاﻫﻢ ﺷﺪن ﻣﻘﺪﻣﺎت‬ ‫ﻓﺮﻫﻨﮕﯽ‪ ،‬ﭼﻪ در درونﻣﺮز و ﭼﻪ ﺑﻪ وﺳﯿﻠﻪ‬ ‫آﻣﻮزش ﻋﻤﻮﻣﯽ و ﮐﺎر آﮐﺎدﻣﯿﮏ در زﻣﯿﻨﻪ رﻗﺺ در ﺳﺎزﻣﺎنﻫﺎی ﻓﺮﻫﻨﮕﯽ ﺑﺮونﻣﺮزی‪ ،‬ﺣﺎﺻﻞ ﻧﺸﻮد‪ ،‬اﯾﻦ‬ ‫درونﻣﺮز‪ ،‬وﻇﯿﻔﻪ ﮐﻮﺷﻨﺪﮔﺎن ﻓﺮﻫﻨﮕﯽ ﺑﺮونﻣﺮزی‬ ‫ﻫرن ﺑﻪ ﻋﻨﻮان ﯾﮑﯽ از ﻓﺮآوردهﻫﺎی ﻓﺮﻫﻨﮕﯽ ﴎزﻣﯿﻦ‬ ‫در دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ ﭼﯿﺴﺖ؟ آﯾﺎ اﺻﻮﻻً ﺑﻪ‬ ‫ﻣﺎ در دﻧﯿﺎی ﭘﺮﺷﺘﺎب ﺗﻮﺳﻌﻪ ﻫرنﻫﺎی منﺎﯾﺸﯽ دﻧﯿﺎ‬ ‫ﭘﺪﯾﺪهای ﺑﻨﺎم رﻗﺺ ﺣﺮﻓﻪای در ﺣﻮزه ﻓﺮﻫﻨﮕﯽ‬ ‫ﺟﺎﯾﯽ ﺑﺮای ﻋﺮض اﻧﺪام ﻧﺨﻮاﻫﺪ ﯾﺎﻓﺖ‪.‬‬ ‫ﺟﻮاﻣﻊ ﭘﺮاﮐﻨﺪه اﯾﺮاﻧﯽ در ﴎﺗﺎﴎ ﺟﻬﺎن اﺣﺘﯿﺎﺟﯽ‬ ‫ﻫﺴﺖ؟ ﺑﻪ اﺳﺘﺜﻨﺎی ﮐﻮﺷﺶﻫﺎی ﻗﺎﺑﻞ ﺗﻘﺪﯾﺮ وﻟﯽ‬ ‫ﭼﻪ ﻓﺮﺧﻨﺪه ﺧﻮاﻫﺪ ﺑﻮد اﮔﺮ ﺗﻮﺳﻌﻪ رﻗﺺ ﺻﺤﻨﻪای‬ ‫ﻣﻨﻔﺮد و ﻧﺎﮐﺎﻓﯽ ﮔﺮوهﻫﺎی ﻣﺨﺘﻠﻒ رﻗﺺ اﯾﺮاﻧﯽ‪ ،‬آﯾﺎ و ﻫﻤﯿﻦ ﻃﻮر ارﺗﻘﺎ ﺳﻄﺢ داﻧﺶ رﻗﺺ و ﺣﺮﮐﺖ در‬ ‫ﺳﺎزﻣﺎنﻫﺎی ﺑﯽﺷامر ﻓﺮﻫﻨﮕﯽ ﺑﺮونﻣﺮزی اﯾﺮاﻧﯽ‬ ‫اﯾﺮان در ﺗﻌﺎﻣﻞ ﺑﺎ ﮐﺸﻮرﻫﺎی ﻫﻢﻓﺮﻫﻨﮕﺶ و در‬ ‫در ﺧﺎور و ﺑﺎﺧﱰ دﻧﯿﺎ ﺑﺮای اﺣﯿﺎ و ﺗﻮﺳﻌﻪ ﯾﮑﯽ از‬ ‫اﻣﺘﺪاد اﻣﭙﺮاﺗﻮری وﺳﯿﻊ ﻓﺮﻫﻨﮕﯽ اﯾﺮان ﺻﻮرت ﭘﺬﯾﺮد‪.‬‬ ‫ﺑﺎﻗﺪﻣﺖﺗﺮﯾﻦ ﻫرنﻫﺎی اﺻﯿﻞ اﯾﺮاﻧﯽ ﮐﻮﺷﯿﺪهاﻧﺪ؟‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:41 AM‬‬

‫‪150-154-Dance-Nima Kian-EDITED.indd 152‬‬

‫‪DANCE‬‬

‫‪153‬‬

‫~ ‪~ dance‬‬

‫‪iranian‬‬ ‫‪traditional‬‬ ‫‪folk dances‬‬ ‫‪by AZITA SAHEBJAM‬‬ ‫‪WHEN:‬‬ ‫‪Saturday, 22 August - 3:00pm‬‬ ‫‪Sunday, 23 August - 1:00pm‬‬ ‫‪DURATION:‬‬ ‫‪1 hour‬‬ ‫‪LOCATION:‬‬ ‫‪Westjet Stage,‬‬ ‫‪Harbourfront Centre‬‬

‫ﻧﯿام ﮐﯿﺎن‬ ‫رﻗﺺﭘــﺮداز و رﻗﺺﭘــﮋوه اﯾﺮاﻧــﯽ‪ ،‬ﺑﻨﯿﺎﻧﮕــﺬار‬ ‫و ﴎﭘﺮﺳــﺖ ﻫــرنی ﺳــﺎزﻣﺎن ﺑﺎﻟــﻪ اﯾ ـﺮان در‬ ‫ﺳــﻮﺋﺪ اﺳــﺖ‪ .‬ﻧﺨﺴــﺘﯿﻦ ﺗﻮﻟﯿــﺪ ﺳــﺎزﻣﺎن‬ ‫ﺑﺎﻟــﻪ اﯾــﺮان ﺑــﺎ ﻫﻤــﮑﺎری ﻫرنﻣﻨــﺪان‬ ‫ﺑﺮﺟﺴــﺘﻪ ﺟﻤﻬــﻮری آذرﺑﺎﯾﺠــﺎن در ﻗﺎﻟــﺐ‬ ‫دو ﺑﺎﻟــﻪ ﺑﻠﻨــﺪ ﺑــﻪ ﻧــﺎم »ﺑﺎﺑــﮏ« و »ﻫﻔــﺖ‬ ‫ﭘﯿﮑــﺮ« از ﺳــﺎﺧﺘﻪﻫﺎی رﻗﺺﭘــﺮدازان‬ ‫ﭘﯿــﴩوی آذری‪» ،‬راﻓﯿﻘــﺎ آﺧﻮﻧــﺪوا« و‬ ‫»ﻣﺎﮐﺴــﻮد ﻣﺎﻣــﺪوف« ﺑــﻪ روی ﺻﺤﻨــﻪ‬ ‫رﻓــﺖ‪ .‬در ﺳــﺎل ‪ ۲۰۱۴‬ﮐﯿــﺎن ﻫﻤﭽﻨﯿــﻦ‬ ‫ﻧﺨﺴــﺘﯿﻦ اﺟـﺮای ﺑﯿﻦاﳌﻠﻠــﯽ »ﺳــﺎزﻣﺎن ﺑﺎﻟﻪ‬ ‫ﻣﻠــﯽ ﻗﺮﻗﯿﺰﺳــﺘﺎن« را در اروﭘــﺎ ﺳــﺎزﻣﺎﻧﺪﻫﯽ‬ ‫و رﻫــﱪی ﮐــﺮد‪ .‬ﻧﯿــام ﮐﯿــﺎن ﻣﺸــﺎور ﻫــرنی‬ ‫ﺟﺸــﻨﻮاره ﺗﯿــﺮﮔﺎن اﺳــﺖ و ﺑﺮﻧﺎﻣــﻪ وﯾــﮋ‬ ‫ای ﺑــﺮای اﺟــﺮای رﻗــﺺ ﺑﺎﻟــﻪ اﯾﺮاﻧــﯽ در‬ ‫ﺟﺸــﻨﻮاره اﻣﺴــﺎل ﻃﺮاﺣــﯽ ﮐــﺮده اﺳــﺖ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:41 AM‬‬

‫‪150-154-Dance-Nima Kian-EDITED.indd 153‬‬

‫‪DANCE‬‬

‫‪154‬‬

‫‪Photograph by Babak Rajabi‬‬

‫ﺑﻪ ﺗﺎزﮔﯽ ﻣﻮﺿﻮع ﺗﻌﯿﯿﻦ ﴍاﯾﻂ ﺟﺪﯾﺪ و ﭼﮕﻮﻧﮕﯽ ﺑﻬﺒﻮد ﺣﻘﻮق و ﻣﺰاﯾﺎی ﺑﺎزﻧﺸﺴﺘﮕﯽ ﻋﻤﻮﻣﯽ ﺑﺮای‬ ‫ﻫرنﻣﻨﺪان »ﺣﺮﻓﻪ رﻗﺺ« در ﺳﻮﺋﺪ از ﻣﺒﺎﺣﺚ ﺑﺎ ﺣﺮارت در ﻣﻄﺒﻮﻋﺎت اﯾﻦ ﮐﺸﻮر ﺑﻮد‪ .‬ﺧﱪ ﺗﻮاﻓﻖ ﻧﻬﺎﯾﯽ‬ ‫ﺳﻨﺪﯾﮑﺎی ﴎاﴎی ﺗﺌﺎﺗﺮ ﺳﻮﺋﺪ ﮐﻪ در ﺑﺮﮔﯿﺮﻧﺪه ﺳﺎزﻣﺎن ﺻﻨﻔﯽ ﻫرنﻣﻨﺪان ﺣﺮﻓﻪ رﻗﺺ ﻧﯿﺰ ﻫﺴﺖ‪ ،‬ﺑﺎ‬ ‫ﺳﺎزﻣﺎن ﴎاﴎی ﮐﺎرﻓﺮﻣﺎﯾﺎن ﻫرنﻫﺎی منﺎﯾﺸﯽ ﺳﻮﺋﺪ در اﯾﻦ زﻣﯿﻨﻪ ﺑﻪ ﻋﻨﻮان ﯾﮏ ﻣﻮﺿﻮع ﺧﱪی وﯾﮋه‬ ‫ﻣﻮرد ﺗﻮﺟﻪ ﻗﴩ ﺑﺰرﮔﯽ از ﺟﺎﻣﻌﻪ ﺳﻮﺋﺪ ﻗﺮار ﮔﺮﻓﺖ و ﺑﻪ وﺳﯿﻠﻪ روزﻧﺎﻣﻪﻫﺎی ﭘﺮﺗﯿﺮاژ و دﯾﮕﺮ رﺳﺎﻧﻪﻫﺎی‬ ‫ﻋﻤﻮﻣﯽ ﭘﻮﺷﺶ داده ﺷﺪ‪ .‬زﻣﺎن ﻧﮕﺎرش اﯾﻦ ﺳﻄﻮر ﻣﺼﺎدف ﺷﺪه اﺳﺖ ﺑﺎ روز ﺟﻬﺎﻧﯽ ﺑﺰرﮔﺪاﺷﺖ رﻗﺺ‬ ‫ﮐﻪ در ﺳﺎل ‪ ۱۹۸۲‬ﺑﻪ وﺳﯿﻠﻪ ﺷﻮرای ﺟﻬﺎﻧﯽ رﻗﺺ )ﻧﻬﺎد واﺑﺴﺘﻪ ﺑﻪ ﺳﺎزﻣﺎن ﻋﻠﻤﯽ‪ ،‬ﻓﺮﻫﻨﮕﯽ و ﺗﺮﺑﯿﺘﯽ ﻣﻠﻞ‬ ‫ﻣﺘﺤﺪ‪ ،‬ﯾﻮﻧﺴﮑﻮ( ﻧﺎﻣﮕﺬاری ﺷﺪه و ﻫﺮ ﺳﺎل در روز ‪ ۲۹‬آورﯾﻞ ﺑﻪ ﺑﺰرﮔﺪاﺷﺖ اﯾﻦ ﻫرن اﺧﺘﺼﺎص دارد‪.‬‬ ‫در اﯾﻦ روز ﮐﻮﺷﻨﺪﮔﺎن اﯾﻦ ﺣﺮﻓﻪ ﺑﻪ روشﻫﺎی ﻣﺨﺘﻠﻒ ﺗﻮﺟﻪ ﻋﻤﻮم ﺟﺎﻣﻌﻪ را در اﻗﺼﯽ ﻧﻘﺎط دﻧﯿﺎ ﺑﻪ‬ ‫اﯾﻦ ﻫرن ﺟﻠﺐ ﻣﯽﮐﻨﻨﺪ و در َرﺳﺎی آن ﻣﯽﮔﻮﯾﻨﺪ‪ ،‬ﻣﯽﻧﻮﯾﺴﻨﺪ و ﻣﯽرﻗﺼﻨﺪ‪ .‬ﺑﻨﺎ ﺑﻪ ﮔﺰارش ﻣﺮﮐﺰ ﺗﺤﻘﯿﻘﺎﺗﯽ‬ ‫ﺑﻮدﺟﻪ و ﴎﻣﺎﯾﻪﮔﺬاری در ﺣﻮزه ﻫرنﻫﺎی منﺎﯾﺸﯽ ﮐﻪ ﻧﻬﺎدی ﺑﯿﻦاﳌﻠﻠﯽﺳﺖ‪ ،‬ﺑﻮدﺟﻪ اﺧﺘﺼﺎص داده ﺷﺪه‬ ‫ﺑﺮای آﻣﻮزش‪ ،‬اﺷﺎﻋﻪ‪ ،‬ﺗﻮﻟﯿﺪ و ﺗﻮﺳﻌﻪ ﻫرن رﻗﺺ‪ ،‬ﺗﻨﻬﺎ در ﻣﺤﺪوده اﺗﺤﺎدﯾﻪ اروﭘﺎ و در ﻃﻮل ﺳﺎل ‪،۲۰۱۴‬‬ ‫ﺑﺎﻟﻎ ﺑﺮ ﺑﯿﺶ از ‪ ۲۰‬ﻣﯿﻠﯿﺎرد ﯾﻮرو ﺑﻮده اﺳﺖ‪.‬‬ ‫ﺑﺎ ﻫﻤﻪ اﯾﻦﻫﺎ ﺑﺎﯾﺪ ﭘﺮﺳﯿﺪ‪ ،‬در ﺣﺎﻟﯽ ﮐﻪ رﻗﺺ در ﻓﺮﻫﻨﮓ ﺟﻬﺎﻧﯽ و در ﻣﯿﺎن رﺷﺘﻪﻫﺎی ﻣﺨﺘﻠﻒ ﻫرنﻫﺎی‬ ‫منﺎﯾﺸﯽ در ﻏﺮب دارای ﭼﻨﯿﻦ ﻣﻨﺰﻟﺖ و درﺟﻪای از اﻫﻤﯿﺖ اﺳﺖ‪ ،‬ﭼﺮا ﻫﻤﯿﻦ ﻫرن در اﯾﺮان ﮐﻬﻦ ﻣﺎ‬ ‫ﴎﻧﻮﺷﺘﯽ ﺟﺰ اﺑﺘﺬال و اﺿﻤﺤﻼل ﻧﺪاﺷﺘﻪ اﺳﺖ؟ اﮔﺮ ﭘﺎﺳﺦ‪ ،‬ﻓﺮﻫﻨﮓ ﻣﺮدﻣﯽ‪ ،‬ﺑﺎورﻫﺎی ﻣﺬﻫﺒﯽ و ﻧﻮع‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:41 AM‬‬

‫‪150-154-Dance-Nima Kian-EDITED.indd 154‬‬

‫‪MUSIC‬‬

‫‪155‬‬

‫ﮐﻪ ﭘﺪر و ﻣﺎدرم ﻣﺪام ﺑﻬﻢ ﻣﯽﮔﻔنت ﺗﻮ اﯾﺮان دارم‪ .‬ﺧﯿﻠﯽ ﺗﻮ ﺑﺤﺮ ﭼﯿﺰا منﯽرﻓﺘﻢ‪٬‬‬ ‫ﻓﻘﻂ ﻣﯽدوﻧﺴﺘﻢ ﮐﻪ اﯾﻦ زن زﯾﺒﺎ رو ﮐﻪ داره درﺑﺎره ﭘﺮﻧﺪهﻫﺎ آواز ﻣﯽﺧﻮﻧﻪ و ﯾﻪ‬ ‫ﻣﺎﺷﯿﻦ ﺧﻮﺷﮕﻞ ﻣﯽروﻧﻪ دوﺳﺖ دارم ‪.‬‬

‫~ ‪~ music‬‬

‫‪babak amini‬‬ ‫‪& houman‬‬ ‫‪javid live in‬‬ ‫‪concert‬‬ ‫‪WHEN:‬‬

‫‪Friday, 21 August - 7:30pm‬‬ ‫‪Saturday, 22 August - 7:30pm‬‬ ‫‪DURATION:‬‬ ‫‪1 hour‬‬ ‫‪LOCATION:‬‬ ‫‪Westjet Stage,‬‬ ‫‪Harbourfront Centre‬‬

‫ژوﺑﯿﻦ ﺑﺨﺮد‪،‬‬ ‫ﻣﻮﺳــﺲ و ﴎدﺑﯿــﺮ ﻣﺠﻠــﻪ ‪REORIENT‬‬ ‫اﺳــﺖ ﮐــﻪ ﺑــﺎ ﻧﮕﺎﻫــﯽ وﯾــﮋه ﺑــﻪ ﻫــرن‬ ‫و ﻓﺮﻫﻨــﮓ ﻣﻌــﺎﴏ در ﺧﺎورﻣﯿﺎﻧــﻪ ﺑــﻪ‬ ‫ﺻــﻮرت آﻧﻼﯾــﻦ و ﭼــﺎپ ﺷــﺪه ﻣﻨﺘــﴩ‬ ‫ﻣﯽﺷــﻮد‪ .‬ﻣﻘــﺎﻻت ﻣﺘﻌــﺪدی از او ﺑــﻪ‬ ‫زﺑﺎنﻫــﺎی ﻓﺎرﺳــﯽ‪ ،‬ﻋﺮﺑــﯽ‪ ،‬اﯾﺘﺎﻟﯿﺎﯾــﯽ‬ ‫و ﭼﯿﻨــﯽ در ﺟﻮرﻧﺎلﻫــﺎ و رﺳــﺎﻧﻪﻫﺎی‬ ‫ﻣﻌﺘــﱪ ﺑﯿﻦاﳌﻠﻠــﯽ از ﺟﻤﻠــﻪ »ﺣــﺮاج‬ ‫ﮐﺮﯾﺴــﺘﯽ«‪» ،‬داﻧﺸــﻨﺎﻣﻪ اﯾﺮاﻧﯿــﮑﺎ«‪،‬‬ ‫»ﮐﻨــﻮس« و »ﺳــﺎﻧﮓﻻﯾﻨﺰ« ﻣﻨﺘــﴩ‬ ‫ﺷــﺪه اﺳــﺖ‪ .‬ژوﺑﯿــﻦ ﺑﺨــﺮد ﺑــﺮای ﻧﻮﺷــنت‬ ‫و ﻓﻌﺎﻟﯿــﺖ در زﻣﯿﻨﻪﻫــﺎی ﻫرنﻫــﺎی‬ ‫ﺗﺠﺴــﻤﯽ‪ ،‬ﻓﯿﻠــﻢ‪ ،‬ادﺑﯿــﺎت و ﻣﻮﺳــﯿﻘﯽ‪،‬‬ ‫و ﮔﻔــﺖ و ﮔــﻮ ﺑــﺎ ﻫرنﻣﻨــﺪان ﻣﻄﺮﺣــﯽ‬ ‫ﻫﻤﭽــﻮن »ﭘﺮوﯾــﺰ ﺗﻨﺎوﻟــﯽ«‪» ،‬زﯾــﺎد‬ ‫دووﯾــﺮی«‪» ،‬ﻣﺤﻤــﺪ رﺳــﻮلاف« و »ﯾــﻮان‬ ‫ﺣﺎﺟــﯽ ﺗﻮﻣــﺎس« ﺟﻮاﯾــﺰ ﻣﻌﺘــﱪی از ﺟﻤﻠــﻪ‬ ‫ﺟﺎﯾــﺰه ﺑــﺮای ﻧﻘــﺪ ﻫــرن »ﮐﺎﻟــﺞ ﺳــﻠﻄﻨﺘﯽ‬ ‫ﻫــرن ﻟﻨــﺪن« را از آن ﺧــﻮد ﮐــﺮده‪ .‬ﺗﺮﺟﻤــﻪ‬ ‫اﺷــﻌﺎر ﻋﻤــﺮ ﺧﯿــﺎم ﺑــﻪ اﻧﮕﻠﯿﺴــﯽ از ﺟﻤﻠــﻪ‬ ‫ﻓﻌﺎﻟﯿﺖﻫــﺎی اﺧﯿــﺮ اوﺳــﺖ‪.‬‬

‫ﮔﻮﮔﻮش ﺗﻮ ﺑﭽﻪﮔﯿﻢ ﮐﻢ و ﺑﯿﺶ ﺑﺎﻗﯽ ﺑﻮد‪ .‬ﺑﻌﻀﯽ وﻗﺘﺎ ﺗﻮ ﺑﻌﺪازﻇﻬﺮﻫﺎی ﮐﺴﻞ ﮐﻨﻨﺪه‬ ‫ﯾﮑﺸﻨﺒﻪ‪ ،‬ﻣﻮﻗﻌﯽ ﮐﻪ ﻫﯿﭻ دوﺳﺘﯽ ﺗﻮ ﻣﺤﻠﻪ ﻧﺒﻮد ﺑﺎﻫﺎش ﺑﺎزی ﮐﻨﯽ‪ ٬‬ﻣﯽرﻓﺘﻢ دﻧﺒﺎل‬ ‫ﮔﻨﺞ ﺗﻮ زﯾﺮزﻣﯿﻦ و ﺟﺎﻫﺎی دﻧﺞ و ﻣﺨﻔﯽ ﺧﻮمنﻮن ﺗﻮ اﻃﺮاف ﺗﻮرﻧﺘﻮ‪ .‬ﻣﯽرﻓﺘﻢ ﴎاغ‬ ‫آرﺷﯿﻮ ﻧﻮار ﮐﺎﺳﺖ ﭘﺪر ﻣﺎدرم‪ .‬اﻏﻠﺐ ﺑﯿﻦ ﻧﻮارﻫﺎی ﺟﯿﭙﺴﯽ ﮐﯿﻨﮓ و اﺳﱰوﻧﺰ و ﻓﺮح‬ ‫ﭼﻨﺪ ﺗﺎ ﻫﻢ از ﮔﻮﮔﻮش ﭘﯿﺪا ﻣﯽﮐﺮدم‪ .‬ﻫﺮﭼﻨﺪ از اون ﮐﺴﺎﯾﯽ ﮐﻪ ﭘﺮﺳﯿﺪم اﺳﻢ ﻓﺎﻣﯿﻞ‬ ‫ﮔﻮﮔﻮش رو منﯽدوﻧﺴنت‪ ٬‬وﻟﯽ وﻗﺘﯽ ﯾﻪ ﺟﻠﺪ زردﺷﺪه ﺑﺎ ﺣﺮوف درﻫﻢ‪ ،‬از اونﻫﺎ ﮐﻪ‬ ‫ﴎ در ﺳﯿﻨامﻫﺎی ﻗﺪﯾﻤﯽ ﻣﯽزﻧﻨﺪ‪ ،‬ﭘﯿﺪا ﮐﺮدم ﺑﺎ ﺧﻮدم ﻓﮑﺮ ﮐﺮدم ﺑﻼﺧﺮه ﻣﯽﻓﻬﻤﻢ‪.‬‬ ‫اﯾﻦ ﺑﺎر ﮔﻮﮔﻮش ﺷﺒﯿﻪ ﻣﺎدرم ﺑﻮد‪ .‬ﻣﯽﺗﻮﻧﺴﺘﻢ‬ ‫ﺑﻬﱰ ﺑﺒﯿﻨﻤﺶ‪ ٬‬اون ﭼﺸامی ﺳﯿﺎه ﴍﻗﯽ رو‪٬‬‬ ‫ﻣﺎﺗﯿﮏ ﻗﺮﻣﺰ و اون ﻧﮕﺎه ﺧﺎص ﺧﯿﺮه اﯾﺮاﻧﯽ‬ ‫ﮐﻪ ﯾﮏ ﭼﯿﺰی ﺑﯿﻦ اﻧﺰﺟﺎر و ﭘﮋﻣﺮدﮔﯿﻪ‪ .‬ﺑﺎ‬ ‫ﺧﻮدم ﻓﮑﺮ ﮐﺮدم »ﺧﺐ ﭘﺲ ﻓﺎﻣﯿﻠﯿﺶ اﯾﻨﻪ‪:‬‬ ‫ﻣﺎه ﭘﯿﺸﻮﻧﯽ‪ «.‬منﯽدوﻧﺴﺘﻢ ﻣﺎهﭘﯿﺸﻮﻧﯽ‬ ‫ﯾﻌﻨﯽ ﭼﯽ‪ ٬‬اﻣﺎ ﺧﻮش آﻫﻨﮓ ﺑﻮد و ﺑﻪ ﻋﻨﻮان‬ ‫اﺳﻢ ﻓﺎﻣﯿﻞ اﯾﺮاﻧﯽ ﻗﺎﺑﻞ ﻗﺒﻮل‪ .‬اﻣﺎ ﺑﻌﺪ از‬ ‫ﮔﺬﺷنت از ذﻫﻦ ﯾﻪ ﺑﭽﻪ ﻫﺸﺖﺳﺎﻟﻪ ﺗﻐﯿﯿﺮ‬ ‫ﮐﺮد ﺑﻪ »ﻣﺎﻓﯿﺸﻮﻧﯽ‪ «.‬ﺗﺎزهﺗﺮﯾﻦ ﻃﺮﻓﺪار‬ ‫»ﮔﻮﮔﻮش ﻣﺎﻓﯿﺸﻮﻧﯽ« ﺑﭽﻪای ﺑﻮد از ﯾﮏ‬ ‫ﺧﯿﺎﺑﻮن آروم ﺗﻮ ﺗﻮرﻧﻬﯿﻞ‪.‬‬

‫ﺗﻼﺷﻢ ﺑﺮای ﭘﯿﺪا ﮐﺮدن ﺧﻮدم و ﯾﺎدﮔﺮﻓنت ﻫﻤﻪ ﭼﯿﺰ درﺑﺎره ﻓﺮﻫﻨﮓ اﯾﺮاﻧﯽ‪ ٬‬ﮔﻮﮔﻮش‬ ‫ﯾﮏ ﺟﻮراﯾﯽ راﻫﻨام ﺷﺪ‪ .‬ﺗﻮ ﻣﺎﺷﯿﻦ‪ ،‬ﺗﻮ راه داﻧﺸﮕﺎه‪ ،‬ﺗﻮ اون ﺑﺰرﮔﺮاه ﺑﯽ ﭘﺎﯾﺎن‪،‬‬ ‫ﮔﻮﮔﻮش ﻣﻌﻠﻢ ﻓﺎرﺳﯽ ﻣﻦ ﺷﺪ‪ .‬ﮐﻠﻤﻪﻫﺎی ﺟﺪﯾﺪ و ﭘﯿﭽﯿﺪه ﺑﻬﻢ ﯾﺎد ﻣﯽداد و ﮐﻤﮏ‬ ‫ﻣﯽﮐﺮد ﮐﻪ اﯾﻦ ﻟﻬﺠﻪ ﺑﻪ ﻗﻮل ﭘﺪرﺑﺰرﮔﻢ »ارﻣﻨﯽ« رو اﺻﻼح ﮐﻨﻢ‪ .‬اون ﻫﻤﯿﻨﻄﻮر ﺑﺮای‬ ‫ﻣﻄﺎﻟﻌﺎﺗﻢ درﺑﺎره اﯾﺮان ﻗﺒﻞ و ﺑﻌﺪ اﻧﻘﻼب ﻫﻢ آﻫﻨﮓ داﺷﺖ ﮐﻪ ﻣﻦ رو ﺑﺮای دوراﻧﯽ‬ ‫ﮐﻪ ﻫﯿﭻ وﻗﺖ ﺗﺠﺮﺑﻪ ﻧﮑﺮده ﺑﻮدم دﻟﺘﻨﮓ ﻣﯽﮐﺮد و ﺣﴪت روزﻫﺎی ﺧﻮب از دﺳﺖ‬ ‫رﻓﺘﻪ رو ﺑﻪ دمل ﻣﯽذاﺷﺖ‪ .‬ﯾﻪ ﻣﺠﻤﻮﻋﻪ ﻣﻮزﯾﮏ وﯾﺪﯾﻮ ﻗﺪﯾﻤﯿﺶ رو از »ﴍﮐﺖ ﭘﺎرس‬ ‫وﯾﺪﯾﻮ« ﺧﺮﯾﺪم ﮐﻪ ﺑﺎرﻫﺎ و ﺑﺎرﻫﺎ ﺑﺎ اﺷﺘﯿﺎق متﺎﺷﺎ ﮐﺮدم و از دﺳﺖ ﺗﮑﺮار ﻣﻮﺳﯿﻘﯽ‬ ‫راک ﺧﻼص ﺷﺪم و ﺑﻪ ﺟﺎش ﺗﻐﯿﯿﺮ آﮐﻮرد ﺧﻮش آﻫﻨﮓ »ﻣﻦ آﻣﺪهام« و »ﻣﺮﻫﻢ«‬ ‫رو ﯾﺎد ﮔﺮﻓﺘﻢ‪ .‬آرزو ﻣﯽﮐﺮدم ﮐﺎش ﻣﯽﺷﺪ ﻣﻮﻗﻌﯽ ﮐﻪ ﭘﺪرم و ﻋﻤﻮم ﻣﺜﻞ ﺑﭽﻪﻫﺎ ﺗﻮ‬ ‫آﺑﺎدان ﺑﺎﻫﺎش ﻋﮑﺲ ﮔﺮﻓنت‪ ،‬ﻣﻨﻢ ﮐﻨﺎرﺷﻮن ﺑﻮدم و اون و ﺑﻬﺮوز وﺛﻮﻗﯽ رو ﺗﻮ ﻓﯿﻠﻢ‬ ‫»ﻣﺎه ﻋﺴﻞ« ﺗﻮ اون ﻏﺮوب ﺗﺎﺑﺴﺘﻮن ﻣﯿﻮن‬ ‫ﺑﻮی ﺳﺎﻧﺪوﯾﭻ ﺳﻮﺳﯿﺲ و ﺗﺨﻤﻪ آﻓﺘﺎﺑﮕﺮدون‬ ‫ﻣﯽدﯾﺪم و ﺑﺎ آﻻﻣﺪﻫﺎی »ﺗﻬﺮاﻧﯽ« وﻗﺘﯽ‬ ‫ﮐﻪ اون ﺑﺮای اوﻟﯿﻦ ﺑﺎر ﺗﻮ ﮐﻠﻮپ ﮐﻮﭼﯿﻨﯽ‬ ‫»دﯾﮕﻪ ﮔﺮﯾﻪ دﻟﻮ وا منﯽﮐﻨﻪ« رو ﻣﯽﺧﻮﻧﺪ‪،‬‬ ‫ﺷﻮﻧﻪﻫﺎ رو ﻣﯽﻣﺎﻟﻮﻧﺪم‪ .‬ﻣﻮﻗﻌﯽ ﮐﻪ ﺷﮑﻞ‬ ‫و ﺷامﯾﻞ اﯾﻦ ﺧﻮش ﺻﺪا ﺗﻮ ﻇﺎﻫﺮ ﻣﺎدرم‪٬‬‬ ‫ﻣﻌﻠﻢ رﯾﺎﺿﯽ ارﻣﻨﯽ دﺑﯿﺮﺳﺘﺎﻧﻢ‪ ٬‬ﻓﺮح ﻓﺎﺳﺖ‪٬‬‬ ‫و ﯾﮏ ﺗﺮﻧﺲ ﺟﻠﻮه ﮐﺮد‪ ٬‬ﻣﻨﻮ ﺑﺮد ﻧﺰدﯾﮑﱰ ﺑﻪ‬ ‫ﺗﺎرﯾﺦ و ﮔﺬﺷﺘﻪای ﮐﻪ اﯾﻦ ﻫﻤﻪ ﻧﺰدﯾﮏ ﺑﻮد و‬ ‫ﻫﻨﻮز ﻫﻢ اﯾﻨﻬﻤﻪ دور‪ .‬ﺧﺎﻃﺮات ﮔﺬﺷﺘﻪ زﻧﺪه‬ ‫ﺷﺪه ﺑﻮد‪ ٬‬متﺎم ﻣﺪت اوﻧﺠﺎ ﺑﻮدم و ﮔﺬﺷﺘﻪ ﺑﺎ‬ ‫ﮔﻮﮔﻮش ﺑﺎ رﻧﮕﺎی ﺷﺎد و زﻧﺪه‪ ،‬ﺗﻨﺪ ﺗﻨﺪ ﺟﻠﻮ‬ ‫ﻣﯿﻮﻣﺪ‪.‬‬

‫گوگــوش معلــم فارســی‬ ‫مــن شــد‪ .‬کلمههــای‬ ‫جدید و پیچیده بهم یاد‬ ‫مــیداد و کمــک میکــرد‬ ‫کــه ایــن لهجــه بــه قــول‬ ‫پدربزرگــم «ارمنــی» رو‬ ‫اصــاح کنــم‪.‬‬

‫ﻫﺮﭼﻨﺪ ﮔﻮﮔﻮش ﺗﻨﻬﺎ ﺳﺘﺎره ﺑﺮﺟﺴﺘﻪ ﭘﺎپ‬ ‫ﻗﺒﻞ اﻧﻘﻼب ﺗﻮ رادﯾﻮ و ﺗﻠﻮﯾﺰﯾﻮن ﻓﮏ و‬ ‫ﻓﺎﻣﯿﻠﻢ ﻧﺒﻮد اﻣﺎ ﻫﻤﯿﺸﻪ ﯾﮏ ﺟﻮراﯾﯽ ﻏﺮﯾﺰی‬ ‫اﺣﺴﺎس ﻣﯽﮐﺮدم ﮐﻪ اون ﮐﻼس ﺧﻮدش‬ ‫رو داﺷﺖ‪ .‬اﺑﯽ ﺷﺒﯿﻪ اون آدﻣﺎﯾﯽ ﺑﻮد ﮐﻪ ﻫﻤﯿﺸﻪ ﺗﻮ ﭼﻠﻮﮐﺒﺎﺑﯽ ﻣﯽدﯾﺪم‪ .‬ﻇﺎﻫﺮا‬ ‫ﺑﯿﺸﱰ وﻗﺘﺎ اﻟﮑﻠﯽ ﻫﺴنت‪ ٬‬و ﺗﻮ ذﻫﻦ ﮐﻮﭼﻮﻟﻮی ﻣﻦ ﻣﻌﺘﺎد و آدم ﺑﺪه‪ .‬ﺗﻮ ﺑﯿﺴﺖ‬ ‫ﺳﺎﻟﮕﯽم ﺗﺎزه ﺗﻮﻧﺴﺘﻢ ﺑﻔﻬﻤﻢ ﮐﻪ اون ﻣﻈﻬﺮ »راک اﻧﺪ روﻟﻪ‪ «.‬از اوﻧﺠﺎﯾﯽ ﻫﻢ ﮐﻪ‬ ‫ﭘﺪرم از دارﯾﻮش ﺧﻮﺷﺶ منﯽوﻣﺪ و اﻻن ﻫﻢ منﯽآد‪ ٬‬اون رو ﻫﻢ از ﻟﯿﺴﺘﻢ ﺣﺬف‬ ‫ﮐﺮدم‪ .‬ﻣﻮﺳﯿﻘﯽ ﺳﻨﺘﯽ ﻫﻢ ﺑﻪ ﻧﻈﺮم ﯾﮏ ﺟﻮر ﻣﺎﻟﯿﺨﻮﻟﯿﺎ از ﯾﮏ دﻧﯿﺎی دﯾﮕﻪ ﺑﻮد‪٬‬‬ ‫ﻓﻘﻂ ﮔﻮﮔﻮش ﺑﺎﻗﯽ ﻣﻮﻧﺪه ﺑﻮد ﮐﻪ ﺑﺎ ﻣﻮﺳﯿﻘﯽ اﯾﺮاﻧﯽ آﺷﻨﺎ ﺑﺸﻢ‪ .‬ﻫﻤﻪ دوﺳﺘﺶ‬ ‫داﺷﺘﻨﺪ و ﺑﻪ ﻋﻨﻮان ﯾﻪ ﺑﭽﻪ ﺑﺮام ﭼﯿﺰی ﺷﺒﯿﻪ ﻣﺎدر ﺷﺪ‪ .‬زﻧﯽ ﺷﺎﯾﺴﺘﻪ اﺣﱰام ﮔﺬاﺷنت‬ ‫و اﻟﮕﻮ ﻗﺮار دادن‪ .‬ﻫﺮﭼﻨﺪ ﺗﻮ دوران ﻧﻮﺟﻮاﻧﯽ ﺧﯿﻠﯽ از آﻫﻨﮕﺎﺷﻮ ﻧﺸﻨﯿﺪه ﺑﻮدم و‬ ‫منﯽﺗﻮﻧﺴﺘﻢ ﻣﺜﻞ ﺧﯿﻠﯽ از دوﺳﺘﺎی اﯾﺮاﻧﯿﻢ آﻫﻨﮕﺎﺷﻮ ﺑﺎ متﺎم وﺟﻮدم زﻣﺰﻣﻪ ﮐﻨﻢ اﻣﺎ‬ ‫ﺑﺎزﻫﻢ دوﺳﺶ داﺷﺘﻢ‪ ٬‬اﻟﺒﺘﻪ ﯾﻪ ﺟﻮر ﻣﺘﻔﺎوتﺗﺮی ﻧﺴﺒﺖ ﺑﻪ دوﺳﺖ داﺷنت »اﺳﺘﻮﻧﺰ‪«.‬‬ ‫ﮔﻮﮔﻮش ﺑﺮای ﯾﻪ ﺑﭽﻪ ﻧﻮﺟﻮون ﻣﺜﻞ ﻣﻦ ﯾﺎدآور وﻃﻦ ﻣﺮﻣﻮزم ﺑﻮد‪ .‬اون روزﻫﺎی‬ ‫ﻃﻼﯾﯽ دوران ﭘﻬﻠﻮی ﮐﻪ ﻣﺎدرﺑﺰرگ و ﭘﺪرﺑﺰرگﻫﺎ و ﭘﺪر ﻣﺎدرم اﻏﻠﺐ ﺑﺎ ﭼﺸامی‬ ‫اﺷﮏ آﻟﻮد درﺑﺎره اون و زﯾﺒﺎﯾﯽ زﺑﺎن و ﻓﺮﻫﻨﮓ ﻓﺎرﺳﯽ ﺣﺮف ﻣﯽزﻧﻦ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل‬ ‫ﺳﺎل اومل ﺗﻮ داﻧﺸﮕﺎه ﻋﺎﺷﻖ ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯿﻢ ﺷﺪم و ﺳﻌﯽ ﮐﺮدم از ﯾﮑﻨﻮاﺧﺘﯽ و‬ ‫ﮐﺴﻠﯽ ﮐﻼﺳﺎی ﺗﺠﺎرت ﻓﺮار ﮐﻨﻢ‪ .‬دوﺑﺎره ﮔﻮﮔﻮش رو ﭘﯿﺪا ﮐﺮدم‪ .‬ﺑﻪ ﻋﻨﻮان ﺑﺨﺸﯽ از‬

