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When asked why it continues to grow despite bearing so much fruit, the vine answers: “Why stop now, when there is such immense joy in my reaching for the sun.”\u003c/p>\n\u003cp>“Roots are very important to me,” says chef and author Nasim Alikhani. “I literally brought a little stem from my father’s grape garden in Iran, which originally he brought to our home from his own village.” She planted that vine in the back garden of her small Persian restaurant \u003ca href=\"https://www.sofrehnyc.com/\">Sofreh\u003c/a>. “That’s my roots, but whether the leaves grow, that’s up to the sky,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13932692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-800x770.jpg\" alt=\"A woman of color wearing a white top sits in front of a white wall at a table. She's smiling.\" width=\"800\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-800x770.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-1020x982.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-1536x1479.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-1920x1849.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Once you practice who you are, no matter where you are, you’re home,’ says Nasim Alikhani. \u003ccite>(Quentin Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the five years since Sofreh opened its doors in the Prospect Heights neighborhood of Brooklyn, Alikhani has earned a James Beard nomination, cooked at the White House and for the Metropolitan Museum’s annual Met Gala. She says she’d always envisioned writing a cookbook but she also wanted her first book to be more than just a collection of recipes.\u003c/p>\n\u003cp>The Farsi word \u003cem>Sofreh \u003c/em>refers to both the ornate table covering laid before a meal and to the many familial, religious and seasonal celebrations centered on food. \u003ca href=\"https://www.sofrehnyc.com/cookbook\">\u003cem>Sofreh: A Contemporary Approach to Classic Persian Cuisine\u003c/em>\u003c/a> was published earlier this summer, and blends recipes with Alikhani’s personal story of leaving Iran, migration and reinvention.\u003c/p>\n\u003cfigure id=\"attachment_13932697\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-800x1019.png\" alt=\"A white plate with chopped vegetables on it sits next to a bowl of stew on a white table.\" width=\"800\" height=\"1019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-800x1019.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-1020x1299.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-768x978.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM.png 1044w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a chapter dedicated to accompaniments known as Torshi and Moraba, Alikhani describes techniques for pickling and preserving vegetables and fruits as condiments for stews and rice dishes on the Sofreh. \u003ccite>(Quentin Bacon/ Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alikhani was 59 when she opened the restaurant in 2018, and she says what may have been insurmountable disadvantages in a cutthroat industry — her immigrant identity, gender and age — have also become the roots of her success. “I think once you practice who you are, no matter where you are, you’re home.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like her restaurant’s interiors, the book is a celebration of her cultural inheritance and is interspersed with poetry, culinary history and a chapter of full-page documentary photographs of Iran entitled “Sarzamine Man” or my homeland.\u003c/p>\n\u003cfigure id=\"attachment_13932694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/sofreh-cover_custom-2ea7de8d1b60b5a852d88f3959066c7f4f0f590f.jpg\" alt=\"A book cover depicting Persian food on a white plate.\" width=\"200\" height=\"277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/sofreh-cover_custom-2ea7de8d1b60b5a852d88f3959066c7f4f0f590f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/sofreh-cover_custom-2ea7de8d1b60b5a852d88f3959066c7f4f0f590f-160x222.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Sofreh: A Contemporary Approach to Classic Persian Cuisine.’ \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The recipes in \u003cem>Sofreh\u003c/em> reflect the expansive range and imperial heritage of Persian cuisine, which has always been distinct from its neighboring Mediterranean, Arab and South Asian traditions. Fresh herbs, barberries and slivered pistachios are infused into rice dishes known as \u003cem>polos\u003c/em> that form the accompaniment for slow-cooked meat stews like \u003cem>Fesenjan. \u003c/em>Although Alikhani includes recipes for grilled meats like \u003cem>Kabab Koobideh\u003c/em> — albeit adapted for Western kitchens — she also adds Mezcal cocktail versions of Iran’s lemon-infused summer cordials known as\u003cem> Sharbat-e Sekenjabin\u003c/em> and modern vegetarian entrees for lighter eating.\u003c/p>\n\u003cp>To celebrate the book’s publication, Alikhani recently spent a week in Los Angeles hosting a series of pop-up Sofreh dinners and book signings in a city sometimes lovingly referred to as “Tehrangeles.” As home to one of the largest Persian communities outside Iran, LA has no shortage of Persian restaurants but very few present the kind of sleekly plated modern interpretations Alikhani has perfected at Sofreh.\u003c/p>\n\u003cp>“All the Persian restaurants essentially are the same — your kababs and your stews — whereas if you go to Iran, there’s a long, rich culinary history,” says LA resident Payman Bahmani-Bailey who was preparing cocktails for the pop-up. “So not only do you not see that aspect of the tradition reflected, you also don’t see much creativity. Everything is remnants of past glory. And if you didn’t know any better, you’d think our people didn’t accomplish anything in the last 5,000 years.”\u003c/p>\n\u003cfigure id=\"attachment_13932698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-800x977.png\" alt=\"A white oval plate with symmetrical lines of rice, grains and beans arranged on it.\" width=\"800\" height=\"977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-800x977.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-1020x1246.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-768x938.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM.png 1092w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With candied barberries, raisins and slivered pistachios and almonds, Sofreh includes a recipe for Morasa Polo or Jeweled Rice, which Alikhani recommends serving for ‘momentous occasion, or a holiday table, as it was originally intended.’ \u003ccite>(Quentin Bacon/ Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I admire her, and she’s an inspiration for how to break glass ceilings, and make a name for ourselves while keeping our traditions alive,” says pastry chef Fariba Nafissi who attended one of Alikhani’s Los Angeles book events after years of following her through social media. “I’m speaking from my own challenges — introducing Americans or any nationality to a pastry they’ve never tasted. Nasim was an inspiration with what she has done with Iranian food.”\u003c/p>\n\u003cp>[aside postid='arts_13930727']Alikhani says she is grateful for the way non-Iranians have embraced her cooking, but she says the support from her own Persian community has given her a profound sense of satisfaction and purpose: “You reach another level when your own people come and pat your back and say well done.” She says despite her enduring ties to Iran, she avoids the term “authentic” because it can become a metaphor for becoming culturally and creatively static.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we as immigrants become stuck in the past, we deprive ourselves of the opportunities our new space has provided. If we don’t know how to adapt, then we become extinct. That’s the dinosaur situation. We’re human. I don’t want to become another Iranian dinosaur stuck in a glorious past. I make my glory now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Feast+on+%27Sofreh%27+%E2%80%94+a+book+that+celebrates+Persian+cooking%2C+past+and+future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘Sofreh’ is a new cookbook from celebrated chef and author Nasim Alikhani.","status":"publish","parent":0,"modified":1705005186,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":976},"headData":{"title":"Feast on ‘Sofreh’ — a Book That Celebrates Persian Cooking, Past and Future | KQED","description":"‘Sofreh’ is a new cookbook from celebrated chef and author Nasim Alikhani.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Feast on ‘Sofreh’ — a Book That Celebrates Persian Cooking, Past and Future","datePublished":"2023-08-04T14:58:08.000Z","dateModified":"2024-01-11T20:33:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"nprImageCredit":"Ahmed Belbasi","nprByline":"Bilal Qureshi","nprImageAgency":"Knopf","nprStoryId":"1190799655","nprApiLink":"http://api.npr.org/query?id=1190799655&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/07/30/1190799655/acclaimed-persian-american-chef-nasim-alikhani-has-published-her-first-cookbook?ft=nprml&f=1190799655","nprRetrievedStory":"1","nprPubDate":"Wed, 02 Aug 2023 08:14:00 -0400","nprStoryDate":"Sun, 30 Jul 2023 08:02:07 -0400","nprLastModifiedDate":"Wed, 02 Aug 2023 08:14:19 -0400","nprAudio":"https://play.podtrac.com/npr-1069977606/edge1.pod.npr.org/anon.npr-mp3/npr/wesun/2023/07/20230730_wesun_sofreh_cookbook.mp3?orgId=1&topicId=1053&d=268&p=10&story=1190799655&awCollectionId=1&awEpisodeId=1190799655&ft=nprml&f=1190799655","nprAudioM3u":"http://api.npr.org/m3u/11190970534-cbe5c6.m3u?orgId=1&topicId=1053&d=268&p=10&story=1190799655&ft=nprml&f=1190799655","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13932690/feast-on-sofreh-a-book-that-celebrates-persian-cooking-past-and-future","audioUrl":"https://play.podtrac.com/npr-1069977606/edge1.pod.npr.org/anon.npr-mp3/npr/wesun/2023/07/20230730_wesun_sofreh_cookbook.mp3?orgId=1&topicId=1053&d=268&p=10&story=1190799655&awCollectionId=1&awEpisodeId=1190799655&ft=nprml&f=1190799655","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new cookbook \u003cem>Sofreh\u003c/em> doesn’t open with tempting menus for future dinner parties or ingredient lists, but with a poetic conversation between an unnamed narrator and a grapevine. When asked why it continues to grow despite bearing so much fruit, the vine answers: “Why stop now, when there is such immense joy in my reaching for the sun.”