Id Est Iran

a blog 4 scrapbook stuff & scrawls

Bandari Infographic Dance in France July 27, 2007

Filed under: Art,Iran,Iranian,Music,Performance — Tara @ 6:30 pm

babelle.jpg   “Babelle heureuse” 

The last dance event of the 2002 Romaeuropa Festival was the Italian première of Babelle heureuse, staged by Compagnie Montalvo-Hervieu. Babelle heureuse, created just this year by Montalvo and Hervieu, is the result of their collaboration with the Iranian musicians Saeid Shanbehzadeh and Habib Meftahbousheheri, who perform onstage with the dancers. The music is very important in this work, because it connects the different actions together: all the dancers sing and the musicians dance.

This ballet mixes all genres in equal measure; they coexist on the stage with an effect that is pleasing and funny at the same time. There’s hip-hop, en pointe ballet, contemporary dance, acrobatic dance, contortionism and short intermezzos that are recited and sung. The backdrop is a screen on which funny still or moving images (e.g., ducks, juicy details of Reuben’s Venus, the dancers themselves) are projected; the artists interact with them, at times actually seeming to emerge from or enter the screen itself. Some of the pieces are simply hilarious. The score is a mixture of genres too: traditional Persian music performed live is interspersed with Bach, Vivaldi and even several Mozart arias.

The whole is extremely enjoyable and captivating. The show was wholly enjoyable, ironic, without a dull moment. Laughs were frequent, the artists were all excellent and fun, and were rewarded with very warm applause. Needless to say, all performances were sold out.


FREE KIAN June 23, 2007

Filed under: Iran,Iranian,Journalism,Media,Middle East,Politics,Tehran — Tara @ 9:32 pm



By Aryeh Neier

To the Editors:

On May 11, a few days after the detention in Tehran of Haleh Esfandiari, another Iranian-American scholar, Kian Tajbakhsh, was also detained. On May 29, Iran’s Ministry of Intelligence charged both with endangering Iranian national security and espionage. The charges have no merit. Dr. Tajbakhsh is an urban planning and urban policy expert who received his Ph.D. from Columbia University in 1993 and taught at the New School in New York from 1994 to 2001. He has been a consultant for the Open Society Institute in Iran for the past three years, focusing on public health —particularly, treatment for Iran’s vast number of users of injected drugs—humanitarian assistance, and urban planning. Dr. Tajbakhsh has also served as a consultant for a Dutch urban planning group, for the World Bank, and for several Iranian government organizations. We know little about Dr. Tajbakhsh’s treatment in detention. As I write, nearly three weeks after his arrest, he has not seen a lawyer or family members. Though he may make one-minute phone calls to his wife, what they say is obviously monitored and she is understandably reluctant to repeat what he says as the only thread that keeps them in contact could be cut easily. In seeking the release of Dr. Tajbakhsh, the Open Society Institute is eager to see that his case does not heighten tensions between Iran and the West. That would undermine Dr. Tajbakhsh’s efforts to promote a peaceful resolution of differences by his engagement in scholarly and humanitarian projects that involve collaboration between Iranians and Westerners.

Aryeh Neier President

Open Society Institute

New York City


Utube music video linx June 22, 2007

Filed under: Iran,Iranian,Music,Video — Tara @ 9:54 am

Persian pop with hot boys & good beats : ) 

arash featuring helena

arash & dj alligator live  “music is my language”

afshin “bikhial”

afshin “mach”

black cats “leyla”

cameron cartio “roma”

cameron cartia featuring khaled “henna”

127 “Perfect Isfahan Blues”


Seeking Signs of Literary Life June 12, 2007

Filed under: Books,Iran,Journalism,Media,Tehran — Tara @ 2:38 pm

The following is an article in NYTimes by Azadeh Moaveni (I post it here because you need a subscription to access it on

   LETTER FROM TEHRAN; Seeking Signs of Literary Life By AZADEH MOAVENIPublished: May 27, 2007

When I moved to Iran in 2000 to work as a journalist, I aspired to belong to a literary circle not unlike that of the engaged women of Azar Nafisi’s ”Reading Lolita in Tehran,” who found relief from their authoritarian society in the imaginative world of novels. That bookstores did not exist as such — there were only bookstore/stationery stores, or bookstore/toy stores — was the first sign my plan might not work. I initially mistook Tehran’s most popular bookstore, with its windows full of weathered copper pots and other bric-a-brac, for an antique shop. Inside, the floor space dedicated to books was roughly a quarter of that taken up by kilims, cactuses and Lego sets. ”I’m embarrassed to call myself a bookseller,” one store owner told me recently, gazing at the wall of Hello Kitty accessories that dominated his shop. In the hour we spent talking, customers came in to buy watch batteries, a condolence card, wrapping paper and a compass. Not a single person bought a book.