‫ﯾﻪ ﺑﺎر ﯾﻪ دوﺳﺖ ﯾﻤﻨﯽ ﮐﻪ داﺷﺖ ﻏﺮوب‬ ‫ﺷﻨﺒﻪای ﺗﻮ ﻧﯿﻮﯾﻮرک رو ﺗﻌﺮﯾﻒ ﻣﯽﮐﺮد ﺑﻬﻢ‬ ‫ﮔﻔﺖ »ﴍاب ﺑﻮد و اﺷﮏ ﺑﻮد و ﺻﺪای ﮔﻮﮔﻮش‪ «.‬ﺑﺎ ﺧﻮدم ﻓﮑﺮ ﮐﺮدم ﯾﻪ ﯾﻤﻨﯽ‬ ‫ﺑﯿﺴﺖ ﺳﺎﻟﻪ ﯾﺎ ﻫﻤﭽﯿﻦ ﭼﯿﺰی ﭼﻪ ارﺗﺒﺎﻃﯽ ﻣﯽﺗﻮﻧﻪ ﺑﺎ ﮔﻮﮔﻮش داﺷﺘﻪ ﺑﺎﺷﻪ؟ ﭼﻪ‬ ‫ﻃﻮر منﺎد ﻧﺴﻞ ﭘﺪر و ﻣﺎدرم ﻫﻨﻮز ﻫﻢ ﻣﯽﺗﻮﻧﻪ اﯾﺮاﻧﯽ و ﻏﯿﺮ اﯾﺮاﻧﯽ‪ ٬‬ﭘﯿﺮ و ﺟﻮون‬ ‫رو ﺗﺤﺖ ﺗﺎﺛﯿﺮ ﻗﺮار ﺑﺪه؟ راﻣﺶ ﺷﺎﯾﺪ ﻣﺪرنﺗﺮ ﺑﻮد و ﻫﺎﯾﺪه ﻋﻤﻼ ﻣﺎﻫﺮﺗﺮ‪ .‬اﻣﺎ اﯾﻦ‬ ‫ﮔﻮﮔﻮش ﺧﺎﻧﻮﻣﻪ ﮐﻪ ﺑﺮای دﻫﻪﻫﺎ ﺷﺪه ﺗﺎج ﴎ ﻓﺮﻫﻨﮓ و ﻣﻮﺳﯿﻘﯽ ﭘﺎپ اﯾﺮاﻧﯽ‪ ،‬ﺣﺘﺎ‬ ‫ﺗﻮ ﺳﺎلﻫﺎی ﺗﺒﻌﯿﺪ و اﺑﻬﺎم ﺑﻌﺪ اﻧﻘﻼب‪ .‬ﺻﺪاش ﺻﺪای ﻧﺴﻞ آوارهﺳﺖ‪ ٬‬ﻧﺴﻞ آﺷﻔﺘﻪ‪٬‬‬ ‫ﺑﯽﭘﺮوا‪ ٬‬ﻧﺴﻞ دوره ﺧﻮﺷﯽ ﮐﻪ ﺑﻪ ﻫﻤﻮن ﴎﻋﺘﯽ ﮐﻪ ﺑﻪ وﺟﻮد اوﻣﺪ‪ ،‬ﺳﻮﺧﺖ‪ .‬ﺻﺪاﯾﯽ‬ ‫ﮐﻪ ﻫﻨﻮزم ﺑﻌﺪ دﻫﻪﻫﺎی ﺗﺎرﯾﮏ و دردﻧﺎک‪ ،‬ﭘﺮﺷﻮر و ﺑﯽﺑﺎﮐﻪ و ﻧﻮر اﻣﯿﺪی ﺑﻪ آﯾﻨﺪه‬ ‫و ﯾﺎدآور زﯾﺒﺎﯾﯽ و ﺷﮑﻮه ﭘﻨﻬﺎن‪.‬‬ ‫ﮐﻮروش ﭘﺪره و ﮔﻮﮔﻮش دﺧﱰ‪ ٬‬اﮔﺮ ﻗﺮار ﺑﻮد دﺧﱰی ﺑﺎﺷﻪ‪.‬‬ ‫ﮐﯿﺖ رﯾﭽﺎردز درﺑﺎره ﻋﻤﺮ ﮔﺮوﻫﺶ ﯾﮏ ﺑﺎر ﮔﻔﺖ‪» :‬ﻫﻮا ﻫﺴﺖ ﮐﻪ ﻧﻔﺲ ﺑﮑﺸﯽ‪٬‬‬ ‫آب ﮐﻪ ﺑﻨﻮﺷﯽ‪ ٬‬ﻏﺬا ﮐﻪ ﺑﺨﻮری‪ ٬‬و روﻟﯿﻨﮓ اﺳﺘﻮﻧﺰ‪ «.‬ﻣﻦ اﺿﺎﻓﻪ ﻣﯽ ﮐﻨﻢ »و‬ ‫ﮔﻮﮔﻮش‪ «.‬ﺑﺎ اﯾﻦ ﺣﺎل‪ ٬‬ﺑﺎ متﺎم ﺷﻬﺮت و آوازهش‪ ٬‬ﺻﺪاش ﻫﯿﭽﮑﺪوم از ﺣﺮفﻫﺎی‬ ‫ﭘﺮآب و ﺗﺎﺑﯽ ﮐﻪ ﮔﻔﺘﻢ رو ﺑﻪ ذﻫﻨﻢ منﯽآره ﻏﯿﺮ از اون ﺑﺎﻧﻮی زﯾﺒﺎی ﻣﻮ ﮐﻮﺗﺎه ﺗﻮ اون‬ ‫ﻣﺎﺷﯿﻦ ﺧﻨﺪه دار روزای ﻣﻌﺼﻮﻣﯿﺖ و ﺳﺎدهﮔﯽ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-11 7:34 PM‬‬

‫‪155-156-Music-Googoosh-edited.indd 155‬‬

‫‪MUSIC‬‬

‫‪156‬‬

‫‪Googoosh by Afsoon‬‬

‫ﻗﺸﻨﮓ ﯾﺎدم ﻣﯽآد‪ ٬‬ﺑﻮی ﻓﺴﻨﺠﻮن داغ از ﺗﻮ آﺷﭙﺰﺧﺎﻧﻪ ﻣﯽوﻣﺪ و ﻣﻦ زل زده ﺑﻮدم‬ ‫ﺑﻪ ﮔﻼی ﻗﺎﻟﯽ اﯾﺮاﻧﯽ زﯾﺮ ﭘﺎم و ﺷﮑﻞﻫﺎی آﺷﻨﺎش رو ﺑﺎ اﻧﮕﺸﺘﻢ ﻣﯽﮐﺸﯿﺪم و ﭼﺎی‬ ‫داغ و ﺗﻠﺨﯽ ﮐﻪ راﻫﺸﻮ از ﮔﻠﻮی ﮐﻮﭼﻮﻟﻮی ﻣﻦ دﻧﺒﺎل ﻣﯽﮐﺮد ﻫﻮرت ﻣﯽﮐﺸﯿﺪم‪.‬‬ ‫ﭘﺲ اﯾﻦ ﺣﺎل ﻣﻦ‪ ،‬ﭘﺪر ﻣﺎدرم و ﻓﮏ و ﻓﺎﻣﯿﻞ داﺷﺘﻨﺪ ﺣﺮفﻫﺎی ﻋﺠﯿﺐ ﻏﺮﯾﺒﯽ‬ ‫از ﺳﯿﺎﺳﺖ‪ ٬‬ﮐﺎر و اوﺿﺎع ﴎزﻣﯿﻦ ﻣﺎدری ﻣﯽزدﻧﺪ‪ .‬اﺻﻠﻦ ذرهای ﺑﺮام ﻣﻬﻢ ﻧﺒﻮد‪٬‬‬ ‫ﺗﻮی ﺧﻮﻧﻪ ﺑﻮدن و ﺑﻪ ﺟﺎی زل زدن ﺑﻪ اﺑﺮﻫﺎ‪ ٬‬دﯾﺪن آن ﺷﺨﺼﯿﺖﻫﺎی ﮐﻮﭼﻮﻟﻮ و‬ ‫ﺷﮑﻠﮏﻫﺎی ﺟﻠﻮ روم ﮐﻪ اﻧﮕﺎر ﺷﺨﺼﯿﺖﻫﺎی ﯾﮏ رﻣﺎن ﻓﺎﻧﺘﺰی ﺑﻮدﻧﺪ ﺑﻪ ﻣﺮاﺗﺐ‬ ‫ﺑﺮام ﺟﺎﻟﺒﱰ ﺑﻮد‪ .‬ﺑﻌﺪش ﻫﻢ ﻧﺼﻒ ﺣﺮفﻫﺎﯾﯽ رو ﮐﻪ ﻣﯽزدﻧﺪ منﯽﻓﻬﻤﯿﺪم‪ .‬ﻣﻦ ﯾﻪ‬ ‫»ﺑﭽﻪ« ﮐﻮﭼﻮﻟﻮی »ﺑﯿﺴﻮاد« ﺑﻮدم ﮐﻪ آراﻣﺶ رو ﺗﻮ روﯾﺎﻫﺎش ﭘﯿﺪا ﮐﺮده ﺑﻮد و از‬ ‫اﯾﻦ ﮐﻪ ﻓﺮدا ﺗﻮ ﻣﺪرﺳﻪ ﭼﯽ ﭘﯿﺶ ﻣﯽوﻣﺪ وﺣﺸﺖ داﺷﺖ‪ .‬ﻫﻤﻮﻧﻄﻮر ﮐﻪ داﺷﺘﻢ‬ ‫ﺗﻮی ﭘﯿﭻ و ﺧﻢﻫﺎی روی زﻣﯿﻦ ﮔﻢ ﻣﯽﺷﺪم رﻧﮕﯿﻦ ﮐامﻧﯽ ﮐﻪ ﺗﻮﺟﻪ ﻫﻤﻪ رو ﺟﻠﺐ‬ ‫ﻣﯽﮐﺮد ﺗﻮ ﺻﻔﺤﻪ ﺗﻠﻮﯾﺰﯾﻮن ﻇﺎﻫﺮ ﺷﺪ‪ .‬ﺻﺪای آواز ﻣﯽوﻣﺪ و ﺗﺼﻮﯾﺮ ﻣﺒﻬﻢ‪ ٬‬اﻧﮕﺎر‬ ‫ﺑﺮﻧﺎﻣﻪ ﮐﻮدک ﻋﴫﮔﺎﻫﯽ ﺑﻮد‪ .‬ﻫﻨﻮز ﻫﻢ اوﻧﻦ ﻟﺤﻈﻪ ﺗﻮی ذﻫﻨﻢ ﻣﻮﻧﺪه ﮐﻪ ﻫﻤﯿﺸﻪ‬ ‫ﺑﺮام ﺗﺪاﻋﯽ ﮐﻨﻨﺪه اون زن ﺑﺎ ﻣﻮﻫﺎی ﮐﻮﺗﺎﻫﻪ ﮐﻪ داﺷﺖ ﯾﮏ ﻣﺎﺷﯿﻦ ﺳﺒﺰ و ﻗﺮﻣﺰ رو‬ ‫ﻣﯽروﻧﺪ‪ .‬ﻫﻤﻮﻧﻄﻮر ﮐﻪ ﭼﺸامم ﺧﯿﺮه ﺑﻪ ﺗﻠﻮﯾﺰﯾﻮن ﺑﻮد‪ ٬‬ﭘﺸﺖ ﴎم ﺻﺪای ﻣﺎدرم رو‬ ‫ﺷﻨﯿﺪم ﮐﻪ داد زد »اااا‪ ٬‬ﮔﻮﮔﻮﺷﻪ‪ «...‬منﯽدوﻧﺴﺘﻢ اون زن ﺗﻮ اون ﻣﺎﺷﯿﻦ ﮐﻮﭼﻮﻟﻮی‬ ‫ﺧﻨﺪهدار ﮐﯽ ﺑﻮد اﻣﺎ ﺣﺲ ﮐﺮدم ﻣﯽﺷﻨﺎﺳﻤﺶ‪ ٬‬ﮐﻤﯽ ﺷﺒﯿﻪ ﻣﻌﻠﻢ ﻓﺎرﺳﯽم ﺑﻮد‪ .‬ﻓﮑﺮ‬ ‫ﮐﺮدم و ﺧﯿﺎل ﮐﺮدم ﮐﻪ ﻣﯽﺗﻮﻧﺴﺖ ﯾﮑﯽ از ﻫﺰار ﺗﺎ دﺧﱰﺧﺎﻟﻪ و دﺧﱰﻋﻤﻮﯾﯽ ﺑﺎﺷﻪ‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-11 7:34 PM‬‬

‫‪155-156-Music-Googoosh-edited.indd 156‬‬

‫‪MUSIC‬‬

‫‪157‬‬

‫راه دﯾﮕــﺮی در ﻣﻘﺎﺑــﻞ ﺟــﱪ ﺗﺎرﯾــﺦ ﻓﺮﻫﻨﮕــﯽ ﺑﺮﮔﺰﯾــﺪ‪ .‬او‬ ‫در ﺧــﻼل ﺟﻨــﮓ ﺟﻬﺎﻧــﯽ ﺗﻨﻬــﺎ ‪ ۱۹‬ﺳــﺎل داﺷــﺖ و ﺑــﺎ ﺗــﺮک‬ ‫داﻧﺸــﮕﺎه ﭘﺰﺷــﮑﯽ در اواﯾــﻞ دﻫــﻪ ﭘﻨﺠــﺎه ﻣﯿــﻼدی ﺑــﻪ‬ ‫ﻣﺪرﺳــﻪ ﻋﺎﻟــﯽ ﻣﻮﺳــﯿﻘﯽ ﭼﯿــﻦ رﻓــﺖ و ﺑﻌﺪﻫــﺎ ﺑـﺮای اداﻣــﻪ‬ ‫ﺗﺤﺼﯿــﻼت در ﮐﻨﴪواﺗــﻮار ﭼﺎﯾﮑﻮﻓﺴــﮑﯽ ﺑــﻪ ﻣﺴــﮑﻮ ﺳــﻔﺮ‬ ‫ﮐــﺮد‪ .‬او ﺑــﺎ رﻫــﱪی اﺟـﺮای ﺑﺎﺷــﮑﻮه ارﮐﺴــﱰ در ﺳــﺎﻟﻦ ﺗﺌﺎﺗــﺮ‬ ‫ﮐﺮﻣﻠﯿــﻦ ﯾﮑــﯽ از اﺳــﻄﻮرهﻫﺎی ﻣﻮﺳــﯿﻘﯽ ﴎزﻣﯿﻨــﺶ ﺷــﺪ‬ ‫اﻣــﺎ دﯾــﺮی ﻧﭙﺎﯾﯿــﺪ ﮐــﻪ ﺑــﺎ اﻧﻘــﻼب ﻓﺮﻫﻨﮕــﯽ و ﻣﻤﻨﻮﻋﯿــﺖ‬ ‫آﻣــﻮزش ﻣﻮﺳــﯿﻘﯽ ﮐﻼﺳــﯿﮏ در ﮐﺸــﻮرش روﺑــﺮو ﺷــﺪ‪ .‬ﺑــﺎ‬ ‫ﻫﻤــﻪ اﯾﻦﻫــﺎ ﻫﻨــﻮز ﮔﻮﯾــﯽ متﺎﺷــﺎی ﯾــﮏ زن ﺑــﺮ روی ﺳــﮑﻮی‬ ‫رﻫــﱪی ارﮐﺴــﱰ ﻫﻤﭽﻨــﺎن ﻣﻨﻈــﺮهای ﻏﺮﯾــﺐ ﺑﺎﺷــﺪ و ﻧﺸــﺎن از‬ ‫آن دارد ﮐــﻪ ﺳــﺎﯾﻪ ﺳــﻨﮕﯿﻦ ﺗﺤﻤﯿــﻞ ﴐورتﻫــﺎ و ﺳــﻨﺖﻫﺎی‬ ‫ﻓﺮﻫﻨﮕــﯽ ‪-‬ﻋﻤﻮﻣــﺎ ﻣﺮدﺳــﺎﻻراﻧﻪ‪ -‬از آﺳــامن ﻓﻌﺎﻟﯿــﺖ ﺣﺮﻓــﻪای‬ ‫ﻣﻮﺳــﯿﻘﯽ زﻧــﺎن رﺧــﺖ ﺑــﺮ ﻧﺒﺴــﺘﻪ‪ .‬ﻋﺴــﻞ ﻣﻠــﮏزاده ﻧﻮازﻧــﺪه‬ ‫دف و ﺳــﺎزﻫﺎی ﮐﻮﺑﻪایﺳــﺖ ﮐــﻪ ﺑــﺎ داﯾــﺮه آذری‪ ،‬دراﻣــﺰ‪،‬‬ ‫ﮐﻮﻧــﮕﺎ‪ ،‬ﻋــﻮد و ﺗﻨﺒــﻮر ﻧﯿــﺰ آﺷــﻨﺎﯾﯽ دارد‪ .‬او در دورهﻫــﺎی‬ ‫ﻣﺨﺘﻠــﻒ ﺗﺠﺮﺑــﻪ ﻫﻤــﮑﺎری ﺑــﺎ ارﮐﺴﱰﺳــﻤﻔﻮﻧﯿﮏ را داﺷــﺘﻪ و‬ ‫در ﮐﻨــﺎر ﺟﻮاﯾــﺰ ﻣﺘﻌــﺪد داﺧﻠــﯽ‪ ،‬از ﻓﻌــﺎﻻن ﻣﻮﺳــﯿﻘﯽ اﯾـﺮان‬ ‫در ﻋﺮﺻﻪﻫــﺎی ﺑﯿﻦاﳌﻠﻠﯽﺳــﺖ‪ .‬ﻣﻠــﮏزاده در ﮔــﺮوه ﺑﺎﻧــﻮان‬ ‫»ﺷــﯿﺪا«‪ ،‬اﺳــﺘﺎد ﻣﺤﻤﺪرﺿــﺎ ﻟﻄﻔــﯽ را ﻫﻤﺮاﻫــﯽ ﮐــﺮده و در‬ ‫ﺣــﺎل ﺣــﺎﴐ ﻧﯿــﺰ ﴎﭘﺮﺳــﺘﯽ ﮔــﺮوه »ﻫﻠﻬﻠــﻪ دفﻫــﺎ« را ﺑــﻪ‬ ‫ﻋﻬــﺪه دارد‪ .‬در ﺧــﻼل اﺟﺮاﻫــﺎی ﺧــﻮب ﻋﺴــﻞ ﻣﻠــﮏزاده در‬ ‫اروﭘــﺎ‪ ،‬ﮔﻔــﺖ و ﮔــﻮی ﮐﻮﺗﺎﻫــﯽ ﺑــﺎ او داﺷــﺘﯿﻢ و از ﻋﺸــﻖ و‬ ‫اﺣﺴﺎﺳــﺶ ﺑــﻪ ﻣﻮﺳــﯿﻘﯽ ﭘﺮﺳــﯿﺪم‪:‬‬

‫~ ‪~ music‬‬

‫;‪raghs‬‬

‫‪shanbehzade‬‬

‫‪ensemble‬‬ ‫‪WHEN:‬‬

‫‪Friday, 21 August - 9:30pm‬‬ ‫‪Saturday, 22 August - 9:30pm‬‬ ‫‪LOCATION:‬‬ ‫‪Westjet Stage,‬‬ ‫‪Harbourfront Centre‬‬

‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﴍاﯾﻂ ﻣﻮﺟﻮد ﺑﺮای ﻓﻌﺎﻟﯿﺖ زﻧﺎن در اﯾﺮان‪،‬‬ ‫اﻧﮕﯿﺰه ﺷام ﺑﺮای ﻧﻮازﻧﺪﮔﯽ از ﮐﺠﺎ ﴎﭼﺸﻤﻪ ﻣﯽﮔﯿﺮد؟‬ ‫ﺑﻪ ﻧﻈﺮم در ﻣﻮﺳﯿﻘﯽ ﻧﻪ ﺟﻨﺴﯿﺖ ﻣﻬﻢ اﺳﺖ و‬ ‫ﻧﻪ ﻣﻠﯿﺖ‪ .‬ﻣﻮﺳﯿﻘﯽ ﯾﮏ زﺑﺎن ﺑﯿﻦاﳌﻠﻠﯽﺳﺖ ﮐﻪ‬ ‫در ﺟﺎن و ﻗﻠﺐ ﻫﺮ اﻧﺴﺎﻧﯽ اﺛﺮ ﻣﯽﮔﺬارد‪ .‬اﯾﻦ ﮐﻪ‬ ‫ﻧﻮازﻧﺪه زن ﺑﺎﺷﯽ ﯾﺎ ﻣﺮد ﻫﯿﭻ ﺗﻔﺎوﺗﯽ ﻧﺪارد‪ ،‬ﻣﻬﻢ‬ ‫اﯾﻦ اﺳﺖ ﮐﻪ ﻋﺸﻖ دروﻧﯿﺖ را ﺑﺎ ﻣﻮﺳﯿﻘﯽ و ﺳﺎز‬ ‫زدن ﺑﻪ ﻗﻠﺐ دﯾﮕﺮی ﻣﻨﻌﮑﺲ ﮐﻨﯽ‪ .‬ﭼﻪ زن و ﭼﻪ‬ ‫ﻣﺮد در ﻫﺮﮐﺠﺎی دﻧﯿﺎ‪ .‬ﻗﻄﻌﺎ ﮐﺎر ﮐﺮدن در ﻫﺮ ﺟﺎﯾﯽ‬ ‫و ﻫﺮ ﻣﻮﻗﻌﯿﺘﯽ دﺷﻮاری ﻫﺎی ﺧﺎص ﺧﻮدش را دارد‬ ‫اﻣﺎ اﮔﺮ ﻋﺎﺷﻖ ﮐﺎرت ﺑﺎﺷﯽ ﺗﺤﺖ ﻫﺮ ﴍاﯾﻄﯽ ﮐﺎر‬ ‫ﻣﯽﮐﻨﯽ و از ﻋﻼﻗﻪات دﺳﺖ ﺑﺮمنﯽداری‪ .‬ﻣﻦ ﻋﺎﺷﻖ‬ ‫ﺳﺎزم ﻫﺴﺘﻢ و دوﺳﺖ دارم ﮐﻪ دﯾﮕﺮان را ﻫﻢ ﺑﻪ‬ ‫ﻣﻮﺳﯿﻘﯽ و اﯾﻦ ﺳﺎز ﻋﻼﻗﻪﻣﻨﺪ ﮐﻨﻢ‪.‬‬ ‫در ﺳــﺎلﻫﺎی اﺧﯿﺮ ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳــﺪ زﻧﺎن ﻧﻮازﻧﺪه‬ ‫ﭘﺸــﺖ ﭼﺮاغ ﻗﺮﻣﺰ اﯾﺴﺘﺎدهاﻧﺪ‪ ،‬ﭼﻪ زﻣﺎﻧﯽ ﻗﺮار‬ ‫اﺳــﺖ اﯾﻦ ﭼﺮاغ ﺳﺒﺰ ﺷﻮد؟‬ ‫در ﺳﺎل ﮔﺬﺷﺘﻪ ﻣﻦ ﺧﻮدم را ﺑﺮای اﺟﺮای ﮐﻨﴪت‬ ‫در ﭼﻨﺪﯾﻦ ﺷﻬﺮﺳﺘﺎن آﻣﺎده ﮐﺮده ﺑﻮدم و ﻣﺘﺎﺳﻔﺎﻧﻪ‬ ‫ﻓﻘﻂ دو روز ﺑﻪ اﺟﺮای ﮐﻨﴪت ﻣﺎﻧﺪه ﺑﻮد ﮐﻪ‬ ‫ﺑﻪ ﻋﻠﺖ ﺣﻀﻮر ﻣﻦ‪ ،‬ﮐﻨﴪت ﻣﺠﻮز ﻧﮕﺮﻓﺖ‪ .‬از‬ ‫دﯾﺪﮔﺎه ﻣﻦ اﯾﻦ دﺷﻮاریﻫﺎ ﻓﻘﻂ ﻣﺮﺑﻮط ﺑﻪ دوﻟﺖ‬ ‫و ﻣﺴﻮوﻻن ﻧﯿﺴﺖ و در ﻓﺮﻫﻨﮓ ﻣﺮد ﺳﺎﻻر و‬ ‫ﻧﺎﺑﺮاﺑﺮ ﺧﻮدﻣﺎن ﻫﻢ رﯾﺸﻪ دارد و ﺑﺮای روﺷﻦ ﺷﺪن‬

‫ِ‬ ‫ﺿﻌﻒ ﻓﺮﻫﻨﮕﯽ را ﺑﺎﯾﺪ‬ ‫ﭼﺮاغ ﺳﺒﺰ ﺑﺮای ﺑﺎﻧﻮان اﯾﻦ‬ ‫ﺑﺮﻃﺮف ﮐﻨﯿﻢ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ ﺣﻀﻮر ﻧﻮازﻧﺪهﻫﺎی ﺧﺎﻧﻢ‬ ‫در ﺷﻬﺮﺳﺘﺎنﻫﺎ روز ﺑﻪ روز ﮐﻢرﻧﮓﺗﺮ ﻣﯽﺷﻮد و‬ ‫ﺑﺪون ﻫﯿﭻ ﻗﺎﻧﻮن ﻧﻮﺷﺘﻪ ﺷﺪهای‪ ،‬اﺟﺎزه ﺣﻀﻮر‬ ‫روی ﺳﻦ را ﻧﺪارﻧﺪ و ﻓﻘﻂ ﻧﻈﺎرهﮔﺮ ﮐﻨﴪتﻫﺎ‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﻣﺘﺎﺳﻔﺎﻧﻪ در ﺷﻬﺮﺳﺘﺎنﻫﺎ ﮔﺮوهﻫﺎی‬ ‫ﻣﻮﺳﯿﻘﯽ زﻣﺎﻧﯽ ﻣﯽﺗﻮاﻧﻨﺪ ﻣﺠﻮز ﺑﺮﮔﺰاری ﮐﻨﴪت‬ ‫را ﺑﮕﯿﺮﻧﺪ ﮐﻪ ﻫﯿﭻ ﻧﻮازﻧﺪه ﺧﺎﻧﻢ ﯾﺎ ﻫﻢﺧﻮان زن‬ ‫در ﮔﺮوه ﺣﻀﻮر ﻧﺪاﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺧﻮﺷﺒﺨﺘﺎﻧﻪ اﯾﻦ‬ ‫ﻣﺴﺎﻟﻪ از دﯾﺪﮔﺎه ﭼﻬﺮهﻫﺎی ﺑﺰرگ ﻣﻮﺳﯿﻘﯽ ﻣﺎ ﺑﻪ‬ ‫دور منﺎﻧﺪه و اﻋﱰاضﻫﺎﯾﺸﺎن را ﺑﻪ ﺻﻮرت ﻓﺮدی‬ ‫اﺑﺮاز ﮐﺮدﻧﺪ‪ :‬ﮐﻪ در ﻣﻮﺳﯿﻘﯽ ﺟﻨﺴﯿﺖ ﻣﻬﻢ ﻧﯿﺴﺖ‬ ‫و ﻣﺎ منﯽﺗﻮاﻧﯿﻢ اﯾﻦ ﻫﻤﻪ ﺗﻮاﻧﺎﯾﯽﻫﺎی ﺑﺎﻧﻮان را در‬ ‫ﻋﺮﺻﻪ ﻣﻮﺳﯿﻘﯽ ﻧﺎدﯾﺪه ﺑﮕﯿﺮﯾﻢ‪ ،‬ﭼﮕﻮﻧﻪ ﻣﯽﺗﻮان‬ ‫آنﻫﺎ را از ﻣﻮﺳﯿﻘﯽ ﺣﺬف ﮐﻨﯿﻢ؟ ﺑﺎ اﯾﻦ ﮐﺎر اﻧﮕﺎر‬ ‫ﺑﺨﺸﯽ از ﻋﻨﴫ ﺧﻼﻗﻪ ﺑﺎﻧﻮان را ﻧﺎدﯾﺪه ﮔﺮﻓﺘﯿﻢ‪.‬‬ ‫ﯾﮏ ﻧﻮازﻧﺪه ﺑﺎ ﻣﻮﺳﯿﻘﯽ زﻧﺪﮔﯽ ﻣﯽﮐﻨﺪ و از اﯾﻦ‬ ‫راه اﻣﺮار ﻣﻌﺎش ﻣﯿﮑﻨﺪ‪ .‬در اﯾﻦ ﴍاﯾﻂ ﻫﻢ ﻣﺴﺎﻟﻪ‬ ‫اﻗﺘﺼﺎدی ﻣﻄﺮح اﺳﺖ و ﻫﻢ ﻣﺴﺎﻟﻪ ﻣﻌﻨﻮی‪.‬‬

‫ﻣﻮﺿﻮع ﻓﻘﻂ ﯾﮏ ﺗﻌﺼﺐ اﺳﺖ و ﻏﯿﺮ از اﯾﻦ ﭼﯿﺰ‬ ‫دﯾﮕﺮی ﻧﺪﯾﺪم‪ ،‬ﭼﺮاﮐﻪ ﻫﺮ آدﻣﯽ در ﻗﺎﻟﺐ ﺧﻮد در‬ ‫ﻫﺮ ﺟﺎﯾﯽ اﻋﻢ از ﻓﺎرس‪ ،‬ﮐﺮد‪ ،‬ﻋﺮب و‪ ....‬ﺗﻮاﻧﺎﯾﯽ‬ ‫ﻫﺎﯾﯽ دارد‪.‬‬

‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺣﻀﻮر در ﺟﺸﻨﻮارهﻫﺎی ﺑﯿﻦاﳌﻠﻠﯽ‬ ‫و ﻫﻤﮑﺎری ﺑﺎ ﻫرنﻣﻨﺪان ﮐﺸﻮر ﻫﺎی دﯾﮕﺮ‪،‬‬ ‫ﻇﺮﻓﯿﺖﻫﺎ و ﭼﺸﻢ اﻧﺪاز ﺣﻀﻮر و درﺧﺸﺶ زﻧﺎن‬ ‫اﯾﺮان در ﻋﺮﺻﻪ ﺑﯿﻦاﳌﻠﻠﯽ را ﭼﮕﻮﻧﻪ ﻣﯽﺑﯿﻨﯿﺪ؟‬ ‫ﻣﻮﺳﯿﻘﯽ ﯾﮏ زﺑﺎن ﻣﺸﱰک ﺟﻬﺎﻧﯽﺳﺖ و ﻣﺎ در ﻫﺮ‬ ‫ﮐﺸﻮری ﮐﻪ ﺑﺎﺷﯿﻢ ﻣﯽﺗﻮاﻧﯿﻢ ﺑﺎ ﺳﺎزﻫﺎﯾامن ﺑﺎﻫﻢ‬ ‫ﺻﺤﺒﺖ ﮐﻨﯿﻢ و ﻗﻄﻌﺎ ﻣﻮﺳﯿﻘﯽ و ﺳﺎز ﻫﺮ ﮐﺸﻮری‬ ‫ﻧﺸﺎندﻫﻨﺪه ﻓﺮﻫﻨﮓ و متﺪن آن ﮐﺸﻮر اﺳﺖ‪.‬‬ ‫ﺧﺎﻧﻢﻫﺎی ﻣﻮزﯾﺴﯿﻦ اﯾﺮاﻧﯽ ﺑﺴﯿﺎری در ﴎاﴎ‬ ‫دﻧﯿﺎ ﻫﺴﺘﻨﺪ ﮐﻪ ﺧﻮش درﺧﺸﯿﺪﻧﺪ و ﻣﺎﯾﻪ اﻓﺘﺨﺎر‬ ‫اﯾﺮاﻧﯿﺎن ﻫﺴﺘﻨﺪ‪ .‬در اﯾﻦ ﻣﻮرد ﻣﯽﺗﻮاﻧﻢ ﺑﻪ ﮔﺮوه‬ ‫»آوای ﻣﻬﺮﺑﺎﻧﯽ« اﺷﺎره ﮐﻨﻢ ﮐﻪ در ﺳﺎل ‪۲۰۱۲‬‬ ‫در ﺟﺸﻨﻮاره »ﴍق‪ ،‬ﺗﺮاﻧﻪ‪ ،‬ﻟَﺮی« در ازﺑﮑﺴﺘﺎن‬ ‫ﺑﯿﻦ ‪ ۶۴‬ﮐﺸﻮر دﻧﯿﺎ ﻣﻘﺎم دوم را ﮐﺴﺐ ﮐﺮدﯾﻢ ﮐﻪ‬ ‫ﻫﻤﻪ اﻋﻀﺎی اﯾﻦ ﮔﺮوه از ﺑﺎﻧﻮان ﺑﻮدﯾﻢ ‪ .‬ﻣﻦ ﺑﻪ‬ ‫ﮐﺸﻮرﻫﺎی زﯾﺎدی ﺳﻔﺮ ﮐﺮدم و ﺧﺎﻃﺮات ﺑﺴﯿﺎر‬ ‫ﺧﯿﻠﯽﻫﺎ ﺗﺼﻮر ﻣﯽﮐﻨﻨﺪ اﻧﺘﺨﺎب دف ﺑﺮای ﯾﮏ‬ ‫ﺷﯿﺮﯾﻨﯽ را ﺑﺎ ﻫﻢزﺑﺎنﻫﺎی ﺧﻮدم ﺗﺠﺮﺑﻪ ﮐﺮدم‪.‬‬ ‫ﻧﻮازﻧﺪه ﺣﺮﻓﻪای ﻧﯿﺎز ﺑﻪ ﭘﯿﺸﯿﻨﻪ ﻗﻮﻣﯽ و ﻣﻠﯿﺘﯽ‬ ‫ﺧﺎﺻﯽ دارد‪ ،‬ﯾﺎ ﻣﺨﺘﺺ ﺑﻪ آﻗﺎﯾﺎن اﺳﺖ‪ .‬ﭼﻪ ﺷﺪ ﮐﻪ ﻫﻤﯿﺸﻪ ﺑﻌﺪ از ﮐﻨﴪتﻫﺎ ﺟﻤﻠﻪ ﻣﺸﱰﮐﯽ از آنﻫﺎ‬ ‫دف را اﻧﺘﺨﺎب ﮐﺮدﯾﺪ و ﻧﻬﺎﯾﺘﺎ ﺑﻪ ﻓﮑﺮ ﺗﺸﮑﯿﻞ ﮔﺮوه ﻣﯽﺷﻨﻮﯾﻢ ﮐﻪ »ﺑﺎ ﺷﻨﯿﺪن ﺳﺎزﻫﺎی ﺷام اِﻧﮕﺎر ﺑﻪ‬ ‫اﯾﺮان ﺳﻔﺮ ﮐﺮدﯾﻢ‪«.‬‬ ‫»ﻫﻠﻬﻠﻪ دفﻫﺎ« اﻓﺘﺎدﯾﺪ؟‬ ‫ﻣﻮﺳﯿﻘﯽ ﯾﮏ ﻫرن ﺟﻬﺎﻧﯽﺳﺖ و ﺑﻪ ﻗﻮم و ﻣﻠﺖ‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﯾﻦ روﻧﺪ در آﯾﻨﺪه ﻧﺰدﯾﮏ ﻣﻨﺘﻈﺮ ﭼﻪ‬ ‫ﺧﺎﺻﯽ ﺗﻌﻠﻖ ﻧﺪارد‪ .‬ﻣﻦ ﻫﻢ دف را ﺑﺪون ﻫﯿﭻ‬ ‫ﭘﯿﺸﯿﻨﻪ ﻗﻮﻣﯽ و ﻣﻠﯿﺘﯽ اﻧﺘﺨﺎب ﮐﺮدم‪ .‬در ﻧﻮازﻧﺪﮔﯽ ﮐﺎرﻫﺎﯾﯽ از ﺷام ﻫﺴﺘﯿﻢ؟‬ ‫در ﺣﺎل ﺣﺎﴐ ﻣﺸﻐﻮل متﺮﯾﻦ ﺑﺮای ﮐﻨﴪت در‬ ‫ﭘﺮﮐﺎﺷﻦ و ﺳﺎزﻫﺎی ﮐﻮﺑﻪای ﻫﻢ ﺗﺴﻠﻂ دارم اﻣﺎ‬ ‫ﺳﺎز دف ﺑﻪ ﺧﺎﻃﺮ اﻓﮑﺖ و ﻃﻨﯿﻦ ﺑﯿﺸﱰی ﮐﻪ دارد ﺗﺎﻻر وﺣﺪت ﺗﻬﺮان ﺑﺎ ﮔﺮوه ﻫﻠﻬﻠﻪ دفﻫﺎ ﻫﺴﺘﻢ‬ ‫ﺑﻪ روح ﻣﻦ ﻧﺰدﯾﮏﺗﺮ اﺳﺖ‪ .‬ﻫامن ﻃﻮر ﮐﻪ اﺷﺎره و در ﻣﺎه اﮐﺘﱪ ‪ ۲۰۱۵‬در ﮐﺸﻮر ﺳﻮﺋﯿﺲ »ورک‬ ‫ﮐﺮدم ﻧﻮازﻧﺪﮔﯽ و ﻫرن ﻣﺴﺘﻘﯿام ﺑﻪ روح اﻧﺴﺎنﻫﺎ ﺷﺎپ و ﻣﺴﱰﮐﻼس« دارم و ﻫﻤﭽﻨﯿﻦ ﺗﻨﻬﺎ دﺧﱰی‬ ‫ﺑﺮ ﻣﯽﮔﺮدد و ﭼﻪ ﺑﺴﺎ »ﻧﻮازﻧﺪﮔﯽ ﺧﺎﻧﻢﻫﺎ ﻧﺴﺒﺖ ﻫﺴﺘﻢ ﮐﻪ در ﺟﺸﻨﻮاره »‪Drums & Percussion‬‬ ‫ﺑﻪ آﻗﺎﯾﺎن ﻟﻄﯿﻒﺗﺮ و ﻋﺎﺷﻘﺎﻧﻪ ﺗﺮ ﺑﺎﺷﺪ‪ «.‬ﺗﺸﮑﯿﻞ ‪ «Camp‬در ﮐﻨﺎر ﻫﻔﺖ ﺗﻦ از ﺑﺰرﮔﺎن ﻣﻮﺳﯿﻘﯽ‬ ‫ﮔﺮوه »ﻫﻠﻬﻠﻪ دفﻫﺎ« ﺑﺎ ‪ ٧٠‬ﻧﻔﺮ از ﻫرنﺟﻮﯾﺎﻧﻢ‬ ‫ﺟﻬﺎن ﺳﺎز ﻣﯽزﻧﻢ‪.‬‬ ‫ﺑﯿﺸﱰ ﺑﻪ اﯾﻦ ﻣﻨﻈﻮر ﺗﺸﮑﯿﻞ ﺷﺪ ﮐﻪ مثﺮه ﺗﻼش و‬ ‫ﮐﺎرﺷﺎن را ﺑﺒﯿﻨﻨﺪ و ﺗﺠﺮﺑﻪ اﺟﺮا زﻧﺪه ﮐﺴﺐ ﮐﻨﻨﺪ‪ .‬و ﺣﺮف آﺧﺮ ‪....‬‬ ‫ﻣﻦ ﺑﺮای ارﺗﻘﺎ ﺑﻪ داﻧﺶ و ﻣﻬﺎرﺗﻢ در ﻧﻮازﻧﺪﮔﯽ‬ ‫از ﻣﺠﻠﻪ وزﯾﻦ ﺗﯿﺮﮔﺎن ﺻﻤﯿامﻧﻪ ﺳﭙﺎﺳﮕﺰارم‪ .‬ﺑﻪ اﻣﯿﺪ‬ ‫روزی ﮐﻪ ﻫﯿﭻﮔﻮﻧﻪ ﺗﺒﻌﯿﺾ ﺟﻨﺴﯿﺘﯽ در دﻧﯿﺎ ﻧﺒﺎﺷﺪ‬ ‫ﺑﻪ ﻧﻘﺎط ﻣﺨﺘﻠﻒ اﯾﺮان ﺳﻔﺮ ﮐﺮدم‪ ،‬ﭼﺮا ﮐﻪ اﯾﻦ‬ ‫ﺗﻨﻮع ﻓﺮﻫﻨﮕﯽ ﺑﺴﯿﺎر ﺑﺮای ﻣﻦ ﺟﺬاب ﺑﻮد و ﺑﺴﯿﺎر و متﺎم ﺑﺎﻧﻮان اﯾﺮاﻧﯽ ﮐﻪ ﻻﯾﻖ ﺑﻬﱰﯾﻦﻫﺎ ﻫﺴﺘﻨﺪ ﺑﻪ‬ ‫ﺟﺎﯾﮕﺎه ﻣﻄﻠﻮﺑﯽ ﮐﻪ ﺷﺎﯾﺴﺘﻪﺷﺎن اﺳﺖ ﺑﺮﺳﻨﺪ‪.‬‬ ‫ﺗﺠﺮﺑﻪ ﮐﺴﺐ ﮐﺮدم‪ .‬ﺑﺮای ﻣﻦ از ﻫﻤﻪ ﺟﺎﻟﺐ ﺗﺮ‬ ‫ﺳﻔﺮ ﺑﻪ ﮐﺮدﺳﺘﺎن ﺑﻮد‪ ،‬زﯾﺮا ﻫﻤﯿﺸﻪ ﻣﯽﺷﻨﯿﺪم ﮐﻪ ﻟﺤﻈﻪ ﻟﺤﻈﻪ زﻧﺪﮔﯿﺘﺎن ﴎﺷﺎر از ﻣﻮﺳﯿﻘﯽ‪...‬‬ ‫»دف ﯾﮏ ﺳﺎ ِز ﮐُﺮدیﺳﺖ و ﮐﺎﻣﻼً ﻣﺮداﻧﻪ‪ «.‬وﻗﺘﯽ‬ ‫از ﻧﺰدﯾﮏ اﯾﻦ ﻣﻮﺿﻮع را ﳌﺲ ﮐﺮدم دﯾﺪم اﯾﻦ‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:33 AM‬‬