\u003c/p>\n\u003cp>“Roots are very important to me,” says chef and author Nasim Alikhani. “I literally brought a little stem from my father’s grape garden in Iran, which originally he brought to our home from his own village.” She planted that vine in the back garden of her small Persian restaurant \u003ca href=\"https://www.sofrehnyc.com/\">Sofreh\u003c/a>. “That’s my roots, but whether the leaves grow, that’s up to the sky,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13932692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-800x770.jpg\" alt=\"A woman of color wearing a white top sits in front of a white wall at a table. She's smiling.\" width=\"800\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-800x770.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-1020x982.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-768x740.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-1536x1479.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f-1920x1849.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/quentin-bacon_custom-a8a0b4988d0f47115ed059bc7aa04f4ada4f920f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Once you practice who you are, no matter where you are, you’re home,’ says Nasim Alikhani. \u003ccite>(Quentin Bacon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the five years since Sofreh opened its doors in the Prospect Heights neighborhood of Brooklyn, Alikhani has earned a James Beard nomination, cooked at the White House and for the Metropolitan Museum’s annual Met Gala. She says she’d always envisioned writing a cookbook but she also wanted her first book to be more than just a collection of recipes.\u003c/p>\n\u003cp>The Farsi word \u003cem>Sofreh \u003c/em>refers to both the ornate table covering laid before a meal and to the many familial, religious and seasonal celebrations centered on food. \u003ca href=\"https://www.sofrehnyc.com/cookbook\">\u003cem>Sofreh: A Contemporary Approach to Classic Persian Cuisine\u003c/em>\u003c/a> was published earlier this summer, and blends recipes with Alikhani’s personal story of leaving Iran, migration and reinvention.\u003c/p>\n\u003cfigure id=\"attachment_13932697\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-800x1019.png\" alt=\"A white plate with chopped vegetables on it sits next to a bowl of stew on a white table.\" width=\"800\" height=\"1019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-800x1019.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-1020x1299.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM-768x978.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.20.47-PM.png 1044w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a chapter dedicated to accompaniments known as Torshi and Moraba, Alikhani describes techniques for pickling and preserving vegetables and fruits as condiments for stews and rice dishes on the Sofreh. \u003ccite>(Quentin Bacon/ Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alikhani was 59 when she opened the restaurant in 2018, and she says what may have been insurmountable disadvantages in a cutthroat industry — her immigrant identity, gender and age — have also become the roots of her success. “I think once you practice who you are, no matter where you are, you’re home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like her restaurant’s interiors, the book is a celebration of her cultural inheritance and is interspersed with poetry, culinary history and a chapter of full-page documentary photographs of Iran entitled “Sarzamine Man” or my homeland.\u003c/p>\n\u003cfigure id=\"attachment_13932694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932694\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/sofreh-cover_custom-2ea7de8d1b60b5a852d88f3959066c7f4f0f590f.jpg\" alt=\"A book cover depicting Persian food on a white plate.\" width=\"200\" height=\"277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/sofreh-cover_custom-2ea7de8d1b60b5a852d88f3959066c7f4f0f590f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/sofreh-cover_custom-2ea7de8d1b60b5a852d88f3959066c7f4f0f590f-160x222.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Sofreh: A Contemporary Approach to Classic Persian Cuisine.’ \u003ccite>(Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The recipes in \u003cem>Sofreh\u003c/em> reflect the expansive range and imperial heritage of Persian cuisine, which has always been distinct from its neighboring Mediterranean, Arab and South Asian traditions. Fresh herbs, barberries and slivered pistachios are infused into rice dishes known as \u003cem>polos\u003c/em> that form the accompaniment for slow-cooked meat stews like \u003cem>Fesenjan. \u003c/em>Although Alikhani includes recipes for grilled meats like \u003cem>Kabab Koobideh\u003c/em> — albeit adapted for Western kitchens — she also adds Mezcal cocktail versions of Iran’s lemon-infused summer cordials known as\u003cem> Sharbat-e Sekenjabin\u003c/em> and modern vegetarian entrees for lighter eating.\u003c/p>\n\u003cp>To celebrate the book’s publication, Alikhani recently spent a week in Los Angeles hosting a series of pop-up Sofreh dinners and book signings in a city sometimes lovingly referred to as “Tehrangeles.” As home to one of the largest Persian communities outside Iran, LA has no shortage of Persian restaurants but very few present the kind of sleekly plated modern interpretations Alikhani has perfected at Sofreh.\u003c/p>\n\u003cp>“All the Persian restaurants essentially are the same — your kababs and your stews — whereas if you go to Iran, there’s a long, rich culinary history,” says LA resident Payman Bahmani-Bailey who was preparing cocktails for the pop-up. “So not only do you not see that aspect of the tradition reflected, you also don’t see much creativity. Everything is remnants of past glory. And if you didn’t know any better, you’d think our people didn’t accomplish anything in the last 5,000 years.”\u003c/p>\n\u003cfigure id=\"attachment_13932698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-800x977.png\" alt=\"A white oval plate with symmetrical lines of rice, grains and beans arranged on it.\" width=\"800\" height=\"977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-800x977.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-1020x1246.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM-768x938.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-03-at-10.45.58-PM.png 1092w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With candied barberries, raisins and slivered pistachios and almonds, Sofreh includes a recipe for Morasa Polo or Jeweled Rice, which Alikhani recommends serving for ‘momentous occasion, or a holiday table, as it was originally intended.’ \u003ccite>(Quentin Bacon/ Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I admire her, and she’s an inspiration for how to break glass ceilings, and make a name for ourselves while keeping our traditions alive,” says pastry chef Fariba Nafissi who attended one of Alikhani’s Los Angeles book events after years of following her through social media. “I’m speaking from my own challenges — introducing Americans or any nationality to a pastry they’ve never tasted. Nasim was an inspiration with what she has done with Iranian food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930727","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Alikhani says she is grateful for the way non-Iranians have embraced her cooking, but she says the support from her own Persian community has given her a profound sense of satisfaction and purpose: “You reach another level when your own people come and pat your back and say well done.” She says despite her enduring ties to Iran, she avoids the term “authentic” because it can become a metaphor for becoming culturally and creatively static.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we as immigrants become stuck in the past, we deprive ourselves of the opportunities our new space has provided. If we don’t know how to adapt, then we become extinct. That’s the dinosaur situation. We’re human. I don’t want to become another Iranian dinosaur stuck in a glorious past. I make my glory now.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Feast+on+%27Sofreh%27+%E2%80%94+a+book+that+celebrates+Persian+cooking%2C+past+and+future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932690/feast-on-sofreh-a-book-that-celebrates-persian-cooking-past-and-future","authors":["byline_arts_13932690"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_12276"],"tags":["arts_928","arts_1494","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13932691","label":"source_arts_13932690"},"arts_13931168":{"type":"posts","id":"arts_13931168","meta":{"index":"posts_1591205157","site":"arts","id":"13931168","score":null,"sort":[1688410670000]},"guestAuthors":[],"slug":"iran-artists-women-protests","title":"'It's Not Over Yet': Artists Work to Keep Iran's Protests in View","publishDate":1688410670,"format":"aside","headTitle":"‘It’s Not Over Yet’: Artists Work to Keep Iran’s Protests in View | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure id=\"attachment_13931169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg\" alt=\"\" width=\"800\" height=\"1040\" class=\"size-medium wp-image-13931169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1020x1326.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1182x1536.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1576x2048.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1.jpg 1814w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahsa Amini peers out from a mural by Rodrigo Pradel that covers an entire building side in a Washington, D.C. alley. Amini’s death in police custody in Iran last year led to protests and a revolutionary movement. \u003ccite>(Rodrigo Pradel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahsa Amini peers out from a mural that covers an entire building side in a Washington, D.C. alley, her head and shoulders floating over the words “Woman, Freedom, Life,” and a lion and lioness flanking her.\u003c/p>\n\u003cp>The mural’s painter is \u003ca href=\"https://rodrigopradel.com/ver2/\">Rodrigo Pradel\u003c/a>, a Chilean immigrant. He had no links to Iran or the large protests that erupted there when Amini, a young Kurdish woman, died in police custody last year. But it was his friend, Yasi Farazad, who inspired him to bring the movement half a world away to the streets of D.C., after seeing a similar piece in Los Angeles.\u003c/p>\n\u003cp>The project was a challenge. Unable to participate in the city’s official mural program, Farazad had to seek out a site on her own, and finally found one with the help of a friend in a building that was owned by an Iranian American man. Pradel painted the mural in under 20 hours. \u003c/p>\n\u003cp>The mural shows Amini in the center with the colors of the Iranian flag. The lioness is a symbol of strong women in Persian culture.