When I failed to persuade any of the women I knew to form a book club (they found the suggestion precious and downright impractical, given Tehran traffic), I began to wonder why books figured so little in the lives of my otherwise intellectually curious friends. But during the long afternoons I spent exploring the cramped storefront shops attached to the publishing houses on Karim Khan-e Zand Street, I grew to understand their reluctance. By and large, the books Iranians seemed to be reading did not lend themselves to discussion, except with a therapist. ***

Self-help books and their eclectic offshoots, on topics like Indian spirituality and feng shui, enjoy the most prominent position on bookstore front tables. The emergence of the genre, which did not exist before the 1979 Islamic revolution, may suggest a culture trying to cope with the erosion of traditional gender roles, or with rising rates of divorce and premarital sex. But Iranian intellectuals are quick to blame ”cultural repression and spiritual crisis,” as one prominent magazine editor said to me, or as a friend who owns a bookstore put it, Iranians who have ”lost their minds.” The success of translated titles like ”Men Are From Mars, Women Are From Venus” has given rise to some homegrown authors’ specializing in more culturally specific advice. The title of one current best seller, Mahmoud Namany’s ”Please Do Not Be a Sheep,” is borrowed from Ali Shariati, the Islamist sociologist who helped inspire the revolution. With chapter titles like ”Grief Therapy” and ”How to Choose Friends,” it tailors its vision of self-fulfillment to a society where you are expected to commemorate even the anniversary of the death of your paternal great-aunt. ”Do you want to be an exalted human, a cud-regurgitating animal, filth or an angel?” Namany asks in one chapter.


When Iranians aren’t reading about depression or the harmonious arrangement of furniture, they’re drawn to soap-opera-ish novels about family life and chaste, unrequited love, bearing titles like ”The Solitude of Lonely Nights.” After the revolution, which created a caste of literate women with no more social clubs or cultural centers to frequent, the market for women’s popular fiction swelled. Demand is highest for Persian translations of Danielle Steel (with intimate scenes either blotted out or obliterated by euphemism) and her Iranian equivalents, Fahimeh Rahimi and M. Moaddabpour, neither of whom has ever been seen on television (used in Iran mainly to promote state ideology, soap and rice). The most popular novel of the last two decades, Fattaneh Haj Seyyed Javadi’s ”Listless Morning,” about an idle aristocratic family under the 19th-century Qajar monarchy, has sold an unheard-of 185,000 copies since 1998 and spawned dozens of imitations. ***

When I arrived seven years ago, writers and publishers were making the same predictions about the impending death of reading heard perennially in the United States. In a nation of 70 million with a nearly 80 percent literacy rate and a centuries-old literary tradition, they argued, book sales — 40,000 copies for a typical commercial best seller and 2,000 to 5,000 for novels and literary nonfiction — were dismal. According to Mohammad-Reza Neymatpour of the Nashr-e Nay publishing house, sales have been declining steadily since 1979. Though books are inexpensive by any standard — generally costing no more than the price of a couple of sandwiches — little in public life encourages reading. There are few public libraries, no reading contests in schools and scarce promotion of any book apart from the book. (Billboards inform Iranians that if they can memorize the Koran in its entirety, they will be awarded a formal university degree.) Even the government is growing concerned. In advance of the Tehran Book Fair, held earlier this month, the state newspaper, Iran, published a scolding article under the headline ”Let Us Learn How to Read.” In April, an announcer on state radio lamented that the average Iranian spends only 16 seconds a day reading. ***

From 1999 to 2002, during the hopeful presidency of the reform-minded Mohammad Khatami (a former head of Iran’s national library), Iran seemed to be undergoing a literary revival. The publishing houses with in-store shops invested in attractive décor, better lighting and cafes. I would meet friends for coffee, browse magazines and take home a few books, which suddenly had elegant ornamental covers — the complete Barnes & Noble experience.*** 

 But much like the Khatami era itself, Tehran’s literary spring was fleeting. Independent journalists published a handful of daring books, most importantly Akbar Ganji’s ”Dark House of Ghosts,” which implicated senior officials in the killings of intellectuals in the late 1990s. But as the hard-line establishment cracked down, several journalist-authors went to prison, and many in-store cafes were closed on various pretexts. The Ministry of Culture and Islamic Guidance was chastised for relaxing its standards and resumed vetting books with the same humorless strictness. ***

The ministry checks manuscripts mainly for erotic and religious transgression. Today, if a novel has made it past the censors, most Iranians assume that it has been tampered with and that they are better off searching for the Shah-era edition or the bootleg film version. Even in fiction, all relationships must conform to Islamic law. In the most recent vetted edition of ”Madame Bovary,” for example, Emma’s adultery is omitted. Characters in Western novels who drink Champagne or whiskey find themselves uniformly sipping doogh, an Iranian yogurt soda that has never made anyone tipsy. ***

Occasionally, a work of homegrown fiction manages to be both absorbing and benign by the standards of Islamic decency. Saideh Ghods’s best-selling novel ”Kimia Khatoun,” which revisits the life of Shams-e Tabrizi, the Sufi mystic who inspired the poetry of Rumi, from the perspective of Tabrizi’s discontented wife, is a case in point. Published in 2004, it stirred huge controversy for its powerful feminist narrative and bold suggestion that the women behind Persia’s great literary men might have preferred to be elsewhere.*** 