‫‪157-158-Music-Asal Malekzadeh-EDITED.indd 157‬‬

‫‪MUSIC‬‬

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‫‪Photograph by Niyosha Khatib‬‬

‫آﺛــﺎر ﺑــﻪ دﺳــﺖ آﻣــﺪه در ﺣﺠﺎریﻫــﺎی »ﮐــﻮل ﻓــﺮه« اﯾــﺬه ﺧﻮزﺳــﺘﺎن‬ ‫و وﯾﺮاﻧﻪﻫــﺎی ﮐﺎخ ﺷــﺎﭘﻮر اول در ﺑﯿﺸــﺎﭘﻮر ﺷــﺎﯾﺪ ﻗﺪﯾﻤﯽﺗﺮﯾــﻦ ﺷــﺎﻫﺪ‬ ‫ﺣﻀــﻮر زﻧــﺎن ﻧﻮازﻧــﺪه در ﻣﻨﺎﺳــﺒﺖﻫﺎ و ﻣﻨﺎﺳــﮏ ﻣﻠــﯽ و ﻣﺬﻫﺒــﯽ و‬ ‫آﯾﯿﻨــﯽ در اﯾ ـﺮان ﺑﺎﺷــﺪ‪ .‬ﴍوع ﻧﻮازﻧﺪﮔــﯽ زﻧــﺎن ﻣﺜــﻞ ﺧﯿﻠــﯽ ﭼﯿﺰﻫــﺎی‬ ‫دﯾﮕــﺮ آن ﺳــﻮی ﺗﺎرﯾــﺦ ﺟــﺎ ﻣﺎﻧــﺪه‪ ،‬اﻣــﺎ از ﺣﮑﺎﯾــﺖ ﮐﻨﺪهﮐﺎریﻫــﺎی‬ ‫ﻃــﺎق ﺑﺴــﺘﺎن ﮐﺮﻣﺎﻧﺸــﺎه ﮐــﻪ ﺗﺼﻮﯾﺮﮔــﺮ ﺑــﺰم ﺷــﮑﺎر ﺧــﴪو ﭘﺮوﯾــﺰ اﺳــﺖ‬ ‫ﺗــﺎ ﻧﻘــﺶ ﭼﻨﮓﻧــﻮازی آزادوار )آزاده( در ﺷــﮑﺎرﮔﺎه ﺑﻬــﺮام ﮐــﻪ روی‬ ‫ﮐﺎﺳــﻪﻫﺎی رﻧﮕــﯽ ﺳــﺎﺧﺖ ﮐﺎﺷــﺎن )ﺳــﺪهﻫﺎی ﺷــﺶ و ﻫﻔــﺖ ﻗﻤــﺮی(‬ ‫و ﻣﻬﺮهﻫــﺎی اواﺧــﺮ ﻋﻬــﺪ ﺳﺎﺳــﺎﻧﯽ ﻧﯿــﺰ ﻧﻘــﺶ ﺑﺴــﺘﻪ‪ ،‬ﻣﯽﺗــﻮان ﺗــﺪاوم‬ ‫ﺣﻀــﻮر زﻧــﺎن در ﻣﻮﺳــﯿﻘﯽ و راﻣﺸــﮕﺮی را ﻣﺸــﺎﻫﺪه ﮐــﺮد‪ .‬ﭼﻨــﺎن ﮐــﻪ‬ ‫ﺣﮑﯿــﻢ ﺗــﻮس ﻣﯽﮔﻮﯾــﺪ‪» :‬زن ﭼﻨــﮓزن‪ ،‬ﭼﻨــﮓ در ﺑﺮﮔﺮﻓــﺖ‪ /‬ﻧﺨﺴــﺘﯿﻦ‬ ‫ﺧــﺮوش ﻣﻐــﺎن ﺑﺮﮔﺮﻓــﺖ« ﻋﻘﺮﺑــﻪ ﺗﺎرﯾــﺦ را اﮔــﺮ ﮐﻤــﯽ ﺟﻠﻮﺗــﺮ ﺑﮑﺸــﯿﻢ‬ ‫ﺑــﻪ اوﻟﯿــﻦ ﻧــﻮای ﺿﺒــﻂ ﺷــﺪه از ﺳــﻪ ﺗــﺎر در زﻣﺴــﺘﺎن ‪ ۱۳۰۶‬ﺷﻤﺴــﯽ‬ ‫در ﺗﻬ ـﺮان ﻣﯽرﺳــﯿﻢ ﮐــﻪ ﺑــﺎ ﻧﻮازﻧﺪﮔــﯽ ﺑﺎﻧــﻮ ﭘﺮواﻧــﻪ )ﻫرنﻣﻨــﺪ اواﺧــﺮ‬ ‫دوره ﻗﺎﺟــﺎر و اواﯾــﻞ ﭘﻬﻠــﻮی( ﺑــﺮ روی ﺻﻔﺤــﺎت ﮔﺮاﻣﺎﻓــﻮن ‪ ۷۸‬دور‬ ‫ﮐﻤﭙﺎﻧــﯽ »ﻫﯿــﺰ ﻣﺴـ ِـﱰز ُوﯾــﺲ« ﺿﺒــﻂ ﺷــﺪه اﺳــﺖ‪ .‬آن ﻫــﻢ در زﻣﺎﻧــﻪ‬ ‫و ﺣﻀــﻮر اﺳــﺘﺎدان ﺑــﺰرگ ﻧﻮازﻧــﺪه ﺳــﻪ ﺗــﺎر ﻧﻈﯿــﺮ ﻣﯿــﺮزا ﻋﺒﺪاﻟﻠــﻪ و‬ ‫دروﯾــﺶ ﺧــﺎن‪ .‬ﮐﻤــﯽ ﺟﻠﻮﺗــﺮ از ﺛﺒــﺖ اوﻟﯿــﻦ ﻧﻮاﻫــﺎی ﻣﻮﺳــﯿﻘﯽ ﺗﻮﺳــﻂ‬ ‫زﻧــﺎن‪» ،‬ارﮐﺴــﱰ ﺳــﻤﻔﻮﻧﯿﮏ ﺑﻠﺪﯾــﻪ« ‪-‬اوﻟﯿــﻦ ارﮐﺴــﱰ ﻏﯿــﺮ ﻣﺪرﺳــﻪای‪-‬‬ ‫ﺑــﺎ رﻋﺎﯾــﺖ اﺳــﺘﺎﻧﺪاردﻫﺎی ﺑﯿﻦاﳌﻠﻠــﯽ در ﺳــﺎل ‪ ۱۳۱۳‬ﺑــﻪ رﻫــﱪی‬ ‫»ﻏﻼﻣﺤﺴــﯿﻦ ﻣﯿــﻦ ﺑﺎﺷــﯿﺎن« و ﺑــﺎ ﺣﻀــﻮر ﭼﻬــﺎر ﻧﻮازﻧــﺪه زن ﺑﺮﭘــﺎ ﺷــﺪ‪.‬‬ ‫در اداﻣــﻪ اﯾــﻦ روﻧــﺪ ارﮐﺴــﱰ ﺳــﻤﻔﻮﻧﯿﮏ ﺗﻬــﺮان ﺑــﻪ رﻫــﱪی ﭘﺮوﯾــﺰ‬ ‫ﻣﺤﻤــﻮد در دﻫــﻪ ﺑﯿﺴــﺖ و ارﮐﺴــﱰ ﺻﺒــﺎ در ﺳــﺎل ‪)۱۳۳۶‬ﺑــﻪ رﻫــﱪی‬ ‫اﺑﻮاﻟﺤﺴــﻦ ﺻﺒــﺎ و ﻫﻤــﮑﺎری ﺣﺴــﯿﻦ دﻫﻠــﻮی( ﮐــﻪ ﺗــﺎ ﺳــﺎل ‪ ۱۳۵۸‬ﻫــﻢ‬ ‫اداﻣــﻪ داﺷــﺖ ﻋﺮﺻــﻪ ﻫرنمنﺎﯾــﯽ زﻧــﺎن ﻧﻮازﻧــﺪه اﯾ ـﺮان ﺑــﻮد‪ .‬ﻫﻤﭽﻨﯿــﻦ‬ ‫»ارﮐﺴــﱰ ژوﻧــﺲ ﻣﻮزﯾــﮑﺎل اﯾـﺮان« ﺑــﻪ رﻫــﱪی ﻋﻠــﯽ رﻫــﱪی و »ارﮐﺴــﱰ‬ ‫ﻣﺠﻠﺴــﯽ رادﯾــﻮ ﺗﻠﻮﯾﺰﯾــﻮن« ‪-‬از ﺳــﺎل ‪ ۱۳۴۵‬ﺗــﺎ ‪ -۱۳۵۷‬ﮐــﻪ ﯾﮑــﯽ از‬ ‫ﺑﻬﱰﯾــﻦ ارﮐﺴــﱰﻫﺎی ﺗﺎرﯾــﺦ ﻣﻮﺳــﯿﻘﯽ اﯾ ـﺮان اﺳــﺖ از ﺣﻀــﻮر و ﺣــﺲ‬ ‫زﻧﺎﻧــﻪ در ﻣﻮﺳــﯿﻘﯽ ﺑﻬــﺮه ﻓ ـﺮاوان ﺑﺮدهاﻧــﺪ‪ .‬ﺑــﺎ اﯾــﻦ ﺣــﺎل ﻫﯿــﭻ ﯾــﮏ‬ ‫از اﯾﻦﻫــﺎ را منﯽﺗــﻮان ﺷــﺎﻫﺪ ﺻﺎدﻗــﯽ ﺑــﺮ درک و اﺧﺘﯿــﺎر آزاداﻧــﻪ‬ ‫زﻧــﺎن در ﻋﺮﺻــﻪ ﻣﻮﺳــﯿﻘﯽ داﻧﺴــﺖ‪ ،‬ﭼﻨــﺎن ﮐــﻪ در ﻣﻨﺎﺑــﻊ ﻋــﴫ ﺻﻔﻮﯾــﻪ‬ ‫و ﭘﯿــﺶ از آن ﻧﯿــﺰ ﺑــﻪ ﻃــﻮر ﻣﺴــﺘﻘﯿﻢ و ﯾــﺎ ﻏﯿــﺮ ﻣﺴــﺘﻘﯿﻢ از ﻣــﻮرد‬ ‫ﺗﺒﻌﯿــﺾ واﻗــﻊ ﺷــﺪن زﻧــﺎن در ﻣﻘــﺎم ﻫرنﻣﻨــﺪ‪ ،‬ﺳــﺨﻦ ﮔﻔﺘــﻪ ﺷــﺪه‬ ‫اﺳــﺖ‪» .‬ﺷــﺎردن« ﮐــﻪ در ﻋــﴫ ﺷــﺎه ﻋﺒــﺎس دوم )‪۱۰۷۷-۱۰۵۲‬ق( و‬ ‫ﺷــﺎه ﺳــﻠﯿامن ﺻﻔــﻮی )‪۱۱۰۵-۱۰۷۷‬ق( ﺑــﻪ اﯾـﺮان ﺳــﻔﺮ ﮐــﺮده‪ ،‬رﻗــﺺ و‬ ‫ﻧﻮازﻧﺪﮔــﯽ در ﺟﺎﻣﻌــﻪ اﯾـﺮان را ﺑــﻪ دو ﭘﯿﺸــﻪ زﻧﺎﻧــﻪ و ﻣﺮداﻧــﻪ ﺗﻔﮑﯿــﮏ‬ ‫ﮐــﺮده و ﻣﯽﻧﻮﯾﺴــﺪ‪» :‬در اﯾـﺮان رﻗﺼﯿــﺪن ﮐﺎر و ﻫــرن زﻧﺎﻧــﻪ‪ ،‬و ﻧﻮازﻧﺪﮔــﯽ‬ ‫ﺧــﺎص ﻣــﺮدان اﺳــﺖ« )ﺷــﺎردن‪ .(۴۲۵ :۱۳۷۲،‬اﻣــﺎ ﻣﺤﺮوﻣﯿــﺖ زﻧــﺎن از‬ ‫ﺣﻀــﻮر آزاداﻧــﻪ در ﻗﻠﻤــﺮو ﻣﻮﺳــﯿﻘﯽ ﻣﺤــﺪود ﺑــﻪ اﯾـﺮان ﻧﯿﺴــﺖ‪» .‬ﻫﻠــﻦ‬ ‫ﺗﺎﻣﭙﺴــﻮن«‪ ،‬ﻣﺪﯾــﺮ ﻓﯿﻼرﻣﻮﻧﯿــﮏ ﻧﯿﻮﯾــﻮرک‪ ،‬زﻣﺎﻧــﯽ در دﻫــﻪ ﻫﻔﺘــﺎد‬ ‫ﻣﯿــﻼدی ﮔﻔﺘــﻪ ﺑــﻮد ﮐــﻪ »زﻧــﺎن منﯽﺗﻮاﻧﻨــﺪ آﺛــﺎر ﺑﺮاﻣــﺲ را رﻫــﱪی ﮐﻨﻨــﺪ‬ ‫و ﻣﻮﺳــﯿﻘﯽ ﻣﺎﻟــﺮ ﻣﻮﺳــﯿﻘﯽ ﻣــﺮدان اﺳــﺖ‪ «.‬اﯾــﻦ روﯾﮑــﺮد ﺑﻌﺪﻫــﺎ ﺗﻐﯿﯿــﺮ‬ ‫ﮐــﺮد ﺗــﺎ در اواﯾــﻞ ﺳــﺎل ‪ ،۲۰۰۸‬اوا اﺳﱰوﺳﯿﻨﺴــﮑﺎ ﺑــﻪ ﻋﻨــﻮان اوﻟﯿــﻦ‬ ‫ﺑﺎﻧــﻮی دﺳــﺘﯿﺎر رﻫــﱪ در اﻧﮕﻠﺴــﺘﺎن ﺑــﻪ اﯾــﻦ ﺳــﻤﺖ در ارﮐﺴــﱰ ﻫﺎﻟــﻪ‬ ‫ﻣﻨﭽﺴــﱰ ﮔامﺷــﺘﻪ ﺷــﺪ‪ .‬آﻣﺮﯾــﮑﺎ ﻧﯿــﺰ ﯾــﮏ ﺳــﺎل ﭘﯿــﺶ از آن »ﻣﺎرﯾــﻦ‬ ‫آﻟﺴــﻮپ« را ﺑــﻪ ﻋﻨــﻮان اوﻟﯿــﻦ رﻫــﱪ ارﮐﺴــﱰ ﺳــﻤﻔﻮﻧﯿﮏ ﺑﺎﻟﺘﯿﻤــﻮر در‬ ‫ﺗﺎرﯾﺨــﺶ ﺛﺒــﺖ ﮐــﺮد‪ .‬در اﯾــﻦ ﻣﯿــﺎن ژﻧــﮓ ژﯾﺎﺋﻮﯾﯿﻨــﮓ ﺷــﺎﯾﺪ اوﻟﯿــﻦ‬ ‫زﻧــﯽ ﺑﺎﺷــﺪ ﮐــﻪ ﺑــﺎ ﻏﻠﺒــﻪ ﺑــﺮ اﻓﺴــﺎﻧﻪﻫﺎ و ﺳــﻨﺖﻫﺎی ﻓﺮﻫﻨﮕــﯽ‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:33 AM‬‬

‫‪157-158-Music-Asal Malekzadeh-EDITED.indd 158‬‬

‫‪MUSIC‬‬

‫ﺷﺪه؟ ﻣﮕﻪ ﺑﺮای ﻓﻌﺎﻟﯿﺖ اﻓﺮاد در زﻣﯿﻨﻪﻫﺎی ﻫرنی ﺗﺴﻬﯿﻼﺗﯽ وﺟﻮد‬ ‫ﮐﻨﴪتﻫﺎی ﺧﺎرج از ﮐﺸﻮر ﮐﻪ ﺗﻮﺳﻂ ﻫﻤﯿﻦ ﻫرنﻣﻨﺪان داﺧﻠﯽ ﺑﺮﮔﺰار‬ ‫داﺷﺘﻪ؟ ﻣﮕﻪ ﺑﻮدﺟﻪای ﺑﺮای اﯾﻦ ﻣﻮﺿﻮع اﺧﺘﺼﺎص ﭘﯿﺪا ﮐﺮده؟ ﭘﺲ‬ ‫ﻣﯽﺷﻪ ﻫﻢ ﺑﺴﯿﺎر ﭘﺮروﻧﻖ ﺑﻮده و ﺟﻤﻌﯿﺖ ﮐﺜﯿﺮی رو ﺑﻪ ﺳﺎﻟﻦﻫﺎ‬ ‫ﭼﺮا اﯾﻦ ﺗﻮﻗﻊ وﺟﻮد داره ﮐﻪ ﻣﺎ ﺑﺎﯾﺪ ﻫرنﻣﻨﺪان ﺑﺎ ﺳﻮاد داﺷﺘﻪ ﺑﺎﺷﯿﻢ؟ آورده‪ .‬ﺑﻪ ﻫﺮ ﺣﺎل ﻣﺎ )ﮐﻪ در ﺟﺎﻣﻌﻪی داﺧﻞ اﯾﺮان زﻧﺪﮔﯽ ﻣﯽﮐﻨﯿﻢ(‬ ‫ﻫرنﻣﻨﺪ ﮐﺠﺎ ﺑﺎﯾﺪ اﯾﻦ ﺳﻮاد رو ﻓﺮا ﻣﯽﮔﺮﻓﺘﻪ؟ ﺑﺎور ﮐﻨﯿﺪ ﻫرنﻣﻨﺪان ﻣﺎ‬ ‫از ﻧﺰدﯾﮏ ﺷﺎﻫﺪ ﺟﻬﺖﮔﯿﺮیﻫﺎی ﺟﺎﻣﻌﻪ ﻫﺴﺘﯿﻢ و ﮐﺎﻣﻼً ﺑﻪ ﺳﻠﯿﻘﻪی‬ ‫)ﺑﻪ وﯾﮋﻩ در ﺣﻮزهی ﻣﻮﺳﯿﻘﯽ( ﺑﺴﯿﺎر ﻣﻈﻠﻮﻣﻨﺪ‪ .‬ﺑﺎ ﻫﺰﯾﻨﻪی ﺷﺨﺼﯽ ﻋﻤﻮﻣﯽ ﺟﺎﻣﻌﻪ واﻗﻔﯿﻢ‪ .‬ﺳﻮژﻩی ﺑﺴﯿﺎری از آﺛﺎرﻣﻮن رو از ﺑﻄﻦ ﺟﺎﻣﻌﻪ‬ ‫و ﺑﺪون اﻣﮑﺎﻧﺎت و ﺑﺪون اﻃﻤﯿﻨﺎن از آﯾﻨﺪهی ﺷﻐﻠﯽ ﺑﻪ ﯾﺎدﮔﯿﺮی‬ ‫ﺑﺮداﺷﺖ ﻣﯽﮐﻨﯿﻢ و ﻃﺒﯿﻌﺘﺎً ﻣﺨﺎﻃﺐﻫﺎﻣﻮن ﻫﻢ ﮐﺎﻣﻼً ﺑﺎ اﯾﻦ ﺳﻮژﻩﻫﺎ‬ ‫ﻣﻮﺳﯿﻘﯽ ﭘﺮداﺧﺘﻪن و ﻋﻤﺮﺷﻮن رو ﴏف ﻣﻮﺳﯿﻘﯽ ﮐﺮدن‪ .‬ﺣﺎﻻ ﻫﻢ ﺑﻌﺪ آﺷﻨﺎ ﻫﺴنت‪ ،‬ﭼﻮن ﺧﻮدﺷﻮن ﻫﻢ دارن ﺗﻮی ﻫﻤﯿﻦ ﺟﺎﻣﻌﻪ زﻧﺪﮔﯽ‬ ‫از ﺗﺤﻤﻞ ﮐﺮدن اﯾﻦ ﻫﻤﻪ ﺳﺨﺘﯽ ﺑﺎ اﻧﻮاع ﻣﺤﺪودﯾﺖﻫﺎی ﻓﺮﻫﻨﮕﯽ و‬ ‫ﻣﺴﺒﺐ‬ ‫ﻣﯽﮐﻨﻦ‪ .‬ﺑﻪ ﻧﻈﺮ ﻣﻦ ﻗﺮار ﮔﺮﻓنت ﻫﻤﻪی اﯾﻦ دﻻﯾﻞ در ﮐﻨﺎر ﻫﻢ‪،‬‬ ‫ِ‬ ‫ﻗﺎﻧﻮﻧﯽ و ﻫﻤﯿﻦﻃﻮر ﻧﺒﻮد ﻗﺎﻧﻮن ﮐﭙﯽراﯾﺖ ﻣﻮاﺟﻪ ﻫﺴنت‪.‬‬ ‫اﺳﺘﻘﺒﺎل ﮔﺴﱰده از ﮐﻨﴪتﻫﺎی داﺧﻠﯽ ﺳﺖ‪.‬‬

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‫ادﺑﯿﺎت ﺷﻔﺎﻫﯽ ﺑﺎﺷﻦ‪ ،‬و ﻫﻢ ﻣﯽﺗﻮﻧﻦ در آﯾﻨﺪه از ﻃﺮف ﻋﻼﻗﻪﻣﻨﺪان‬ ‫ﻫرن‪ ،‬ﻣﻮرد اﺳﺘﻨﺎد ﻗﺮار ﺑﮕﯿﺮن‪.‬‬

‫ﻓﮑﺮ ﻣﯽﮐﻨﻢ ﻣﻮاﻓﻖ ﺑﺎﺷﯽ ﮐﻪ ﻋﺎﺷﻘﺎﻧﻪﻫﺎی ﺷام ﺑﯿﺸﱰ از ﺳﺎﯾﺮ‬ ‫ﮐﺎرﻫﺎﯾﺘﺎن ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺘﻪ‪ ،‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﯾﻦ ﮐﻪ ﻣﺠﻤﻮﻋﻪ‬ ‫ﺗﺮاﻧﻪﻫﺎی ﺷام ﻫﻢ ﺑﺎ اﺳﺘﻘﺒﺎل ﺧﻮﺑﯽ روﺑﻪرو ﺳﺖ‪ ،‬در اداﻣﻪ‬ ‫ﺷﺎﻫﺪ ﻫﻤﯿﻦ روﻧﺪ ﻫﺴﺘﯿﻢ ﯾﺎ ﺑﺎﯾﺪ ﻣﻨﺘﻈﺮ ژاﻧﺮﻫﺎی اﺟﺘامﻋﯽ و‬ ‫آﺛﺎر ﭘﯿﴩو ﻫﻢ ﺑﺎﺷﯿﻢ؟‬

‫ﻣﻦ ﻣﻌﻤﻮﻻً ﺗﺮاﻧﻪای رو ﻣﯽﻧﻮﯾﺴﻢ )ﯾﺎ اﺟﺮا ﻣﯽﮐﻨﻢ( ﮐﻪ ﻣﻮﺿﻮع ﺗﺮاﻧﻪ‬ ‫ﺑﺮای ﺧﻮدم اﺗﻔﺎق اﻓﺘﺎده ﺑﺎﺷﻪ و متﺎم زواﯾﺎ و اﺑﻌﺎدش رو از ﻧﺰدﯾﮏ‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻔﺎوتﻫﺎ و دﺷﻮاریﻫﺎی اﺳﺎﺳﯽ ﻓﻌﺎﻟﯿﺖ ﻣﻮﺳﯿﻘﺎﯾﯽ اﻧﺘﺨﺎب ﮔﺮاﻓﯿﮏ و اﻧﯿﻤﯿﺸﻦ در وﯾﺪﯾﻮﻫﺎی ﺷام ﺑﺮای ﮔﺬر‬ ‫درک ﮐﺮده ﺑﺎﺷﻢ؛ و ﯾﺎ اﯾﻦﮐﻪ ﯾﺎ ﺑﺮای اﻃﺮاﻓﯿﺎن ﻧﺰدﯾﮑﻢ اﺗﻔﺎق اﻓﺘﺎده‬ ‫در اﯾﺮان‪ ،‬اﯾﻦ ﮐﺎﺳﺘﯽﻫﺎ و ﻓﺎﺻﻠﻪﻫﺎ ﭼﮕﻮﻧﻪ ﺑﺎﯾﺪ ﺗﺮﻣﯿﻢ ﺷﻦ؟‬ ‫ﺑﯿﺎن‬ ‫از ﻣﺤﺪودﯾﺖﻫﺎی ﺗﺼﻮﯾﺮﯾﻪ ﯾﺎ اﻧﺘﺨﺎﺑﯽ آﮔﺎﻫﺎﻧﻪ ﺑﺮای‬ ‫ﺑﺎﺷﻪ و ﻣﻦ ﺗﺒﻌﺎﺗﺶ رو از ﻧﺰدﯾﮏ دﯾﺪه ﺑﺎﺷﻢ‪ .‬در ﻏﯿﺮ اﯾﻦ ﺻﻮرت‬ ‫ﺧﺐ ﺑﺨﺶ زﯾﺎدﯾﺶ ﺑﻪ دوﻟﺖ ﺑﺴﺘﮕﯽ داره‪ .‬ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﯾﻨﮑﻪ ﻣﺘﻮﻟﯽ دﻗﯿﻖﺗﺮ اﺣﺴﺎس ﻫرنﻣﻨﺪ؟‬ ‫اﺻﻼً اون ﺗﺮاﻧﻪ رو منﯽﻧﻮﯾﺴﻢ‪ .‬ﺧﺐ ﻣﺸﺨﺼﻪ ﮐﻪ ﺗﺮاﻧﻪﻫﺎی ﻋﺎﺷﻘﺎﻧﻪ ﭘُﺮ‬ ‫رﺳﻤﯽ ﻓﺮﻫﻨﮓ و ﻫرن در ﺟﺎﻣﻌﻪای اﯾﺮان‪ ،‬دوﻟﺘﻪ؛ ﻃﺒﯿﻌﯿﻪ ﮐﻪ دوﻟﺖ‬ ‫ﺷﺎﯾﺪ ﺑﺸﻪ ﮔﻔﺖ ﻫﺮ دو‪ .‬ﺑﻪ ﻫﺮ ﺣﺎل اﻧﯿﻤﯿﺶ ﻫﻢ ﯾﮏ ﻓﺮم ﺗﺼﻮﯾﺮی‬ ‫ﻃﺮﻓﺪارﺗﺮن‪ ،‬اﺳﺎﺳﺎً آﺛﺎر ﺗﻐﺰﻟﯽ در ادﺑﯿﺎت ﻣﺎ از دﯾﺮﺑﺎز ﺑﯿﺸﱰ ﻣﻮرد ﺗﻮﺟﻪ‬ ‫ﺑﺎﯾﺪ ﺑﺮای اﺳﺘﻌﺪادﯾﺎﺑﯽ‪ ،‬آﻣﻮزش و ﭘﺮورش ﻋﻤﻮﻣﯽ ﻫﻤﻪی داﻧﺶآﻣﻮزان ﺳﺖ ﮐﻪ در ﭼﻨﺪ دﻫﻪی اﺧﯿﺮ ﺑﺴﯿﺎر در ﺑﯿﻦ ﻣﺮدم ﺟﻬﺎن رواج ﭘﯿﺪا‬ ‫ﺑﻮدن؛ ﻣﻦ ﺧﻮدم ﻫﻢ ﻋﺎﺷﻘﺎﻧﻪ ﺧﻮﻧﺪن و ﻋﺎﺷﻘﺎﻧﻪ ﺷﻨﯿﺪن رو ﺧﯿﻠﯽ‬ ‫در زﻣﯿﻨﻪﻫﺎی ﻫرنی )ﺑﻪ وﯾﮋﻩ ﻣﻮﺳﯿﻘﯽ( ﺑﺮﻧﺎﻣﻪرﯾﺰی ﮐﻨﻪ‪ .‬ﻗﺎﻋﺪﺗﺎً‬ ‫ﮐﺮده و دﯾﺪه ﻣﯽﺷﻪ‪ .‬ﻧﺒﺎﯾﺪ از اﯾﻦ ﻓﺮم ﴏفﻧﻈﺮ ﮐﺮد و ﻓﻘﻂ ﺑﻪ‬ ‫دوﺳﺖ دارم‪ .‬اﻣﺎ اﯾﻦ ﻧﺒﺎﯾﺪ ﺑﺎﻋﺚ ﺑﺸﻪ متﺎم اﻧﺮژی ﯾﻪ ﻫرنﻣﻨﺪ ﺑﻪ اراﺋﻪی‬ ‫اﯾﻦ ﺑﺮﻧﺎﻣﻪرﯾﺰی ﻋﻤﻮﻣﯽ ﺑﺎﯾﺪ از دوران ﮐﻮدﮐﯽ ﻓﺮد ﴍوع ﺑﺸﻪ و ﺗﺎ‬ ‫ﺗﺼﺎوﯾﺮ رﺋﺎل اﮐﺘﻔﺎ منﻮد‪ .‬ﺿﻤﻦ اﯾﻨﮑﻪ ﻫﻤﻮنﻃﻮر ﮐﻪ ﺧﻮدﺗﻮن اﺷﺎره‬ ‫آﺛﺎر ﻋﺎﺷﻘﺎﻧﻪ ﻣﻌﻄﻮف ﺑﺸﻪ‪ .‬ﺑﻪ ﻫﺮ ﺣﺎل زﻧﺪﮔﯽ ﻣﺎ آدمﻫﺎ ﭘﺮ از اﺗﻔﺎﻗﺎت‬ ‫زﻣﺎﻧﯽ ﮐﻪ ﻫﻨﻮز ﻋﻼﻗﻪ و ﮔﺮاﯾﺶ ﺗﺨﺼﺼﯽ اﻓﺮاد ﻣﺸﺨﺺ ﻧﺸﺪه‪ ،‬اداﻣﻪ ﮐﺮدﯾﺪ ﻣﯽﺗﻮﻧﻪ راﻫﯽ ﺑﺎﺷﻪ ﺑﺮای ﺑﯿﺎن دﻗﯿﻖﺗﺮ اﺣﺴﺎس و ﺗﺨﯿﻞ ﻫرنﻣﻨﺪ‪ .‬ﻣﺨﺘﻠﻔﻪ و ﻗﺮار ﻧﯿﺴﺖ ﯾﻪ آدم از ﮐﻮدﮐﯽ ﺗﺎ ﮐﻬﻦﺳﺎﻟﯽ درﮔﯿﺮ ﻣﻮﺿﻮﻋﺎت‬ ‫داﺷﺘﻪ ﺑﺎﺷﻪ؛ ﯾﻌﻨﯽ ﺣﺪودا ً ﺗﺎ اواﺳﻂ دﺑﯿﺮﺳﺘﺎن‪ .‬آﻣﻮزشﻫﺎی ﻋﻤﻮﻣﯽ در ﺑﻪ ﻋﻨﻮان ﻣﺜﺎل ﺧﯿﻠﯽ از اﯾﺪهﻫﺎی ﻧﻮ ﻣﯽﺗﻮﻧﻪ در ذﻫﻦ ﮐﺎرﮔﺮدان ﯾﮏ‬ ‫ﻋﺎﺷﻘﺎﻧﻪ ﺑﺎﺷﻪ‪ .‬ﻣﺨﺎﻃﺒﺎن ﻣﺎ ﻃﯿﻒ ﺳﻨﯽ ﮔﺴﱰدهای دارن و ﻣﺎ ﺑﺎﯾﺪ‬ ‫زﻣﯿﻨﻪﻫﺎی ﻫرنی‪ ،‬از ﻃﺮﻓﯽ ﺑﺎﻋﺚ ﻣﯽﺷﻪ ﻋﻼﻗﻪﻣﻨﺪان ﺑﻪ ﻫرن راﺣﺖﺗﺮ‪ ،‬ﻣﻮزﯾﮏوﯾﺪﺋﻮ وﺟﻮد داﺷﺘﻪ ﺑﺎﺷﻪ وﻟﯽ ﻧﺸﻪ ﺑﺮای اون ﻓﻀﺎﻫﺎ ﻣﺎﺑﻪازای ﻣﺘﻮﺟﻪ اﯾﻦ ﺑﺎﺷﯿﻢ ﮐﻪ ﻧﯿﺎز ﻣﻮﺳﯿﻘﺎﯾﯽ ﯾﮏ ﻧﻮﺟﻮان ﺑﺎ ﻧﯿﺎز ﻣﻮﺳﯿﻘﺎﯾﯽ‬ ‫دﻗﯿﻖﺗﺮ و ﻣﻄﻤﱧﺗﺮ ﺑﻪ ﻣﺴﯿﺮ ﺗﺨﺼﺼﯽ ﺧﻮدﺷﻮن ﻫﺪاﯾﺖ ﺑﺸﻦ‪ ،‬و از ﺧﺎرﺟﯽ ﻣﺘﺼﻮر ﺷﺪ و ﴍاﯾﻂ ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﺸﯿﺪه ﺷﺪﻧﺸﻮن رو ﻓﺮاﻫﻢ‬ ‫ﯾﮏ ﺟﻮان ﺑﺎﻟﻎ ﻓﺮق داره؛ ﻫﻤﯿﻦ ﻃﻮر ﻧﯿﺎز ﺷﻨﯿﺪاری ﯾﮏ ﺟﻮان ﺑﺎ‬ ‫اﯾﻦ‬ ‫ﻃﺮف دﯾﮕﻪ ﺑﺎﻋﺚ ﻣﯽﺷﻪ داﻧﺶآﻣﻮزاﻧﯽ ﮐﻪ رﺷﺘﻪی ﺗﺨﺼﺼﯽﺷﻮن ﻫرن ﮐﺮد‪ .‬اﻣﺎ ﺑﺎ اﻧﯿﻤﯿﺸﻦ ﻣﯽﺷﻪ ﺑﻪ راﺣﺘﯽ و ﺑﺪون دردﴎﻫﺎی ﻣﻌﻤﻮل‬ ‫ﯾﮏ ﻓﺮد ُﻣﺴﻦ‪ .‬ﺳﻌﯽ ﻣﻦ ﺑﺮ اﯾﻨﻪ ﮐﻪ در ﮐﻨﺎر آﺛﺎر ﻋﺎﺷﻘﺎﻧﻪ‪ ،‬ﺗﺮاﻧﻪﻫﺎﯾﯽ‬ ‫ﻧﯿﺴﺖ ﻫﻢ ﯾﮏ درک ﻧﺴﺒﯽ از ﮐﻢ و ﮐﯿﻒ آﺛﺎر ﻫرنی ﭘﯿﺪا ﮐﻨﻦ‪ .‬ﺑﺎ اﯾﻦ ﻓﻀﺎﻫﺎ رو ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﺸﯿﺪ‪ .‬اﻟﺒﺘﻪ ﻧﺎﮔﻔﺘﻪ منﺎﻧﺪ ﮐﻪ ﺳﺎﺧﺖ اﻧﯿﻤﯿﺸﻦ ﻫﻢ ﺑﺎ ﻣﻮﺿﻮﻋﺎت ﻣﺨﺘﻠﻒ اﻋﻢ از ﺗﺮاﻧﻪﻫﺎی ﻧﻮﺳﺘﺎﻟﮋﯾﮏ‪ ،‬ﺗﺮاﻧﻪﻫﺎی‬ ‫ﺷﯿﻮهی آﻣﻮزش ﻫﻤﮕﺎﻧﯽ‪ ،‬ﻣﯽﺷﻪ ﺳﻄﺢ ﺳﻠﯿﻘﻪی ﻫرنی ﻋﻤﻮم ﺟﺎﻣﻌﻪ دردﴎﻫﺎ و ﺳﺨﺘﯽﻫﺎی ﺧﻮدﺷﻮ داره و ﺑﺴﯿﺎر ﭘُﺮ ﻫﺰﯾﻨﻪﺳﺖ‪.‬‬ ‫اﺟﺘامﻋﯽ و در ﺑﺮﺧﯽ ﻣﻮارد ﺣﺘﯽ ﺗﺮاﻧﻪﻫﺎﯾﯽ ﺑﺎ دﻏﺪﻏﻪﻫﺎی ﻓﻠﺴﻔﯽ و‬ ‫رو ﻫﻢ ارﺗﻘﺎء داد‪.‬‬ ‫ﻫﺴﺘﯽﺷﻨﺎﺧﺘﯽ )ﮐﻪ دﻏﺪﻏﻪﻫﺎی ﺷﺨﺼﯽ ﺧﻮدم ﻫﺴنت( ﻫﻢ اراﺋﻪ ﮐﻨﻢ‬ ‫ﺗﻼش‬ ‫ﺑﻪ‬ ‫ﺷﻪ‬ ‫ﻣﯽ‬ ‫ﻓﻘﻂ‬ ‫ﺑﺎره‪،‬‬ ‫اﯾﻦ‬ ‫در‬ ‫ﻋﻤﻮﻣﯽ‬ ‫رﯾﺰی‬ ‫ﺑﺮﻧﺎﻣﻪ‬ ‫اﻣﺎ در ﻧﺒﻮد‬ ‫ﺗﺮدﯾﺪی ﻧﯿﺴﺖ ﮐﻪ داﯾﺮه ﻣﺨﺎﻃﺒﺎن ﻣﻮﺳﯿﻘﯽ ﭘﺎپ اﯾﺮان‪ ،‬ﻣﺤﺪود و ﺑﺮای ﺳﻨﯿﻦ و ﺳﻼﯾﻖ ﻣﺨﺘﻠﻒ ﺗﺮاﻧﻪ ﺑﻨﻮﯾﺴﻢ و آﻫﻨﮓ ﺑﺴﺎزم‪.‬‬ ‫ﺧﺎﻧﻮادهﻫﺎ در ارج ﻧﻬﺎدن ﻫرن و اﻫﺘامم در آﻣﻮزش ﻣﻮﺳﯿﻘﯽ ﺑﻪ‬ ‫ﺑﻪ ﻣﺮزﻫﺎی اﯾﺮان ﻧﯿﺴﺖ و ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ اﯾﺮاﻧﯽ ﻫﻢ ﻣﺨﺎﻃﺐ‬ ‫اﮔﺮ اﻣﮑﺎن ﮔﻔﺖ و ﮔﻮی رو در رو ﺑﺎ ﻣﺨﺎﻃﺒﺎن ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن‬ ‫ﻓﺮزﻧﺪاﻧﺸﻮن اﻣﯿﺪوار ﺑﻮد‪ .‬ﻋﻼﻗﻪﻣﻨﺪان و ﺻﺎﺣﺒﺎن اﺳﺘﻌﺪاد ﻣﻮﺳﯿﻘﺎﯾﯽ ﭘﺮﺷامر آن اﺳﺖ‪ .‬ﻣﻌﯿﺎرﻫﺎ و ارزشﻫﺎی ﺟﺎﻣﻌﻪ ﻣﻬﺎﺟﺮ و‬ ‫ﺑﺎﯾﺪ ﺑﺎ ﴏف ﻫﺰﯾﻨﻪی ﺷﺨﺼﯽ و آﻣﻮزشﻫﺎی ﺧﺼﻮﺻﯽ‪ ،‬ﻣﻮﺳﯿﻘﯽ‬ ‫را داﺷﺘﯿﺪ‪ ،‬از ﺳﯿﺎﻣﮏ ﻋﺒﺎﺳﯽ ﭼﻪ ﻣﯽﺷﻨﯿﺪﯾﻢ؟‬ ‫ﻧﺴﻞﻫﺎی ﺑﻌﺪی ﮐﻪ ﺻﺪای »وﻃﻨﺶ« رو ﻗﺒﻞ از ﻫﺮ ﭼﯿﺰ در‬ ‫رو ﯾﺎد ﺑﮕﯿﺮن و ﺑﺎ در اداﻣﻪ ﺑﺎ ﭘﺬﯾﺮﻓنت رﯾﺴﮏ روی آﯾﻨﺪهی ﺷﻐﻠﯽ‬ ‫ﻣﻦ از ﻫﻤﻪی ﻫﻤﻮﻃﻨﺎن ﻋﺰﯾﺰم ﺻﻤﯿامﻧﻪ ﺧﻮاﻫﺶ ﻣﯽﮐﻨﻢ اﮔﺮ‬ ‫ﻣﻮﺳﯿﻘﯽ ﭘﺎپ ﻣﯽﺷﻨﻮه‪ ،‬ﮐﺠﺎی ﮐﺎر ﺷام ﻗﺮار ﻣﯽﮔﯿﺮه؟‬ ‫ﺧﻮدﺷﻮن‪ ،‬ﺑﻪ ﺣﯿﻄﻪی ﺣﺮﻓﻪای ﻫرن ﭘﺎ ﺑﺬارن‪.‬‬ ‫ﻣﺘﺄﺳﻔﺎﻧﻪ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ اﯾﻨﮑﻪ ﻣﺎ از ﻧﯿﺎزﻫﺎی ﻣﻮﺳﯿﻘﺎﯾﯽ ﺟﺎﻣﻌﻪی ﻣﻬﺎﺟﺮ ﮐﻮدﮐﯽ در ﻣﻨﺰل دارن ﺣﺘامً ﺑﺮای آﻣﻮزش ادﺑﯿﺎت ﻓﺎرﺳﯽ و ﻣﻮﺳﯿﻘﯽ‬ ‫ﺑﻪ ﻓﺮزﻧﺪﺷﻮن ﺑﺮﻧﺎﻣﻪرﯾﺰی ﮐﻨﻦ‪ ،‬ﭼﺮا ﮐﻪ در ﺣﺎل ﺣﺎﴐ اﯾﻦ دو ﻫرن‬ ‫اﯾﺮاﻧﯽ‪ ،‬اﻃﻼع دﻗﯿﻘﯽ ﻧﺪارﯾﻢ‪ ،‬زﯾﺎد ﻫﻢ ﺑﻪ اﯾﻨﮑﻪ ﺳﻼﯾﻖ و ﻋﻼﯾﻖ‬ ‫در ﻋﯿﻦ ﺣﺎل و ﺑﺎ وﺟﻮد ﻫﻤﻪی اﯾﻦ ﻣﺴﺎﺋﻞ‪ ،‬ﺳﺎﻟﻦﻫﺎی اﺟﺮای‬ ‫ﻣﻬﻢﺗﺮﯾﻦ ﻣﺆﻟﻔﻪﻫﺎی ﻓﺮﻫﻨﮓ ﻣﺎ ﻣﺤﺴﻮب ﻣﯽﺷﻦ‪ .‬ﺑﻪ دﯾﮕﺮ ﻋﺰﯾﺰان‬ ‫ﺟﺎﻣﻌﻪی ﻣﻬﺎﺟﺮ رو در ﺗﻮﻟﯿﺪ آﺛﺎرﻣﻮن ﻣﺪ ﻧﻈﺮ ﻗﺮار ﺑﺪﯾﻢ ﻧﭙﺮداﺧﺘﯿﻢ‪،‬‬ ‫ﮐﻨﴪت در اﯾﺮان ﺑﺎ اﻗﺒﺎل ﺧﻮﺑﯽ روﺑﻪرو ﻣﯽﺷﻦ؛ اﯾﻦ اﺳﺘﻘﺒﺎل‬ ‫و ﺗﻘﺮﯾﺒﺎً ﻫﯿﭻ ﺟﺎ در روﻧﺪ ﺗﻮﻟﯿﺪ آﺛﺎر ﻣﻮﺳﯿﻘﯽ ﭘﺎپ داﺧﻞ اﯾﺮان ﺑﻪ اﯾﻦ ﻫﻢ ﺗﻮﺻﯿﻪ ﻣﯽﮐﻨﻢ اﮔﺮ ﺧﻮاﻫﺎن داﺷنت ﺟﺎﻣﻌﻪی ﻣﻮﺳﯿﻘﯽ ﭘُﺮ ﺑﺎرﺗﺮ و‬ ‫ﻣﺪاوم ﻧﺸﺎن از ﮐﺪام وﯾﮋﮔﯽ ﻣﻮﺳﯿﻘﯽ اﯾﺮان داره؟‬ ‫ﻣﻮﻓﻖﺗﺮ ﻫﺴنت ﺑﺎ ﺣامﯾﺖ از آﺛﺎر ﻫرنﻣﻨﺪان در وﺑﺴﺎﯾﺖﻫﺎﯾﯽ ﻧﻈﯿﺮ‬ ‫ﻣﻮﺿﻮع ﺗﻮﺟﻪ منﯽﺷﻪ‪ .‬اﻟﺒﺘﻪ ﻧﺒﺎﯾﺪ ﭘﺮاﮐﻨﺪﮔﯽ ﺳﻼﯾﻖ رو ﻫﻢ ﻓﺮاﻣﻮش‬ ‫ﺧﺐ اوﻟﯿﻦ و ﻣﻬﻢﺗﺮﯾﻦ دﻟﯿﻞ اﯾﻦ ﻣﻮﺿﻮع اﯾﻨﻪ ﮐﻪ ﻣﺮدم ﻣﺎ ﺑﺴﯿﺎر‬ ‫ِ‬ ‫ﺻﻨﻌﺖ ﻣﻈﻠﻮم ﺑﺸﻦ‪.‬‬ ‫‪ iTunes‬ﺑﺎﻋﺚ ﮔﺮدش ﭼﺮخﻫﺎی اﯾﻦ‬ ‫ﮐﺮد‪ .‬ﺑﻪ ﻫﺮ ﺣﺎل اﯾﻦﻃﻮر ﺑﻪ ﻧﻈﺮ ﻣﯽرﺳﻪ ﮐﻪ ﺟﺎﻣﻌﻪی ﻣﻬﺎﺟﺮ اﯾﺮاﻧﯽ‬ ‫ﻫرندوﺳﺖ ﻫﺴنت و ﺑﻪ ﺧﺼﻮص ﺑﻪ ﻫرن ﻣﻮﺳﯿﻘﯽ ﺗﻮﺟﻪ وﯾﮋﻩای‬ ‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﻌﺎﻣﻠﯽ ﮐﻪ ﺑﺎ ﺟﺎﻣﻌﻪی ﺟﻬﺎﻧﯽ داره ﮐﻤﯽ از ﻓﻀﺎی ﺣﺎﮐﻢ‬ ‫ﺗﻔﺮﯾﺤﺎت‬ ‫دارن؛ اﻣﺎ ﻧﮑﺎت دﯾﮕﺮی ﻫﻢ ﻫﺴﺖ‪ .‬ﺑﺒﯿﻨﯿﺪ در ﮐﺸﻮر ﻣﺎ‬ ‫ﺑﺮ ﻣﻮﺳﯿﻘﯽ اﯾﺮان ﻓﺎﺻﻠﻪ ﮔﺮﻓﺘﻪ ﺑﺎﺷﻪ و اﮔﺮ ﻫﻢ ﻋﺪهای ﻫﻤﭽﻨﺎن‬ ‫و ﺣﺮف آﺧﺮ‪...‬‬ ‫ﺧﯿﻠﯽ وﺳﯿﻌﯽ ﺑﺮای ﻋﻤﻮم ﻣﺮدم وﺟﻮد ﻧﺪاره‪ ،‬ﺟﺎﯾﯽ ﮐﻪ ﻣﺮدم ﺑﺘﻮﻧﻦ‬ ‫ﻣﺨﺎﻃﺐ ﻣﻮﺳﯿﻘﯽ ﭘﺎپ اﯾﺮان ﺑﺎﺷﻦ اﺣﺘامﻻً اﮐرثﺷﻮن ﻫﻨﻮز ﺑﺎ ﻫرنﻣﻨﺪان از ﻣﺴﺆﻻن ﺟﺸﻨﻮارهی ﺗﯿﺮﮔﺎن ﺻﻤﯿامﻧﻪ ﺳﭙﺎﺳﮕﺰارم ﮐﻪ ﻓﺮﺻﺖ اﯾﻦ‬ ‫اﻧﺮژیﺷﻮن رو ﺗﺨﻠﯿﻪ ﮐﻨﻦ وﺟﻮد ﻧﺪاره‪ .‬ﻣﺜﻼٌ ﻣﺎ در اﯾﺮان »ﻧﺎﯾﺖ ﮐﻼب« ﺟﺪﯾﺪ آﺷﻨﺎ ﻧﯿﺴنت و ﻫﻤﭽﻨﺎن ﭘﯿﮕﯿﺮ آﺛﺎر ﻫرنﻣﻨﺪان ﻗﺪﯾﻤﯽ ﻫﺴنت‪.‬‬ ‫ﭘﺮﺳﺶ و ﭘﺎﺳﺦ ﺟﺪی رو ﻓﺮاﻫﻢ ﮐﺮدن‪ ،‬ﻣﺪتﻫﺎ ﺑﻮد ﮐﻪ از روﺑﻪرو‬ ‫ﻧﺪارﯾﻢ‪ ،‬ﺟﺎﯾﯽ ﮐﻪ ﺑﺸﻪ ﻣﻮﺳﯿﻘﯽ زﻧﺪه رو ﺑﻪ ﻃﻮر دﺳﺘﻪﺟﻤﻌﯽ ﺷﻨﯿﺪ‬ ‫اﻟﺒﺘﻪ اﯾﻦ ﮔﻔﺘﻪ ﺑﯿﺸﱰ در ﻣﻮرد ﻧﺴﻞﻫﺎی ﻗﺒﻠﯽ ﺻﺪق ﻣﯽﮐﻨﻪ‪ .‬در ﻗﺒﺎل ﺷﺪن ﺑﺎ ﺳﺆاﻻت ﺑﯽﻣﺤﺘﻮا‪ ،‬ﻋﻤﯿﻘﺎً ﺧﺴﺘﻪ و دﻟﺰده ﺑﻮدم‪.‬‬ ‫ﻧﺪارﯾﻢ‪ .‬ﺗﻨﻬﺎ ﮔﺰﯾﻨﻪ ﺑﺮای ﺷﻨﯿﺪن ﻣﻮﺳﯿﻘﯽ زﻧﺪه ﻫﻤﯿﻦ ﮐﻨﴪتﻫﺎ‬ ‫ﻧﺴﻞ ﺟﺪﯾﺪ ﻓﺎرﺳﯽ زﺑﺎﻧﺎن ﻣﻬﺎﺟﺮ ﻫﻢ ﻣﻬﻢﺗﺮﯾﻦ وﻇﯿﻔﻪی ﻣﺎ ﺑﻪ ﻋﻨﻮان ﺧﻮﺷﺒﺨﺘﯿﺘﻮن آرزوﻣﻪ‬ ‫ﻫﺴنت‪ .‬ﯾﮑﯽ از دﻻﯾﻞ اﺳﺘﻘﺒﺎل ﻋﻤﻮﻣﯽ از ﮐﻨﴪتﻫﺎ ﻫﻤﯿﻨﻪ‪ ،‬در واﻗﻊ ﻣﺆﻟﻒ‪ ،‬اﺳﺘﻔﺎده از ﺗﺮاﻧﻪ و ﮐﻼم اﺳﺘﺎﻧﺪارد در آﻫﻨﮓﻫﺎﺳﺖ‪ .‬ﺗﺮاﻧﻪﻫﺎﯾﯽ ﺑﺎ ﺳﭙﺎس‬ ‫ﻣﺮدم ﺗﻔﺮﯾﺢ دﯾﮕﻪای ﮐﻪ ﺑﺎ ﻣﻮﺳﯿﻘﯽ ﻫﻤﺮاه ﺑﺎﺷﻪ ﻧﺪارن‪ .‬ﯾﮑﯽ دﯾﮕﻪ‬ ‫ﮐﻪ ﺑﺎ ﺑﻬﺮهﮔﯿﺮی از ﻗﻮاﻋﺪ و اﺻﻮل ﺷﻌﺮ ﻓﺎرﺳﯽ ﴎوده ﺷﺪه ﺑﺎﺷﻦ‪.‬‬ ‫ﻫرنﻣﻨﺪان‬ ‫از ﻣﻬﻢﺗﺮﯾﻦ دﻻﯾﻞ اﺳﺘﻘﺒﺎل از ﮐﻨﴪتﻫﺎی داﺧﻠﯽ‪ ،‬ﺣﻀﻮر‬ ‫ﭼﺮا ﮐﻪ اﯾﻦ آﺛﺎر ﺑﺮای ﻧﺴﻞ ﺟﺪﯾﺪ‪ ،‬ﻫﻢ ﻣﯽﺗﻮﻧﻦ ﴎآﻏﺎز آﻣﻮزش زﺑﺎن و‬ ‫ﻧﻮﻇﻬﻮر در ﻣﺎرﮐﺖ ﻣﻮﺳﯿﻘﯽ داﺧﻞ ﮐﺸﻮره‪ .‬ﮐام اﯾﻨﮑﻪ ﺑﺎرﻫﺎ دﯾﺪﯾﻢ‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 2:43 AM‬‬