\u003c/p>\n\u003cfigure id=\"attachment_13931170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe\" alt=\"a man and woman stand in front of a colorful mural\" width=\"800\" height=\"811\" class=\"size-medium wp-image-13931170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-1020x1034.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-160x162.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-768x778.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce.jpe 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Pradel and Yasi Farazad stand in front of the mural Pradel painted in Washington, D.C. during the unveiling event of the mural on Jan. 15. \u003ccite>(Yasi Farazad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mahsa is in the middle of it but she’s not the only one who needs protection,” Farazad told NPR. “I wanted this painting to represent all of us protecting women and men.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13922777']Before Pradel spraypainted the wall, a craft he has employed since the ’90s, Farazad explained the history and context of revolutionary movements and protests in Iran to him. \u003c/p>\n\u003cp>“I felt honored to paint among many great muralists in D.C. but also be the extended paintbrush for all people who support life and liberty in Iran,” he said.\u003c/p>\n\u003cp>Pradel then met local Iranian artists in the D.C. area and learned about their street art. \u003c/p>\n\u003ch3>Keeping the fight from fading from view\u003c/h3>\n\u003cp>Many artists are fueled right now by the protests, working out their thoughts and emotions in bold, colorful pieces and trying to keep\u003cstrong> \u003c/strong>the fight of Iranian women from fading from view.\u003c/p>\n\u003cp>Amini was detained in Tehran on Sept. 16 by Iran’s “morality police” for allegedly\u003cstrong> \u003c/strong>violating the country’s dress rules. She died three days\u003cstrong> \u003c/strong>later in police custody. Her birth name was \u003cem>Jîna\u003c/em>, which means ‘life’ in Kurdish. \u003c/p>\n\u003cp>Protesters flocked into the streets, often shouting the slogan “woman, freedom, life,” and men and women all across the world expressed their support. The #MahsaAmini hashtag was one of the most popular in Twitter history. \u003c/p>\n\u003cp>In the United States, artists were among the first to demonstrate their support in both traditional and innovative ways. \u003c/p>\n\u003cp>[aside postID='news_11931255']Art in major cities and globally “has awakened people about the struggle in Iran and kept them engaged with the ongoing fight of the Iranian people even when it stopped making headlines and the U.S. media largely stopped covering it,” said Persis Karim, director of the Center for Iranian Diaspora Studies at San Francisco State University. \u003c/p>\n\u003cp>It has become an important vehicle to show what people in Iran are enduring, said Karim. She believes social media, particularly Instagram, has made Iranian art more accessible online. She highlighted \u003ca href=\"https://mozaikphilanthropy.org/faa/\">MOZAIK’s digital exhibitions\u003c/a> as a significant example of collaboration between the diaspora around the world and local artists in Iran.\u003c/p>\n\u003cp>“It’s not a revolution,” she said. “It’s a revolutionary movement, and it’s not over yet.”\u003c/p>\n\u003ch3>‘This wall is like my dream’\u003c/h3>\n\u003cp>The wall at 14th and U Streets in what is known as D.C.’s Harlem has already been vandalized twice, and Pradel is planning to repaint it.\u003c/p>\n\u003cp>For Farazad, who was born in Iran and had to leave when she was just 15 months old, everything about this wall is deeply personal. \u003c/p>\n\u003cp>Like the current revolution in Iran, this art has brought people together in ways she had never seen before, she said. \u003c/p>\n\u003cp>“There were two times in my life when I was really proud of myself,” she said. “One was when my daughter was born. The second time was that evening when we finished painting the wall.”\u003c/p>\n\u003cp>Since her family left Iran in 1979, Farazad has never been able to return. \u003c/p>\n\u003cp>“This wall is like my dream,” she said. “I want to be able to go to Iran one day, not in shackles, not caged. I am raising a little girl to be a strong woman. I want all those little girls to have the same opportunities as my daughter does in America. And they don’t.”\u003c/p>\n\u003cfigure id=\"attachment_13931171\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg\" alt=\"A row of city bikes with protest art on them\" width=\"581\" height=\"436\" class=\"size-full wp-image-13931171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a-160x120.jpg 160w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">Art supporting the protests in Iran has moved to the streets, affixed here on bikeshares in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Street art from Tehran to D.C.\u003c/h3>\n\u003cp>Iranians have always used art to protest and communicate their ideas, said Mina M. Jafari, a Washington, D.C.-born Iranian American artist. \u003c/p>\n\u003cp>Since the protests last year, Jafari has noticed that Iranian art is moving out of the galleries and museums and onto the streets. \u003c/p>\n\u003cp>In Iran many artists don’t have the luxury of exhibiting their work privately and they are constantly policed and censored, she said. So now they produce visual and performing art pieces literally in the street and at small community events. \u003c/p>\n\u003cp>[aside postID='arts_13928089']“In Iran, art is many things. Sometimes it’s a performance, sometimes it’s a dream, sometimes it’s anger and desperation, but it’s always a way to live freely,” she said.\u003c/p>\n\u003cp>Jafari quit her job working on Iranian-American issues at a progressive think tank because she thought Iranian voices, especially those of women, were being “ignored and excluded,” she said. She and her Iranian husband now\u003ca href=\"https://www.instagram.com/kuchehdc/\"> own an art studio\u003c/a> called “Kucheh,” which means “alley” in Farsi, less than three miles from Pradel’s mural. \u003c/p>\n\u003cp>Jafari says her work is more nuanced than “hijab or removing the hijab.” \u003c/p>\n\u003cp>In a bold, graphical piece called “Woman, Life, Freedom!” Jafari used black, white and red to relay a deeper meaning of the current revolution. \u003c/p>\n\u003cp>Two minarets of a masjid, or mosque, are formed by large hands, with a woman’s face taking the place of the masjid’s dome. A middle finger rises at the top of each minaret and flames flow from the mouth. The flames say “woman, life, freedom,” in Persian, and Amini’s name appears among the stars. \u003c/p>\n\u003cp>The face’s unibrow represents all Iranian women, including queer Iranians, without eurocentric and gendered beauty standards, said Jafari.\u003c/p>\n\u003cfigure id=\"attachment_13931172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13931172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Mina M. Jafari uses a female head and arms to represent a masjid, or mosque, in this piece. \u003ccite>(Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My intention with this piece was to show that religion belongs to people,” she said. “We deserve to take back our religion from those who use and abuse it for power.”\u003c/p>\n\u003ch3>Art vs. sanctions\u003c/h3>\n\u003cp>The revolution begun less than a year ago is fizzling out, some scholars and observers say, not because the people have reached their aspirations but because of their economic struggles. \u003c/p>\n\u003cp>Many Iranians simply can’t afford to sustain protests or strikes, said Assal Rad, author of \u003cem>State of Resistance: Politics, Culture & Identity in Modern Iran.\u003c/em>\u003c/p>\n\u003cp>There are many pressures: U.S. sanctions, a record-high inflation rate of almost 50%, soaring youth unemployment. Over half of Iranians are now living in poverty, according to data from Iran’s Statistics Center. On top of that, many Iranian artists who move to the U.S. say it is almost impossible to sell their work or send money home to their families’ bank accounts.\u003c/p>\n\u003cp>In comparison to all past revolutions in Iran, this one was “leaderless,” primarily spearheaded by young women, said Alex Shams, editor-in-chief of Ajam Media Collective, a platform focused on culture and society in Iran as well as Central and South Asia.\u003c/p>\n\u003cp>[aside postID='forum_2010101892959']That fluidity has made the roles of artists even more important, he said. \u003c/p>\n\u003cp>“The artist movement outside of Iran\u003cstrong> \u003c/strong>can echo the voices inside of Iran and eventually create these connections across borders that both the Iranian government and the U.S. government have done a lot to prevent,” he said.\u003c/p>\n\u003cp>Back to Jafari’s painting of the woman and the mosque. At the time it was painted, an anonymous Iranian artist was dyeing fountains in Tehran blood-red. Jafari said, though, she also designed the flame coming out of the mouth of the woman to depict an Iranian symbol of rebirth.\u003c/p>\n\u003cp>“My art is not about destruction, but about bringing new life and leaving room for something else to grow,” she said, adding that the women’s revolution embodies that idea. \u003c/p>\n\u003cp>“It’s infinite because it planted new seeds in us. Those who have lost their lives believed in women, life and freedom. And it’s something that lives inside every Iranian,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13931173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg\" alt=\"Shirts hang on a line with the words Woman, Life Freedom printed on them \" width=\"800\" height=\"587\" class=\"size-medium wp-image-13931173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-2048x1503.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1920x1409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The slogan of the women’s revolution on shirts hanging in Kucheh Art Studio + Shop in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This digital story was edited by Lisa Lambert.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+not+over+yet%27%3A+Artists+work+to+keep+Iran%27s+protests+in+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Mahsa Amini's death in Iran sparked a global movement on women's issues. Artists in the U.S. are working to keep it from fading from view.","status":"publish","parent":0,"modified":1705005317,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":1655},"headData":{"title":"'It's Not Over Yet': Artists Work to Keep Iran's Protests in View | KQED","description":"Mahsa Amini's death in Iran sparked a global movement on women's issues. Artists in the U.S. are working to keep it from fading from view.