 Still, for every successful novel, there are 10 that never make it past the censor or off the author’s desk. In some cases, the authoritiesembargo published books after they have already approved them. As a result, publishers are reluctant to commission new works and often sit on manuscripts for years. Some have turned away from contemporary literature altogether. The Western fascination with Rumi, for example, has heightened the already enthusiastic interest in Iran, and publishers are putting out new criticism and fresh translations. ”The Persian classics create fewer problems,” Mohammad-Reza Zolfaghari, an editor at the Chaveh publishing house, said. For some, literary journalism offers something of a way out. Though they practice self-censorship, the dozens of small magazines that thrive in Iran find themselves less constricted. With circulations of 2,000 to 5,000, they offer a mélange of criticism, essays and sketches by accomplished, polyglot writers who in a different Iran would be writing books. ”Since people don’t trust books anymore, it is the journals that are keeping literary culture alive,” Reza Seyyed Hosseini, Iran’s pre-eminent translator of French literature, said. They also expose Iranians to international authors. At a former military barracks bequeathed by Khatami to ”art,” the journal Bukhara hosts a popular evening literary series dedicated to writers like Umberto Eco and Orhan Pamuk — the first time in recent history that literary events have figured importantly in Tehran’s cultural calendar. ***

Still, Iranians face the sometimes difficult task of tracking down those authors’ work. Often the search leads to the book stalls around Tehran University, which do a brisk black-market trade. Like booksellers everywhere, the proprietors are brimming with recommendations. When I bought a Virginia Woolf novel not long ago, one confided, ”If you give me a week, I can get you Joyce Carol Oates.” ***

Azadeh Moaveni, who reports from Tehran for Time magazine, is the author of ”Lipstick Jihad: A Memoir of Growing Up Iranian in America and American in Iran.”   


Kiarostami @ MOMA June 11, 2007

Filed under: Art,Film,Iran,Media — Tara @ 4:48 am
Abbas Kiarostami: Image Maker
March 1–May 28, 2007


Abbas Kiarostami’s gallery installation Five (2004)—a canny and sublime work which will also be screened as a single theatrical projection during the retrospective of the artist’s entire moving-image oeuvre—beautifully mines the potential of digital imagery and sound while playfully investigating the fluid limits of documentary art practice. Alternatively titled Five Dedicated to Ozu, the work was acquired by MoMA after its world premiere at the Cannes Film Festival in 2004, and this is its first presentation in the U.S. as a media installation. This meditative work, which focuses on the ebb and flow of the tide at a beach, comprises five segments projected in a continuous and synchronized loop onto five separate partitions dividing the gallery space, with the audio component of each screen blending slightly together.

This work is presented in conjunction with MoMA’s Abbas Kiarostami film retrospective


Funny Guy June 6, 2007

Filed under: Comic,Humor,Iran,Iranian — Tara @ 7:50 am



Good hair day
Siamack Baniameri
June 3, 2007

I was extremely proud to be watching the Iranian National Soccer Team play against Mexico on Saturday. Even though the depleted Iranian team was no match for Mexico’s mediocrity, but what made me most proud were the awesome, perky, lavish and bouncy hairdos of the Iranian players. We have to admit that our national team had a good hair day.

I especially enjoyed Iranian footballers’ fake tumbles and Hollywood-style dives while maintaining a perfect hair posture. The most delightful part of the match was watching the National players master the art of fixing hairdos immediately after a header or avoiding contact all together for the fear of sending a few strings of long hair from one side to the other.

True that our B team was a few steps behind Mexico’s C team, but we have to hand it to our players for recognizing the fact that it’s not important how you play the game so long as your hair makes you look like top European strikers.


Check out his complete satire peices in The Iranican Dream iranican.jpgor on



Persian Pride June 3, 2007

Filed under: GLBT,Iran,Iranian,Media — Tara @ 5:40 pm


I took this picture in the Gay Pride Parade in San Francisco on Sunday. I couldn’t find out who was the guy who had the flag, but whomever you are my brother, you have my best compliments.  – Mehran, on 



A garden tour of Iran May 23, 2007

Filed under: Iran,Media,Travel — Tara @ 4:09 am

kashan1.jpgPersian Spring

Gardens in the Axis of Evil.


Iranian Filmmaker Extraordinaire May 22, 2007

Filed under: Art,Film,Iran,Iranian — Tara @ 6:20 pm

caveh1.jpg And by extraordinary, I mean just that.   The fact that no Iranian Ive met knows his name, is a huge testimony to the supra-Kiarostami & anti-establishment nature of his art.   Perhaps he spells CAVEH with C so to delibrately keep us off the scent! : ) First saw him in the philosophy-cum-dreamscape masterpeice Waking Life, and loved his stylistic PZAZZ of talking and his obvious genuine passion for the cinematic arts.   Now working on finding his films … 

His biography & filmography can be found @  


Original Sin: Woman, Hejab, Man, Naked!

Filed under: Comic,Humor,Iran,Islam,Middle East,Religion — Tara @ 5:54 pm

Equality of the sexes in Adam/Jesus/Mohammad, whoops I mean GOD’S eyes …