‫‪160-161-Music-Siamak Abbasi-2.indd 160‬‬

‫‪MUSIC‬‬

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‫ﺳــﯿﺎﻣﮏ ﻋﺒﺎﺳــﯽ در ﺣــﻮزه ﺷــﻌﺮ و ﺗﺮاﻧــﻪ‪ ،‬آﻫﻨﮕﺴــﺎزی‪ ،‬ﺗﻨﻈﯿــﻢ‪ ،‬ﺧﻮاﻧﻨﺪﮔــﯽ و ﺗﺪرﯾــﺲ ﺗﺠﺮﺑﻪﻫــﺎی ﻣﻮﻓﻘــﯽ در ﮐﺎرﻧﺎﻣــﻪ ﺧــﻮد دارد‪ .‬ﻋﻼﻗــﻪ او ﺑــﻪ »ﻓﺮﻫﻨــﮓ« ﻣﻮﺟــﺐ ﺷــﺪ ﺗــﺎ ﺑــﻪ‬ ‫ﺗﺤﺼﯿــﻞ در رﺷــﺘﻪ »ﻣﺪﯾﺮﯾــﺖ ﻓﺮﻫﻨﮕــﯽ« ﺑﭙــﺮدازد و ﺟﺎﯾــﯽ ﻣﯿــﺎن ادﺑﯿﺎت‪ ،‬ﻣﻮﺳــﯿﻘﯽ‪ ،‬ﺟﺎﻣﻌﻪﺷﻨﺎﺳــﯽ و رﺳــﺎﻧﻪ ﻓﻌﺎﻟﯿــﺖ ﺣﺮﻓﻪای ﺧــﻮد را آﻏﺎز ﮐﻨﺪ‪ .‬او ﻫﻤﭽﻨﯿﻦ ﮐﺎرﺷﻨﺎﺳــﯽ ارﺷــﺪ‬ ‫ﺧــﻮد را در »ﻋﻠــﻮم ارﺗﺒﺎﻃــﺎت اﺟﺘامﻋــﯽ« درﯾﺎﻓــﺖ ﮐــﺮده و در ﺳــﺎلﻫﺎی اﺧﯿــﺮ ﺑﯿﺸــﱰ ﺑـﺮای ﴎودن ﺷــﻌﺮ و ﺗﺮاﻧــﻪ‪ ،‬آﻫﻨﮕﺴــﺎزی‪ ،‬ﺗﻨﻈﯿــﻢ و ﺧﻮاﻧﻨﺪﮔــﯽ ﻣــﻮرد ﺗﻮﺟــﻪ دوﺳــﺘﺪاران‬ ‫ﻣﻮﺳــﯿﻘﯽ ﭘــﺎپ اﯾـﺮان ﻗـﺮار ﮔﺮﻓﺘــﻪ اﺳــﺖ‪ .‬اﻧﯿﻤﯿﺸــﻦ ﮐﺎرﻫــﺎی او ﺑﻌــﺪ ﺗــﺎزهای ﺑﻪ ﻓﻌﺎﻟﯿﺖﻫﺎﯾــﺶ داده و ﺑــﺎ ﺑﻬﺮه از ﻫرن ﺗﺼﻮﯾﺮﺳــﺎزی‪ ،‬ﻧﺨﺴــﺘﯿﻦ ﻣﺠﻤﻮﻋــﻪ از ﺗﺮاﻧﻪﻫﺎی ﺧــﻮد را در‬ ‫ﮐﺘــﺎب »ﺧﻮﺷــﺒﺨﺘﯿﺖ آرزوﻣــﻪ« رواﻧــﻪ ﺑــﺎزار ﮐــﺮد‪ .‬ﺳــﯿﺎﻣﮏ ﻋﺒﺎﺳــﯽ ﻣﯽﮔﻮﯾــﺪ ﺑـﺮای ﻫــﻮش و ﮔــﻮش ﻣﺨﺎﻃــﺐ ﺧــﻮد اﺣـﱰام زﯾــﺎدی ﻗﺎﺋــﻞ اﺳــﺖ و ﺗﺮﺟﯿــﺢ ﻣﯽدﻫﺪ ﺑــﺪون ﺗﺼﻮﯾﺮ‬ ‫ﺧــﻮدش ﺗﻨﻬــﺎ ﺑــﺎ ﺻــﺪا و ﺑــﻪ دور از ﺣﺎﺷــﯿﻪ ﻓﻌﺎﻟﯿــﺖ ﮐﻨــﺪ‪ .‬ﻣــنت ﮐﺎﻣــﻞ ﮔﻔــﺖ و ﮔــﻮی ﻣﺠﻠــﻪ ﺗﯿــﺮﮔﺎن ﺑــﺎ ﺳــﯿﺎﻣﮏ ﻋﺒﺎﺳــﯽ را در رﺳــﺎﻧﻪ ﺗﯿــﺮﮔﺎن )‪ (media.tirgan.ca/fa‬ﺑﺨﻮاﻧﯿــﺪ‪:‬‬ ‫~ ‪~ music‬‬

‫‪persian and‬‬ ‫‪turkish‬‬

‫‪improvisations‬‬ ‫‪WHEN:‬‬ ‫‪Friday, 21 August - 8:00pm‬‬ ‫‪Saturday, 22 August - 5:30pm‬‬ ‫‪DURATION:‬‬ ‫‪1 hour‬‬ ‫‪LOCATION:‬‬ ‫‪Harbourfront Theatre,‬‬ ‫‪Harbourfront Centre‬‬

‫ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺠﺮﺑﻪ ﻣﻮﻓﻖ ﺷام در ﻣﻮﺳﯿﻘﯽ ﭘﺎپ‬ ‫و ﺗﺮاﻧﻪﴎاﯾﯽ ﻓﺎﺻﻠﻪ ﻣﻮﺳﯿﻘﯽ ﺗﻬﺮان )ﺣﺪاﻗﻞ در‬ ‫زﻣﯿﻨﻪ ﭘﺎپ( ﺑﺎ ﺷﻬﺮﻫﺎی ﻃﺮاز اول ﺟﻬﺎن )در زﻣﯿﻨﻪ‬ ‫ﻣﻮﺳﯿﻘﯽ( را ﭼﻄﻮر ارزﯾﺎﺑﯽ ﻣﯽﮐﻨﯿﺪ؟‬

‫ﺳﭙﺎﺳﮕﺰارم‪ ،‬ﺷام ﻟﻄﻒ دارﯾﺪ ﺑﻪ ﻣﻦ‪ .‬ﺑﺒﯿﻨﯿﺪ ﻣﻦ ﻣﻌﺘﻘﺪم‬ ‫ﺑﺎﯾﺪ ﻫﺮ ﻣﺎرﮐﺘﯽ رو ﺑﺎ ﴍاﯾﻄﯽ ﮐﻪ داﺷﺘﻪ ﻗﻀﺎوت ﮐﺮد‪.‬‬ ‫ﻣﻮﺳﯿﻘﯽ اﻣﺮوز ﺟﻬﺎن‪ ،‬از ﻗﺮنﻫﺎ ﻗﺒﻞ آزاد ﺑﻮده و از ﻫﺮ‬ ‫ﺛﺎﻧﯿﻪ ﺑﺮای آزﻣﻮن و ﺧﻄﺎ‪ ،‬ﺗﻮﻟﯿﺪ‪ ،‬ﭘﯿﴩﻓﺖ و در ﻧﻬﺎﯾﺖ‬ ‫ﺗﺜﺒﯿﺖ اﺳﺘﻔﺎده ﮐﺮده؛ ﺧﺐ ﻃﺒﯿﻌﯿﻪ ﮐﻪ اﻣﺮوز در ﻗﻠﻪی‬ ‫رﻓﯿﻌﯽ ﻗﺮار داﺷﺘﻪ ﺑﺎﺷﻪ‪ .‬اﻣﺎ ﺟﺎﻣﻌﻪ ﻣﺎ ﻫﻤﯿﺸﻪ ﺗﺤﺖ‬ ‫ﺗﺄﺛﯿﺮ ﻣﺬﻫﺐ و ﻣﺘﻌﺎﻗﺒﺎً ﺳﯿﺎﺳﺖ‪ ،‬ﻣﻮﺳﯿﻘﯽ رو ﻃﺮد ﮐﺮده‬ ‫و ﻓﺮﺻﺖ رﺷﺪ رو از اﯾﻦ ﺻﻨﻌﺖ ﮔﺮﻓﺘﻪ‪ .‬ﺣﺎﻻ اﺻﻼً روا‬ ‫ﻧﯿﺴﺖ ﮐﻪ ﻣﻮﺳﯿﻘﯽ ﭘﺎپ ﻧﻮﭘﺎی اﯾﺮان ﮐﻪ ﻗﺪﻣﺘﯽ ﻣﻌﺎدل‬ ‫‪ ٦٠-٥٠‬ﺳﺎل داره ﺑﺎ ﻣﻮﺳﯿﻘﯽ ﻏﺮب ﺑﺎ اون ﭘﯿﺸﯿﻨﻪی ﭘُﺮ‬ ‫ﻃﻤﻄﺮاق ﻣﻘﺎﯾﺴﻪ ﺑﺸﻪ‪ .‬اﻣﺎ ﺑﺎ اﯾﻦ ﺣﺎل ﻣﻦ اﻓﻖ روﺷﻨﯽ‬ ‫ﺑﺮای ﻣﻮﺳﯿﻘﯽ اﯾﺮان ﻣﯽﺑﯿﻨﻢ‪ .‬ﻓﺮاﮔﯿﺮ ﺷﺪن ارﺗﺒﺎﻃﺎت و‬ ‫ﮔﺴﱰده ﺷﺪن وﺳﺎﯾﻞ ارﺗﺒﺎط ﺟﻤﻌﯽ‪ ،‬ﻣﺤﺪودﯾﺖﻫﺎی‬ ‫ﭘﯿﺶ روی ﻫرنﻣﻨﺪان ﺑﺮای ارﺗﺒﺎط ﺑﺎ ﻣﺨﺎﻃﺒﯿﻨﺸﻮن رو از‬ ‫ﺑﯿﻦ ﺑﺮده و ﻫﻤﯿﻦ ارﺗﺒﺎط ﺑﺎﻋﺚ ﻇﻬﻮر ﻫرنﻣﻨﺪاﻧﯽ ﺷﺪه‬ ‫)و ﺧﻮاﻫﺪ ﺷﺪ( ﮐﻪ ﻓﻀﺎﻫﺎی ﺟﺪﯾﺪﺗﺮی در ﻣﻮﺳﯿﻘﯽ ﭘﺎپ‬ ‫اﯾﺮان رو ﺗﺠﺮﺑﻪ ﻣﯽﮐﻨﻦ و ﺗﺠﺮﺑﻪﻫﺎی ﻣﺘﻔﺎوتﺗﺮی رو‬ ‫رﻗﻢ زده و ﺧﻮاﻫﻨﺪ زد‪.‬‬

‫اﯾﻦ ﻓﺎﺻﻠﻪ ﺗﺎ ﭼﻪ ﻣﯿﺰان ﺗﻮﻗﻊ ﺟﺎﻣﻌﻪی ﻣﺨﺎﻃﺒﺎن‬ ‫ﻣﻮﺳﯿﻘﯽ رو ﻣﺤﺪود و ﺳﻄﺢ ﻣﻮﺳﯿﻘﯽ اﯾﺮان رو از‬ ‫اﺳﺘﻨﺪاردﻫﺎی ﺑﯿﻦاﳌﻠﻠﯽ دور ﻧﮕﻪ داﺷﺘﻪ؟‬

‫ﻣﺎ ﺑﺎ ﻣﺨﺎﻃﺐ ﺑﺎﻫﻮﺷﯽ ﻃﺮﻓﯿﻢ‪ ،‬در اﯾﻦ ﻣﻮﺿﻮع ﻫﯿﭻ‬ ‫ﺷﮑﯽ ﻧﺪارم‪ .‬ﻣﺨﺎﻃﺐ ﻣﺎ ﺑﺎ ﻣﻮﺳﯿﻘﯽ ﺟﻬﺎن آﺷﻨﺎﺳﺖ و‬ ‫ﮐﺎرﻫﺎی روز ﻣﻮﺳﯿﻘﯽ ﻏﺮب رو ﻟﺤﻈﻪ ﺑﻪ ﻟﺤﻈﻪ دﻧﺒﺎل‬ ‫ﻣﯽﮐﻨﻪ‪ .‬اﯾﻦ ﻣﺴﺌﻠﻪ ﺑﺎﻋﺚ ﺷﺪه ﺗﻮﻗﻊ ﻣﺨﺎﻃﺐ اﯾﺮاﻧﯽ‬ ‫)ﮐﻪ در ﻋﯿﻦ ﺣﺎل ﻣﺨﺎﻃﺐ ﻣﻮﺳﯿﻘﯽ ﺟﻬﺎن ﻫﻢ ﻫﺴﺖ(‬ ‫ﺑﻪ ﺷﺪت ﺑﺎﻻ ﺑﺮه و از ﻣﻮﺳﯿﻘﯽ اﯾﺮان ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ متﺎم‬ ‫ﻣﺤﺪودﯾﺖﻫﺎی ﻣﻮﺟﻮد‪ ،‬اﻧﺘﻈﺎر ﻣﻌﺠﺰه داﺷﺘﻪ ﺑﺎﺷﻪ‪ .‬ﻣﺎ‬ ‫ﺑﺎﯾﺪ واﻗﻊﺑﯿﻦ ﺑﺎﺷﯿﻢ‪ .‬ﻣﻦ ﻣﻨﮑﺮ ﺗﻼشﻫﺎ و زﺣﻤﺖﻫﺎﯾﯽ‬ ‫ﮐﻪ ﮐﺸﯿﺪه ﻣﯽﺷﻪ ﻧﯿﺴﺘﻢ‪ ،‬اﻣﺎ ﺑﺎ ﻫﻤﻪی اﯾﻦ ﺗﻼشﻫﺎ‬ ‫ﻣﺎ در ﮐﺪوم زﻣﯿﻨﻪ ﺑﺎ ﻣﺎرﮐﺖﻫﺎی ﺟﻬﺎﻧﯽ ﻗﺎﺑﻞ ﻣﻘﺎﯾﺴﻪ‬ ‫ﻫﺴﺘﯿﻢ ﮐﻪ در ﻣﻮﺳﯿﻘﯽ ﺑﺎﺷﯿﻢ؟‬ ‫ﻣﺨﺎﻃﺐ اﯾﺮاﻧﯽ ﺑﺎﯾﺪ اﻧﺼﺎف داﺷﺘﻪ ﺑﺎﺷﻪ‪ ،‬ﺑﺎﯾﺪ ﯾﻪ ﻧﮕﺎه ﺑﻪ‬ ‫زﻣﯿﻨﻪی ﮐﺎری ﺧﻮدش ﺑﻨﺪازه و ﺑﺒﯿﻨﻪ آﯾﺎ در زﻣﯿﻨﻪی ﮐﺎری‬ ‫ﺧﻮدش ﺑﺎ ﻫﻤﮑﺎران و رﻗﯿﺒﺎن ﺑﯿﻦ اﳌﻠﻠﯽ ﻗﺎﺑﻞ ﻣﻘﺎﯾﺴﻪ‬ ‫ﻫﺴﺖ؟ اونوﻗﺖ ﺧﻮدش رو ﺟﺎی ﻫرنﻣﻨﺪان اﯾﺮاﻧﯽ‬ ‫ﺑﺬاره‪ .‬ﻣﺎ ﻓﻌﺎﻻن ﻋﺎمل ﻫرن ﻫﻢ دارﯾﻢ ﺗﻼش ﻣﯽﮐﻨﯿﻢ ﮐﻪ‬ ‫ﺧﻮدﻣﻮن رو ﺑﻪ اﺳﺘﺎﻧﺪاردﻫﺎی ﺟﻬﺎﻧﯽ ﻧﺰدﯾﮏ ﮐﻨﯿﻢ اﻣﺎ‬ ‫ﻗﺮار ﻧﯿﺴﺖ اﯾﻦ ﺗﻼش ﻣﺎ ﯾﮏ ﺷﺒﻪ ﻧﺘﯿﺠﻪ ﺑﺪه و ﻣﺎ ﺑﻪ‬ ‫ﻃﻮر دﻓﻌﻪای و ﻧﺎﮔﻬﺎﻧﯽ ﺑﺎ ﻫرنﻣﻨﺪان ﻣﻮﻓﻖ ﺟﻬﺎن ﻗﺎﺑﻞ‬

‫ﻣﻘﺎﯾﺴﻪ ﺑﺸﯿﻢ و ﺑﺎ اونﻫﺎ رﻗﺎﺑﺖ ﮐﻨﯿﻢ‪ .‬ﺗﺎزه در ﻫﯿﭻ‬ ‫زﻣﯿﻨﻪای ﺑﻪ ﺟﺰ ﻣﻮﺳﯿﻘﯽ )ﺣﺘﯽ دﯾﮕﺮ زﻣﯿﻨﻪﻫﺎی ﻫرنی(‬ ‫ﻣﻤﻨﻮﻋﯿﺖ ‪ ٣٠‬ﺳﺎﻟﻪ وﺟﻮد ﻧﺪاﺷﺘﻪ‪.‬‬ ‫ﻣﺎ ﺑﺎﯾﺪ ﺑﻪ ﻣﻮﺳﯿﻘﯽ اﯾﺮان ﺑﯿﺸﱰ زﻣﺎن ﺑﺪﯾﻢ‪ ،‬و ﺑﺎ اﻧﺼﺎف‬ ‫ﺑﻪ اﯾﻦ ﻫرن ﻣﻈﻠﻮم ﻧﮕﺎه ﮐﻨﯿﻢ‪.‬‬

‫ﺑﺮداﺷﺖ ﻣﺨﺎﻃﺐ از ﻣﻮﺳﯿﻘﯽ ﺑﻪ ﻣﯿﺰان زﯾﺎدی ﻣﺘﺄﺛﺮ‬ ‫از ﺳﻮاد و اﺳﺘﻌﺪاد ﻫرنﻣﻨﺪان اﺳﺖ‪ .‬ﺑﺎ اﯾﻦ ﭘﯿﺶ‬ ‫ﻓﺮض داﻧﺶ ﻣﻮﺳﯿﻘﯽ ﭘﺎپ اﻣﺮوز در اﯾﺮان را در ﭼﻪ‬ ‫وﺿﻌﯽ ﻣﯽﺑﯿﻨﯿﺪ؟‬ ‫ﻣﻦ ﻣﻌﺘﻘﺪم ﻣﻮﺳﯿﻘﯽ ﭘﺎپ اﺳﺎﺳﺎً ﯾﻪ ﻣﻘﻮﻟﻪی‬ ‫وارداﺗﯽﺳﺖ‪ .‬ﺣﺎﻻ ﻣﻤﮑﻨﻪ ﮐﻪ ﻣﺎ ﻃﯽ اﯾﻦ ‪ ٦٠-٥٠‬ﺳﺎل‬ ‫و ﺑﺎ ﮐﻤﮏ ﮔﺮﻓنت از ادﺑﯿﺎت ﻏﻨﯽ ﻣﻮﺟﻮد در ﻓﺮﻫﻨﮕﻤﻮن‬ ‫ﺑﻪ ﺑﻮﻣﯽﺳﺎزی ﻣﺤﺘﻮاﯾﯽ رﺳﯿﺪه ﺑﺎﺷﯿﻢ؛ اﻣﺎ اﯾﻦ اﺗﻔﺎق‬ ‫ﻫﻨﻮز در متﺎﻣﯽ ﺑﺨﺶﻫﺎی ﺗﺸﮑﯿﻞ دﻫﻨﺪهی ﻣﻮﺳﯿﻘﯽ‬ ‫ﭘﺎپ رﻗﻢ ﻧﺨﻮرده‪ .‬ﻣﺸﺨﺼﺎً ﻣﻨﻈﻮرم ﺑﺨﺶﻫﺎی ﻣﻮﺳﯿﻘﺎﯾﯽ‬ ‫و ﻓﻨﯽﺳﺖ‪ .‬ﻃﺒﯿﻌﯿﻪ ﮐﻪ ﻣﺎ داﻧﺶ ﮐﺎﻓﯽ ﺑﺮای ﺳﺎﺧﺖ‬ ‫ﻣﻮﺳﯿﻘﯽ ﻧﺪاﺷﺘﻪ ﺑﺎﺷﯿﻢ‪ .‬ﻣﻦ ﺳﻮاد رو ﻣﺴﺘﻘﻞ از اﺳﺘﻌﺪاد‬ ‫ﻣﯽدوﻧﻢ‪ ،‬اﺳﺘﻌﺪاد ﯾﮏ ﻣﻘﻮﻟﻪی ذاﺗﯽﺳﺖ ﮐﻪ در ﻣﻮرد‬ ‫ﻫﺮ ﻓﺮدی ﻣﯽﺗﻮﻧﻪ ﻣﺘﻔﺎوت ﺑﺎﺷﻪ‪ ،‬اﻣﺎ در ﻣﻮرد ﺳﻮاد‪،‬‬ ‫ﻃﺒﯿﻌﯿﻪ ﮐﻪ ﺧﯿﻠﯽ وﺿﻌﯿﺖ ﺧﻮﺑﯽ ﻧﺪاﺷﺘﻪ ﺑﺎﺷﯿﻢ‪ .‬ﻣﮕﻪ در‬ ‫ﻣﺪارس ﻣﺎ‪ ،‬ﺑﺮای آﻣﻮزش ﻣﻮﺳﯿﻘﯽ ﺑﻪ ﺑﭽﻪﻫﺎ ﺑﺮﻧﺎﻣﻪرﯾﺰی‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 2:43 AM‬‬

‫‪160-161-Music-Siamak Abbasi-2.indd 161‬‬

‫‪MUS IC‬‬

‫‪162‬‬

‫ﺳﻌﯿﺪ ﺷﻨﺒﻪزاده‬ ‫ﺗﻠﻔﯿﻘــﯽ از ﻣﻠﻮدیﻫــﺎی ﺟﻨــﻮب اﯾــﺮان و‬ ‫ﻣﻮﺳــﯿﻘﯽ اﻟﮑﱰوﻧﯿــﮏ )دی ﺟــﯽ ﻣﺎﯾــﮑﻞ‬ ‫رد( را ﺑــﺎ ﻋﻨــﻮان »رﻗــﺺ« در ﺗﯿــﺮﮔﺎن‬ ‫‪ ۲۰۱۵‬اﺟــﺮا ﺧﻮاﻫﻨــﺪ ﮐــﺮد‪ .‬ﺳــﻌﯿﺪ‬ ‫ﺷــﻨﺒﻪزاده‪ ،‬آﻫﻨﮕﺴــﺎز و ﻧﻮازﻧــﺪه ﻣﻄــﺮح‬ ‫اﯾﺮاﻧــﯽ ﮐــﻪ ﻣﻮﺳــﻴﻘﻰ ﺟﻨــﻮب اﻳــﺮان را‬ ‫ﺑــﻪ ﺟﺸــﻨﻮارهﻫﺎى ﺑنياﳌﻠــﲆ در ﴎاﴎ‬ ‫ﺟﻬــﺎن ﺑــﺮده‪ ،‬ﻫﻤــﺮاه ﺑــﺎ ﻧﻘﯿــﺐ ﺷــﻨﺒﻪ‬ ‫زاده ﻧﻮازﻧــﺪه ﺟــﻮان و ﻣﺴــﻠﻂ ﺑــﻪ‬ ‫ﺳــﺎزﻫﺎی ﮐﻮﺑــﻪای اﯾــﻦ ﺑﺮﻧﺎﻣــﻪ را اﺟــﺮا‬ ‫ﺧﻮاﻫﻨــﺪ ﮐــﺮد‪ .‬اﯾــﻦ اﺟــﺮای ﭘﺮﺷــﻮر ﺑــﺎ‬ ‫ﻧﻮاﻫﺎﯾــﯽ از آﻓﺮﯾﻘــﺎ‪ ،‬ﻫﻨﺪوﺳــﺘﺎن و ﮐﺮاﻧــﻪ‬ ‫ﺧﻠﯿــﺞ ﻓــﺎرس‪ ،‬ﻟﺤﻈﺎﺗــﯽ ﺷــﺎد و ﭘــﺮ‬ ‫ﻫﯿﺠــﺎن را ﺑــﻪ دوﺳــﺘﺪاران ﻫــرن ﻣﻮﺳــﯿﻘﯽ‬ ‫و رﻗــﺺ ﻧﻮﯾــﺪ ﻣــﯽ دﻫــﺪ‪.‬‬ ‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 4:48 AM‬‬