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'It's Not Over Yet': Artists Work to Keep Iran's Protests in View","datePublished":"2023-07-03T18:57:50.000Z","dateModified":"2024-01-11T20:35:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Majd Al-Waheidi","nprImageAgency":"Rodrigo Pradel","nprStoryId":"1185774167","nprApiLink":"http://api.npr.org/query?id=1185774167&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/07/03/1185774167/iran-mahsa-amini-woman-life-freedom-art-mural-washington-us?ft=nprml&f=1185774167","nprRetrievedStory":"1","nprPubDate":"Mon, 03 Jul 2023 14:07:00 -0400","nprStoryDate":"Mon, 03 Jul 2023 13:30:17 -0400","nprLastModifiedDate":"Mon, 03 Jul 2023 14:07:09 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931168/iran-artists-women-protests","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg\" alt=\"\" width=\"800\" height=\"1040\" class=\"size-medium wp-image-13931169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-800x1040.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1020x1326.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1182x1536.jpg 1182w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1-1576x2048.jpg 1576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-pradel_custom-57caa161cd4385bbc76f3e40f576072f078a94a1.jpg 1814w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahsa Amini peers out from a mural by Rodrigo Pradel that covers an entire building side in a Washington, D.C. alley. Amini’s death in police custody in Iran last year led to protests and a revolutionary movement. \u003ccite>(Rodrigo Pradel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mahsa Amini peers out from a mural that covers an entire building side in a Washington, D.C. alley, her head and shoulders floating over the words “Woman, Freedom, Life,” and a lion and lioness flanking her.\u003c/p>\n\u003cp>The mural’s painter is \u003ca href=\"https://rodrigopradel.com/ver2/\">Rodrigo Pradel\u003c/a>, a Chilean immigrant. He had no links to Iran or the large protests that erupted there when Amini, a young Kurdish woman, died in police custody last year. But it was his friend, Yasi Farazad, who inspired him to bring the movement half a world away to the streets of D.C., after seeing a similar piece in Los Angeles.\u003c/p>\n\u003cp>The project was a challenge. Unable to participate in the city’s official mural program, Farazad had to seek out a site on her own, and finally found one with the help of a friend in a building that was owned by an Iranian American man. Pradel painted the mural in under 20 hours. \u003c/p>\n\u003cp>The mural shows Amini in the center with the colors of the Iranian flag. The lioness is a symbol of strong women in Persian culture.\u003c/p>\n\u003cfigure id=\"attachment_13931170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe\" alt=\"a man and woman stand in front of a colorful mural\" width=\"800\" height=\"811\" class=\"size-medium wp-image-13931170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-800x811.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-1020x1034.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-160x162.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce-768x778.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.-credit-yasi-farazad_custom-f666baf0d7c2f72c4866d4ba36b03aa483a7b8ce.jpe 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodrigo Pradel and Yasi Farazad stand in front of the mural Pradel painted in Washington, D.C. during the unveiling event of the mural on Jan. 15. \u003ccite>(Yasi Farazad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mahsa is in the middle of it but she’s not the only one who needs protection,” Farazad told NPR. “I wanted this painting to represent all of us protecting women and men.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13922777","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Before Pradel spraypainted the wall, a craft he has employed since the ’90s, Farazad explained the history and context of revolutionary movements and protests in Iran to him. \u003c/p>\n\u003cp>“I felt honored to paint among many great muralists in D.C. but also be the extended paintbrush for all people who support life and liberty in Iran,” he said.\u003c/p>\n\u003cp>Pradel then met local Iranian artists in the D.C. area and learned about their street art. \u003c/p>\n\u003ch3>Keeping the fight from fading from view\u003c/h3>\n\u003cp>Many artists are fueled right now by the protests, working out their thoughts and emotions in bold, colorful pieces and trying to keep\u003cstrong> \u003c/strong>the fight of Iranian women from fading from view.\u003c/p>\n\u003cp>Amini was detained in Tehran on Sept. 16 by Iran’s “morality police” for allegedly\u003cstrong> \u003c/strong>violating the country’s dress rules. She died three days\u003cstrong> \u003c/strong>later in police custody. Her birth name was \u003cem>Jîna\u003c/em>, which means ‘life’ in Kurdish. \u003c/p>\n\u003cp>Protesters flocked into the streets, often shouting the slogan “woman, freedom, life,” and men and women all across the world expressed their support. The #MahsaAmini hashtag was one of the most popular in Twitter history. \u003c/p>\n\u003cp>In the United States, artists were among the first to demonstrate their support in both traditional and innovative ways. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11931255","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Art in major cities and globally “has awakened people about the struggle in Iran and kept them engaged with the ongoing fight of the Iranian people even when it stopped making headlines and the U.S. media largely stopped covering it,” said Persis Karim, director of the Center for Iranian Diaspora Studies at San Francisco State University. \u003c/p>\n\u003cp>It has become an important vehicle to show what people in Iran are enduring, said Karim. She believes social media, particularly Instagram, has made Iranian art more accessible online. She highlighted \u003ca href=\"https://mozaikphilanthropy.org/faa/\">MOZAIK’s digital exhibitions\u003c/a> as a significant example of collaboration between the diaspora around the world and local artists in Iran.\u003c/p>\n\u003cp>“It’s not a revolution,” she said. “It’s a revolutionary movement, and it’s not over yet.”\u003c/p>\n\u003ch3>‘This wall is like my dream’\u003c/h3>\n\u003cp>The wall at 14th and U Streets in what is known as D.C.’s Harlem has already been vandalized twice, and Pradel is planning to repaint it.\u003c/p>\n\u003cp>For Farazad, who was born in Iran and had to leave when she was just 15 months old, everything about this wall is deeply personal. \u003c/p>\n\u003cp>Like the current revolution in Iran, this art has brought people together in ways she had never seen before, she said. \u003c/p>\n\u003cp>“There were two times in my life when I was really proud of myself,” she said. “One was when my daughter was born. The second time was that evening when we finished painting the wall.”\u003c/p>\n\u003cp>Since her family left Iran in 1979, Farazad has never been able to return. \u003c/p>\n\u003cp>“This wall is like my dream,” she said. “I want to be able to go to Iran one day, not in shackles, not caged. I am raising a little girl to be a strong woman. I want all those little girls to have the same opportunities as my daughter does in America. And they don’t.”\u003c/p>\n\u003cfigure id=\"attachment_13931171\" class=\"wp-caption aligncenter\" style=\"max-width: 581px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg\" alt=\"A row of city bikes with protest art on them\" width=\"581\" height=\"436\" class=\"size-full wp-image-13931171\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a.jpg 581w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/0606ed03-0c9c-4af9-bab0-900ed9680a3a-d8cc560ccc1fae8c163691806bca22e8e491794a-160x120.jpg 160w\" sizes=\"(max-width: 581px) 100vw, 581px\">\u003cfigcaption class=\"wp-caption-text\">Art supporting the protests in Iran has moved to the streets, affixed here on bikeshares in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Street art from Tehran to D.C.\u003c/h3>\n\u003cp>Iranians have always used art to protest and communicate their ideas, said Mina M. Jafari, a Washington, D.C.-born Iranian American artist. \u003c/p>\n\u003cp>Since the protests last year, Jafari has noticed that Iranian art is moving out of the galleries and museums and onto the streets. \u003c/p>\n\u003cp>In Iran many artists don’t have the luxury of exhibiting their work privately and they are constantly policed and censored, she said. So now they produce visual and performing art pieces literally in the street and at small community events. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928089","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“In Iran, art is many things. Sometimes it’s a performance, sometimes it’s a dream, sometimes it’s anger and desperation, but it’s always a way to live freely,” she said.\u003c/p>\n\u003cp>Jafari quit her job working on Iranian-American issues at a progressive think tank because she thought Iranian voices, especially those of women, were being “ignored and excluded,” she said. She and her Iranian husband now\u003ca href=\"https://www.instagram.com/kuchehdc/\"> own an art studio\u003c/a> called “Kucheh,” which means “alley” in Farsi, less than three miles from Pradel’s mural. \u003c/p>\n\u003cp>Jafari says her work is more nuanced than “hijab or removing the hijab.” \u003c/p>\n\u003cp>In a bold, graphical piece called “Woman, Life, Freedom!” Jafari used black, white and red to relay a deeper meaning of the current revolution. \u003c/p>\n\u003cp>Two minarets of a masjid, or mosque, are formed by large hands, with a woman’s face taking the place of the masjid’s dome. A middle finger rises at the top of each minaret and flames flow from the mouth. The flames say “woman, life, freedom,” in Persian, and Amini’s name appears among the stars. \u003c/p>\n\u003cp>The face’s unibrow represents all Iranian women, including queer Iranians, without eurocentric and gendered beauty standards, said Jafari.\u003c/p>\n\u003cfigure id=\"attachment_13931172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13931172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/1.-credit-mina-m.-jafari-bf6c03458631e0131a4afe82aebc5ce3750f0bed-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Mina M. Jafari uses a female head and arms to represent a masjid, or mosque, in this piece. \u003ccite>(Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My intention with this piece was to show that religion belongs to people,” she said. “We deserve to take back our religion from those who use and abuse it for power.”