‫‪162-Music-Shanbezadeh-EDITED.indd 162‬‬

‫‪MUSIC‬‬

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‫ﺣﺎﻣــﺪ ﻧﯿﮏﭘــﯽ‪ ٬‬در ﻣﯿﺎﻧــﻪ دﻫــﻪ ‪ ۵۰‬در اﯾــﺮان ﻣﺘﻮﻟــﺪ ﺷــﺪ و از ﻫﻔــﺖ ﺳــﺎﻟﮕﯽ ﻫﻢ ﻫﻤﯿﻨﻄﻮره‪ .‬ﮔﺎﻫﯽ ﺣﺮفﻫﺎﯾﯽ ﻣﯽﺷﻨﻮی ﮐﻪ ﺟﺰ ﺳﻨﮓ اﻧﺪاﺧنت و اﻧﺮژی ﻣﻨﻔﯽ‬ ‫آواز را ﺗﺤﺖﻧﻈــﺮ اﺳــﺎﺗﯿﺪ ﻣﻮﺳــﯿﻘﯽ ﺳــﻨﺘﯽ آﻣﻮﺧــﺖ‪ .‬او ﻓﺎرغاﻟﺘﺤﺼﯿــﻞ رﺷــﺘﻪ ﭼﯿﺰی ﻧﯿﺴﺖ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل اون ﭼﯿﺰی ﮐﻪ ﺗﺎ اﻻن دﯾﺪم ﺟﺰ زﺣﻤﺖ‪ ،‬ﺟﺰ ﴎﻣﺎﯾﻪﮔﺬاری‬ ‫ﻣﻮﺳــﯿﻘﯽ از »داﻧﺸــﮕﺎه ﺳــﻮره« اﺳــﺖ و در ﻋﺮﺻــﻪ ﻧﻮازﻧﺪﮔــﯽ ﺑــﻪ ﺗــﺎر‪ ٬‬ﺳــﻪﺗﺎر‪ ٬‬ﺷﺨﺼﯽ ﺑﭽﻪﻫﺎ‪ ،‬ﺟﺰ اﯾﻨﮑﻪ ﺑﺨﻮان ﻓﺮﻫﻨﮓ ﻣﱰﻗﯽ اﯾﺮان رو ﻧﺸﻮن ﺑﺪن ﭼﯿﺰی ﻧﺒﻮده‪.‬‬ ‫ﺗﻨﺒــﻮر‪ ٬‬ﻋــﻮد و دف ﺗﺴــﻠﻂ دارد‪.‬ﺣﺎﻣــﺪ آﻫﻨﮓﺳــﺎزی را ﺗﺤﺖﻧﻈــﺮ اﺳــﺎﺗﯿﺪی ﻣﺎﻧﻨــﺪ‬ ‫وارﺗــﺎن ﺳــﺎﻫﺎﮐﯿﺎن و ﻓﺮﻫــﺎد ﻓﺨﺮاﻟﺪﯾﻨــﯽ آﻣﻮﺧﺘــﻪ و ﺗــﺎ ﺑــﻪ ﺣــﺎل دو آﻟﺒــﻮم را ﺑــﻪ اﻻن ﺗﺠﺮﺑﻪ ﻣﻬﺎﺟﺮت رو داری‪ .‬ﺑﻪ ﻧﻈﺮت ﻫرنﻣﻨﺪ ﻋﺮﺻﻪ ﻣﻮﺳﯿﻘﯽ ﭼﻪ ﻃﻮر‬ ‫ﻃــﻮر ﻣﺸــﱰک در اﯾ ـﺮان ﺿﺒــﻂ ﮐــﺮده اﺳــﺖ‪ .‬ﺳــﻪ آﻟﺒــﻮم »ﮔــﺬر ﺗﻨﻬــﺎ«‪» ٬‬آﺳــﻮده« ﻣﯽﺗﻮﻧﻪ ﺧﻮدش رو ﺑﻪ روز ﻧﮕﻪ داره و ﺗﺸﻮﯾﻖ ﮐﻨﻪ‪ .‬ﴎ ﭼﺸﻤﻪ اﯾﻦ اﻧﮕﯿﺰه‬ ‫و »دﯾﻮاﻧﻪﺗــﺮ« را ﭘــﺲ از ﻣﻬﺎﺟــﺮت ﺑــﻪ آﻣﺮﯾــﮑﺎ ﻣﻨﺘــﴩ ﮐــﺮده و از آن زﻣــﺎن در از ﮐﺠﺎﺳﺖ؟‬ ‫ﮐﻨﴪتﻫــﺎ و ﺟﺸــﻨﻮارهﻫﺎی ﻣﺘﻌــﺪدی ﺣﻀــﻮر داﺷــﺘﻪ اﺳــﺖ‪ .‬ﺑــﺎ ﺣﺎﻣــﺪ ﻧﯿﮏﭘــﯽ ﮔﻮش ﮐﺮدن ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﻣﻠﺖﻫﺎی ﻣﺨﺘﻠﻒ‪ .‬وﻗﺘﯽ ﺷام ﺑﺎ دﻗﺖ ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﻣﻠﻞ‬ ‫در ﺗﻮرﻧﺘــﻮ ﮔﻔــﺖ و ﮔﻮﯾــﯽ ﺻﻤﯿامﻧــﻪ داﺷــﺘﯿﻢ‪ .‬ﻧﺴــﺨﻪ ﮐﺎﻣــﻞ اﯾــﻦ ﮔﻔــﺖ و ﮔــﻮ را در ﮔﻮش ﻣﯽدی‪ ،‬رﺷﺪ ﻣﻮﺳﯿﻘﯽ رو ﻣﯽﻓﻬﻤﯽ‪ .‬ﺗﻔﺎوت ﺗﺰﺋﯿﻦﻫﺎ رو ﻣﯽﻓﻬﻤﯽ‪ .‬و ﺑﺰرﮔﱰﯾﻦ‬ ‫ﭼﯿﺰی ﮐﻪ از ﻏﺮور ﻫرنی ﻣﯽﻓﻬﻤﯽ اﯾﻨﻪ ﮐﻪ »ﻣﺎ ﻓﻘﻂ ﺧﻮب ﻧﯿﺴﺘﯿﻢ‪ «.‬ﻓﻘﻂ ﻣﺎ‬ ‫رﺳــﺎﻧﻪ ﺗﯿــﺮﮔﺎن )‪ (media.tirgan.ca/fa‬ﺑﺨﻮاﻧﯿــﺪ‪:‬‬ ‫ﻧﯿﺴﺘﯿﻢ ﮐﻪ ﮐﺎرﻫﺎی ﻣﻬﻢ در دﻧﯿﺎی ﻫرن اﻧﺠﺎم ﻣﯽدﯾﻢ و ﻣﺎ ﺗﻨﻬﺎ ﻣﻮﺳﯿﻘﯽ ﺗﺎﺛﯿﺮﮔﺬار‬ ‫ﺣﺎﻣﺪ ﺟﺎن از آﺷﻨﺎﯾﯿﺖ ﺑﺎ ﺗﯿﺮﮔﺎن ﺑﮕﻮ‪ .‬از ﺣﺲ و ﺣﺎﻟﯽ ﮐﻪ در ﺟﺸﻨﻮاره و‬ ‫در دﻧﯿﺎ ﻧﯿﺴﺘﯿﻢ‪ .‬اﻻن اﺗﻔﺎﻗﺎت زﯾﺎدی در ﻣﻮﺳﯿﻘﯽ ﻧﺴﻞ ﺣﺎل اﯾﺮان اﺗﻔﺎق ﻣﯽﻓﺘﻪ‬ ‫اﺟﺮای ﺑﺮﻧﺎﻣﻪﻫﺎ داﺷﺘﯽ‬ ‫و ﻣﯽﺷﻪ ﮔﻔﺖ ﻣﻮﺳﯿﻘﯽ ﺗﻠﻔﯿﻘﯽ ﯾﮑﯽ از اونﻫﺎﺳﺖ‪ .‬ﻣﻦ ﺑﺎ »ﮔﺮوه روﻣﯽ« ﺑﻪ‬ ‫آﺷﻨﺎﯾﯽ ﺑﺎ دﻋﻮت ﺗﯿﺮﮔﺎن ﴍوع ﺷﺪ‪ .‬آﺧﺮﯾﻦ ﺑﺮﻧﺎﻣﻪ ﺗﯿﺮﮔﺎن ﺳﺎل ‪ ۲۰۱۳‬ﺑﻮد ﮐﻪ دو‬ ‫ﴎﭘﺮﺳﺘﯽ ﭘﺪرام درﺧﺸﺎﻧﻴﺎن اﯾﻦ ﺗﺠﺮﺑﻪ رو ﴍوع ﮐﺮدم‪ .‬ﻫﺮﭼﻨﺪ ﺳﺨﺘﯽﻫﺎی زﯾﺎدی‬ ‫ﺷﺐ ﺑﺎ ﭘﻨﺞ ﻧﻔﺮ از اﻋﻀﺎی ﮔﺮوﻫﻢ اﺟﺮا داﺷﺘﯿﻢ و ﺗﺠﺮﺑﻪ ﺑﺴﯿﺎر ﺧﻮﺑﯽ ﺑﻮد‪ .‬ﻫﻤﮑﺎری ﮐﺸﯿﺪم و ﻓﺮﻫﻨﮓ ﻣﺎ ﺑﻪ راﺣﺘﯽ اﯾﻦ رو منﯽﭘﺬﯾﺮه اﻣﺎ ﺣﺎﻻ ﺑﻪ ﺟﺎﯾﯽ رﺳﯿﺪﯾﻢ ﮐﻪ‬ ‫داوﻃﻠﺐﻫﺎ و ﴎوﯾﺲ ﺑﻪ ﻣﻬامنﻫﺎ ﺑﺴﯿﺎر ﻋﺎﻟﯽ ﺑﻮد‪ .‬اﯾﻦ در ﻟﺤﻈﻪ اول اﺳﺘﻘﺒﺎل از ﺟﺸﻨﻮاره ﻣﺨﺼﻮص ﻣﻮﺳﯿﻘﯽ ﺗﻠﻔﯿﻘﯽ ﺑﺮ ﭘﺎ ﻣﯽﺷﻪ‪.‬‬ ‫ﻣﻬامنﻫﺎ ﮐﺎﻣﻼ ﻣﻠﻤﻮس ﺑﻮد‪ .‬منﯽدوﻧﻢ ﮐﻪ آﯾﺎ روی اﯾﻦ ﻣﻮﺿﻮع متﺮﮐﺰ ﯾﺎ ﺗﺎﮐﯿﺪ ﺷﺪه‬ ‫در رﺧﺪادﻫﺎی ﺳﯿﺎﺳﯽ و اﺟﺘامﻋﯽ ﮐﻪ ﻣﺮدم در اون ﻣﺸﺎرﮐﺖ داﺷﺘﻨﺪ ﺧﻮدت‬ ‫ﺑﻮد ﯾﺎ ﺧﻮدﺟﻮش ﺑﻮد؛ در ﻫﺮ ﺣﺎل »ﺧﻮش آﻣﺪن« رو اﺣﺴﺎس ﻣﯽﮐﺮدم‪.‬‬

‫ﺷام ﺗﺠﺮﺑﻪ اﺟﺮا در ﺟﺸﻨﻮارهﻫﺎی دﯾﮕﻪ رو داﺷﺘﯽ‪ .‬ﺑﺮﮔﺰاری ﺗﯿﺮﮔﺎن رو در‬ ‫ﻣﻘﺎﯾﺴﻪ ﺑﺎ اونﻫﺎ ﭼﻪ ﻃﻮر ﻣﯽﺑﯿﻨﯽ؟‬

‫~ ‪~ music‬‬

‫‪hamed‬‬ ‫‪nikpay and‬‬ ‫‪ensemble‬‬ ‫‪WHEN:‬‬

‫‪Thursday, 20 August - 9:00pm‬‬ ‫‪DURATION:‬‬ ‫‪1 hour‬‬ ‫‪LOCATION:‬‬ ‫‪Westjet Stage,‬‬ ‫‪Harbourfront Centre‬‬

‫در ﺟﺸﻨﻮاره »ﺟﻬﺎن ﺧﴪو« در ﻫﻨﺪ ﮐﻪ ﺑﺰرﮔﱰﯾﻦ ﺟﺸﻨﻮاره ﻣﻮﺳﯿﻘﯽ ﺻﻮﻓﯽ‬ ‫دﻧﯿﺎﺳﺖ دوﺑﺎر ﺑﻪ ﻋﻨﻮان ﺧﻮاﻧﻨﺪه ﴍﮐﺖ ﮐﺮدم‪ .‬در »ﺟﺸﻨﻮاره اﯾﺮاﻧﯿﺎن ﺑﺮﻟﯿﻦ« در‬ ‫ﺳﺎل ‪ ۲۰۰۴‬ﴍﮐﺖ ﮐﺮدم‪ .‬در اﯾﺮان ﻫﻢ در ﺟﺸﻨﻮاره ﻓﺠﺮ و ﺑﺪاﻫﻪﻧﻮازان داﻧﺸﺠﻮان‬ ‫ﴎاﴎ ﮐﺸﻮر ﺣﻀﻮر داﺷﺘﻢ‪ .‬و ﺗﺎ ﺟﺎﯾﯽ ﮐﻪ ﺑﻪ ﯾﺎد دارم در ﺟﺸﻨﻮارهای ﮐﻪ در‬ ‫»ارواﯾﻦ ﮐﺎﻟﯿﻔﺮﻧﯿﺎ« ﺑﺮﮔﺰار ﺷﺪ‪ .‬ﺗﯿﺮﮔﺎن ﺑﺪون ﺷﮏ ﻣﻨﻈﻢﺗﺮﯾﻦ و ﭘﺮ ﮐﯿﻔﯿﺖﺗﺮﯾﻦ‬ ‫ﺟﺸﻨﻮاره اﯾﺮاﻧﯽ ﺧﺎرج از ﮐﺸﻮره‪ .‬اﯾﻦ رو ﺑﺪون اﻏﺮاق ﻣﯽﮔﻢ و ﺑﻪ ﻋﻨﻮان ﯾﻪ اﯾﺮاﻧﯽ‬ ‫ﮐﻪ از ﺑﯿﺮون ﻧﮕﺎه ﻣﯽﮐﻨﻪ‪.‬‬

‫در ﻣﻮرد ﺗﯿﺮﮔﺎن ﺗﺎ ﭘﯿﺶ از اﯾﻦ ﮐﻪ ﺑﺮای اﺟﺮا در ﺟﺸﻨﻮراه از ﺷام دﻋﻮت ﺑﻪ‬ ‫ﻋﻤﻞ ﺑﯿﺎد ﻫﻢ ﺷﻨﯿﺪه ﺑﻮدی؟‬

‫ﺑﻠﻪ‪ .‬در زﻣﺎﻧﯽ ﮐﻪ اوﻟﯿﻦ و دوﻣﯿﻦ دوره ﺟﺸﻨﻮاره ﺑﺮﮔﺰار ﺷﺪ‪ ،‬زﻣﺎﻧﯽ ﮐﻪ اﺳﺘﺎد ﻟﻄﻔﯽ‬ ‫ﻫﻢ ﻗﺮار ﺑﻮد ﺑﺮﻧﺎﻣﻪ داﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬اﯾﻦ اﺗﻔﺎﻗﺎت در اوﻟﯿﻦ ﺳﺎلﻫﺎی ﻣﻬﺎﺟﺮت ﻣﻦ‬ ‫ﺑﻪ آﻣﺮﯾﮑﺎ ﺑﻮد و ﺟﻮﯾﺎ ﺷﺪم ﮐﻪ ﭼﮕﻮﻧﻪ ﻣﯽﺷﻪ در ﺗﯿﺮﮔﺎن ﴍﮐﺖ ﮐﺮد‪ .‬ﺗﺎ زﻣﺎﻧﯽ‬ ‫ﮐﻪ از ﻣﻦ دﻋﻮت ﮐﺮدﻧﺪ و ﺑﺴﯿﺎر ﺗﺠﺮﺑﻪ ﻋﺎﻟﯽ ﺑﻮد‪ .‬ﺗﯿﺮﮔﺎن از اون اﺗﺤﺎد ﻓﺮﻫﻨﮕﯽ‬ ‫ﺻﺤﺒﺖ ﻣﯽﮐﻨﻪ ﮐﻪ ﻫﻤﻪ از ﻧﺒﻮدش ﮔﻠﻪ دارﯾﻢ‪ .‬از ﻣﺪﯾﺮان ﺑﺎﻻی ﺗﯿﺮﮔﺎن ﺗﺎ ﻣﺪﯾﺮﯾﺖ‬ ‫ﮔﺮوهﻫﺎی ﻣﺨﺘﻠﻔﯽ ﮐﻪ ﻓﻌﺎل ﻫﺴﺘﻨﺪ ﻣﯽﺷﻪ ﺗﺤﻤﻞ‪ ،‬ﺻﱪ و ﭘﺬﯾﺮا ﺑﻮدن ﻣﺮدم رو دﯾﺪ‪.‬‬ ‫اﻟﺒﺘﻪ ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ ﺗﻮرﻧﺘﻮ ﻓﻀﺎی ﻣﺪرنﺗﺮی داره‪ .‬ﻣﻦ در »ﺳﺎﻧﻔﺮاﻧﺴﯿﺴﮑﻮ« زﻧﺪﮔﯽ‬ ‫ﻣﯽﮐﺮدم و ﺗﺎزه دارم زﻧﺪﮔﯽ در »ﻟﺲآﻧﺠﻠﺲ« رو ﺗﺠﺮﺑﻪ ﻣﯽﮐﻨﻢ‪ .‬اﯾﻨﺠﺎ ﺑﯿﺸﱰ از ﯾﮏ‬ ‫ﻣﯿﻠﯿﻮن اﯾﺮاﻧﯽ دارﯾﻢ وﻟﯽ اﺣﺴﺎس ﻣﯽﮐﻨﻢ اﮐرثﯾﺖ رﯾﺸﻪ در ﻧﺴﻞ ﻗﺪﯾﻤﯽ ﻣﻬﺎﺟﺮ‬ ‫دارن‪ .‬ﻧﺴﻞ ﻓﺮار ﮐﺮده‪ ،‬ﯾﺎ ﻧﺴﻞ ﴎ ﺧﻮرده‪ ،‬ﻧﺴﻞ ﻗﺪﯾﻤﯽ ﻣﻬﺎﺟﺮای اﯾﺮاﻧﯽ‪ .‬وﻟﯽ در‬ ‫ﺗﻮرﻧﺘﻮ ﻧﺴﻞ ﺑﻌﺪ از اﻧﻘﻼب رو ﻣﯽﺷﻪ دﯾﺪ‪ .‬ﺣﺘﯽ ﻣﮑﺎﳌﺎت و اﺻﻄﻼﺣﺖ اﻣﺮوزی‬ ‫اﯾﺮان رو ﻣﯽﺷﻪ اﯾﻨﺠﺎ ﺷﻨﯿﺪ‪ .‬اﻟﺒﺘﻪ ﻣﺎ ﻣﺮدم ﻣﻨﺘﻘﺪی ﻫﺴﺘﯿﻢ ﺗﺎ ﻣﺸﻮق‪ .‬ﻧﻘﺪ ﮐﺮدن‬ ‫و ﻧﮑﺎت ﻣﻨﻔﯽ رو دﯾﺪن ﺑﺮای ﻣﺎ ﺧﯿﻠﯽ ﺳﺎدهﺗﺮه ﺗﺎ ﺗﺸﻮﯾﻖ ﮐﺮدن‪ .‬در ﻣﻮرد ﺗﯿﺮﮔﺎن‬

‫رو ﻫﻤﺮاه ﮐﺮدی‪ .‬ﯾﮏ ﺟﺎﻫﺎﯾﯽ ﺻﺪای ﻣﺮدم ﺷﺪی‪ .‬ﯾﮏ ﺟﺎﻫﺎﯾﯽ ﺑﺎ ﻣﺮدم ﺷﺎد‬ ‫ﺷﺪی‪ .‬ﯾﮏ ﺟﺎﻫﺎﯾﯽ ﻏﻤﮕﯿﻦ‪ .‬از اﯾﻦ ﺗﺠﺮﺑﻪ ﺑﻪ ﻋﻨﻮان ﯾﮏ ﻫرنﻣﻨﺪ ﺧﺎرج از‬ ‫ﮐﺸﻮر ﺑﺮای ﻣﺨﺎﻃﺐ ﻣﺎ ﺑﮕﻮ‪.‬‬

‫ﻣﻦ ﻓﮑﺮ ﻣﯽﮐﻨﻢ ﺑﻪ ﺧﺎﻃﺮ ﻓﺸﺎرﻫﺎ ﯾﺎ اﺗﻔﺎﻗﺎﺗﯽ ﮐﻪ وﺟﻮد داﺷﺘﻪ در دوران ﻏﻤﮕﯿﻨﯽ ﺑﻪ‬ ‫ﴎ ﻣﯽﺑﺮﯾﻢ ﺣﺘﯽ ﺑﯿﺸﱰ از دوراﻧﯽ ﮐﻪ ﻣﻦ در اﯾﺮان ﺑﻮدم‪ .‬اﯾﻦ رو در ﮔﻔﺖ و ﮔﻮ ﺑﺎ‬ ‫ﻫﻢ ﮐﻼﺳﯽﻫﺎ‪ ،‬ﻫﻢ داﻧﺸﮕﺎﻫﯽﻫﺎ و ﻫﻤﮑﺎرﻫﺎم اﺣﺴﺎس ﻣﯽﮐﻨﻢ‪ .‬اﻣﺎ ﺑﻬﱰﯾﻦ اﺗﻔﺎﻗﯽ‬ ‫ﮐﻪ ﺑﻌﺪ از ﻣﻬﺎﺟﺮت ﺑﺮای ﻣﻦ اﻓﺘﺎده‪ ،‬اﯾﻦ ﺑﻮد ﮐﻪ ﺗﻮﻧﺴﺘﻢ در زﻣﯿﻨﻪ ﮐﺎری ﺧﻮدم‬ ‫ﮐﺎرﮐﻨﻢ و ﺑﺮای ﻣﺮدم ﺑﺨﻮﻧﻢ‪.‬‬

‫ﺣﺎﻣﺪ ﺟﺎن از ﮐﺎرﻫﺎی ﺟﺪﯾﺪت ﭼﻪ ﺧﱪ؟‬

‫ﺑﻪ ﺗﺎزﮔﯽ ﯾﮏ ﺗﯿﱰاژ ﺑﺮای ﻓﺼﻞ آﺧﺮ »رادﯾﻮ ﭘﺲ ﻓﺮدا« درﺳﺖ ﮐﺮدم ﮐﻪ ﺳﻮﻣﯿﻦ‬ ‫ﻫﻤﮑﺎری ﻣﻦ ﺑﺎ »ﻓﺮﺷﯿﺪ ﻣﻨﺎﻓﯽ« اﺳﺖ‪ .‬ﮐﺎرﻫﺎی دﯾﮕﻪای ﻫﻢ ﺑﺎ »ﻓﺮزﯾﻦ ﻓﺮﻫﺎدی« ﮐﻪ‬ ‫رﻫﱪ ﮔﺮوﻫﻤﻪ در دﺳﺖ دارم‪ .‬ﺑﺎ ﺑﺎﺑﮏ اﻣﯿﻨﯽ و رﺿﺎ ﻣﻘﺪس ﻫﻢ در ﺣﺎل ﻫﻤﮑﺎری‬ ‫ﻫﺴﺘﻢ‪ .‬در اروﭘﺎ ﻫﻢ ﻗﺮاره ﺑﺎ ﺗﻮر ﮐﻨﴪتﻫﺎ ﻓﻌﺎﻟﯿﺘﻤﻮن رو ﴍوع ﮐﻨﯿﻢ‪ .‬در ﻣﺎه اﮐﺘﱪ‬ ‫در ﻟﺲ آﻧﺠﻠﺲ ﯾﮏ ﮐﻨﴪت ﺧﯿﺮﯾﻪ دارم و ﻫﻤﭽﻨﯿﻦ اﺟﺮاﻫﺎﯾﯽ در ﻧﻴﻮﻳﻮرک‪ ،‬ﺟﺸﻦ‬ ‫ﻣﻬﺮﮔﺎن و واﺷﻴﻨﮕنت‪ .‬در ﻓﮑﺮ ﺗﻮﻟﯿﺪ آﻟﺒﻮم ﺟﺪﯾﺪ و ﮐﺎرﻫﺎی وﯾﺪﯾﻮﯾﯽ ﻫﻢ ﻫﺴﺘﻢ‪.‬‬

‫ﺑﺮای ﺑﺮﻧﺎﻣﻪ اﻓﺘﺘﺎﺣﯿﻪ ﺗﯿﺮﮔﺎن ﭼﻪ ﻧﻘﺸﻪای داری؟‬

‫ﺑﺮای اﻓﺘﺘﺎﺣﯿﻪ ﺗﯿﺮﮔﺎن ﻣﺠﻤﻮﻋﻪای از آﻟﺒﻮمﻫﺎی ﮔﺬﺷﺘﻪ و ﻣﺠﻤﻮﻋﻪای از ﺑﺪاﻫﻪﻧﻮازی‬ ‫ﻫﺴﺖ ﮐﻪ روی ﺻﺤﻨﻪ اﺗﻔﺎق ﻣﯽاﻓﺘﺪ‪ .‬ﺳﻌﯽ ﻣﯽﮐﻨﻢ ﮐﻪ ﯾﮏ ﮐﺎر دوﻧﻮازی ﺑﺎ ﺗﻨﺒﻮر‬ ‫و ﺳﺎزﻫﺎی ﴐﺑﯽ ﻫﻢ داﺷﺘﻪ ﺑﺎﺷﯿﻢ‪ .‬ﺗﻔﺎوﺗﯽ ﮐﻪ ﺑﺮﻧﺎﻣﻪ اﻣﺴﺎل ﺑﺎ ﺳﺎلﻫﺎی ﻗﺒﻞ داره‬ ‫اﯾﻨﻪ ﮐﻪ ﮐﻪ ﻧﻮازﻧﺪه ﻃﺒﻞ »ﺳﺘﻨﺎم راﻣﮕﻮﺗﺮا« اﻣﺴﺎل »درام« ﻣﯽزﻧﻪ‪ .‬ﯾﮏ ﻧﻮازﻧﺪه ﮔﯿﺘﺎر‬ ‫ﻫﻢ ﺑﻪ ﻧﺎم »دن ﺳﻴﺴﺘﻮس« دارﯾﻢ ﮐﻪ ﺑﺎ ﻣﺎ ﻫﻤﮑﺎری ﻣﯽﮐﻨﻪ‪ .‬ﯾﻌﻨﯽ اﻣﺴﺎل ﺑﺮای‬ ‫اﻓﺘﺘﺎﺣﯿﻪ ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﯿﻢ ﮐﻪ ﯾﮏ ﮐﺎر ﮔﺮوﻫﯽﺗﺮ و ﭘﺮ ﻫﯿﺠﺎنﺗﺮ اراﺋﻪ ﺑﺪﯾﻢ‪ .‬ﻓﺮﯾﺎد ﻣﻦ‬ ‫در ﺷﺐ اﻓﺘﺘﺎﺣﯿﻪ اﯾﻨﻪ ﮐﻪ ﻣﺎ اﮔﺮﭼﻪ دور ﻣﻮﻧﺪﯾﻢ‪ ،‬اﻣﺎ ﺳﻌﯽ ﮐﺮدﯾﻢ ﮐﻪ ﺧﻮدﻣﻮن رو‬ ‫زﻧﺪه ﻧﮕﻪ دارﯾﻢ‪» .‬اﯾﻦ ﻓﺮﯾﺎد زﻧﺪه ﺑﻮدﻧﻪ‪ ،‬ﻓﺮﯾﺎد ﻫﻤﺮاه ﺑﻮدﻧﻪ«‪.‬‬

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‫ﮐﯿﻬﺎن ﮐﻠﻬﺮ‬ ‫از ﺑﺮﺟﺴــﺘﻪﺗﺮﯾﻦ ﻣﻮﺳــﻴﻘﯽدانﻫﺎی‬ ‫اﯾﺮاﻧــﯽ در ﻋﺮﺻﻪﻫــﺎی ﺟﻬــﺎن‪ ،‬و اردال‬ ‫ارزﯾﻨﺠــﺎن از ﺑــﺰرﮔﺎن ﻣﻮﺳــﯿﻘﯽ ﻓﻮﻟــﮏ‬ ‫ﺗﺮﮐﯿــﻪ در ﺗﯿــﺮﮔﺎن ‪ ۲۰۱۵‬ﺑــﻪ اﺟــﺮای‬ ‫ﺑﺮﻧﺎﻣــﻪ ﺑﺪاﻫﻪﻧــﻮازی ﺧﻮاﻫﻨــﺪ ﭘﺮداﺧــﺖ‪.‬‬ ‫ﻫﻤﻨــﻮازی ﻣﻌﻨــﻮی و اﺣﺴﺎﺳــﯽ اﯾــﻦ دو‬ ‫ﻧﻮازﻧــﺪه ﭼﯿﺮهدﺳــﺖ اﯾ ـﺮان و ﺗﺮﮐﯿــﻪ ﺧﺎﻟــﻖ‬ ‫ﺟﻨﺴــﯽ از ﻣﻮﺳﯿﻘﯽﺳــﺖ ﮐــﻪ رﯾﺸــﻪ در‬ ‫ﭘﯿﻮﻧﺪﻫــﺎی ﻓﺮﻫﻨﮕــﯽ دو ﻣﻠــﺖ و ﺳــﺎﯾﺮ‬ ‫ﻣــﺮدم ﻣﻨﻄﻘــﻪ دارد و ﺗــﺎ ﮐﻨــﻮن ﺟﻮاﯾــﺰ‬ ‫ﻣﻌﺘــﱪی را از آن ﺧــﻮد ﮐــﺮده اﺳــﺖ‪.‬‬ ‫ﮐﯿﻬــﺎن ﮐﻠﻬــﺮ ﺗــﺎ ﺑــﻪ ﺣــﺎل ﺑــﺎ »ﺷــﺠﺎﻋﺖ‬ ‫ﺣﺴــﯿﻦ ﺧــﺎن«‪» ،‬ﯾﻮﯾﻮﻣــﺎ«‪» ،‬ارﮐﺴــﱰ‬ ‫ﻓﯿﻼرﻣﻮﻧﯿــﮏ ﻧﯿﻮﯾــﻮرک«‪» ،‬ﮐﻮارﺗــﺖ‬ ‫ﮐﺮوﻧــﻮس« و »ﺑﺮوﮐﻠﯿــﻦ راﯾــﺪرز« ﻫﻤــﮑﺎری‬ ‫ﻫــرنی داﺷــﺘﻪ و در ﺑﺮﻧﺎﻣــﻪ اﻣﺴــﺎل ﺗﯿــﺮﮔﺎن‬ ‫ﻧﯿــﺰ ﺑــﺮای ﺧﻠــﻖ ﮔﻮﺷــﻪﻫﺎﯾﯽ از ﭘﯿﻮﻧــﺪ‬ ‫ﻣﻮﺳــﯿﻘﺎﯾﯽ ﻣﻨﻄﻘــﻪ از ﭘــﺎرس ﺗــﺎ آﻧﺎﺗﻮﻟﯿــﺎ‪،‬‬ ‫اردال ارزﯾﻨﺠــﺎن را ﻫﻤﺮاﻫــﯽ ﺧﻮاﻫــﺪ ﮐــﺮد‪.‬‬

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2015-08-05 4:57 AM

‫‪KEYWORD‬‬

‫ﺑﺮ اﺳﺎس ﺑﺮآوردﻫﺎ‬ ‫ﺗﻬﯿﻪ ﮐﺮدﻧﺪ‪ .‬از آﻧﺠﺎ ﮐﻪ اﯾﻦ‬ ‫ﺑﯿﻦ ﭼﻬﺎر ﺗﺎ ﺷﺶ ﻣﯿﻠﯿﻮن اﯾﺮاﻧﯽ از دﻫﻪ ‪ ۷۰‬ﻣﯿﻼدی ﺑﻪ »دﯾﺎﺳﭙﻮرا« ﻣﺤﺴﻮب ﻣﯽﺷﻮد‬ ‫اﯾﻦ ﺳﻮ‪ ،‬از اﯾﺮان‬ ‫ﻣﻬﺎﺟﺮت ﮐﺮدهاﻧﺪ و »دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ« را ﻓﺮاﺗﺮ از ﻣﺮزﻫﺎ اﺻﻄﻼح ﻗﺪرﺗﯽ ورای زﺑﺎن روزﻣﺮه ﺑﻪ دﺳﺖ آورد‪ ٬‬ﺗﺤﻘﯿﻘﺎت اﺧﯿﺮ داﻧﺸﮕﺎﻫﯽ‬ ‫ﺗﻘﺮﯾﺒﺎ در ﻫﺮ‬ ‫ﻗﺎرهای ﭘﺮاﮐﻨﺪهاﻧﺪ‪ .‬ﮔﺮوهﻫﺎی ﻣﺨﺘﻠﻒ دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ ﭘﯿﺸﻨﻬﺎد داده ﮐﻪ ﺑﻪ ﺟﺎی ﺑﻪ ﮐﺎرﮔﯿﺮی »دﯾﺎﺳﭙﻮرا« ﺑﻪ ﺷﮑﻞ ﺗﻮﺻﯿﻔﯽ‪ ،‬ﺑﻬﱰ اﺳﺖ‬ ‫در ﻣﺮاﮐﺰ ﺷﻬﺮی‬ ‫ﺟﻬﺎﻧﯽ ﻧﻈﯿﺮ ﻟﻮسآﻧﺠﻠﺲ‪ ٬‬ﻟﻨﺪن‪ ٬‬اﺳﺘﮑﻬﻠﻢ‪ ٬‬ﻫﺎﻣﺒﻮرگ‪ ٬‬از آن ﺑﻪ ﻋﻨﻮان ﻣﻘﻮﻟﻪای ﮐﻠﯿﺪی در زﻧﺪﮔﯽ روزﻣﺮه اﺳﺘﻔﺎده ﺷﻮد‪ .‬ﺑﻪ ﻋﺒﺎرت دﯾﮕﺮ‬ ‫دوﺑﯽ‪ ٬‬ﮐﻮاﻻﻻﻣﭙﻮر‪ ٬‬ﺳﯿﺪﻧﯽ و اﻟﺒﺘﻪ ﺗﻮرﻧﺘﻮ ﻣﺘﻤﺮﮐﺰ ﺷﺪهاﻧﺪ‪ .‬در ﺣﺎﻟﯽ ﮐﻪ ﺳﺎلﻫﺎی‬ ‫»دﯾﺎﺳﭙﻮرا« ﺗﻨﻬﺎ ﺑﻪ اﯾﻦ ﺧﺎﻃﺮ ﻣﻌﻨﺎدار اﺳﺖ ﮐﻪ اﻓﺮاد و ﺟﻮاﻣﻊﺷﺎن آن را ﻣﻌﻨﺎدار‬ ‫اﺧﯿﺮ ﻣﻘﺼﺪﻫﺎی ﺟﺪﯾﺪﺗﺮی ﻣﺜﻞ »ﮐﻮاﻻﻻﻣﭙﻮر« ﺧﺎﻧﻪ دﯾﮕﺮی ﺑﺮای ﻣﻬﺎﺟﺮان اﯾﺮاﻧﯽ‬ ‫ﯾﺎﻓﺘﻪاﻧﺪ و ﻋﻤﻼ اﺳﺘﻔﺎده ﻣﯽﮐﻨﻨﺪ‪ ٬‬ﯾﻌﻨﯽ راﻫﯽ ﺑﺮای ﺗﻌﯿﯿﻦ ﻫﻮﯾﺖ ﺧﻮدﺷﺎن اﺳﺖ‪٬‬‬ ‫ﺷﺪه‪ ٬‬اﻣﺎ ﺟﻮاﻣﻊ ﻗﺪﯾﻤﯽﺗﺮ دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ ﻣﺎﻧﻨﺪ ﻟﺲآﻧﺠﻠﺲ‪ ،‬ﻧﻪ ﺗﻨﻬﺎ ﻣﯿﺰﺑﺎن‬ ‫راه ﺣامﯾﺖ و ﺑﺴﯿﺞ ﮐﺮدن ﺟﻮاﻣﻊﺷﺎن و ﺣﻔﻆ ارﺗﺒﺎط ﻣﯿﺎن ﮔﺮوهﻫﺎی ﻫﻢ ﻣﻠﯿﺖ‪ ٬‬ﻫﻢ‬ ‫ﻣﻬﺎﺟﺮان ﻧﺴﻞ اول اﺳﺖ‪ ،‬ﺑﻠﮑﻪ ﺧﺎﻧﻪ ﻧﺴﻞﻫﺎی ﺑﻌﺪی از ﺟﻤﻠﻪ ﻓﺮزﻧﺪان ﻣﻬﺎﺟﺮان‬ ‫ﻗﻮم ﯾﺎ ﻫﻢ ﻧﯿﺎز در ﻫﺮﺟﺎی دﻧﯿﺎ‪.‬‬ ‫)ﻧﺴﻞ دوم(‪ ،‬و ﻓﺮزﻧﺪان ﻓﺮزﻧﺪاﻧﺸﺎن )ﻧﺴﻞ ﺳﻮم( ﻣﯽﺑﺎﺷﺪ‪.‬‬ ‫ﻋﻀﻮی از »دﯾﺎﺳﭙﻮرا« ﺷﺪن ﻓﺮآﯾﻨﺪیﺳﺖ ﮐﻪ از دل ﯾﮏ ارﺗﺒﺎط ﻣﺴﺘﻤﺮ‪ ،‬ﻫﻮﯾﺖﻃﻠﺒﯽ‬ ‫»دﯾﺎﺳﭙﻮرا« در ﯾﻮﻧﺎن ﺑﺎﺳﺘﺎن ﺑﻪ ﻣﻌﻨﺎی »ﭘﺮاﮐﻨﺪن« ﯾﺎ »ﺑﺬرﭘﺎﺷﯽ ﮔﺴﱰده« اﺳﺖ و‬ ‫و ﮐﻨﺶﮔﺮی ﺗﺤﻘﻖ ﻣﯽﯾﺎﺑﺪ‪ .‬اﯾﻦ ﻓﺮآﻳﻨﺪ ﻧﻪ ﺛﺎﺑﺖ اﺳﺖ و ﻧﻪ آﺳﺎن‪ .‬ﻣﺮدم ﺟﺎ ﺑﻪ ﺟﺎ‬ ‫ﺑﺮای ﮐﺴﺎﻧﯽ ﺑﻪ ﮐﺎر ﻣﯽرﻓﺘﻪ ﮐﻪ از ﺷﻬﺮ‪-‬اﯾﺎﻟﺖﻫﺎی ﺧﻮد ﺑﺮای اﺳﺘﻌامر ﴎزﻣﯿﻦ ﺟﺪﯾﺪ ﻣﯽﺷﻮﻧﺪ و ﺑﺎز ﺟﺎ ﺑﻪ ﺟﺎ ﻣﯽﺷﻮﻧﺪ و ﻫﻮﯾﺖﺷﺎن ﺗﻐﯿﯿﺮ ﻣﯽﮐﻨﺪ و ﺧﻮدﺷﺎن را ﺑﺎ‬ ‫و ﮔﺴﱰش اﻣﭙﺮاﻃﻮری ﻣﻬﺎﺟﺮت ﻣﯽﮐﺮدﻧﺪ‪ .‬ﮐﺎرﺑﺮد اﻣﺮوزی »دﯾﺎﺳﭙﻮرا« از اﯾﻦ ﻣﻔﻬﻮم ﺷﯿﻮهﻫﺎی ﻣﺨﺘﻠﻒ و در واﮐﻨﺶ ﺑﻪ ﻣﮑﺎنﻫﺎ و اﻣﮑﺎنﻫﺎی ﻣﺨﺘﻠﻒ ﺳﺎزﮔﺎر ﻣﯽﮐﻨﻨﺪ‪.‬‬ ‫ﯾﻮﻧﺎﻧﯽ ﮔﺮﻓﺘﻪ ﺷﺪه‪ ٬‬ﯾﻌﻨﯽ وﻗﺘﯽ ﻣﺮدم ﻣﺜﻞ ﺑﺬر ﭘﺮاﮐﻨﺪه ﻣﯽﺷﻮﻧﺪ‪ ٬‬رﯾﺸﻪﻫﺎیﺷﺎن در ﺑﻪ ﻋﺒﺎرت دﯾﮕﺮ‪ ،‬ﺑﺨﺸﯽ از »دﯾﺎﺳﭙﻮرا« ﺷﺪن اﻣﺮیﺳﺖ ﻧﻪ ﺑﺪﯾﻬﯽ و ﻧﻪ ﺛﺎﺑﺖ‪ ،‬از‬ ‫ﻣﺤﯿﻂ ﺟﺪﯾﺪ رﺷﺪ ﻣﯽﮐﻨﺪ و ﺟﻮاﻣﻊ ﺟﺪﯾﺪی در ﻣﮑﺎنﻫﺎی ﻣﺨﺘﻠﻒ ﺷﮑﻞ ﻣﯽدﻫﻨﺪ‪ .‬اﯾﻦ ﺟﻬﺖ ﻫﻤﻪ ﮐﺴﺎﻧﯽ ﮐﻪ ﺑﻪ ﯾﮏ ﮐﺸﻮر ﺟﺪﯾﺪ ﻣﻬﺎﺟﺮت ﻣﯽﮐﻨﻨﺪ ﻟﺰوﻣﺎ »دﯾﺎﺳﭙﻮرا«‬ ‫واژه دﯾﺎﺳﭙﻮرا در دﻫﻪﻫﺎی اﺧﯿﺮ ﻏﺎﻟﺒﺎ ﺑﻪ ﮔﺮوﻫﯽ از ﻣﺮدم اﻃﻼق ﻣﯽﺷﻮد ﮐﻪ ﺑﺎ‬ ‫ﻧﯿﺴﺘﻨﺪ‪ .‬روش درﺳﺖ و ﻏﻠﻄﯽ ﺑﺮای ﻋﻀﻮ دﯾﺎﺳﭙﻮرا ﺷﺪن وﺟﻮد ﻧﺪارد؛ ﺑﻠﮑﻪ ﻣﺮﺑﻮط‬ ‫ﻧﺴﺒﯿﺖﻫﺎی ﻣﻠﯽ‪ ،‬ﻗﻮﻣﯽ‪ ،‬ﻓﺮﻫﻨﮕﯽ و ﭘﯿﻮﻧﺪﻫﺎی ﻣﺸﱰک دﯾﮕﺮ‪ ،‬ﺧﺎرج از وﻃﻦﺷﺎن‬ ‫ﺑﻪ آن ﺣﺲ ﺗﻌﻠﻘﯽﺳﺖ ﮐﻪ ﻓﺮد ﻧﺴﺒﺖ ﺑﻪ ﺟﺎﻣﻌﻪ ﺧﻮدش و ارﺗﺒﺎط آن ﺑﺎ »وﻃﻦ«‪،‬‬ ‫زﻧﺪﮔﯽ ﻣﯽﮐﻨﻨﺪ‪ .‬اﺳﺎس اﯾﺪه دﯾﺎﺳﭙﻮرا ﺑﻪ زﺑﺎن دﯾﮕﺮ‪ ،‬ﺣﺲ ارﺗﺒﺎط ﺑﺎ »وﻃﻦ« و ﺗﻮﺳﻌﻪ ﺗﻌﻠﻘﺎت ﻓﺮﻫﻨﮕﯽ آن‪ ،‬و ﻣﺮدﻣﺶ دارد‪.‬‬ ‫ﺟﻮاﻣﻌﯽﺳﺖ ﮐﻪ ﺑﺎ ﺗﻌﻠﻘﺎت ﻣﺸﱰک در ﴎزﻣﯿﻦﻫﺎی ﻣﺘﻔﺎوﺗﯽ ﭘﺮاﮐﻨﺪه ﺷﺪهاﻧﺪ‪.‬‬ ‫از آنﺟﺎ ﮐﻪ »دﯾﺎﺳﭙﻮرای اﯾﺮاﻧﯽ« اﻧﮕﯿﺰهﻫﺎی ﮔﻮﻧﺎﮔﻮﻧﯽ ﺑﺮای ﻣﻬﺎﺟﺮت ﺧﻮد داﺷﺘﻪ‪،‬‬ ‫واژه »دﯾﺎﺳﭙﻮرا« ‪-‬ﺑﺎ ﺣﺮف ﺑﺰرگ ‪ D‬در اﻧﮕﻠﯿﺴﯽ ‪ -Diaspora‬ﺑﺮای اﺷﺎره ﺑﻪ‬ ‫ارﺗﺒﺎط اﯾﺮاﻧﯿﺎن ﺧﺎرج ﻧﺸﯿﻦ ﺑﺎ اﯾﺮان را ﻧﯿﺰ ﻣﺘﻔﺎوت ﮐﺮده اﺳﺖ‪ .‬ﺑﺮﺧﯽ ﺑﻪ ﺧﺎﻃﺮ ﺗﺮس‬ ‫ﺟﻮاﻣﻌﯽﺳﺖ ﮐﻪ در ﻧﺘﯿﺠﻪ ﺗﺒﻌﯿﺪ ﯾﻬﻮدﯾﺎن از ﯾﻬﻮدﯾﻪ در دوران ﺑﺎﺳﺘﺎن ﺑﻪ وﺟﻮد‬ ‫از آزار و اذﯾﺖ ﺑﻪ اﯾﺮان ﺑﺮمنﯽﮔﺮدﻧﺪ‪ ،‬از ﺳﻮﯾﯽ آنﻫﺎ ﮐﻪ ﺑﻪ ﺻﻮرت داﻧﺸﺠﻮﯾﯽ و ﯾﺎ‬ ‫آﻣﺪ‪ .‬اﻣﺎ اﺷﺎره اﻣﺮوزه ﻣﺤﻘﻘﺎن‪ ٬‬روزﻧﺎﻣﻪﻧﮕﺎران و ﺳﯿﺎﺳﺖﻣﺪاران ﺑﻪ »دﯾﺎﺳﭙﻮرا«‬ ‫ﺑﻪ دﻻﯾﻞ اﻗﺘﺼﺎدی ﻣﻬﺎﺟﺮت ﮐﺮدهاﻧﺪ‪ ،‬ﻣﻤﮑﻦ اﺳﺖ ﺑﻪ ﺻﻮرت ﻣﺪاوم ﺑﻪ اﯾﺮان رﻓﺖ‬ ‫ﺑﺎ ﺣﺮف ﮐﻮﭼﮏ ‪ d‬در اﻧﮕﻠﯿﺴﯽ ‪ -diaspora‬ﺑﺮای ﺗﻮﺻﯿﻒ ﺷامر زﯾﺎدی از ﺟﻮاﻣﻊ‬‫و آﻣﺪ ﮐﻨﻨﺪ‪ .‬ﺑﺮﺧﯽ از اﯾﺮاﻧﯿﺎن دﯾﺎﺳﭙﻮرا اﮔﺮ ﻣﯽﺗﻮاﻧﺴﺘﻨﺪ ﺑﻪ اﯾﺮان ﺑﺎز ﻣﯽﮔﺸﺘﻨﺪ‪،‬‬ ‫ﻣﻬﺎﺟﺮ در ﴎاﴎ ﺟﻬﺎن اﺳﺖ ﮐﻪ وﯾﮋﮔﯽﻫﺎی ﻣﻠﯽ‪ ،‬ﻗﻮﻣﯽ‪ ،‬ﻣﺬﻫﺒﯽ‪ ،‬و ﯾﺎ ارزشﻫﺎی در ﺣﺎﻟﯽ ﮐﻪ ﺑﻌﻀﯽ دﯾﮕﺮ زﻧﺪﮔﯽ در ﺧﺎرج اﯾﺮان را اﻧﺘﺨﺎب ﻣﯽﮐﻨﻨﺪ و ﻣﯿﻠﯽ ﺑﻪ‬ ‫ﺟﻤﻌﯽ دﯾﮕﺮی را ﺑﻪ اﺷﱰاک ﻣﯽﮔﺬارﻧﺪ‪ .‬اﯾﻦ ﺟﻮاﻣﻊ ﭘﺮاﮐﻨﺪه‪ ،‬در ﻧﺘﯿﺠﻪ ﻣﻬﺎﺟﺮتﻫﺎی ﺑﺎزﮔﺸﺖ ﻫﻤﯿﺸﮕﯽ ﻧﺪارﻧﺪ‪ .‬ﺑﻪ ﻫﻤﯿﻦ ﺷﮑﻞ‪ ،‬در ﺣﺎﻟﯽ ﮐﻪ ﺑﺮﺧﯽ از اﯾﺮاﻧﯿﺎن دﯾﺎﺳﭙﻮرا‬ ‫ﺧﻮاﺳﺘﻪ و ﻧﺎﺧﻮاﺳﺘﻪ ﭘﺪﯾﺪ آﻣﺪﻧﺪ و ﻣﻤﮑﻦ اﺳﺖ ﻣﯿﻞ ﺑﺎزﮔﺸﺖ ﺑﻪ ﺟﺎﯾﯽ ﮐﻪ آنﻫﺎ ﯾﺎ ﺑﻪ ﻫﻮﯾﺖ ﺧﻮد ‪-‬ﻫامن ﻃﻮر ﮐﻪ در اﯾﺮان رﯾﺸﻪ دارد‪ -‬اﻋﺘﻘﺎد دارﻧﺪ‪ ٬‬ﺑﻌﻀﯽ رواﺑﻂ‬ ‫اﺟﺪادﺷﺎن آﻣﺪهاﻧﺪ را داﺷﺘﻪ‪ ،‬ﯾﺎ ﻧﺪاﺷﺘﻪ ﺑﺎﺷﻨﺪ‪ .‬اﯾﻦ اﺻﻄﻼح ﺑﻪ ﻫامن اﻧﺪازه ﮐﻪ ﺑﺮای ﻓﺮاﻣﻠﯽﺷﺎن ﺑﺎ اﯾﺮاﻧﯿﺎن ﺧﺎرج از ﮐﺸﻮر را ﺳﺎزﻧﺪهﺗﺮ از ﺣﺲ ﺗﻌﻠﻖﺷﺎن ﻣﯽﺑﯿﻨﻨﺪ‪.‬‬ ‫دﯾﺎﺳﭙﻮرای ﮔﺴﱰدهی آﻓﺮﯾﻘﺎﯾﯽﻫﺎ )ﮐﻪ در ﻧﺘﯿﺠﻪ ﻣﻬﺎﺟﺮت ﻧﺎﺧﻮاﺳﺘﻪ در زﻣﺎن ﺗﺠﺎرت ﴏف ﻧﻈﺮ از اﯾﻦ ﮐﻪ آﯾﺎ اﯾﺮاﻧﯿﺎن ﺧﺎرج ﻧﺸﯿﻦ ﺑﻪ ﻃﻮر ﻣﻨﻈﻢ ﺑﻪ اﯾﺮان ﺳﻔﺮ ﻣﯽﮐﻨﻨﺪ‬ ‫ﺑﺮده در آﻓﺮﯾﻘﺎ( ﺑﻪ ﮐﺎر رﻓﺘﻪ ﺑﺮای دﯾﺎﺳﭙﻮرای ﮐﻮﺑﺎﯾﯽ )ﺑﻪ ﻋﻠﺖ ﴍاﯾﻂ ﺳﯿﺎﺳﯽ و‬ ‫ﯾﺎ ﻧﻪ‪ ،‬ارﺗﺒﺎط ﻣﺤﮑﻢ ﺑﺎ اﯾﺮان و ﺑﯿﻦ اﯾﺮاﻧﯿﺎن‪ ،‬اﻏﻠﺐ ﻃﯽ ﻧﺴﻞﻫﺎ و آن ﺳﻮی ﻣﺮزﻫﺎ‬ ‫اﻗﺘﺼﺎدی( ﻫﻢ ﺑﻪ ﮐﺎر ﺑﺮده ﺷﺪه‪ ٬‬و ﻫﻤﭽﻨﯿﻦ ﺑﺮای ﺟﻮاﻣﻊ داﺧﻠﯽ ﮐﺸﻮرﻫﺎ ﻣﺜﻞ‬ ‫ﺑﻪ واﺳﻄﻪ »ﻓﺮﻫﻨﮓ« ﺣﻔﻆ ﺷﺪه‪ ،‬ﭼﻮن ﮐﺸﺶﻫﺎی ﻧﻮﺳﺘﺎﻟﮋی ﻓﺮﻫﻨﮕﯽ و ارﺗﺒﺎط‬ ‫»دﯾﺎﺳﭙﻮرای ﮐﺎﺗﺮﯾﻨﺎ« ﻫﻢ اﺳﺘﻔﺎده ﻣﯽﺷﻮد ﮐﻪ ﻋﺒﺎرﺗﯽﺳﺖ ﺑﺮای ﺗﻮﺻﯿﻒ ﻓﺮارﯾﺎن از ﻣﺴﺘﻤﺮ از ﻃﺮﯾﻖ ﺷﺒﮑﻪﻫﺎی اﺟﺘامﻋﯽ ﺑﺎ ﺧﺎﻧﻮاده و دوﺳﺘﺎن در اﯾﺮان و ﻓﺮاﺗﺮ از آن‪،‬‬ ‫ﺗﻮﻓﺎن ﮐﺎﺗﺮﯾﻨﺎ در ﺳﺎل ‪.۲۰۰۵‬‬ ‫اﻏﻠﺐ ﺗﻮﺳﻂ اﺷﮑﺎل و ﻣﺤﺼﻮﻻت ﻓﺮﻫﻨﮕﯽ ‪-‬از ﺟﻤﻠﻪ ﻣﻮﺳﯿﻘﯽ‪ ،‬ﻓﯿﻠﻢ‪ ،‬ادﺑﯿﺎت‪ ،‬ﻫرن‪ ،‬و‬ ‫در ﴍاﯾﻄﯽ ﮐﻪ ﮐﺎرﺑﺮد داﻧﺸﮕﺎﻫﯽ دﯾﺎﺳﭙﻮرا دﭼﺎر ﺗﻐﯿﯿﺮ و ﺗﺤﻮل ﺷﺪ‪ ،‬ﻣﺤﻘﻘﺎن‬ ‫ﺟﺸﻨﻮارهﻫﺎﯾﯽ ﺑﺎ اﯾﻦ وﯾﮋﮔﯽ‪ ،-‬ﻣﺎﻧﻨﺪ ﺗﯿﺮﮔﺎن ﻣﺴﺘﺤﮑﻢ ﻣﯽﺷﻮد‪.‬‬ ‫دﯾﺎﺳﭙﻮرا ﻟﯿﺴﺘﯽ از وﯾﮋﮔﯽﻫﺎی ﺗﺨﺼﺼﯽ ﺑﺮای ﺗﻌﯿﯿﻦ اﯾﻦ ﮐﻪ آﯾﺎ ﮔﺮوه ﺧﺎﺻﯽ‬

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‫اﯾﻤﯽ ﻣﻠﮏ‬ ‫اﻧﺴﺎنﺷــﻨﺎس و ﻣــﺪرس »داﻧﺸــﮕﺎه‬ ‫ﮐﺎﻟﯿﻔﺮﻧﯿــﺎ« در ﻟﺲآﻧﺠﻠــﺲ اﺳــﺖ‪.‬‬ ‫او ﻣــﺪرک دﮐــﱰای ﺧــﻮد را در رﺷــﺘﻪ‬ ‫»اﻧﺴﺎنﺷﻨﺎﺳــﯽ« از داﻧﺸــﮕﺎه ﮐﺎﻟﯿﻔﺮﻧﯿــﺎ‬ ‫ﮐﺴــﺐ ﮐــﺮده و در رﺷــﺘﻪ »ﻣﻄﺎﻟﻌــﺎت‬ ‫ﺧــﺎور ﻧﺰدﯾــﮏ« ﻫــﻢ دوره ﮐﺎرﺷﻨﺎﺳــﯽ‬ ‫ارﺷــﺪ ﺧــﻮد را در داﻧﺸــﮕﺎه ﻧﯿﻮﯾــﻮرک ﺑــﻪ‬ ‫ﭘﺎﯾــﺎن رﺳــﺎﻧﺪه‪» .‬ﻣﻬﺎﺟــﺮت« و »دﯾﺎﺳــﭙﻮرا«‬ ‫ﻫﺴــﺘﻪ ﭘﮋوﻫﺶﻫــﺎی او را ﺗﺸــﮑﯿﻞ‬ ‫ﻣﯽدﻫﻨــﺪ و ﺑــﻪ ﺻــﻮرت ﺗﺨﺼﺼــﯽ ﺑــﺮ‬ ‫روی ﺗﻮﻟﯿــﺪات ﻓﺮﻫﻨﮕــﯽ ﺟﻮاﻣــﻊ اﯾﺮاﻧــﯽ‬ ‫در اروﭘــﺎ‪ ،‬آﻣﺮﯾــﮑﺎی ﺷــامﻟﯽ و ﺗﻮرﻧﺘــﻮ ‪-‬‬ ‫ﺑــﺎ ﺗﯿــﺮﮔﺎن ارزﻧــﺪهاش‪ -‬ﺗﺤﻘﯿــﻖ ﻣﯽﮐﻨــﺪ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:43 AM‬‬

‫‪168-Keyword-Diaspora-EDITED.indd 168‬‬

‫‪KEYWORD‬‬

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‫اﻓﻖﻫﺎی ﻣﻠﺖ اﯾﺮان و ارزشﻫﺎی دوﻟﺘﯽ آن ﺗﻐﯿﯿﺮات اﺳﺎﺳﯽ ﺑﻪ ﺧﻮد دﯾﺪه‪،‬‬ ‫ﺳﺎﺧﺘﺎر ﻣﻔﻬﻤﻮﻣﯽ آن ﺑﻪ ﻋﻨﻮان »ﻓﺮﻫﻨﮓ« دﺳﺖ ﻧﺨﻮرده ﺑﺎﻗﯽ ﻣﺎﻧﺪه اﺳﺖ‪.‬‬ ‫ﺑﺮای درک اﯾﻦ ﻣﺎﻧﺪﮔﺎری‪ ،‬ﻧﮕﺎﻫﯽ ﺑﺴﯿﺎر اﺟامﻟﯽ ﺑﺮ اﯾﻦ روﻧﺪ ﮐﻔﺎﯾﺖ ﻣﯽﮐﻨﺪ‪.‬‬

‫اﺳﻼﻣﯽ ﻣﻮاﺿﻊ ﺧﻮد درﺑﺎره ﺗﺎرﯾﺦ ﭘﯿﺶ از اﺳﻼم را ﻣﻮرد ﺑﺎزﺑﯿﻨﯽ ﻗﺮار داد و‬ ‫ﺳﯿﺎﺳﺖﻫﺎی ﻓﺮﻫﻨﮕﯽ ﻣﻠﯽﮔﺮاﯾﺎﻧﻪ ﺑﯿﺸﱰی را در دﺳﺘﻮر ﮔﺬاﺷﺖ و ﻣﻄﺎﻟﻌﺎت‬ ‫داﻧﺸﮕﺎﻫﯽ ﻓﺮﻫﻨﮓ ﺑﺎر دﯾﮕﺮ ﮔﺴﱰده ﺷﺪ‪ .‬از ﺟﻤﻠﻪ ‪ ۴۶۵‬ﮐﺘﺎب ﺑﺎ متﺮﮐﺰ ﺑﺮ‬ ‫ﻓﻮﻟﮑﻠﻮر و رﺳﻮم اﺟﺪادی ﺑﯿﻦ ﺳﺎلﻫﺎی ‪ ۱۹۷۹‬و ‪ ۲۰۰۲‬ﺑﻪ ﭼﺎپ رﺳﯿﺪ‪.‬‬

‫در زﻣﺎن ﺳﻠﺴﻠﻪ ﭘﻬﻠﻮی ﻣﻔﻬﻮم ﻓﺮﻫﻨﮓ ﺑﻪ ﺻﻮرت رﺳﻤﯽ ﺑﯿﻦ دو وﺟﻪ‬ ‫اﯾﻦ منﺎی اﺟامﻟﯽ ﮐﺎﻓﯽﺳﺖ ﺗﺎ ﺑﻪ ﻣﺎ ﯾﺎدآوری ﮐﻨﺪ ﮐﻪ »ﻓﺮﻫﻨﮓ« ﻋﻤﯿﻘﺎ در‬ ‫»ﻣﺪرﻧﯿﺰاﺳﯿﻮن« و »ﻣﴩوﻋﯿﺖ ﺑﺨﺸﯽ ﺑﻪ ﭘﺎدﺷﺎﻫﯽ« ﻣﺴﺘﻘﺮ ﺑﻮد‪ .‬در دﻫﻪ‬ ‫‪ ۳۰‬ﻣﯿﻼدی‪ ،‬ﻓﺮﻫﻨﮕﺴﺘﺎن زﺑﺎن اﯾﺮان ﻣﻌﺎدل ﻓﺎرﺳﯽ واژه »‪ «Culture‬را ﺗﻌﯿﯿﻦ ﺳﯿﺎﺳﺖﻫﺎی ﻣﻠﯽ دﺧﯿﻞ اﺳﺖ و زﺑﺎن و ﮔﻔﺘامن ﻣﺸﱰﮐﯽ ﺑﻪ دﺳﺖ ﻣﯽدﻫﺪ‬ ‫ﮐﺮد و »ﻣﺮﮐﺰ ﻣﻄﺎﻟﻌﺎت اﯾﺮاﻧﺸﻨﺎﺳﯽ« ﺑﺮای آﻣﻮزش »ﻓﺮﻫﻨﮓ« در اﯾﺮان ﺗﺎﺳﯿﺲ ﮐﻪ در آن دﯾﺪﮔﺎهﻫﺎی ﻣﺨﺘﻠﻒ درﺑﺎره ﻣﻠﺖ‪ ،‬ﯾﮑﺪﯾﮕﺮ را ﺑﻪ ﭼﺎﻟﺶ ﻣﯽﮐﺸﻨﺪ‪.‬‬ ‫ﺷﺪ‪ .‬در ﺳﺎل ‪ ۱۹۶۰‬و ‪ ۱۹۷۰‬ﻣﻄﺎﻟﻌﻪ »ﻓﺮﻫﻨﮓ« اوﻟﻮﯾﺖ و ارﺟﺤﯿﺖ ﺑﯿﺸﱰی‬ ‫ﯾﺎﻓﺖ‪ .‬اﯾﻦ ﻣﻄﺎﻟﻌﺎت ﻣﻌﻤﻮﻻ ﯾﺎ ﺑﺮ »ﻓﻮﻟﮑﻠﻮر و ﺑﺎﺳﺘﺎنﺷﻨﺎﺳﯽ« متﺮﮐﺰ داﺷﺖ ﯾﺎ راهﻫﺎی دﯾﮕﺮی ﺑﺮای ﮐﺎوش در »ﺳﯿﺎﺳﺖ ﻓﺮﻫﻨﮕﯽ« و ﮐﺎرﺑﺮد »ﻓﺮﻫﻨﮓ«‬ ‫»ﻓﺮﻫﻨﮓ روﺳﺘﺎﯾﯽ« را ﺑﺮای ﭘﺮوژهﻫﺎی ﺗﻮﺳﻌﻪ و اراﺋﻪ ﺑﺮﻧﺎﻣﻪ ﺑﺮای ﺳﺎﻣﺎﻧﺪﻫﯽ ﺑﻪ ﻋﻨﻮام ﻣﻔﻬﻮﻣﯽ ﮐﻠﯿﺪی وﺟﻮد دارد‪ .‬ﻣﺨﺎﻃﺒﺎن ﮐﺎﻧﺎداﯾﯽ ﺑﺎ واژه »ﭼﻨﺪ‬ ‫ﻓﺮﻫﻨﮕﯽ« و ﺑﺤﺚﻫﺎﯾﯽ درﺑﺎره ﺷﮑﻞﮔﯿﺮی ﻫﻮﯾﺖ ﻣﻨﺴﺠﻢ ﻣﻠﯽ در ﻣﻮزاﯾﯿﮏ‬ ‫و ﺛﺒﺎت اﯾﻼت و ﻋﺸﺎﯾﺮ ﻣﻮرد ﻣﻄﺎﻟﻌﻪ ﻗﺮار ﻣﯽداد‪ .‬دﺳﺘﻪ اول اﯾﻦ ﻣﻄﺎﻟﻌﺎت‬ ‫ﺑﻪ ﺗﻘﻮﯾﺖ ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯽ ﭘﯿﺶ از اﺳﻼم اﻧﺠﺎﻣﯿﺪ و ﺳﺎز و ﮐﺎری ﺑﺮای ﺑﺮرﺳﯽ ﻓﺮﻫﻨﮓﻫﺎی ﻣﺨﺘﻠﻒ آﺷﻨﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﯾﺎ ﭘﺮﺳﺶﮔﺮی و ﺟﺪل ﺑﺮ ﴎ اﯾﻦ ﮐﻪ آﯾﺎ‬ ‫ﭘﯿﻮﺳﺘﺎر ﺗﺎرﯾﺨﯽ »ﻣﻠﺖ« در اﺧﺘﯿﺎر ﻣﻮرﺧﺎن ﻗﺮار داد‪ ،‬در ﺣﺎﻟﯽ ﮐﻪ دﺳﺘﻪ دوم ﺳﺎﺧﺖ ﻣﺠﺴﻤﻪ ﻏﻮلآﺳﺎی »ﭘﯿﮑﺮ ﻣﺎدر« ﺷﯿﻮه ﻣﻨﺎﺳﺒﯽ ﺑﺮای ﯾﺎدﺑﻮد ﴎﺑﺎزان‬ ‫ﮐﺎﻧﺎداﯾﯽﺳﺖ؟ ﺧﻮاﻧﻨﺪﮔﺎن اﯾﺮاﻧﯽ ﻫﻢ ﺑﺎ واروﻧﻪﮔﻮﯾﯽ ﻣﺎﺟﺮ اﯾﻦ ﮔﻮﻧﻪ آﺷﻨﺎ‬ ‫ﴍاﯾﻂ را ﺑﺮای ﭘﯿﺸﱪد ﻓﻌﺎﻟﯿﺖ ﺗﮑﻨﻮﮐﺮاتﻫﺎی اﯾﺮان و دﮔﺮﮔﻮﻧﯽ ﻣﻠﺖ ﻣﺤﯿﺎ‬ ‫ﻫﺴﺘﻨﺪ ﮐﻪ ﻫﻤﺰﻣﺎن ﺑﺎ دﺳﺘﮕﯿﺮی ﮔﺮوﻫﯽ از ﺟﻮاﻧﺎن ﺑﺮای ارﺳﺎل ﻧﺴﺨﻪ‬ ‫ﻣﯽﺳﺎﺧﺖ‪.‬‬ ‫ﺧﻮدﺷﺎن از ﻣﻮزﯾﮏ وﯾﺪﯾﻮی »ﻫﭙﯽ‪ -‬ﻓﺮن وﯾﻠﯿﺎﻣﺰ«‪ ،‬اﺟﺎزه رﺳﻤﯽ ﺑﺮای ﮐﭙﯽ‬ ‫ﺑﻪ دﻧﺒﺎل اﻧﻘﻼب‪ ،‬ﺟﻤﻬﻮری اﺳﻼﻣﯽ در اﺑﺘﺪا اﯾﻦ ﻣﻄﺎﻟﻌﺎت را ﺑﻪ دﻟﯿﻞ ارﺗﺒﺎط ﮐﺮدن ﴎﯾﺎلﻫﺎی ﻏﺮﺑﯽ ﻣﺜﻞ »ﻣﺪرن ﻓﻤﯿﻠﯽ« ﻧﯿﺰ ﺻﺎدر ﻣﯽﺷﻮد‪ .‬ﺳﭙﺲ اﯾﻦ‬ ‫ﻧﺰدﯾﮏ ﺑﺎ ﺟﻬﺎنﺑﯿﻨﯽ و ﻣﻮﺿﻮﻋﺎت ﻣﻮرد ﻋﻼﻗﻪ دوﻟﺖ ﻗﺒﻠﯽ ﻧﺎدﯾﺪه ﻣﯽﮔﺮﻓﺖ ﻣﻮﺿﻮع ﻣﻄﺮح اﺳﺖ ﮐﻪ ﻧﺴﻞﻫﺎی ﻣﺨﺘﻠﻒ اﯾﺮاﻧﯿﺎن در دﯾﺎﺳﭙﻮرا ﭼﮕﻮﻧﻪ ﺑﺮ‬ ‫ﴎ اﯾﻦ ﮐﻪ »اﯾﺮاﻧﯽ ﭼﻨﺪ ﻣﻠﯿﺘﯽ ﺑﻮدن ﺑﻪ ﭼﻪ ﻣﻌﻨﺎﺳﺖ؟« ﺑﺎ ﯾﮑﺪﯾﮕﺮ دﺳﺖ ﺑﻪ‬ ‫و از اﻧﻘﻼب ﺑﻪ ﻋﻨﻮان ﻋﺎﻣﻞ »ﺑﺎزﺳﺎزی اﺧﻼﻗﯽ ﻣﻠﺖ« در ﺑﺮاﺑﺮ ﻣﻮج »ﻏﺮب‬ ‫زدﮔﯽ« ﯾﺎد ﻣﯽﮐﺮد و ﺑﺮ اﯾﻦ اﺳﺎس ﻧﯿﺎزﻣﻨﺪ ﺟﺎﯾﮕﺰﯾﻨﯽ ﻣﺬﻫﺐ ﺑﻪ ﺟﺎی ﺗﺎرﯾﺦ ﯾﻘﻪ ﻣﯽﺷﻮﻧﺪ‪ .‬اﯾﻦ ﻟﯿﺴﺖ اداﻣﻪ دارد‪.‬‬ ‫ﺑﺎﺳﺘﺎﻧﯽ ﺑﻮد‪ .‬اﻣﺎ ﻣﻔﻬﻤﻮم ﻓﺮﻫﻨﮓ ﺣﻔﻆ ﺷﺪ‪ .‬ﻗﻄﺎر اﯾﻦ ﺑﺎزﺳﺎزی اﺧﻼﻗﯽ ﺑﻪ‬ ‫ﻧﮑﺘﻪ ﻣﻦ اﯾﻨﺠﺎ ﺑﺮﺟﺴﺘﻪ ﮐﺮدن ﺟﻨﺒﻪﻫﺎی ﴎﺳﺨﺖ و اﻧﻌﻄﺎﻓﯽ اﯾﻦ ﻣﻔﻬﻮم‪،‬‬ ‫اﯾﺴﺘﮕﺎه داﻧﺸﮕﺎهﻫﺎ رﺳﯿﺪ و ﻣﻮﺟﺐ ﺗﻌﻄﯿﻠﯽ آنﻫﺎ ﺑﯿﻦ ﺳﺎلﻫﺎی ‪ ۱۹۸۱‬ﺗﺎ‬ ‫از ﺳﯿﺮ ﺗﺎ ﭘﯿﺎز اﺳﺖ و ﮐﻨﮑﺎش در ﭘﺎﺳﺦ ﺑﻪ اﯾﻦ ﭘﺮﺳﺶ ﮐﻪ ﻣﺎ در ﺗﻘﺎﺑﻞ ﺑﺎ‬ ‫‪ ۱۹۸۳‬ﺷﺪ‪ .‬روﯾﮑﺮدی ﮐﻪ ﺑﺎ ﻣﺪﯾﺮﯾﺖ ﺷﻮرای ﺗﺎزه ﺗﺎﺳﯿﺲ اﻧﻘﻼب‪ ،‬ﺑﻪ ﺻﻮرت‬ ‫رﺳﻤﯽ ﺑﺨﺸﯽ از »اﻧﻘﻼب ﻓﺮﻫﻨﮕﯽ« در اﯾﺮان ﺑﻮد‪ .‬در اواﯾﻞ دﻫﻪ ﺷﺼﺖ ﺑﻮد دﯾﮕﺮان و در ﺑﺮاﺑﺮ »اﺑﺮﻣﻔﻬﻮمﻫﺎ« و »اﺑﺮﻣﺠﻤﻮﻋﻪﻫﺎﯾﯽ« ﮐﻪ ﺑﻪ ﻧﺎم ﻣﺎ ﺳﺎﺧﺘﻪ‬ ‫و ﺑﺮﺳﺎﺧﺘﻪ ﻣﯽﺷﻮﻧﺪ‪ ،‬ﭼﻪ ﮐﺴﯽ ﻫﺴﺘﯿﻢ؟ ﻣﻌﻠﻮم اﺳﺖ ﮐﻪ آن »وﺻﻠﻪ ﻧﺎﺟﻮر«‬ ‫ﮐﻪ اﯾﻦ ﮐﻤﯿﺴﯿﻮن ﺑﻪ ﻓﻌﺎﻟﯿﺖ »ﺷﻮرای ﻋﺎﻟﯽ اﻧﻘﻼب ﻓﺮﻫﻨﮕﯽ« ﭘﺎﯾﺎن داد‪.‬‬ ‫در ﻣﻬامﻧﯽ‪ ،‬از ﭼﺸﻢ ﻫﻤﻪ ﻣﻬامﻧﺎنﻫﺎی دﯾﮕﺮ ﻫﻢ دور منﯽﻣﺎﻧﺪ و ﻫﺮﭼﻪ از‬ ‫در ﺳﺎل ‪ ۱۳۶۹‬ﻣﻔﻬﻮم »ﺗﻬﺎﺟﻢ ﻓﺮﻫﻨﮕﯽ« ﺑﻪ ﺻﻮرت رﺳﻤﯽ در ﮔﻔﺘامن دوﻟﺘﯽ ﻧﺰدﯾﮑﯽ و ﻣﻌﺎﴍت ﺑﺎ او ﻫﻢ اﺟﺘﻨﺎب و دوری ﮐﻨﯿﻢ اﻣﺎ ﺑﺎز ﻫﻢ ﻣﺎ را ﻣﻠﺰم و‬ ‫ﻣﻮﻇﻒ ﻣﯽﮐﻨﺪ‪.‬‬ ‫ﺟﺎی ﮔﺮﻓﺖ ﺗﺎ ﻧﮕﺮاﻧﯽﻫﺎ از ﻣﺤﺎﴏه ﺟﺎﻣﻌﻪ اﯾﺮاﻧﯽ ﺗﻮﺳﻂ »ﻓﺮﻫﻨﮓ« ﻏﺮﺑﯽ‬ ‫را ﻣﻮرد ﺗﺎﮐﯿﺪ و ﺗﻮﺟﻪ ﻗﺮار دﻫﺪ‪ .‬ﺑﻌﺪﻫﺎ در اداﻣﻪ دﻫﻪ ‪ ۹۰‬ﻣﯿﻼدی‪ ،‬ﺟﻤﻬﻮری‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:40 AM‬‬