\u003c/p>\n\u003ch3>Art vs. sanctions\u003c/h3>\n\u003cp>The revolution begun less than a year ago is fizzling out, some scholars and observers say, not because the people have reached their aspirations but because of their economic struggles. \u003c/p>\n\u003cp>Many Iranians simply can’t afford to sustain protests or strikes, said Assal Rad, author of \u003cem>State of Resistance: Politics, Culture & Identity in Modern Iran.\u003c/em>\u003c/p>\n\u003cp>There are many pressures: U.S. sanctions, a record-high inflation rate of almost 50%, soaring youth unemployment. Over half of Iranians are now living in poverty, according to data from Iran’s Statistics Center. On top of that, many Iranian artists who move to the U.S. say it is almost impossible to sell their work or send money home to their families’ bank accounts.\u003c/p>\n\u003cp>In comparison to all past revolutions in Iran, this one was “leaderless,” primarily spearheaded by young women, said Alex Shams, editor-in-chief of Ajam Media Collective, a platform focused on culture and society in Iran as well as Central and South Asia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101892959","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That fluidity has made the roles of artists even more important, he said. \u003c/p>\n\u003cp>“The artist movement outside of Iran\u003cstrong> \u003c/strong>can echo the voices inside of Iran and eventually create these connections across borders that both the Iranian government and the U.S. government have done a lot to prevent,” he said.\u003c/p>\n\u003cp>Back to Jafari’s painting of the woman and the mosque. At the time it was painted, an anonymous Iranian artist was dyeing fountains in Tehran blood-red. Jafari said, though, she also designed the flame coming out of the mouth of the woman to depict an Iranian symbol of rebirth.\u003c/p>\n\u003cp>“My art is not about destruction, but about bringing new life and leaving room for something else to grow,” she said, adding that the women’s revolution embodies that idea. \u003c/p>\n\u003cp>“It’s infinite because it planted new seeds in us. Those who have lost their lives believed in women, life and freedom. And it’s something that lives inside every Iranian,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13931173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg\" alt=\"Shirts hang on a line with the words Woman, Life Freedom printed on them \" width=\"800\" height=\"587\" class=\"size-medium wp-image-13931173\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-2048x1503.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/credit-mina-m.-jafari_custom-814c157e6e84fe9b162acea408d43120a6c3614d-1920x1409.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The slogan of the women’s revolution on shirts hanging in Kucheh Art Studio + Shop in Washington, D.C. \u003ccite>(Hesam Mostafavi/Mina M. Jafari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This digital story was edited by Lisa Lambert.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It%27s+not+over+yet%27%3A+Artists+work+to+keep+Iran%27s+protests+in+view&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931168/iran-artists-women-protests","authors":["byline_arts_13931168"],"categories":["arts_1"],"tags":["arts_12134","arts_1494","arts_19000","arts_8263"],"affiliates":["arts_137"],"featImg":"arts_13931177","label":"arts_137"},"arts_13928650":{"type":"posts","id":"arts_13928650","meta":{"index":"posts_1591205157","site":"arts","id":"13928650","score":null,"sort":[1683280821000]},"guestAuthors":[],"slug":"pens-pals-putting-on-for-tehran-in-the-bay","title":"Pen's Pals: Putting on for Tehran in the Bay","publishDate":1683280821,"format":"audio","headTitle":"Pen’s Pals: Putting on for Tehran in the Bay | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>Inside of \u003ca href=\"https://www.instagram.com/mohammadnonprophet/\" target=\"_blank\" rel=\"noopener\">Mohammad Gorjestani’s \u003c/a>office, there’s hella artwork. The filmmaker and co-founder of \u003ca href=\"https://evenodd.studio/\" target=\"_blank\" rel=\"noopener\">Even/Odd Studios\u003c/a> has painted collages of wrestlers from Iran mounted near photographed images of Bay Area sideshows. There’s stories embroidered on skateboard decks, family heirlooms in the form of pottery and even a tiny replica IranAir airplane.\u003c/p>\n\u003cfigure id=\"attachment_13928667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928667 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/dsc05079-800x535.jpg\" alt=\"Mohammad Gorjestani showing one of the edited books he owns from Iran. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammad Gorjestani showing one of the edited books he owns from Iran. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Books written in Farsi line the walls, and Persian carpets on the floor require you to change out of your footwear and into slippers, as is the custom in Iran.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\" target=\"_blank\" rel=\"noopener\">Gorjestani\u003c/a> was raised on the west side of San Jose and has lived in San Francisco for two decades, but his heart remains tied to the place he was born, Tehran, Iran.\u003c/p>\n\u003cp>He has childhood memories from his homeland, the last of which are from when he and his family left the country during the Iran-Iraq War. He hasn’t visited home since moving to the United States, but he has never been severed from the culture. As he soaked up all of the game the Bay Area offers, he simultaneously held true to his roots. At the same time, he grew critical of the United States; now he uses his art to question the forces that cause oppression here and abroad.\u003c/p>\n\u003cfigure id=\"attachment_13928659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/dsc05076-800x535.jpg\" alt=\"Mohammad Gorjestani showing some of the artwork in his office.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammad Gorjestani showing some of the artwork in his office. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gorjestani’s work spans from an art installation honoring the victims of \u003ca href=\"https://1800happybirthday.com/\" target=\"_blank\" rel=\"noopener\">police brutality\u003c/a> to films highlighting the impacts of\u003ca href=\"https://www.youtube.com/watch?v=C6IFfcuddM0\" target=\"_blank\" rel=\"noopener\"> post-traumatic stress\u003c/a> on former soldiers. His production company recently teamed up with the \u003ca href=\"https://www.kiarostami.org/\" target=\"_blank\" rel=\"noopener\">Kiarostami Foundation\u003c/a>, an organization named after the late Iranian filmmaker Abbas Kiarostami, to produce a children’s book inspired by Kiarostami’s film, \u003cem>Where Is the Friend’s House?\u003c/em>\u003c/p>\n\u003cp>Gorjestani says that if given the chance, he’d write a letter to a version of himself that never left Iran. And in some ways, his work is the embodiment of that letter.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3261423808&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3VOmqpH\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Below are lightly edited excerpts from my conversation with Mohammad Gorjestani\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> I see one of the pieces of art on your wall is a print of a wrestler. This piece, the skateboard, the sculptures. Why is it important to have these aspects of culture here? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GORJESTANI\u003c/b>\u003cspan style=\"font-weight: 400\">: I wasn’t part of the wave of Iranians who left during the revolution. My family, my parents, we stayed. We’re more part of an unknown part of Iranian history, the Iran-Iraq war, and that was an eight year war. My parents stuck through all eight years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve gotten older, I’ve just realized how much I have an affinity to not just my culture, but to trying to understand who I am and where I come from. So for me, having this space is a little bit of a reclaiming of your identity, a reclaiming of your culture. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s your mission statement as a filmmaker? \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>GORJESTANI\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m trying to basically create these artifacts that when they’re left behind, someone can understand what it was like for a kid who grew up in Tehran, who has the memories I do from that war. Man, I didn’t have a bad childhood, but there was struggle with it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And as you get older, you understand that you’re existing in this system and this system that’s here, that’s oppressing the people you love and the culture you love and things you love, was the same thing that caused you to leave where you’re from. And then you have to think about all the things that are still affecting your ability to be a free person in the world. I’m trying to take that experience and put it through a filter that is as real to who I am as possible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering if you were to write a letter home, what would be the contents of that letter?\u003c/span>\u003c/p>\n\u003cp>\u003cb>GORJESTANI\u003c/b>\u003cspan style=\"font-weight: 400\">: The thing that occupies my mind the most, when I think about my identity, which is like, who would Mohammad have been if he never left Iran? So I would probably write the letter to that person. Even though maybe that kid wishes that he might have experienced America and lived in the Bay Area and grown up like me, that this version of him also wishes that he never left. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether it’s your identity, whether it’s your convictions. You’re going to have to give something up. There is a transaction and what we know about America is how much of its economic mobility, how much of its foreign policy has been at the expense of people of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the thing I struggle with the most is like, I still don’t know if it was the right thing to do to leave. The only way I can make it the right decision is if I’m able to express that experience in a way, artistically, that allows me to feel closure around it. \u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Filmmaker Mohammad Gorjestani on the value of community, art, and a quest to connect to the idea of home.","status":"publish","parent":0,"modified":1709097769,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":939},"headData":{"title":"Pen's Pals: Putting on for Tehran in the Bay | KQED","description":"Filmmaker Mohammad Gorjestani on the value of community, art, and a quest to connect to the idea of home.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Filmmaker Mohammad Gorjestani on the value of community, art, and a quest to connect to the idea of home.