‫‪169-170-Keyword-Culture-EDITED.indd 169‬‬

‫‪KEYWORD‬‬

‫در دﻫﻪ ‪ ۸۰‬ﻣﯿﻼدی ﻫﻤﺰﻣﺎن ﺑﺎ اﻓﺰاﯾﺶ ﺗﻮان ﻣﺴﺎﻓﺮت‪ ،‬ﭘﯿﴩﻓﺖ در وﺳﺎﯾﻞ‬ ‫ﻣﺜﻞ آن »وﺻﻠﻪ ﻧﺎﺟﻮر« در ﻣﻬامﻧﯽ ﮐﻪ اﻃﻤﯿﻨﺎن ﮐﺎﻓﯽ ﺑﻪ او ﻧﯿﺴﺖ‪،‬‬ ‫»ﻓﺮﻫﻨﮓ« را ﻫﻢ منﯽﺗﻮان ﺗﻨﻬﺎ ﮔﺬاﺷﺖ‪ .‬ﻫامن ﮔﻮﺷﻪ و ﮐﻨﺎرﻫﺎ‪ ،‬ﭘﺲ ﻧﮕﺎﻫﺖ ارﺗﺒﺎﻃﯽ و اﻓﺰاﯾﺶ ﺗﻌﺪاد ﻣﻬﺎﺟﺮاﻧﯽ ﮐﻪ ﻫﻤﭽﻨﺎن ﺑﻪ »وﻃﻦﺷﺎن« ﻣﺘﺼﻞ ﺑﻮدﻧﺪ‪،‬‬ ‫ﭘﺮﺳﻪ ﻣﯽزﻧﺪ‪ .‬ﻫﺮ ازﮔﺎﻫﯽ ﺗﻮﺟﻬﺖ را ﻣﯽﺧﻮاﻫﺪ و ﺷام ﻫﻢ آﻧﺠﺎ ﻫﺴﺘﯽ ﮐﻪ اﯾﻦ ﺣﯿﺎت ﻏﯿﺮﻃﺒﯿﻌﯽ »ﻓﺮﻫﻨﮓ« ﻣﺤﻮر ﺑﺤﺚﻫﺎی زﯾﺎدی در ﻋﻠﻮم اﺟﺘامﻋﯽ‬ ‫ﻗﺮار ﮔﺮﻓﺖ‪ .‬از ﺑﺮآﻳﻨﺪ ﻧﻈﺮات ﻣﯽﺗﻮان درﯾﺎﻓﺖ ﮐﻪ ﻓﺮﻫﻨﮓ ﯾﮏ ﭘﺪﯾﺪه ﻫﻤﮕﻮن‬ ‫ﺑﺮاﯾﺶ دﻟﯿﻞ ﺑﯿﺎوری‪» :‬ﺑﻪ ﺷام ﺑﺮﻧﺨﻮره‪ ،‬ﺗﻮ ﻓﺮﻫﻨﮓ ﻣﺎ ﻋﺎدﯾﻪ‪ «.‬ﻓﺮﻫﻨﮓ ﻫﻢ‬ ‫و ﻧﺎﻣﺘﻨﺎﻫﯽ ﻧﯿﺴﺖ ﮐﻪ ﻫﻤﻮاره ﺑﻪ ﻣﮑﺎن ﻣﺸﺨﺼﯽ ﺗﻨﯿﺪه و ﻣﺘﺼﻞ ﺑﺎﺷﺪ‪ ،‬ﺑﻠﮑﻪ‬ ‫ﻣﺜﻞ آن وﺻﻠﻪ ﻧﺎﺟﻮر ﴎ از ﻫﻤﻪ ﺟﺎ در ﻣﯽآورد‪ .‬ﺗﻮﻗﻊ دارد؛ و ﺑﻪ راﺣﺘﯽ‬ ‫دﻟﺨﻮر و رﻧﺠﯿﺪه ﻣﯽﺷﻮد‪ .‬ﺑﯽﺗﺮدﯾﺪ منﯽﺗﻮاﻧﯿﺪ از او ﺑﺨﻮاﻫﯿﺪ ﻣﻬامﻧﯽ را ﺗﺮک ﻫﻤﻮاره در ﻣﻌﺮض ﭼﺎﻟﺶ و آﻓﺮﯾﻨﺸﯽﺳﺖ ﮐﻪ در ﺗﻌﺮﯾﻒ اﺑﮋهﻫﺎ و ﮐﻨﺶﻫﺎی‬ ‫اﺟﺘامﻋﯽ ﺗﺤﻘﻖ ﻣﯽﯾﺎﺑﻨﺪ‪ .‬از اﯾﻦ رو ﭘﮋوﻫﺸﮕﺮان اﻣﺮوز ﺗﺮﺟﯿﺢ ﻣﯽدﻫﻨﺪ ﮐﻪ‬ ‫ﮐﻨﺪ و ﯾﺎ ﺑﺎ ﺳﮑﻮت از ﮐﻨﺎرش ﺑﮕﺬرﯾﺪ )اﻟﺒﺘﻪ ﻣﯽﺗﻮاﻧﯿﺪ‪ ،‬اﻣﺎ ﻫﻤﯿﺸﻪ ﻋﺎﻗﺒﺖ‬ ‫ﺧﻮﺷﯽ ﻧﺪارد(‪ .‬ﺑﻔﺮﻣﺎﯾﯿﺪ‪ ،‬ﺣﺎﻻ در ﻣﻘﺎﺑﻞ ﻓﺮﻫﻨﮓ ﻣﺠﺒﻮرﯾﺪ‪ .‬اﺟﺒﺎری ﮐﻪ درﺑﺎره روی »ﺳﯿﺎﺳﺖ ﻓﺮﻫﻨﮓ« و ادﻋﺎﻫﺎﯾﯽ ﮐﻪ ﺑﻪ ﺳﺎﺧﺘﺎر و ﺳﺎزﻧﺪﮔﺎن آن اﺳﺘﻨﺎد‬ ‫ﻣﺮز و ﻣﺤﺪودهاش ﻫﻢ ﺷﻨﺎﺧﺘﯽ ﻧﺪارﯾﺪ‪ .‬ﭼﻪ ﭼﯿﺰی در اﯾﻦ راﺑﻄﻪ ﮐﻬﮑﺸﺎﻧﯽ دارد‪ ،‬متﺮﮐﺰ ﮐﻨﻨﺪ‪.‬‬ ‫ﻧﻬﻔﺘﻪ اﺳﺖ ﮐﻪ اﯾﻦ ﭼﻨﯿﻦ ﻣﺎ را ﺑﺎ ﻓﺮﻫﻨﮓ درﮔﯿﺮ ﻣﯽﮐﻨﺪ؟‬ ‫ﻓﺮﻫﻨﮓ ﮐﻠﯿﺪیﺳﺖ ﺑﺮای ﻫﻮﯾﺖ ﻣﻠﯽ ﻣﺎ‪ ،‬ﺑﺮای ﻣﺜﺎل‪ ،‬و ﻣﺮﺗﺐ در ﮔﻔﺖ و‬ ‫ﺧﯿﻠﯽ از ﭘﺎﺳﺦﻫﺎ در ﭘﺲ زﻧﺠﯿﺮهای از ﭘﺪﯾﺪهﻫﺎ ﺧﻮاﺑﯿﺪه ﮐﻪ ﻣﯽﺗﻮاﻧﻨﺪ ﺧﻮد ﮔﻮﻫﺎی روزاﻧﻪ ﺗﻮﻟﯿﺪ ﻣﯽﺷﻮد و ﺧﻮدش را ﻧﺸﺎن ﻣﯽدﻫﺪ‪ .‬دﻓﻌﻪ ﺑﻌﺪ ﮐﻪ ﺑﺎ‬ ‫ﻓﺮﻫﻨﮓ ﺗﻠﻘﯽ ﺷﻮﻧﺪ‪ ،‬ﯾﺎ ﺑﻪ واﺳﻄﻪ آن ﺗﺤﻘﻖ ﯾﺎﺑﻨﺪ‪ .‬ﺑﺎ اﯾﻦ ﺣﺎل داﻣﻨﻪ آن در دوﺳﺘﺎن و آﺷﻨﺎﯾﺎن ﺑﺤﺚ ﻣﯽﮐﻨﯿﺪ ﻣﻨﺘﻈﺮش ﺑﺎﺷﯿﺪ‪ ،‬ﯾﺎ زﻣﺎﻧﯽ ﮐﻪ ﺑﺤﺚ ﺑﺮ ﴎ‬ ‫ﺑﻮد و ﻧﺒﻮد »ﻣﺤﺘﻮای ﺗﻠﻮﯾﺰﯾﻮﻧﯽ ﺳﺎﺧﺖ وﻃﻦ« داغ اﺳﺖ‪ .‬از ﺟﺪل ﺑﺮ ﴎ اﯾﻦ‬ ‫ﻣﻮاﺟﻬﻪ ﺑﺎ ﺟﻐﺮاﻓﯿﺎی دوﻟﺖ‪ -‬ﻣﻠﺖ‪ ،‬ﻣﺜﻞ »ﻓﺮﻫﻨﮓ ﮐﺎﻧﺎداﯾﯽ« و »ﻓﺮﻫﻨﮓ‬ ‫ﺳﻨﺖ ﺧﺮﯾﺪ ﮐﺮﯾﺴﻤﺲ‪ -‬ﺗﻮاﻧﺴﺘﻪ »ﺑﺎﮐﺴﯿﻨﮓ دی« را‬‫ﺳﯿﺎه«‬ ‫»ﺟﻤﻌﻪ‬ ‫آﯾﺎ‬ ‫ﮐﻪ‬ ‫ﭘﯿﻮﺳﺘﮕﯽ‬ ‫اﯾﺮاﻧﯽ« ﺑﺴﯿﺎر ﮔﺴﱰدهﺗﺮ ﻫﻢ ﻣﯽﺷﻮد‪ .‬ﻫﻤﭽﻨﯿﻦ ﺑﺎزﺗﺎبدﻫﻨﺪه‬ ‫ُ‬ ‫ﺗﺤﺖاﻟﺸﻌﺎع ﻗﺮار دﻫﺪ ﺗﺎ ﮐﺴﯽ ﮐﻪ در ﺣﺎل ﻏﺮ زدن از ﴎوﯾﺲ ﯾﮏ رﺳﺘﻮران‬ ‫ﺗﺎرﯾﺨﺸﺎن اﺳﺖ؛ ﻣﺜﻞ آن ﺟﺎ ﮐﻪ ﺗﮑﻪای ﺗﺰﯾﯿﻨﯽ از ﭼﻨﺪ ﺳﺎﻧﺘﯽ ﻣﱰی زﻣﯿﻦ‬ ‫ﺑﯿﺮون ﮐﺸﯿﺪه ﻣﯽﺷﻮد‪ .‬و ﺣﺘﯽ از آن ﺑﻪ ﻋﻨﻮان ﯾﮏ ﻣﺮﺟﻊ ﻣﺸﱰک در ﻣﯿﺎن ﺑﺎ ﻏﺬاﻫﺎی ﻗﻮﻣﯽﺳﺖ‪ .‬اﻣﺎ ارﺟﺎﻋﺎت ]ﻣﮑﺮر[ ﺑﻪ ﻓﺮﻫﻨﮓ‪ ،‬ﺗﻨﻬﺎ ﺑﻪ ﺗﻌﺮﯾﻒ‬ ‫ﻣﻠﺖﻫﺎ منﯽاﻧﺠﺎﻣﺪ‪ ،‬در ﻋﻮض اﯾﻦ دﻏﺪﻏﻪ ﻣﺸﱰک و ﺑﺤﺚ ﺑﺮ ﴎ »ﻓﺮﻫﻨﮓ«‬ ‫ﻣﺮدم ﯾﮏ ﴎزﻣﯿﻦ اﺳﺘﻨﺎد ﻣﯽﺷﻮد؛ ﻣﺜﻞ »زﺑﺎن‪ «.‬از ﻃﺮﻓﯽ ﻣﺮﺟﻊ ﻣﺮزﺑﻨﺪی‬ ‫ﺑﺎ دﯾﮕﺮان ﻣﯽﺷﻮد؛ ﻣﺜﻞ اﯾﻦ ﮐﻪ »ﻓﻼﻧﯽ ﺧﯿﻠﯽ ﺑﺎ ﻓﺮﻫﻨﮓ ﻧﯿﺴﺖ‪ ،‬از ﻟﻬﺠﻪش اﺳﺖ‪) ،‬اﯾﻦ ﴍح ﻣﺤﺘﻮﯾﺎت آن‪ ،‬ﺟﺸﻦ ﺗﻨﻮع آن‪ ،‬ﺣﺪس و ﮔامن در ﻣﻮرد آﯾﻨﺪه‬ ‫ﭘﯿﺪاﺳﺖ‪ «.‬ﮔﺎﻫﯽ در ﻗﺎﻟﺐ ﯾﮏ ﺣﺲ ﻧﺎﻣﺮﺋﯽ ﻇﻬﻮر ﻣﯽﮐﻨﺪ؛ ﻣﺜﻞ »ﻃﺮز ﺗﻔﮑﺮ‪ ،‬آن و ﻏﯿﺮه اﺳﺖ( ﮐﻪ اﺑﺮﻣﺠﻤﻮﻋﻪﻫﺎﯾﯽ ﻣﺜﻞ »ﮐﺎﻧﺎدا« و »اﯾﺮان« را ﻫﻢ ﺑﻪ ﮐﺎم‬ ‫ﺧﻮدش ﻣﯽﮐﺸﺪ‪ .‬ﺣﺮف از ﻓﺮﻫﻨﮓ را ﻫﻤﻪ ﺟﺎ ﻣﯽﺗﻮان ﯾﺎﻓﺖ‪ ،‬ﭼﺮا ﮐﻪ اﯾﻦ‬ ‫اﺣﺴﺎﺳﺎت و ﺻﻔﺖﻫﺎی ﮔﻮﻧﺎﮔﻮن‪ «.‬ﺑﻪ ﻫﻤﯿﻦ ﻣﯿﺰان در ﻗﺎﻟﺐ ﭘﺪﯾﺪهﻫﺎی‬ ‫ﻣﺤﺴﻮس ]ﺑﺎ روﺣﯿﻪ[ ﻣﺤﺎﻓﻈﺘﯽ ﻫﻢ ﻗﺎﺑﻞ ﳌﺲ اﺳﺖ؛ ﻣﺜﻞ »ﻣﯿﺮاث ﻓﺮﻫﻨﮕﯽ‪ «.‬ﮐﻠﻤﻪ ﻣﺜﻞ ﭼﺴﺐ ﻣﻔﻬﻤﻮﻣﯽ‪ ،‬اﺑﺮﻣﺠﻤﻮﻋﻪﻫﺎ را در ذﻫﻦ ﻣﺎ ﺑﻪ ﻫﻢ ﻣﯽﭼﺴﺒﺎﻧﺪ‬ ‫و ﺑﺮای ﻣﺎ )اﯾﻦ ﻧﻮﯾﺴﻨﺪه و ﻣﺨﺎﻃﺒﺎﻧﺶ( ﻣﻬﯿﺎ ﻣﯽﺳﺎزد ﺗﺎ ﻣﺪﯾﻮﻧﺶ ﺑﺎﺷﯿﻢ‪،‬‬ ‫ﻣﯽﺗﻮاﻧﺪ ﻣﺎﺷﯿﻨﯽ ﺑﺮای ﺳﻠﻄﻪﮔﺮی ﺑﺎﺷﺪ؛ ﻣﺜﻞ »اﻣﭙﺮﯾﺎﻟﯿﺴﻢ ﻓﺮﻫﻨﮕﯽ« ﯾﺎ ﺑﺎ‬ ‫ﻣﻘﻮﻻت ﺗﻮﺳﻌﻪ در ﻫﻢ آﻣﯿﺨﺘﻪ ﺑﺎﺷﺪ؛ ﻣﺜﻞ »ﺻﻨﺪوق ﴎﻣﺎﯾﻪﮔﺬاری ﻓﺮﻫﻨﮕﯽ ازش ﺑﯿﮕﺎﻧﻪ ﺷﻮﯾﻢ‪ ،‬ﻧﺠﺎﺗﺶ دﻫﯿﻢ‪ ،‬اﺻﻼﺣﺶ ﮐﻨﯿﻢ‪ ،‬ردش ﮐﻨﯿﻢ و اﻟﯽ آﺧﺮ‪.‬‬ ‫ﮐﺎﻧﺎدا« و ﺣﺘﯽ ﻣﻮﺿﻮع ﺳﺨﺖﮔﯿﺮی در ﻗﻮاﻧﯿﻦ ﮐﭙﯽ راﯾﺖ ﺷﻮد؛ ﻣﺜﻞ ﺟﺪل ﺑﺮ ﻣﺎﺟﺮاﺟﺮﯾﯽ اﯾﻦ ﻣﻔﻬﻮم در ﺗﺎرﯾﺦ ﻣﻌﺎﴏ اﯾﺮان ﺷﺎﻫﺪی ﺑﺮ اﯾﻦ ﻣﺪﻋﺎﺳﺖ‪ ،‬و‬ ‫ﻓﺮاﺧﻮاﻧﯽ ﺑﺮای ﮐﻤﮏ ﺑﻪ ﺷﻨﺎﺧﺖ اﯾﺮان از ﺟﻨﺒﻪﻫﺎی ﻣﺨﺘﻠﻒ‪ .‬اﻣﺎ ﻫﻤﭽﻨﺎن ﮐﻪ‬ ‫ﴎ »داراﯾﯽ ﻓﺮﻫﻨﮕﯽ‪«.‬‬

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‫ﺑﻬﺰاد ﴎﻣﺪی‬ ‫داﻧﺸــﺠﻮی دﮐــﱰای »اﻧﺴﺎنﺷﻨﺎﺳــﯽ«‬ ‫در داﻧﺸــﮕﺎه ﺗﻮرﻧﺘــﻮ اﺳــﺖ‪» .‬ﻣﻬﺎﺟــﺮت‬ ‫اﯾﺮاﻧﯿــﺎن« و »ﺗﺤــﻮﻻت ﺷــﻬﺮی در ﺧﻠﯿــﺞ‬ ‫ﻓــﺎرس« ﺑــﺎ ﺗﻮﺟــﻪ وﯾــﮋه ﺑــﻪ »دوﺑــﯽ«‬ ‫ﻫﺴــﺘﻪ ﺗﺤﻘﯿﻘــﺎت او را در ﺑﺮﻣﯽﮔﯿــﺮد‪ .‬او‬ ‫از دﺑﯿــﺮان »ﮔــﺮوه رﺳــﺎﻧﻪی ﻋﺠــﻢ« اﺳــﺖ‬ ‫ﮐــﻪ در ﻓﻀــﺎی آﻧﻼﯾــﻦ ﺑــﻪ ﻣﺴﺘﻨﺪﺳــﺎزی‬ ‫و ﺗﺠﺰﯾــﻪ و ﺗﺤﻠﯿــﻞ روﻧﺪﻫــﺎی اﺟﺘامﻋــﯽ‬ ‫ ﻓﺮﻫﻨﮕــﯽ در اﯾــﺮان‪ ،‬آﺳــﯿﺎی ﻣﺮﮐــﺰی و‬‫ﺟﻮاﻣــﻊ دﯾﺎﺳــﭙﻮرا اﺧﺘﺼــﺎص ﯾﺎﻓﺘــﻪ اﺳــﺖ‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:40 AM‬‬

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‫داد‪ .‬آنﻫﺎﻳﻰ ﻛﻪ از ﺣﺎ ِل وﻃﻦ ﺧﻮﺷــﻨﻮد ﺑﻮدﻧﺪ‪ ،‬ﺷــﺎه را »ﭘﺪ ِر ﻣﻬﺮﺑﺎنِ وﻃﻦ«‬ ‫دﮔﺮﮔﻮىن ﺗﺪرﻳﺠﻰ ﻓﻀﺎى ﺧﺎﺻﻪ و ﻋﺎﻣﻪ اﻧﺠﺎﻣﻴﺪ‪ .‬اﻳﻦ روﻧﺪ رﻓﺘﻪ رﻓﺘﻪ ﺣﺮﻳﻢ ﺧﺎﺻﻪ‬ ‫ِ‬ ‫ﺧﻮاﻧﺪﻧــﺪ‪ .‬ﻛﺴــﺎىن ﻛﻪ ﻧﮕﺮانِ ﺣﺎل اﻳﺮان ﺑﻮدﻧــﺪ‪ ،‬وﻃﻦ را ﻧﻪ ﺧﺎﻧﻪ‪ ،‬ﺑﻠﻜﻪ »ﭘﻴﻜﺮى‬ ‫و ﺧﺼﻮﴅ »ﺧﻮاص« را ﺑﻪ ﺣﻮزه ﻋﻤﻮﻣﻰ ﻳﺎ ﻫﻤﮕﺎىن و ﺣﻮزه زﻧﺪﮔﻰ ﺷﺨﴡ ﻋﻮام‬ ‫ﻣﺎدراﻧﻪ« ﭘﻨﺪاﺷــﺘﻨﺪ‪ .‬اﻳﻦ ﻧﮕﺮش در آﺳــﺘﺎﻧﻪ اﻧﻘﻼب ﻣﴩوﻃﻴﺖ ﺑﺎ ﺗﺸــﺒﻴﻪ ﻣﺠﺎزى‬ ‫را ﺑﻪ ﺣﺮﻳﻢ ﺧﺼﻮﴅ ﺗﺒﺪﻳﻞ ﻛﺮد‪ .‬ﺑﺎ ﻧﻘﺪ ﻫﻤﻪﺟﺎﻧﺒﻪ ﺳﻴﺎﺳﺖﻫﺎى دوﻟﺘﻰ‪ ،‬اﻧﺠﻤﻦﻫﺎ‬ ‫اﻳﺮان ﺑﻪ »ﻣﺎدر ﺑﻴامر ﺷــﺶ ﻫﺰار ﺳــﺎﻟﻪای ﭘﺎ ﺑﻪ ﻣﺮگ« ﺗﺒﺪﯾﻞ ﺑﻪ ﻧﮕﺮاىن ﻫﻤﻪﻓﻬﻤﻰ‬ ‫و روزﻧﺎﻣﻪﻫﺎى »ﻏريرﺳﻤﻰ« ﻳﺎ »آزاد« ﻧﻘﺶ ﺳﺎزﻧﺪهاى در اﻳﻦ دﮔﺮﮔﻮىن داﺷﺘﻨﺪ‪.‬‬ ‫روﻧﺪ دوﺟﺎﻧﺒﻪ ﻛﻮﺷﺶ دوﻟﺖ در ﺷﻜﻞ دادن آراى ﻋﻤﻮﻣﻰ و ﺗﻼش ﻣﺮدم در دﮔﺮﮔﻮىن ﺷــﺪ ﻛﻪ ﺑﺮﻛﻨﺎرى اﺳــﺘﻌﺎرى ﺷــﺎه از ﻣﻘﺎم »ﭘﺪر ﻣﻬﺮﺑﺎن وﻃﻦ« را در ﺑﺮداﺷﺖ‪ .‬ﺑﺎ‬ ‫ﴎى از‬ ‫ﺳﻴﺎﺳﺖﻫﺎى ﺣﻜﻮﻣﺘﻰ ﺑﻪ ﮔﺴﱰش و ﻧﻬﺎدﻳﻨﮕﻰ ﺣﻮزه ﻫﻤﮕﺎن‪ ،‬ﻳﻌﻨﻰ ﻧﻬﺎدﻫﺎى ﻧﺸﺴﺖ ﺗﺸــﺒﻴﻪ اﻳﺮان ﺑﻪ »ﻣﺎدر ﺷــﺶ ﻫﺰار ﺳــﺎﻟﻪ ﺑﻴامر و ﭘﺎ ﺑﻪ ﻣﺮگ«‪ ،‬ﺷﻜﻮهﻫﺎى ّ‬ ‫ﻗﺪرت دوﻟﺘﻰ ﺑﻪ ﺻﻮرت ﻧﮕﺮاىن از ﺣﺎل ﻣﺎدر وﻃﻦ ﻋﻠﻨﻰ ﺷــﺪ و ﺑﻪ ﺷــﻜﲆ زﻳﺮﻛﺎﻧﻪ‬ ‫و ﮔﻔﺖوﮔﻮ در ﺑﺎب »ﻣﻨﺎﻓﻊ ﻋﻤﻮﻣﻴﻪ« و »ﻋﺎماﳌﻨﻔﻌﻪ« اﻧﺠﺎﻣﻴﺪ‪ .‬اﻳﻦ ﮔﻔﺖوﮔﻮﻫﺎ و‬ ‫ﺑــﻪ ﻣﴩوﻋﻴﺖزداﻳﻰ از »ﭘﺪر ﺗﺎﺟــﺪار« و »اوﻟﻴﺎى دوﻟﺖ« اﻧﺠﺎﻣﻴﺪ‪ .‬ﻃﺮح راﺑﻄﻪ‬ ‫ﺗﺄﺛريﮔﺬارىﻫﺎى ﻣﺘﻘﺎﺑﻞ زﻣﻴﻨﻪ ﻣﺎدى ﺧﺎﻧﻮارى ﺷﺪن وﻃﻦ‪ ،‬ﻳﻌﻨﻰ ﺧﺎﻧﻪ ﻣﺸﱰک ﻫﻤﻪ‬ ‫اﻳﺮاﻧﻴﺎن اﻧﮕﺎﺷنت ﻛﺸﻮر اﻳﺮان‪ ،‬را ﻓﺮاﻫﻢ آوردﻧﺪ‪ .‬ﺷﺎه را »ﭘﺪر ﺗﺎﺟﺪار« وﻃﻦ اﻧﮕﺎﺷنت‪ ،‬ﻣﺎدراﻧــﻪ در ﻣﻴــﺎن اﻳﺮان و اﻳﺮاﻧﻴﺎن ﮔﺴــﱰش و ﺗﺤﻜﻴﻢ ﺣﺮﻳﻢ ﻫﻤﮕﺎن و ﺗﺮوﻳﺞ ﺣﻘﻮق‬ ‫و وﻇﺎﻳﻒ ﻫﻢوﻃﻨﻰ و ﺷــﺨﴡ را در ﭘﻰ داﺷــﺖ‪.‬‬ ‫ﭘﻴﺎﻣﺪ ﻧﻬﺎدﻳﻨﻪﺷﺪن دوﻟﺖ و ﻋﻤﻮﻣﻴﺖ ﻳﺎﻓنت ﺳﻠﻄﻨﺖ ﺑﻮد‪ .‬ﺑﺎ ﻧﴩ ﻋﻠﻨﻰ اﺧﺒﺎر‪ ،‬ﭘﻰ‬ ‫اﻓﻜﻨﺪن ﻧﻈﺎم ﺟﺪﻳﺪ‪ ،‬ﺗﻔﻜﻴﮏ ﻣﺮزﻫﺎ و ﺗﻌﻴني ﻣﺮزداران‪ ،‬ﺗﻌﻠﻴﻢ و ﺗﺮﺑﻴﺖ ﻋﻤﻮﻣﻰ‪،‬‬ ‫ﺳﺎﻣﺎن دادن ﭘﻠﻴﺲ و ﺗﻮﺟﻪ ﺑﻪ ﺑﻬﺪاﺷﺖ ﻫﻤﮕﺎن‪ ،‬ﺳﻠﻄﻨﺖ‪ ،‬منﺎدى ﻧﻬﺎدﻳﻦ و ﻋﻤﻮﻣﻰ ﺑﺎ ﺑﻪ ﻛﺎرﮔريى اﺳﺘﻌﺎرات ﭘﺰﺷىك در دوره اﻧﻘﻼب ﻣﴩوﻃﯿﺖ‪ ،‬ﺣﺎل وﻃﻦ ﺑﻪ ﺣﺎل‬ ‫ﻣﺎدر ﺑﻴامرى ﺗﺸﺒﻴﻪ ﺷﺪ ﻛﻪ ﺑﻪ ﭘﺮﺳﺘﺎرى و ﻣﺪاواى ﻓﻮرى ﻧﻴﺎز داﺷﺖ‪ .‬در ﻧﺴﺨﻪﻫﺎی‬ ‫ﺷﺪ‪ .‬اﻳﻦ ﻧﻬﺎدﻫﺎى ﺟﺪﻳﺪ دوﻟﺘﻰ ﺑﻨﻴﺎد ﻣﺎدى ﻣﻌﺮﰱ ﺷﺎه ﺑﻪ ﻋﻨﻮان ﭘﺪر ﺗﺎﺟﺪار وﻃﻦ‬ ‫ﺳﯿﺎﺳﯽ آن دوره‪ ،‬اﻣﺮا و روﺳﺎى دوﻟﺘﻰ ﻣﺴﻮول ﺑﻴامرى ﻣﺰﻣﻦ وﻃﻦ ﺷﻨﺎﺧﺘﻪ ﺷﺪه و‬ ‫را ﻓﺮاﻫﻢ آوردﻧﺪ‪.‬‬ ‫ﺑﻬﺒﻮدى وﻃﻦ ﻓﻘﻂ ﺑﺎ ﭘﺮﺳﺘﺎرى ﻓﺮزﻧﺪان ﺑﺎ ﻏريت و ﺑﺎ ﴍﻓﺶ ﻣﻤﻜﻦ داﻧﺴﺘﻪ ﺷﺪ‪.‬‬ ‫ﻧﻬﺎدﻫﺎى آﻣﻮزﳽ ﺟﺪﻳﺪى ﭼﻮن »داراﻟﻔﻨﻮن« اﺷــﺨﺎﴅ را ﭘﺮوردﻧﺪ ﻛﻪ در ﭘﻴﺪاﻳﺶ‬ ‫رواﻳﺎت ﻣﴩوﻃﻪﺧﻮاﻫﺎن از »ﺣﺎل زار اﻳﺮان« و »اﻣﺮاض ﻣﺰﻣﻦ ﻣﺎدر وﻃﻦ« رواﻳﺎىت‬ ‫ﺟﻤﻌﻴﺖﻫﺎ و اﻧﺠﻤﻦﻫﺎى ﺳــﺎزﻧﺪه ﺣﺮﻳﻢ ﻋﻤﻮﻣﻰ ﻧﺎﻗﺪاﻧﻪ ﺳــﻬﻴﻢ ﺑﻮدﻧﺪ‪ .‬ﺗﺠﻤﻌﺎىت‬ ‫ﭼﻮن آدﻣﻴﺖ‪ ،‬ﻓﺮاﻣﻮﺷــﺨﺎﻧﻪ‪ ،‬آﺗﺸــﻜﺪه‪ ،‬اﻧﺠﻤﻦﻫﺎى ﻣﺤﲆ و وﻻﻳﺘﻰ و ﻗﺮاﺋﺖﺧﺎﻧﻪﻫﺎ از رﻓﺘﺎر ﻧﺎﺑﻬﻨﺠﺎر ﻓﺮزﻧﺪاﻧﺶ در ﮔﺬﺷﺘﻪ و ﻓﺮاﺧﻮاىن ﺑﺮاى ﻛﺮدار ﭘﺴﻨﺪﻳﺪهﺗﺮ در ﺣﺎل‬ ‫و آﻳﻨﺪه ﺑﻮد‪ .‬اﻳﻦ ﭘﻴﺎم اﺧﻼﻗﻰ ﻛﻪ در ﺑﺴﻴﺎرى از ﻧﻮﺷﺘﻪﻫﺎ‪ ،‬ﺷﺒﻨﺎﻣﻪﻫﺎ و روزﻧﺎﻣﻪﻫﺎى‬ ‫ﺑﺎ ﺟﻠﺴــﺎت و ﻧﴩﻳﺎت ﺧﻮد ﺣﻜﻮﻣﺖ و ﺣﺎﻛﻤﻴﺖ را از ﮔﺴــﱰه ﺧﺎﺻﻪ و ﺧﻮاص ﺑﻪ‬ ‫ﻣﴩوﻃﻪﺧﻮاه در ﺗﻨﻴﺪه ﺑﻮد‪ ،‬در ﭘﻰ ﺳﺎﺧنت ﺷﺨﺺ و ﻧﻔﺲ ﺟﺪﻳﺪى ﺑﻮد ﻛﻪ اﻳﺮان را‬ ‫ﮔﺴــﱰه ﻋﺎﻣﻪ و ﻫﻤﮕﺎن ﺑﺮﻛﺸــﻴﺪه و ﺑﺪﻳﻦ ﺳــﺎن ﺷريازه ﻧﻬﺎدﻫﺎى ﻣﺮدمﺳﺎﻻر ﺣﺮﻳﻢ‬ ‫ﻫﻤﭽﻮ ﻣﺎدر واﻗﻌﻰ دوﺳﺖ ﺑﺪارد و ﻫامن ﮔﻮﻧﻪ ﻛﻪ ﺳﻼﻣﺖ ﺧﺎﻧﻮادهاش را ﻣﻰﺧﻮاﻫﺪ‬ ‫ﻋﻤﻮﻣــﻰ را ﺑﻨــﺎ ﻧﻬﺎدﻧﺪ‪ .‬اﻳﻦ ﻧﻬﺎدﻫﺎ ﻛﻪ ﺑﻪ ﺷــﻜﻞ روزاﻓﺰوىن اﻋﻼم وﺟﻮد ﻣﯽﻛﺮدﻧﺪ‪،‬‬ ‫ﺑﻪ ﭘﺎﺳﺪارى و ﺗﻮامنﻨﺪى اﻳﺮان ﻧﻴﺰ ﺑﭙﺮدازد‪ .‬اﻳﻦ ﻧﻔﺲ ﻧﻮ ﺑﺎ ﻧﻔﴗ ﻛﻪ ﺧﻮاﺳﺘﺎر‬ ‫ﺟﺎﻳﮕﺎﻫﻰ را ﺑﺮاى ﻓﺮاﭘﺮدازى ﮔﻔﺘامن ﻧﺎﻗﺪاﻧﻪ »ﻏريرﺳــﻤﻰ« ﻓﺮاﻫﻢ ﺳــﺎﺧﺘﻨﺪ‪ .‬ﻧﴩ‬ ‫آزاد و ﻋﻠﻨﻰ اﺧﺒﺎر ﻣﺮدم را ﺑﺎ ﭼﮕﻮﻧﮕﻰ ارزﻳﺎىب ﻣﻨﺎﻓﻊ ﺧﻮﻳﺶ آﺷــﻨﺎ ﺳــﺎﺧﺘﻪ و آنﻫﺎ رﺳﺘﮕﺎرى در آﺧﺮت ﺑﻮد ﺗﻔﺎوﺗﯽ ﭼﺸﻤﮕري داﺷﺖ‪ .‬ﻧﻔﺲ رﺳﺘﮕﺎرىﺧﻮاه ﺑﻪ ﺳﻌﺎدمتﻨﺪى‬ ‫در دﻧﻴﺎى واﭘﺴني ﻣﻰاﻧﺪﻳﺸﻴﺪ و در ﭘﻰ ﻛامل ﺧﻮﻳﺶ از ﻃﺮﻳﻖ »ﺳري ﺑﻪ ﻋﺎمل ﺑﺎﻻ«‬ ‫را ﺑﺮاى ﺗﻘﺒﻞ ﻣﺴــﺌﻮﻟﻴﺖ اﻣﻮر آﻣﺎده ﺳــﺎﺧﺖ‪ .‬از ﺟﻤﻠﻪ ﭘﻴﺎﻣﺪﻫﺎى ﮔﺴــﱰش ﺣﺮﻳﻢ‬ ‫ﻫﻤــﮕﺎن رواج ﻣﻔﻬــﻮم »ﻣﻨﺎﻓــﻊ ﻋﻤﻮﻣﻴﻪ« ﺑﻮد ﻛﻪ در ﺟﻨﺒﺶ ﺗﻨﺒﺎﻛﻮ ‪۱۳۰۹‬ق‪ -۱۸۹۱ /‬و »ﴎور اﺑﺪى و راﺣﺖ ﴎﻣﺪى« ﺑﻮد‪ ،‬اﻣﺎ ﻧﻔﺲ ﻣﴩوﻃﻪﺧﻮاه در ﭘﻰ ﻛامل ﻣﺪىن‪،‬‬ ‫‪۱۸۹۲‬م ﺑﻪ روﻳﺎروﻳﻰ دوﻟﺖ و ﻣﻠﺖ اﻧﺠﺎﻣﻴﺪ‪ .‬ﺷﻨﺎﺳــﺎﻳﻰ و ﭘﻴﺸــﱪد »ﻣﻨﺎﻓﻊ ﻋﻤﻮﻣﻴﻪ« ﴎور ﻣﲆ و رﺷﺪ وﻃﻨﻰ و ﺗﺎرﻳﺨﻰ ﺑﻮد‪ .‬ﻣﴩوﻃﻪﺧﻮاﻫﺎن در ﭘﻰ ﺳﺎﺧنت ﻧﻔﴗ ﺑﻮدﻧﺪ‬ ‫ﻛﻪ ﺳﻌﺎدت ﺧﻮﻳﺶ را ﺑﺎ ﺳﻌﺎدت اﻳﺮان و ﻛامل ﺧﻮﻳﺶ را ﺑﺎ ﺗﺮﻗﻰ وﻃﻦ ﭘﻴﻮﻧﺪ دﻫﺪ‪.‬‬ ‫ﺷــﻌﺎر ﻧﴩﻳﺎﺗﯽ ﻏريرﺳــﻤﻰ ﭼﻮن اﺧﱰ‪ ،‬ﻗﺎﻧﻮن‪ ،‬ﺣﻜﻤﺖ‪ ،‬ﭘﺮورش‪ ،‬ﺛﺮﻳﺎ‪ ،‬درهاﻟﻨﺠﻒ‬ ‫ﻧﻔﺲ رﺳﺘﮕﺎرىﺧﻮاه ﻛامل را ﺣﺮﻛﺘﻰ ﻋﻤﻮدى از ﻋﺎمل ﺧﺎىك ﺑﻪ ﻋﺎمل ﻣﻠﻜﻮىت ﻣﻰداﻧﺴﺖ‪،‬‬ ‫و ﺗﺮﺑﻴﺖ ﺑﻮد‪ .‬ﻧﴩﻳﺎت »آزاد از ﻗﻴﺪ رﺳــﻤﻴﺖ« ﺑﻪ ﺷــﻜﻞ روزاﻓﺰوىن ﺑﻪ ﴎزﻧﺶ‬ ‫دوﻟﺘﻰ ﻣﯽﭘﺮداﺧﺘﻨﺪ ﻛﻪ ﺧﻮد را وﱃ ﻋﺎﻣﻪ و ﭘﺎﺳــﺪار »ﻣﻨﺎﻓﻊ ﻋﻤﻮﻣﻴﻪ« ﻣﯽﭘﻨﺪاﺷــﺖ‪ .‬وﱃ ﻧﻔﺲ ﻣﴩوﻃﻪﺧﻮاه ﻛﻪ ﺑﺎ ﭘﻴﺪاﻳﺶ ﮔﻔﺘامن وﻃﻦﻣﺪار ﺗﻮﻟﺪ ﻳﺎﻓﺖ ﻛامل را در‬ ‫ﺣﺮﻛﺖ ﺻﻌﻮدى زﻣﺎن و ﭘﻴﴩﻓﺖ و ﺗﺮﻗﻰ و ﺑﻬﺒﻮدی »ﻣﺎدر وﻃﻦ« ﻣﻰﺟﺴﺖ‪.‬‬ ‫ﺑﺪﻳﻦﺳــﺎن‪ ،‬ﭘﻴﺸــﱪد »ﻣﻨﺎﻓﻊ ﻋﻤﻮﻣﻰ« از ﺟﺎﻧﺒﻰ ﮔﺴــﱰش ﺳﻴﻄﺮه ﺷﺎه و دوﻟﺖ را‬ ‫ﻣﻤﻜﻦ ﺳــﺎﺧﺖ و از ﺟﺎﻧﺒﻰ دﻳﮕﺮ ﺷــﻌﺎر ﻛﺎراﻳﻰ را در اﺧﺘﻴﺎر ﻣﺨﺎﻟﻔﺎن دوﻟﺖ ﻗﺮار‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:56 AM‬‬

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‫‪KEYWORD‬‬

‫اﻳﺮان را وﻃﻦ ﭘﻨﺪاﺷنت‪ ،‬وﻃﻦ را ﻫﻤﭽﻮ ﻣﺎدر اﻧﮕﺎﺷنت و اﻳﺮاﻧﻴﺎن را ﺧﻮاﻫﺮان و‬ ‫ﺑﺮادران وﻃﻨﻰ ﺧﻮاﻧﺪن‪ ،‬ﭘﻴﺎﻣﺪ ﮔﻔﺘامن ﻧﻮﺳﻴﺎﳻ در آﺳﺘﺎﻧﻪ اﻧﻘﻼب ﻣﴩوﻃﯿﺖ اﻳﺮان‬ ‫ﺑﻮد‪ .‬اﻳﻦ ﭘﺪﻳﺪه ﺑﺎ ﺑﺎزﭘﺮدازى ﺣﻮزه »ﺧﺎﺻﻪ« و »ﻋﺎﻣﻪ« آﻏﺎز ﺷﺪ و زﻣﻴﻨﻪ زاﻳﺶ‬ ‫»روح« و »ﺷﺨﺼﻴﺖ« اﻳﺮاىن و »ﻏريت« و »ﺗﻌﺼﺐ« وﻃﻨﻰ را ﻓﺮاﻫﻢ آورد‪ .‬ﺑﺎ ﻧﺸﺎن‬ ‫دادن ﻏريت و ﴍف وﻃﻨﻰ‪ ،‬زﻧﺎن ﺑﻪ ﺣﻮزه ﻫﻤﮕﺎﻧﯽ راه ﻳﺎﻓﺘﻪ و »ﻋﺎﻣﻪ‪ «،‬ﻛﻪ ﭘﻴﺸﱰ‬ ‫ﻫﻤﭽﻮن ﮔﻠﻪاى ﻓﺮض ﻣﯽﺷﺪ‪ ،‬ﺑﻪ ﻣﻠﺘﻰ ﺗﻮامنﻨﺪ و ﺷﻬﺮوﻧﺪاىن ﺣﻘﻮقﻣﻨﺪ ﺗﺒﺪﻳﻞ ﺷﺪﻧﺪ‪.‬‬ ‫در ﻫﻢآﻣﻴﺨﺘﮕﻰ ﺗﺪرﻳﺠﻰ ﻓﻀﺎﻫﺎى ﻣﺮداﻧﻪ و زﻧﺎﻧﻪ و ﻛﺎﻫﺶ ﻧﺴﺒﻰ ﺗﺒﻌﻴﺾﻫﺎى‬ ‫ﺟﻨﴗ‪ ،‬از ﻣﻬﻤﱰﻳﻦ ﭘﻴﺎﻣﺪﻫﺎى ﺗﺎرﻳﺨﻰ »ﮔﻔﺘامن وﻃﻦﻣﺪار« ﺑﻮد ﻛﻪ ﺑﺎ »داﺧﻠﯽ«‬ ‫ﺗﻠﻘﻰ ﻛﺮدن ﻓﻀﺎى وﻃﻦ ﻧﻮﻋﻰ َﻣﺤﺮﻣﻴّﺖ وﻃﻨﻰ در ﻣﻴﺎن زﻧﺎن و ﻣﺮدان ﺑﻪ وﺟﻮد‬ ‫آورد‪.‬‬ ‫در ﻧﻮﺷﺘﻪﻫﺎى ﭘﻴﺸﺎﻣﺪرن‪ ،‬وﻃﻦ ﺑﺎر ﻣﻌﻨﺎﻳﻰ ﭼﻨﺪﮔﺎﻧﻪ و ﭼﻨﺪ ﻻﻳﻪ و ﺟﻠﻮهﻫﺎﻳﻰ‬ ‫»ﻣﻜﺎىن« و »ﻻﻣﻜﺎىن« داﺷﺖ‪ .‬وﻃﻦ ﻣﻜﺎىن ﺷﺎﻣﻞ ﺧﺎﻧﻪ‪ ،‬زادﮔﺎه )ﻣﻮﻟﺪ و ﻣﻨﺸﺎ(‪،‬‬ ‫اﻗﺎﻣﺘﮕﺎه )وﻃﻦ ﻣﺎﻟﻮف( و ﮔﻮر )وﻃﻦ اﺻﲆ ﺑﺪن از ﮔِﻞ ﴎﺷﺘﮥ اﻧﺴﺎن( ﺑﻮد ﻛﻪ در‬ ‫ﻣﺘﻮن ادىب‪ ،‬ﺗﺎرﻳﺨﻰ و ﻓﻘﻬﻰ ﺑﻪ آنﻫﺎ اﺷﺎره ﻣﯽﺷﺪ‪ .‬ﺑﻪ َﻣﺜَﻞ‪ ،‬در »ﺣﻜﺎﻳﺖ آدم آىب و‬ ‫ﺳﻴﺎﺣﺖ او در روى زﻣني‪ «،‬ﻣﻼاﺣﻤﺪ ﻧﺮاﻗﻰ )‪۱۲۴۵-۱۱۸۵‬ق‪۱۸۳۰-۱۷۷۱/‬م( »وﻃﻦ«‬ ‫را ﺑﻪ ﻣﻌﻨﺎى »ﺧﺎﻧﻪ« ﺑﻪ ﻛﺎر ﮔﺮﻓﺖ‪ .‬در اﻳﻦ ﺣﻜﺎﻳﺖ‪» ،‬آدم« ﭘﺲ از ﺑﺎزﮔﺸﺖ از ﺳﻔﺮ‬ ‫ﺑﻪ ﺑﺮﺷﻤﺮدن »ﻋﺠﺎﻳﺐ زﻣني« ﺑﺮاى ﻫﻤﻨﻮﻋﺎﻧﺶ ﭘﺮداﺧﺖ‪ .‬از ﺟﻤﻠﻪ آن ﻛﻪ آدﻣﻴﺎن‬ ‫ﺟﺎﻳﮕﺎﻫﻰ از »ﺧﺸﺖ و ﮔِﻞ« ﺳﺎزﻧﺪ و‬

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‫وﻃﻦ در دل داﺷﺖ‪ ،‬ﴎود ﻛﻪ‪:‬‬ ‫ﺳﻌﺪﻳﺎ ُﺣ ِﺐ وﻃﻦ ﮔﺮ ﭼﻪ ﺣﺪﻳﺜﻰ اﺳﺖ ﺻﺤﻴﺢ‬ ‫ﻧﺘﻮان ُﻣﺮد ﺑﻪ ﺳﺨﺘﻰ ﻛﻪ ﻣﻦ اﻳﻨﺠﺎ زادم‬ ‫اﻳﻦ اﻧﺘﺨﺎىب ﺑﻮدن وﻃﻦ در ﻣﻔﺎﻫﻴﻢ ﺗﺮﻛﻴﺒﻰ ﭼﻮن »ﻃﺮح وﻃﻦ رﻳﺨنت‪«،‬‬ ‫»وﻃﻦﮔﺰﻳﻨﻰ‪» «،‬وﻃﻦﮔﺮﻓنت‪» «،‬وﻃﻦ داﺷنت‪» «،‬ﺗﻮﻃﻦﻛﺮدن‪» «،‬ﻗﺼﺪ ﺗﻮﻃﻦ‪«،‬‬ ‫»ﻣﺘﻮﻃﻦ ﮔﺸنت‪» «،‬وﻃﻦ ﺑﺴنت‪» «،‬وﻃﻦ دادن« و »وﻃﻦ ﺳﺎﺧنت‪ «،‬ﻛﻪ در ﺗﺬﻛﺮهﻫﺎى‬ ‫ﻓﺎرﳻ ﺑﺴﻴﺎر ﺑﻪ ﻛﺎر ﺑﺮده ﻣﯽﺷﺪﻧﺪ‪ ،‬ﻣﺴﺘﱰ اﺳﺖ‪.‬‬ ‫ﺗﺠﺪد‪ ،‬ﺑﻪ ﺟﺎی اﯾﻦ »وﻃﻦﮔﺰﯾﻨﺸﯽ«‪ ،‬وﻃﻦدوﺳﺘﯽ و اﯾﺮانﭘﺮﺳﺘﯽ را ﺑﻪ ارﻣﻐﺎن‬ ‫آورد‪ .‬ﻃﺮاﺣﻰ ﻣﻔﻬﻮم ﻣﺘﺠﺪداﻧﻪ وﻃﻦ‪ ،‬ﭘﻴﺎﻣﺪى ﻫﻤﺰﻣﺎن ﺑﺎ ﻣﺮزﺑﻨﺪى اﻳﺮان‪ ،‬متﺮﻛﺰ‬ ‫ﻗﻮاى دوﻟﺘﻰ و ﺷﻜﻞﮔريى ﺣﻮزه ﻳﺎ ﺣﺮﻳﻢ ﻫﻤﮕﺎن ﺑﺮاى ﭘﻴﺸﱪد »ﻣﻨﺎﻓﻊ ﻋﻤﻮﻣﻴﻪ«‬ ‫و ﻃﺮحﻫﺎى »ﻋﺎماﳌﻨﻔﻌﻪ« ﺑﻮد‪ .‬ﻣﺮزﺑﻨﺪى اﻳﺮان ﻛﻪ ﺣﺎﺻﻞ ﻗﺮاردادﻫﺎى ﮔﻠﺴﺘﺎن در‬ ‫ﺷﻮال ‪۱۲۲۸‬ق‪/‬اﻛﺘﱪ ‪۱۸۱۳‬م‪ ،‬ﺗﺮﻛامﻧﭽﺎى در ﺷﻌﺒﺎن ‪۱۲۴۳‬ق‪/‬ﻓﻮرﻳﻪ ‪۱۸۲۸‬م‪ ،‬ﻋﻬﺪﻧﺎﻣﻪ‬ ‫اول ارزﻧﻬﺎﻟﺮوم در ‪۱۲۳۸‬ق‪۱۸۲۳/‬م و ﻋﻬﺪﻧﺎﻣﻪ دوم ارزﻧﻬﺎﻟﺮوم در ﺟامدىاﻟﺜﺎىن‬ ‫‪۱۲۶۳‬ق‪/‬ﻣﻪ ‪۱۸۴۷‬م ﺑﻮد‪ ،‬ﺑﻪ ﭘﻴﻜﺮﻣﻨﺪى اﻳﺮان اﻧﺠﺎﻣﻴﺪ‪ .‬ﺑﺪون اﻳﻦ ﭘﻴﻜﺮﻣﻨﺪى‪ ،‬ﻳﻌﻨﻰ‬ ‫ﻣﺸﺨﺺ ﺷﺪن ﺑﺪﻧﻪ ﻣﺮزى ﻛﺸﻮر‪ ،‬ﻓﺮاﺳﺎﺧنت ﺷﺨﺼﻴﺖ ﺗﺎرﻳﺨﻰ و ﻓﺮﻫﻨﮕﻰ اﻳﺮان‬ ‫ﻣﻤﻜﻦ منﯽﺑﻮد‪.‬‬

‫ﺟﻨﮓﻫﺎ و ﺑﺤﺮانﻫﺎى ﺑنياﳌﻠﲆ در آﻏﺎزه ﺳﺪه ﺳﻴﺰدﻫﻢ ﻗﻤﺮی )ﻧﻮزدﻫﻢ ﻣﻴﻼدى(‬ ‫ﭘﺎدﺷﺎﻫﺎن ﻗﺎﺟﺎر را ﺑﺮ آن داﺷﺖ ﻛﻪ ﺑﻪ متﺮﻛﺰ و ﺑﻪﺳﺎزى ﻗﻮاى ﺣﻜﻮﻣﺘﻰ‪ ،‬ﻧﻮﺳﺎزى‬ ‫دل ﺑِﺪان ﺑﻨﺪﻧﺪ و ﺧﻮاﻧﻨﺪش وﻃﻦ‬ ‫ارﺗﺶ و ﻧﻈﻤﻴﻪ و ﻓﺮاﮔريى و آﻣﻮزش ﻋﻠﻮم ﺟﺪﻳﺪ ﺑﭙﺮدازﻧﺪ‪ .‬اﻳﻦ متﺮﻛﺰ و ﺑﻪﺳﺎزى‬ ‫وﻧﺪر آن ﺧﺴﺒﻨﺪ ﺑﺎ آرام ﺗﻦ‬ ‫»دوﻟﺖ« را‪ ،‬ﻛﻪ ﭘﻴﺶﺗﺮ در ﺑﺮﮔريﻧﺪه ﺣﺮﻳﻢ ﺧﺎﺻﻪ ﭘﺎدﺷﺎﻫﺎن و واﻟﻴﺎن و ﺣﺎﻛامن ﺑﻮد‪،‬‬ ‫ﻣﻮﻻﻧﺎ ﺟﻼلاﻟﺪﻳﻦ روﻣﻰ )‪۶۷۲-۶۴۰‬ق‪۱۲۷۳-۱۲۰۷/‬م( ﻧﻴﺰ اﻳﻦ دﻟﺒﺴﺘﮕﻰ ﺑﻪ وﻃﻦ در ﺑﻪ ﻧﻬﺎدى ﭘﺎﺑﺮﺟﺎ و ﻋﻤﻮﻣﻰ ﺗﺒﺪﻳﻞ ﻛﺮد‪.‬‬ ‫دو ﻧﻮع ﻋﺎﻗﻼﻧﻪ و اﺑﻠﻬﺎﻧﻪ در »ﻗﺼﻪ آن آﺑﮕري و ﺻﻴﺎدان و آن ﺳﻪ ﻣﺎﻫﻰ« ﺑﺎز ﮔﻔﺖ‪.‬‬ ‫در اﻳﻦ ﻗﺼﻪ‪ ،‬ﻣﺎﻫﻰ ﻋﺎﻗﻞ و وﻗﺖﺷﻨﺎس از »آﺑﮕري« ﺑﻪ »درﻳﺎى ژرف« ﺷﺘﺎﻓﺖ و آن متﺮﻛﺰ ﻗﻮاى دوﻟﺘﻰ و ﭘﻰ اﻓﻜﻨﺪن ﻣﻠﺖ‪-‬ﻛﺸﻮرى ﻣﻨﺠﺴﻢ و ﻫامﻫﻨﮓ‪ ،‬ﻳﻌﻨﻰ دﮔﺮدﻳﴗ‬ ‫»ﻣامﻟﮏ اﻳﺮان« ﺑﻪ »ﻣﻤﻠﻜﺖ اﻳﺮان‪ «،‬ﺑﺎ ﻫﻤﮕﺎىن ﻛﺮدن اﺧﺒﺎر ﺣﻜﻮﻣﺘﻰ ﺗﴪﻳﻊ ﺷﺪ‪.‬‬ ‫ﻛﻪ »اﺑﻠﻪ و ﻣﻐﺮور« ﺑﻮد در ﮔﺮداب وﻃﻦ ﮔري ﻛﺮد و ﺳﭙﺲ »ﺑﺮ ﴎ آﺗﺶ ﺑﻪ ﭘﺸﺖ‬ ‫ﺗﺄﺳﻴﺲ روزﻧﺎﻣﻪﻫﺎى ﻛﺎﻏﺬ اﺧﺒﺎر‪ ،‬وﻗﺎﻳﻊ اﺗﻔﺎﻗﻴﻪ‪ ،‬اﻳﺮان‪ ،‬ﻣﺮﻳﺦ و دﻳﮕﺮ »ﺟﺮاﻳﺪ‬ ‫ﺗﺎﺑﻪاى« ﭘﺨﺘﻪ ﺷﺪ‪ .‬اﻧﺘﺨﺎب ﺑﻪﻫﻨﮕﺎم ﻧﺨﺴﺘني را ﻣﻮﻟﻮى »وﻃﻦﺷﻨﺎﳻ« ﺧﻮاﻧﺪ‪:‬‬ ‫رﺳﻤﻰ‪ «،‬اﺧﺒﺎرى را ﻛﻪ ﭘﻴﺶﺗﺮ در ﺣﻮزه ﻣﺤﺮﻣﺎﻧﻪ ﺧﻮاص ﻣﯽﻣﺎﻧﺪﻧﺪ‪ ،‬ﻋﻠﻨﻰ و ﻫﻤﮕﺎىن‬ ‫ﻫﻤﭽﻨني ُﺣﺒُﺎﻟﻮﻃﻦ ﺑﺎﺷﺪ درﺳﺖ‬ ‫ﻛﺮدﻧﺪ‪ .‬ﻣﻔﺎﻫﻴﻢ »اﻋﻼن‪» «،‬اﻋﻼﻧﻴﻪ‪» «،‬اﻃﻼع‪» «،‬اﻃﻼﻋﻴﻪ‪» «،‬اﺑﻼغ« و »اﺑﻼﻏﻴﻪ«‬ ‫ﺗﻮ وﻃﻦ ﺑﺸﻨﺎس اى ﺧﻮاﺟﻪ ﻧﺨﺴﺖ‬ ‫ﻫﻤﻪ ﻧﺸﺎﻧﻪ ﻋﻠﻨﻰ و ﻫﻤﮕﺎىن ﻛﺮدن اﺧﺒﺎر »ﺧﺎﺻﻪ« در اﻧﻈﺎر ﻋﺎﻣﻨﺪ‪ .‬اﻋﻼن و اﺑﻼغ‬ ‫ﻋﻠﻨﻰ اﻃﻼﻋﺎت ﺣﻜﻮﻣﺘﻰ ﺑﻪ در ﻫﻢ ﺷﻜﺴنت ﺣﺮﻳﻢ ﺧﺎﺻﻪ ﺧﻮاﴅ اﻧﺠﺎﻣﻴﺪ ﻛﻪ‬ ‫در زﺑﺎن ﻓﺎرﳻ و ﻋﺮىب ﮔﺰارشﻫﺎ و ﺣﻜﺎﻳﺖﻫﺎى ﻓﺮاواﻧﯽ از ﻣﻘﺒﻮﻟﻴﺖ اﻳﻦ ﮔﻮﻧﻪ‬ ‫ﺧﻮد را »راﻋﻰ رﻋﻴﺖ« و »ﺑﺮﮔامﺷﺘﻪ ﺧﺪا‪ ...‬ﺑﺮ ﺧﻠﻖ ﺧﻮﻳﺶ« ﻣﯽﭘﻨﺪاﺷﺘﻨﺪ‪ .‬اﻋﻼن‬ ‫وﻃﻦﺷﻨﺎﳻ وﺟﻮد دارد‪ .‬ﺑﻪ ﻣﺜﻞ‪ ،‬ﺳﻌﺪى )‪۶۹۱-۶۰۶‬ق‪۱۲۹۱-۱۲۱۰/‬م( اﮔﺮ ﭼﻪ ُﺣ ﱠﺐ ﻋﻠﻨﻰ ﺳﻴﺎﺳﺖﻫﺎ و ﮔﺰﻳﻨﺶﻫﺎى دوﻟﺘﻰ و ﻧﴩ ﻧﻈﺮﻳﻪﻫﺎ و آراى »ﻏريرﺳﻤﻰ« ﺑﻪ‬

‫ﻣﺤﻤﺪ ﺗﻮﮐﻠﯽ ﻃﺮﻗﯽ‬ ‫ﭘﺮوﻓﺴــﻮر دﭘﺎرمتــﺎن »ﺗﺎرﯾــﺦ و ﻣﻄﺎﻟﻌــﺎت‬ ‫ﺧــﺎور ﻧﺰدﯾــﮏ و ﺧــﺎور ﻣﯿﺎﻧــﻪ« در‬ ‫داﻧﺸــﮕﺎه ﺗﻮرﻧﺘــﻮ اﺳــﺖ‪ .‬وی ﻫﻤﭽﻨﯿــﻦ در‬ ‫رﺷــﺘﻪ »ﻣﻄﺎﻟﻌــﺎت ﺗﺎرﯾﺨــﯽ« در داﻧﺸــﮕﺎه‬ ‫ﺗﻮرﻧﺘــﻮ‪ -‬ﻣﯿﺴﯿﺴــﺎﮔﺎ ﺻﺎﺣــﺐ ﮐﺮﺳﯽﺳــﺖ‪.‬‬ ‫دﮐــﱰ ﺗﻮﮐﻠــﯽ ﺳــﺎﺑﻘﻪ ﻋﻀﻮﯾــﺖ در ﻫﯿﺌــﺖ‬ ‫ﺗﺤﺮﯾﺮﯾــﻪ ﻣﻄﺎﻟﻌــﺎت اﯾﺮاﻧﺸﻨﺎﺳــﯽ )ﻣﺠﻠــﻪ‬ ‫اﻧﺠﻤــﻦ ﺑﯿﻦاﳌﻠﻠــﯽ ﻣﻄﺎﻟﻌــﺎت اﯾــﺮان‬ ‫ﺷﻨﺎﺳــﯽ( را دارد و ﻣﺠﻠــﻪی »اﯾــﺮان ﻧﺎﻣــﻪ«‬ ‫ﺗﺤــﺖ ﴎدﺑﯿــﺮی او ﻣﻨﺘــﴩ ﻣﯽﺷــﻮد‪.‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:56 AM‬‬

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‫‪KEYWORD‬‬

‫ﮐﻠﯿﺪواژهﻫــﺎ رواﯾﺖﮔــﺮ اﺟامﻟــﯽ ﭘﯿﭽﯿﺪﮔﯽﻫــﺎی ﻓﺮﻫﻨﮕــﯽ‬ ‫ﻫﺴــﺘﻨﺪ‪ .‬ﻫــﺮ ﯾــﮏ از ﻣﻘــﺎﻻت اﯾــﻦ ﺑﺨــﺶ ﺑــﻪ ﯾﮑــﯽ از اﯾــﻦ‬ ‫ﮐﻠﯿﺪواژهﻫــﺎ ﻣﯽﭘــﺮدازد‪ ،‬ﺑــﻪ دﻧﺒــﺎل رﯾﺸــﻪﻫﺎ ﻣــﯽرود‪ ،‬و‬ ‫ﮐﺎرﺑﺮدﻫــﺎی اﯾــﻦ ﻣﻔﺎﻫﯿــﻢ ﮐﻠﯿــﺪی در زﻣﯿﻨﻪﻫــﺎی اﺟﺘامﻋــﯽ‬ ‫و ﮔــﺮدش و ﺗﺤﻮﻟﺸــﺎن ﺑﺎﻫــﻢ را ﺑﺮرﺳــﯽ ﻣﯽﮐﻨــﺪ‪ .‬ﭼــﻪ ﺑﻬــﱰ از‬ ‫آن‪ ،‬ﮐــﻪ آﻏﺎزﮔــﺮ ﺟﺸــﻨﻮاره ﻓﺮﻫﻨــﮓ و ﻫــرن اﯾﺮاﻧــﯽ‪ ،‬ﺑــﻪ ﻣﯿﺰﺑﺎﻧﯽ‬ ‫ﺗﻮرﻧﺘــﻮ‪ ،‬و آن ﻫــﻢ ﺑــﺎ ﻣﻮﺿــﻮع »وﻃــﻦ«‪ ،‬ﺑﺤــﺚ و ﮐﻨــﮑﺎش‬ ‫ﺑــﺮ ﴎ ﺧــﻮد »وﻃــﻦ«‪» ،‬دﯾﺎﺳــﭙﻮرا« و »ﻓﺮﻫﻨــﮓ« آن ﺑﺎﺷــﺪ؟‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-05 4:56 AM‬‬

‫‪171-172-Keyword-Homeland-EDITED.indd 173‬‬

‫‪176‬‬

‫یادداشت سردبیر‬ ‫ﺗﯿﺮﮔﺎن‪ ،‬ﺟﺸﻦ آب در اﻧﻘﻼب ﺗﺎﺑﺴﺘﺎﻧﯽﺳﺖ‪ .‬آﯾﯿﻨﯽ درﺧﻮر و ﺷﺎﯾﺴﺘﻪ آن اورﻧﮓ ﺧﺪاﯾﯽ‪ ،‬ﮐﻪ اﯾﺮاﻧﯿﺎن ﺑﺎﺳﺘﺎن در‬ ‫ﻣﻮاﺟﻬﻪ ﺑﺎ ﻓﺮﻣﺎنروای ﺑﺎرِش‪ ،‬ﯾﺎﻓﺘﻪ و ﺑﺎﻓﺘﻪاﻧﺪ‪ .‬ﺟﺸﻦ »آن ﺳﺘﺎره درﺧﺸﺎن و ﺷﻜﻮﻫﻤﻨﺪ ﺗِﺸْ َـﱰ ﻛـﻪ اﻫـﺮﯾﻤـﻦ‬ ‫ره ﺑﻪ ﻧـﺎﺑـﻮدیاش ﻧﺨـﻮاﻫﺪ ﺑﺮد و ﻧﻪ ﺟﺎدوان و ﻧﻪ ﭘﺮﯾﺎن و ﻧﻪ ﻣﺮدﻣﺎن ﺟﺎدوﭘﯿﺸﻪ و ﻧﻪ ﻫﻤﻪ دﯾﻮﻫﺎ‪ ،‬ﻫﯿﭻﻛﺪام‬ ‫آﺳﯿﺒﯽ ﺑﻪ او ﻧﺘﻮاﻧﻨﺪ رﺳﺎﻧﺪ*‪«.‬‬ ‫ﺟﺸﻦ آن »ﺗﻨﺪﺗﺎز ﺑﻪ ﺳﻮی درﯾـﺎی ﻓﺮاﺧﻜﺮت را‪ ،‬ﺑﻪ ﺳﺎنِ آن ﺗﯿ ِﺮ در ﻫﻮا ﭘـ ّﺮان‪ ،‬ﺗﯿﺮی ﻛﻪ آرش ﺗﯿﺮاﻧﺪاز‪ -‬آن‬ ‫ﺑﻬﱰﯾﻦ ﺗﯿﺮاﻧﺪاز اﯾﺮاﻧﯽ‪ -‬از ﻛﻮه ا َﺋﯿـ ْﺮﯾﻮ ﺧْـﺸﻮﺛ َـﻪ ﺑﻪ ﺳﻮی ﻛﻮه ﺧْـ َﻮﻧْـ َﻮﻧْـﺖ ﭘﺮﺗﺎب ﻛﺮد*‪«.‬‬

‫ﺳﻌﯿﺪ وﻟﺪﺑﯿﮕﯽ‬ ‫ﴎدﺑﯿﺮ ﻣﺠﻠﻪ ﺗﯿﺮﮔﺎن‬

‫ﺟﺸﻨﯽ ﮐﻪ »در روز ﺳﯿﺰدﻫﻢ ﺗﯿﺮﻣﺎه ﻫﺮ ﺳﺎل ﮐﺎرﮔﺮان ﺻﻨﻒ ﻣﺴﮕﺮ ﮐﺎﺷﺎن‪ ،‬ﮐﺴﺐ و ﮐﺎر ﺧﻮد و ﺳﺎﯾﺮ اﺻﻨﺎف‬ ‫ﺑﺎزار را ﺑﻪ وﺳﯿﻠﻪی آب ﭘﺎﺷﯿﺪن ﺑﻪ دﮐﺎن و دﺳﺘﮕﺎه ﯾﮏ دﯾﮕﺮ ﺗﻌﻄﯿﻞ منﻮده و ﺑﺎ ﻫامن وﺿﻊ و اﺣﻮال‬ ‫ﮐﻪ اﺷﻌﺎر و ﺗﺮاﻧﻪﻫﺎی ﺻﻨﻔﯽ ﺧﻮد را ﻣﯽﺧﻮاﻧﺪﻧﺪ و دﺳﺖ ﻣﯽزدﻧﺪ ﺑﻪ ﻓﯿﻦ رﻓﺘﻪ‪ ،‬ﻣﺪت ﺳﻪ ﺷﺒﺎﻧﻪروز در‬ ‫ﴎﭼﺸﻤﻪ ﺷﻔﺎف آن و ﺣﻮض و ﺟﻮﯾﺒﺎرﻫﺎی دﻟﻔﺮﯾﺐ ﺑﺎغ ﺷﺎه ﻧﻮ و ﮐﻬﻨﻪ ﺑﺎ ﺷﻮﺧﯽ و ﺧﻨﺪه و ﺑﺎزیﻫﺎی‬ ‫ﮔﻮﻧﺎﮔﻮن و ﺧﻮﺷﯽ و ﺧﺮﻣﯽ ﺑﻪ ﴎ ﻣﯽﺑﺮدﻧﺪ**‪«.‬‬ ‫در ﺗﺪارک ﺟﺸﻦ اﯾﻦ ﺳﺘﺎره درﺧﺸﺎن ﺑﻪ ژرﻓﺎی آﺳامن ﻓﺮﻫﻨﮓ و ﻫرن اﯾﺮان رﻓﺘﻪاﯾﻢ و ﺧﺎرج از ﺧﺎﻧﻪ‪،‬‬ ‫در ﻫﻤﺴﺎﯾﮕﯽ دﯾﮕﺮ ﺳﺘﺎرﮔﺎن ﺧﺎﻧﻪ ﮐﺮدهاﯾﻢ‪ .‬ﺧﻂ ﺗﯿﺮ آرش را ﮔﺮﻓﺘﻪاﯾﻢ و در ﺟﺴﺖ و ﺟﻮی »ﻓﺮﻫﻨﮓ«‪،‬‬ ‫»دﯾﺎﺳﭙﻮرا« و »وﻃﻦ« ﺑﻪ ﺧﺎﻧﻮاده ﺗﯿﺮﮔﺎن رﺳﯿﺪهاﯾﻢ‪.‬‬ ‫ﻟﻄﻔﺎ ورق را ﺑﺮﮔﺮداﻧﯿﺪ و ﺑﺨﻮاﻧﯿﺪ‪ .‬درﺑﺎره آﻧﭽﻪ در ﺗﯿﺮﮔﺎن ﻣﯽﺑﯿﻨﯿﺪ و ﻟﺬت ﻣﯽﺑﺮﯾﺪ‪...‬‬ ‫*ﺗﯿﺮ ﯾﺸﺖ اوﺳﺘﺎ‬ ‫** ﺣﺴﻦ ﻧﺮاﻗﯽ‪ ،‬ﺗﺎرﯾﺦ اﺟﺘامﻋﯽ ﮐﺎﺷﺎن‪۲۷۳ ،۱۳۶۵ ،‬‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 5:15 AM‬‬

‫‪176-Editor's Note.indd 176‬‬

‫‪177‬‬

‫ﺑﺎﻫﻤﺴﺘﺎن‬ ‫ﻃﺮاﺣﯽ روﯾﺎﻫﺎ‬ ‫ورزش ﻣﻬﺎﺟﺮ‬

‫‪...In Numbers‬‬

‫ﻧﮕﯿﻦ‬ ‫داﺳﺘﺎنﻧﻮﯾﺴﯽ‬

‫”‪“Tehran was Grey‬‬

‫ﺟﺸﻦ آب در ﭘﺮدﯾﺲ ﺧﺸﮑﯽﻫﺎ‪ ،‬از ﻋﻬﺪ ﻋﺘﯿﻖ ﺗﺎ ﻋﴫ‬ ‫ﺣﺎﴐ‬

‫ﺧﺎﻧﻮاده ﺗﯿﺮﮔﺎن‬ ‫ﻣﻌﻠﻢ ﺗﺎرﯾﺦ ﻣﺎ‪.‬‬ ‫ﺗﯿﺮﮔﺎن‬ ‫ﻗﯿﺮﻣﯿﺰی ﯾ ْﻮخ‪ ،‬ﺳﺎری آﳌﺎ‬ ‫ڕۆﻣﺎنﻧﻮوﺳﯽ ﮐﻮرد ﮐﺎرەﮐﺘەرێﮑﯽ ﺗﺮاژﯾﮏ‬ ‫ﻫرنﻫﺎی ﺑﴫی‬ ‫رﻗﺼﻨﺪه ﺻﺤﺮا؛ رواﯾﺖ دراﻣﺎﺗﯿﮏ دﻧﯿﺎی‬ ‫رﺳﻤﯽ و زﯾﺮزﻣﯿﻨﯽ اﯾﺮان‬

‫ﺗﺠﺮﺑﻪﻫﺎی ﻧﺎمتﺎم ﺗﺌﺎﺗﺮ اﯾﺮان‬ ‫ﻧﻮآوری و اﺑﺘﺬالزداﯾﯽ‪ ،‬ﴐورت ﺗﻮﺳﻌﻪ‬ ‫رﻗﺺ ﺻﺤﻨﻪای اﯾﺮان‬ ‫ﮔﻮﮔﻮش‬ ‫دﻟﻮاﭘﺴﯽ در اﯾﺴﺘﮕﺎه ﻧﻮازﻧﺪﮔﯽ زﻧﺎن‬ ‫ﺑﻪ ﻣﻮﺳﯿﻘﯽ اﯾﺮان ﺑﯿﺸﱰ زﻣﺎن ﺑﺪﯾﻢ‬

‫‪Dance Interrupted‬‬ ‫‪Stringing Songs Together‬‬ ‫‪The Travelling Culture‬‬ ‫‪of Food‬‬ ‫‪On the Scene, In Dubai‬‬ ‫‪Art Lovers‬‬ ‫‪The Peykan‬‬ ‫‪The Satellite Dish‬‬ ‫‪The Nose‬‬ ‫”‪The “Ugly Persian House‬‬ ‫‪Literature, Translation‬‬ ‫‪and the Foolhardy‬‬ ‫‪About a Master‬‬ ‫‪Tirgan Programs‬‬

‫‪56‬‬ ‫‪60‬‬ ‫‪68‬‬ ‫‪69‬‬ ‫‪70‬‬ ‫‪71‬‬ ‫‪73‬‬ ‫‪75‬‬ ‫‪78‬‬

‫& ‪History‬‬ ‫‪Litreture‬‬

‫ﺳﯿﻨامی ﺗﯿﺮﮔﺎن؛ ﺳﯿﻨامی وﻃﻦ در ﻏﺮﺑﺖ‬

‫‪Scarlet Stone‬‬

‫‪Artefacts‬‬

‫ﺳﯿﻨامی اﯾﺮان در ﭼﺸﻢ ﺟﻬﺎن‬

‫‪Seeking Through Song‬‬

‫‪40‬‬ ‫‪42‬‬ ‫‪46‬‬ ‫‪48‬‬ ‫‪51‬‬

‫‪Bazaar‬‬

‫وﻃﻦ ﭘﺮﺳﺘﯽ‬

‫‪The Poetics and Politics‬‬ ‫‪of a Woman’s Voice‬‬

‫‪38‬‬ ‫‪music‬‬

‫ﺑﺎران‪ ،‬آﻓﺘﺎب و ﻗﺼﻪ ﮐﺎﺷﯽ‬

‫‪Cinema in Motion and‬‬ ‫‪Diaspora in Context‬‬

‫‪Workshop‬‬

‫‪111‬‬ ‫‪113‬‬ ‫‪122‬‬ ‫‪125‬‬ ‫‪126‬‬ ‫‪128‬‬ ‫‪130‬‬ ‫‪132‬‬ ‫‪138‬‬ ‫‪140‬‬

‫ﺣﻘﻮق ﮐﻮدک در ﻣﻬﺎﺟﺮت‬

‫‪Cinema+Critique+Struggle‬‬

‫‪Dance‬‬

‫‪109‬‬

‫‪156‬‬ ‫‪158‬‬ ‫‪161‬‬ ‫‪164‬‬ ‫‪167‬‬ ‫‪168‬‬ ‫‪170‬‬ ‫‪172‬‬

‫‪Diaspora‬‬

‫‪Canvassing Labour‬‬

‫ﻃﻼﯾﻪداران ﺣﻔﺎﻇﺖ از ﻃﺒﯿﻌﺖ اﯾﺮان؛‬ ‫ﮐامﻧﮕﯿﺮان ﻓﺮاﻣﻮش ﺷﺪه ﯾﮏ ﴎزﻣﯿﻦ‬

‫‪144‬‬ ‫‪145‬‬ ‫‪148‬‬ ‫‪154‬‬

‫‪Culture‬‬

‫‪Cinema‬‬ ‫‪visual Arts‬‬ ‫‪keywords‬‬

‫‪85‬‬ ‫‪91‬‬ ‫‪93‬‬ ‫‪95‬‬ ‫‪99‬‬ ‫‪105‬‬ ‫‪107‬‬

‫اﺣﺴﺎن ﯾﺎر ﺷﺎﻃﺮ‬

‫‪Homeland‬‬

‫‪20‬‬ ‫‪22‬‬ ‫‪23‬‬ ‫‪24‬‬ ‫‪26‬‬ ‫‪28‬‬ ‫‪32‬‬ ‫‪34‬‬

‫‪Theatre‬‬

‫تئاتر‬

‫کلیدواژه‬

‫موسیقی‬

‫رقص‬

‫هنرهای بصری‬ ‫داستان نویسی‬ ‫خانواده تیرگان‬ ‫ورزش‬ ‫تاریخ و ادبیات‬ ‫محیط زیست‬ ‫فیلم‬ ‫باهمستان‬ ‫کودک‬ ‫غذا بازار‬

‫در این شماره‬

‫‪in this issue‬‬

‫اﯾﻦ ﻓﺮﯾﺎد زﻧﺪه ﺑﻮدﻧﻪ‪ ،‬ﻓﺮﯾﺎد ﻫﻤﺮاه ﺑﻮدﻧﻪ‬ ‫ﺟﺎﻣﻌﻪ ﻓﺎرﺳﯽ ﮐﺎﻧﺎدا در اﻋﺪاد‬ ‫دﯾﺎﺳﭙﻮرا‬ ‫ﻓﺮﻫﻨﮓ‬ ‫وﻃﻦ‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 5:07 AM‬‬

‫‪177-TOC.indd 177‬‬

TIRGAN MAGAZINE AUGUST 2015

178-179-Masthead-edited.indd 178

2015-08-06 7:32 AM

‫‪MASTHEAD‬‬

‫‪179‬‬

‫مجله تیرگان ‪۲۰۱۵‬‬ ‫دﺑﯿﺮ اﻧﮕﻠﯿﺴﯽ‪:‬‬

‫ﺑﻬﺰاد ﴎﻣﺪی‬

‫ﻣﺪﯾﺮ ﻫرنی‪:‬‬

‫ﮐﺘﺎﯾﻮن ﺗﻮﻓﯿﻘﯽ‬

‫دﺑﯿﺮ ﻋﮑﺲ‪:‬‬

‫ﺳﺘﺎره ﴎﻣﺪی‬

‫دﺳﺘﯿﺎر ﴎدﺑﯿﺮ‪:‬‬

‫آﻧﺎﻫﯿﺘﺎ ﻏﻔﺎری‪ ،‬ﺳﺎﻧﺎز ﺣﻘﻮردی‬

‫ﻣﱰﺟامن‪:‬‬

‫ﺳامﻧﻪ ﺗﻮﺳﻠﯽ‪ ،‬ﺑﻬﺰاد ﴎﻣﺪی‪ ،‬ﺳﻌﯿﺪ وﻟﺪﺑﯿﮕﯽ‬

‫ﻃﺮاﺣﺎن‪:‬‬

‫ﻋﺴﻞ ﺑﺼﯿﺮ‪ ،‬ﮐﴪی ﻋﺎﺑﺪﯾﻨﯽ‪ ،‬ﺷﯿﻮا ﺗﺪﯾﻨﯽ‪ ،‬ﻫﺎدی دﯾﻨﻮری‬

‫ﻃﺮاﺣﯽ ﺟﻠﺪ‪:‬‬

‫آرش ﺗﻨﻬﺎﯾﯽ‬

‫ﻫرنﻣﻨﺪان ﻣﻬامن‪:‬‬

‫ﺳﯿﺎﻣﮏ ﻋﺒﺎﺳﯽ‪ ،‬ﮐﴪی ﻋﺎﺑﺪﯾﻨﯽ‪ ،‬ﺑﻬﺮام آﻗﺎﺧﺎن‪ ،‬ﻣﺎﻧﯿﺎ اﮐﱪی‪ ،‬درﯾﺎ دادور‪ ،‬ﺑﺎﺑﮏ اﻣﯿﻨﯽ‬ ‫ﻣﻬﺪی ﻗﺪﯾﺎﻧﻠﻮ‪ ،‬ﻣﺎﻧﻠﯽ ﺟامل‪ ،‬ﭘﮕﺎه ﻻری‪ ،‬ﻋﺴﻞ ﻣﻠﮏزاده‪ ،‬ﺑﺎﻗﺮ ﻣﻮذن‪ ،‬آرﯾﺎﻧﺎ ﺑﺎﻧﺪی‪،‬‬ ‫ﺳﺎﻧﺎز رواﻧﺒﺨﺶ‪ ،‬ﻧﯿام ﮐﯿﺎن‪ ،‬ﻣﻬﺪﯾﻪ ﻣﺤﻤﺪﺧﺎﻧﯽ‬

‫ﻧﻮﯾﺴﻨﺪﮔﺎن ﻣﻬامن‪:‬‬

‫ﮐﴪی ﻋﺎﺑﺪﯾﻨﯽ‪ ،‬آﯾﺪا اﺣﺪﯾﺎﻧﯽ‪ ،‬ﺑﻪروژ ﺋﺎﮐﺮهای‪ ،‬ﻓﺮدﯾﻦ ﻋﻠﯿﺨﻮاه‪ ،‬ژوﺑﯿﻦ ﺑﺨﺮد‪،‬‬ ‫ﺗﻮرج درﯾﺎﯾﯽ‪ ،‬رﯾﭽﺎرد دﯾﻮﯾﺲ‪ ،‬ﺳﻠﯿامن دﻟﺴﻮز‪ ،‬اﻓﺸﯿﻦ ﻏﻔﺎرﯾﺎن‪ ،‬ﺳﺎﺳﺎن ﻗﻬﺮﻣﺎن‪،‬‬ ‫ﻟﻮرل وﯾﮑﺘﻮرﯾﺎ ﮔﺮی‪ ،‬ﮔﻠﻨﻮش ﺣﺴﻦﭘﻮر‪ ،‬ﻧﺎدر ﺟﻬﺎﻧﻔﺮد‪ ،‬ﺳﯿﻤﯿﻦ ﮐﺮاﻣﺘﯽ‪ ،‬ﺳﺎم ﺧﴪویﻓﺮد‪،‬‬ ‫ﻧﯿام ﮐﯿﺎن‪ ،‬ﺳﺎرا ﻟﻪﻧﻪﻫﺎن‪ ،‬ﻧﺪا ﻣﻘﺒﻮﻟﻪ‪ ،‬اﯾﻤﯽ ﻣﻠﮏ‪ ،‬ﻋﺎرف ﻣﺤﻤﺪی‪ ،‬ﺣﻤﯿﺪ ﻧﻔﯿﺴﯽ‪،‬‬ ‫ﺣﺴﯿﻦ رﯾﯿﺴﯽ‪ ،‬ﺳﺎﻧﯽ رﻫﱪ‪ ،‬ﻣﻬﺪی رﺳﺘﻢﭘﻮر‪ ،‬اﺑﺮاﻫﯿﻢ ﺳﺎواﻻن‪ ،‬ﺑﻬﺰاد ﴎﻣﺪی‪ ،‬ﻓﻠﻮر ﻃﺎﻟﺒﯽ‪،‬‬ ‫آرش ﺗﻨﻬﺎﯾﯽ‪ ،‬ﻣﺤﻤﺪ ﺗﻮﮐﻠﯽ ﻃﺮﻗﯽ‪ ،‬راﺳﺘﯿﻦ زرﮐﺎر و اﺣﺴﺎن ﯾﺎرﺷﺎﻃﺮ‬

‫ﺳﺎزﻣﺎنﻫﺎی ﻣﻬامن‪:‬‬

‫ﺟﺸﻨﻮاره اﯾﺮاﻧﯽ ادﯾﻨﺒﻮرگ‬ ‫ﺟﺸﻨﻮاره ﻓﯿﻠﻢ اﯾﺮاﻧﯽ ﻧﻮر‬ ‫ﺑﻨﯿﺎد ﻓﺮﻫﻨﮓ‬ ‫اﺗﺤﺎدﯾﻪ اﯾﺮاﻧﯿﺎن ﺑﺮونﻣﺮز‬ ‫ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﺗﻮرﻧﺘﻮ‬ ‫ﺟﺸﻨﻮاره ﺑﯿﻦاﳌﻠﻠﯽ ﻓﯿﻠﻢ ﻓﺮاﯾﺒﻮرگ‬

‫ﺳﭙﺎس وﯾﮋه از‪:‬‬

‫ﻣﻬﺮداد آرﯾﻦﻧﮋاد‪ ،‬ﻣﺪﯾﺮ ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن‬ ‫ﻧﯿام اﺣﻤﺪی‪ ،‬ﻣﺪﯾﺮ ﺑﺎزارﯾﺎﺑﯽ ﺟﺸﻨﻮاره ﺗﯿﺮﮔﺎن‬

‫‪Photograph by Reza Zirakpour Dehkordi/Documentary‬‬ ‫‪3rd Place Winner/Homeland Photo Contest‬‬

‫ﴎدﺑﯿﺮ‪:‬‬

‫ﺳﻌﯿﺪ وﻟﺪﺑﯿﮕﯽ‬

‫‪TIRGAN MAGAZINE AUGUST 2015‬‬

‫‪2015-08-06 7:32 AM‬‬

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