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pen's Pals: Putting on for Tehran in the Bay","datePublished":"2023-05-05T10:00:21.000Z","dateModified":"2024-02-28T05:22:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/A511B8/traffic.megaphone.fm/KQINC3261423808.mp3?updated=1683269855","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928650/pens-pals-putting-on-for-tehran-in-the-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside of \u003ca href=\"https://www.instagram.com/mohammadnonprophet/\" target=\"_blank\" rel=\"noopener\">Mohammad Gorjestani’s \u003c/a>office, there’s hella artwork. The filmmaker and co-founder of \u003ca href=\"https://evenodd.studio/\" target=\"_blank\" rel=\"noopener\">Even/Odd Studios\u003c/a> has painted collages of wrestlers from Iran mounted near photographed images of Bay Area sideshows. There’s stories embroidered on skateboard decks, family heirlooms in the form of pottery and even a tiny replica IranAir airplane.\u003c/p>\n\u003cfigure id=\"attachment_13928667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928667 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/dsc05079-800x535.jpg\" alt=\"Mohammad Gorjestani showing one of the edited books he owns from Iran. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05079.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammad Gorjestani showing one of the edited books he owns from Iran. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Books written in Farsi line the walls, and Persian carpets on the floor require you to change out of your footwear and into slippers, as is the custom in Iran.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\" target=\"_blank\" rel=\"noopener\">Gorjestani\u003c/a> was raised on the west side of San Jose and has lived in San Francisco for two decades, but his heart remains tied to the place he was born, Tehran, Iran.\u003c/p>\n\u003cp>He has childhood memories from his homeland, the last of which are from when he and his family left the country during the Iran-Iraq War. He hasn’t visited home since moving to the United States, but he has never been severed from the culture. As he soaked up all of the game the Bay Area offers, he simultaneously held true to his roots. At the same time, he grew critical of the United States; now he uses his art to question the forces that cause oppression here and abroad.\u003c/p>\n\u003cfigure id=\"attachment_13928659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/dsc05076-800x535.jpg\" alt=\"Mohammad Gorjestani showing some of the artwork in his office.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/dsc05076.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mohammad Gorjestani showing some of the artwork in his office. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gorjestani’s work spans from an art installation honoring the victims of \u003ca href=\"https://1800happybirthday.com/\" target=\"_blank\" rel=\"noopener\">police brutality\u003c/a> to films highlighting the impacts of\u003ca href=\"https://www.youtube.com/watch?v=C6IFfcuddM0\" target=\"_blank\" rel=\"noopener\"> post-traumatic stress\u003c/a> on former soldiers. His production company recently teamed up with the \u003ca href=\"https://www.kiarostami.org/\" target=\"_blank\" rel=\"noopener\">Kiarostami Foundation\u003c/a>, an organization named after the late Iranian filmmaker Abbas Kiarostami, to produce a children’s book inspired by Kiarostami’s film, \u003cem>Where Is the Friend’s House?\u003c/em>\u003c/p>\n\u003cp>Gorjestani says that if given the chance, he’d write a letter to a version of himself that never left Iran. And in some ways, his work is the embodiment of that letter.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3261423808&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3VOmqpH\">Read the transcript\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Below are lightly edited excerpts from my conversation with Mohammad Gorjestani\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> I see one of the pieces of art on your wall is a print of a wrestler. This piece, the skateboard, the sculptures. Why is it important to have these aspects of culture here? \u003c/span>\u003c/p>\n\u003cp>\u003cb>GORJESTANI\u003c/b>\u003cspan style=\"font-weight: 400\">: I wasn’t part of the wave of Iranians who left during the revolution. My family, my parents, we stayed. We’re more part of an unknown part of Iranian history, the Iran-Iraq war, and that was an eight year war. My parents stuck through all eight years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve gotten older, I’ve just realized how much I have an affinity to not just my culture, but to trying to understand who I am and where I come from. So for me, having this space is a little bit of a reclaiming of your identity, a reclaiming of your culture. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\"> What’s your mission statement as a filmmaker? \u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003cb>GORJESTANI\u003c/b>\u003cspan style=\"font-weight: 400\">: I’m trying to basically create these artifacts that when they’re left behind, someone can understand what it was like for a kid who grew up in Tehran, who has the memories I do from that war. Man, I didn’t have a bad childhood, but there was struggle with it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And as you get older, you understand that you’re existing in this system and this system that’s here, that’s oppressing the people you love and the culture you love and things you love, was the same thing that caused you to leave where you’re from. And then you have to think about all the things that are still affecting your ability to be a free person in the world. I’m trying to take that experience and put it through a filter that is as real to who I am as possible. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW:\u003c/b>\u003cspan style=\"font-weight: 400\"> I’m wondering if you were to write a letter home, what would be the contents of that letter?\u003c/span>\u003c/p>\n\u003cp>\u003cb>GORJESTANI\u003c/b>\u003cspan style=\"font-weight: 400\">: The thing that occupies my mind the most, when I think about my identity, which is like, who would Mohammad have been if he never left Iran? So I would probably write the letter to that person. Even though maybe that kid wishes that he might have experienced America and lived in the Bay Area and grown up like me, that this version of him also wishes that he never left. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whether it’s your identity, whether it’s your convictions. You’re going to have to give something up. There is a transaction and what we know about America is how much of its economic mobility, how much of its foreign policy has been at the expense of people of color. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s the thing I struggle with the most is like, I still don’t know if it was the right thing to do to leave. The only way I can make it the right decision is if I’m able to express that experience in a way, artistically, that allows me to feel closure around it. \u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928650/pens-pals-putting-on-for-tehran-in-the-bay","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_835","arts_21759"],"tags":["arts_3852","arts_1494","arts_20223","arts_6764","arts_1146","arts_1084"],"featImg":"arts_13928658","label":"arts_8720"},"arts_13928089":{"type":"posts","id":"arts_13928089","meta":{"index":"posts_1591205157","site":"arts","id":"13928089","score":null,"sort":[1682361775000]},"guestAuthors":[],"slug":"firuzeh-mahmoudi-united-for-iran-women-life-freedom","title":"To Firuzeh Mahmoudi, Art Is an Act of Resilience and Defiance","publishDate":1682361775,"format":"audio","headTitle":"To Firuzeh Mahmoudi, Art Is an Act of Resilience and Defiance | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ci>\u003cb>Editor’s note:\u003c/b> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 24–28, we’re publishing content by high school students from all over the Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13928154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Dena.Aalaei.headshot.jpg\" alt=\"\" width=\"139\" height=\"159\">[dropcap]A[/dropcap]s an Iranian American teenager born and raised in California, my immigrant parents searched tirelessly for anything that would tie me back to their homeland: poetry, music, art, stories and clothing. I grew up \u003ca href=\"https://allpoetry.com/Moving-Water\">reading Rumi\u003c/a>, listening to \u003ca href=\"https://www.youtube.com/watch?v=bIJSNFdpsZI\">Googoosh\u003c/a>, and hearing Persian folktales. Iranian pride runs strong when it comes to art, especially in times of political turmoil, because art has a way of conveying emotions when strategy and politics fall short. Firuzeh Mahmoudi, executive director of \u003ca href=\"https://united4iran.org/en/\">United For Iran\u003c/a>, couldn’t agree more.\u003c/p>\n\u003cp>For Iranians, the intersection of art and protest is not a new concept, but for Mahmoudi, the combined power of both is more important than ever during the ongoing uprising for equality sparked by the September 2022 death of Mahsa Amini.\u003c/p>\n\u003cp>Previously, Mahmoudi was the international coordinator of a $13 million United Nations project working on best environmental health practices in the Global South. Now, with the Bay Area-based nonprofit United For Iran, she works to improve civil liberties in Iran. The organization creates technologies like apps and databases to share information and to empower Iranians, while also putting on events and leading international campaigns.\u003c/p>\n\u003cp>On March 26 Mahmoudi co-hosted “\u003ca href=\"https://museumca.org/event/voices-of-the-iranian-diaspora/\">Voices of the Iranian Diaspora\u003c/a>” at the Oakland Museum of California, an event which explored the role of art within the Women, Life, Freedom movement through artist talks, live music and poetry. I attended alone, in an effort to explore my Iranian roots separate from my parents’ inherent connection. The experience was overwhelmingly touching and deeply moving; I felt connected to the conflict and tied to the potential solution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First to the podium was the poet \u003ca href=\"http://persiskarim.com/dev/\">Persis Karim\u003c/a>, who shared her personal connections to the ongoing revolution and read a poem titled “Sheerzan” (lion women), referencing the women frontlining the revolution in Iran. A particular line from a poem named “Steal the Body” stuck with me: “The sour taste in her mouth of a realization that she will exhume a lie told over and over and over again.” The poem is about Nika Shakarami, a young girl killed by the Iranian security services whose body was stolen from her family prior to burial.\u003c/p>\n\u003cp>Next, artist \u003ca href=\"https://www.shcyrous.com/\">Shaghayegh Cyrous\u003c/a> spoke passionately about her visual, multimedia and social practice work, which addresses themes of immigration, separation from family and discrimination. She delved deep into her past projects, bringing the audience into her thoughts and feelings as an Iranian immigrant in the States. Finally, the event concluded with a beautiful musical performance from \u003ca href=\"https://en.wikipedia.org/wiki/Mahsa_Vahdat\">Mahsa Vahdat\u003c/a>, who sang poems from Havez and had the audience accompany her in the last song about hope for Iran. Throughout, Mahmoudi acted as a voice of critical analysis, grounding the afternoon’s performances in the reality of life in Iran.\u003c/p>\n\u003cp>A few weeks later, I talked to Mahmoudi about her hopes for the revolution, the role of art in protest and what’s coming up next for United For Iran.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13928115\" class=\"wp-caption aligncenter\" style=\"max-width: 1001px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Firuzeh-Mahmoudi.jpeg\" alt=\"Woman with shoulder length black hair stands with hands in jacket pockets with trail and trees behind her\" width=\"1001\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi.jpeg 1001w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi-800x818.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi-768x786.jpeg 768w\" sizes=\"(max-width: 1001px) 100vw, 1001px\">\u003cfigcaption class=\"wp-caption-text\">Firuzeh Mahmoudi. \u003ccite>(Courtesy of OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dena Aalei:\u003c/strong> So what does this revolution mean to you as an Iranian living in the States? What do you feel is your place in the revolution as an American citizen?\u003c/p>\n\u003cp>\u003cstrong>Firuzeh Mahmoudi:\u003c/strong> I find myself more as just a human living on the planet. I believe that we’re all very connected and we all support ourselves and each other in the work we do, and if one area of the world uplifts or spirals down, it affects all of us.\u003c/p>\n\u003cp>How I feel about this revolution in particular [is], although right now things are dark and very hard, I feel hopeful. I think this time it’s singular, this uprising is different. It’s woman-led, it’s youth-led. It’s extremely diverse, socio-economically, geographically [and with the] various movements that are involved. It’s also very intersectional. There were people on the street holding queer signs. There were people from all different ethnic minority groups. [It’s also] leaderless, which means everyone’s a leader and everyone’s backing each other and supporting each other and showing so many signs of love. And also the message is different. They’re demanding change — it’s not about reform — it’s about change. And there’s clarity in that.\u003c/p>\n\u003cp>Because it’s so progressive and not ideological, there’s this massive kind of globalness to the whole movement. If you focus too much on the destination and not the process, then you can’t guarantee a change. But if you have a very robust civil society and engaged citizens and they’re very clear about what they want and they’re unified in their voice… then when change comes, the chance of thriving and surviving and them not being fooled by a promise of a political leader is much higher. So that’s why I’m hopeful.\u003c/p>\n\u003cp>[pullquote size='large' align='right']‘[Art is] going to allow us to continue [in the] long haul to win, because we have to do this.’[/pullquote]\u003cbr>\nI think we all have a place in the revolution, whoever we are, because we want to see a better world. We want to see democracy and equality across the board for everyone. But as an Iranian American who was born in the U.S. but lived in Iran from a very young age, I feel like there’s a way for me to contribute to the Iran and the world that I want to see.\u003c/p>\n\u003cp>\u003cstrong>What do you think art means to the people of Iran, especially during revolutions and times of political crises, which Iran has seen many, many times? What do you think art brings to the table? \u003c/strong>\u003c/p>\n\u003cp>You want to be really strategic and thoughtful and constantly asking, “Is this bringing about change? Is it worth it?” But I do believe that people are moved to action and fall in love with an idea or get their passion from the arts. Art and emotions are very connected. It can be any version of art, it can be a poem, it can be as simple as a gesture. It can be a little dance someone does on the street that’s in defiance that matches the dance someone else did the day before they got arrested.\u003c/p>\n\u003cp>[aside postID='arts_13922777']There’s so much trauma in the world and there’s so much trauma inside Iran. Our country, for 44 years, has been taken hostage essentially by a group of old men. There’s personal trauma as well, and of people not being able to put food on the table or having a family member killed or themselves being tortured. So how do you process all of this grief [on] the national level as well as a personal one? Art really helps.\u003c/p>\n\u003cp>So there’s that purpose to it, there’s that level of creating something that’s unified and connects us. And it’s also an act of resilience and defiance. We’re seeing it all over there with graffiti messages or the turban tossing. I also feel like [art is] a way for people to show love and celebrate because [the government] can win everything else except our emotions, of how we feel, how we choose to respond. Us being in that space is an act of defiance and it’s how it’s going to allow us to continue [in the] long haul to win, because we have to do this.\u003c/p>\n\u003cp>\u003cstrong>Has your organization United for Iran worked with art before, and what was that experience like? Did it have a certain effect or have you personally felt a connection with art in your life? \u003c/strong>\u003c/p>\n\u003cp>Everyone needs to be invited to the party: the artists, the researchers, the advocates, the lawyers who work inside and outside the country, the journalists. So we’ve done a bunch of work with artists. We did \u003ca href=\"https://clarionalleymuralproject.org/mural/in-honor-of/\">a mural project\u003c/a> with Shaghayegh [Cyrous] in Clarion Alley in San Francisco that has our logo on it and seven political prisoners.\u003c/p>\n\u003cp>Six months into me starting United for Iran [in] December 2009, we did Arts United for Iran. We had 33 events, concerts, gallery showings, and there was an online component as well. People submitted ideas [for shows and art], so that was really wonderful. It included so many different artists. On March 8 this year, we sponsored a music video — that’s by \u003ca href=\"https://www.instagram.com/justinaofficialll/\">Justina\u003c/a>, an Iranian hip-hop artist, who lives in northern Europe.\u003c/p>\n\u003cp>https://youtu.be/dL7UEZldy18\u003c/p>\n\u003cp>The last project I want to share is called “Vote for Zahra.” It was four years after the uprising happened in 2009, which was Ahmadinejad’s fraudulent election results. Four years later, he’s running [in] another election. We wanted to run a campaign to talk about the elections, [and] highlight the fact that women can’t run for office. So we used art to connect reality with fiction. There’s a graphic novel called \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Zahra%27s_Paradise\">Zahra’s Paradise\u003c/a>\u003c/em> [which tells the story of a] mom whose son went missing during the 2009 uprising named Zahra. [She] runs in the name of her son for the office of the president — a free election for free Iran. We had little pictures of her responding to the world, to the various candidates and whatever they said. People were holding her picture in front of Gandhi’s picture in D.C. and the Nelson Mandela Museum in South Africa, all over the world. That was a really great campaign. And the government of Iran took note: the minister of intelligence wrote about it, and mentioned me as an anti-revolutionary fugitive.\u003c/p>\n\u003cp>\u003cstrong>Lastly, what’s coming up next for United for Iran, not just in terms of art, but in terms of events or ideas or campaigns?\u003c/strong>\u003c/p>\n\u003cp>Nearly all of our focus [is] inside Iran. We have four major projects that we’re doing currently, and all of them [are] constantly evolving. \u003ca href=\"https://ipa.united4iran.org/en/\">Iran Prison Atlas\u003c/a> is relaunching its new website sometime mid-summer and that’s really exciting. We’ll have visualizations of the various patterns of abuse — we have data for 10 years now. The visualization will tell the story of what’s happening inside prisons and who’s being particularly targeted or persecuted, [which] prisons have most mistreatments, or which judges have the biggest violations.\u003c/p>\n\u003cp>We have an app that I mentioned at Oakland Art Museum talk as well, called \u003ca href=\"https://gershad.com/\">Gershad\u003c/a>, where you can report and detour the location of the morality police. And new versions of the app will be coming out within the year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Firuzeh Mahmoudi and United for Iran will participate in “Iran Through Women’s Eyes,” an intimate salon to discuss the interaction of art, culture and politics with other members of the Iranian diaspora on Thursday, April 27 at the World Affairs Auditorium (312 Sutter St. Suite 200, San Francisco). Tickets and event details \u003ca href=\"https://www.worldaffairs.org/events/event/2271\">are here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Dena Aalaei\u003c/strong> is an 18-year-old journalist and activist who attends Sacred Heart Preparatory in Atherton, California. As an Iranian American writer, she finds passion in exploring her identity through reporting and revealing truths in her community. Next fall she will be attending Boston University, majoring in media science with pre-law emphasis. When she isn’t reporting and writing, you can find her listening to music or painting canvases for her friends.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The executive director of United for Iran talks about her hopes for the Women, Life, Freedom movement and art’s role in revolution.","status":"publish","parent":0,"modified":1705005596,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":2004},"headData":{"title":"To Firuzeh Mahmoudi, Art Is an Act of Resilience and Defiance | KQED","description":"The executive director of United for Iran talks about her hopes for the Women, Life, Freedom movement and art’s role in revolution.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"To Firuzeh Mahmoudi, Art Is an Act of Resilience and Defiance","datePublished":"2023-04-24T18:42:55.000Z","dateModified":"2024-01-11T20:39:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/989224d1-3e9c-4383-a6d6-afef017b31dc/audio.mp3","sticky":false,"nprByline":"Dena Aalaei","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13928089/firuzeh-mahmoudi-united-for-iran-women-life-freedom","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cb>Editor’s note:\u003c/b> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 24–28, we’re publishing content by high school students from all over the Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13928154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Dena.Aalaei.headshot.jpg\" alt=\"\" width=\"139\" height=\"159\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>s an Iranian American teenager born and raised in California, my immigrant parents searched tirelessly for anything that would tie me back to their homeland: poetry, music, art, stories and clothing. I grew up \u003ca href=\"https://allpoetry.com/Moving-Water\">reading Rumi\u003c/a>, listening to \u003ca href=\"https://www.youtube.com/watch?v=bIJSNFdpsZI\">Googoosh\u003c/a>, and hearing Persian folktales. Iranian pride runs strong when it comes to art, especially in times of political turmoil, because art has a way of conveying emotions when strategy and politics fall short. Firuzeh Mahmoudi, executive director of \u003ca href=\"https://united4iran.org/en/\">United For Iran\u003c/a>, couldn’t agree more.\u003c/p>\n\u003cp>For Iranians, the intersection of art and protest is not a new concept, but for Mahmoudi, the combined power of both is more important than ever during the ongoing uprising for equality sparked by the September 2022 death of Mahsa Amini.\u003c/p>\n\u003cp>Previously, Mahmoudi was the international coordinator of a $13 million United Nations project working on best environmental health practices in the Global South. Now, with the Bay Area-based nonprofit United For Iran, she works to improve civil liberties in Iran. The organization creates technologies like apps and databases to share information and to empower Iranians, while also putting on events and leading international campaigns.\u003c/p>\n\u003cp>On March 26 Mahmoudi co-hosted “\u003ca href=\"https://museumca.org/event/voices-of-the-iranian-diaspora/\">Voices of the Iranian Diaspora\u003c/a>” at the Oakland Museum of California, an event which explored the role of art within the Women, Life, Freedom movement through artist talks, live music and poetry. I attended alone, in an effort to explore my Iranian roots separate from my parents’ inherent connection. The experience was overwhelmingly touching and deeply moving; I felt connected to the conflict and tied to the potential solution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First to the podium was the poet \u003ca href=\"http://persiskarim.com/dev/\">Persis Karim\u003c/a>, who shared her personal connections to the ongoing revolution and read a poem titled “Sheerzan” (lion women), referencing the women frontlining the revolution in Iran. A particular line from a poem named “Steal the Body” stuck with me: “The sour taste in her mouth of a realization that she will exhume a lie told over and over and over again.” The poem is about Nika Shakarami, a young girl killed by the Iranian security services whose body was stolen from her family prior to burial.\u003c/p>\n\u003cp>Next, artist \u003ca href=\"https://www.shcyrous.com/\">Shaghayegh Cyrous\u003c/a> spoke passionately about her visual, multimedia and social practice work, which addresses themes of immigration, separation from family and discrimination. She delved deep into her past projects, bringing the audience into her thoughts and feelings as an Iranian immigrant in the States. Finally, the event concluded with a beautiful musical performance from \u003ca href=\"https://en.wikipedia.org/wiki/Mahsa_Vahdat\">Mahsa Vahdat\u003c/a>, who sang poems from Havez and had the audience accompany her in the last song about hope for Iran. Throughout, Mahmoudi acted as a voice of critical analysis, grounding the afternoon’s performances in the reality of life in Iran.\u003c/p>\n\u003cp>A few weeks later, I talked to Mahmoudi about her hopes for the revolution, the role of art in protest and what’s coming up next for United For Iran.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13928115\" class=\"wp-caption aligncenter\" style=\"max-width: 1001px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Firuzeh-Mahmoudi.jpeg\" alt=\"Woman with shoulder length black hair stands with hands in jacket pockets with trail and trees behind her\" width=\"1001\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi.jpeg 1001w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi-800x818.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi-160x164.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Firuzeh-Mahmoudi-768x786.jpeg 768w\" sizes=\"(max-width: 1001px) 100vw, 1001px\">\u003cfigcaption class=\"wp-caption-text\">Firuzeh Mahmoudi. \u003ccite>(Courtesy of OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dena Aalei:\u003c/strong> So what does this revolution mean to you as an Iranian living in the States? What do you feel is your place in the revolution as an American citizen?\u003c/p>\n\u003cp>\u003cstrong>Firuzeh Mahmoudi:\u003c/strong> I find myself more as just a human living on the planet. I believe that we’re all very connected and we all support ourselves and each other in the work we do, and if one area of the world uplifts or spirals down, it affects all of us.\u003c/p>\n\u003cp>How I feel about this revolution in particular [is], although right now things are dark and very hard, I feel hopeful. I think this time it’s singular, this uprising is different. It’s woman-led, it’s youth-led. It’s extremely diverse, socio-economically, geographically [and with the] various movements that are involved. It’s also very intersectional. There were people on the street holding queer signs. There were people from all different ethnic minority groups. [It’s also] leaderless, which means everyone’s a leader and everyone’s backing each other and supporting each other and showing so many signs of love. And also the message is different. They’re demanding change — it’s not about reform — it’s about change. And there’s clarity in that.\u003c/p>\n\u003cp>Because it’s so progressive and not ideological, there’s this massive kind of globalness to the whole movement. If you focus too much on the destination and not the process, then you can’t guarantee a change. But if you have a very robust civil society and engaged citizens and they’re very clear about what they want and they’re unified in their voice… then when change comes, the chance of thriving and surviving and them not being fooled by a promise of a political leader is much higher. So that’s why I’m hopeful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘[Art is] going to allow us to continue [in the] long haul to win, because we have to do this.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nI think we all have a place in the revolution, whoever we are, because we want to see a better world. We want to see democracy and equality across the board for everyone. But as an Iranian American who was born in the U.S. but lived in Iran from a very young age, I feel like there’s a way for me to contribute to the Iran and the world that I want to see.\u003c/p>\n\u003cp>\u003cstrong>What do you think art means to the people of Iran, especially during revolutions and times of political crises, which Iran has seen many, many times? What do you think art brings to the table? \u003c/strong>\u003c/p>\n\u003cp>You want to be really strategic and thoughtful and constantly asking, “Is this bringing about change? Is it worth it?” But I do believe that people are moved to action and fall in love with an idea or get their passion from the arts. Art and emotions are very connected. It can be any version of art, it can be a poem, it can be as simple as a gesture. It can be a little dance someone does on the street that’s in defiance that matches the dance someone else did the day before they got arrested.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13922777","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There’s so much trauma in the world and there’s so much trauma inside Iran. Our country, for 44 years, has been taken hostage essentially by a group of old men. There’s personal trauma as well, and of people not being able to put food on the table or having a family member killed or themselves being tortured. So how do you process all of this grief [on] the national level as well as a personal one? Art really helps.\u003c/p>\n\u003cp>So there’s that purpose to it, there’s that level of creating something that’s unified and connects us. And it’s also an act of resilience and defiance. We’re seeing it all over there with graffiti messages or the turban tossing. I also feel like [art is] a way for people to show love and celebrate because [the government] can win everything else except our emotions, of how we feel, how we choose to respond. Us being in that space is an act of defiance and it’s how it’s going to allow us to continue [in the] long haul to win, because we have to do this.\u003c/p>\n\u003cp>\u003cstrong>Has your organization United for Iran worked with art before, and what was that experience like? Did it have a certain effect or have you personally felt a connection with art in your life? \u003c/strong>\u003c/p>\n\u003cp>Everyone needs to be invited to the party: the artists, the researchers, the advocates, the lawyers who work inside and outside the country, the journalists. So we’ve done a bunch of work with artists. We did \u003ca href=\"https://clarionalleymuralproject.org/mural/in-honor-of/\">a mural project\u003c/a> with Shaghayegh [Cyrous] in Clarion Alley in San Francisco that has our logo on it and seven political prisoners.\u003c/p>\n\u003cp>Six months into me starting United for Iran [in] December 2009, we did Arts United for Iran. We had 33 events, concerts, gallery showings, and there was an online component as well. People submitted ideas [for shows and art], so that was really wonderful. It included so many different artists. On March 8 this year, we sponsored a music video — that’s by \u003ca href=\"https://www.instagram.com/justinaofficialll/\">Justina\u003c/a>, an Iranian hip-hop artist, who lives in northern Europe.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dL7UEZldy18'\n title='//www.youtube.com/embed/dL7UEZldy18'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The last project I want to share is called “Vote for Zahra.” It was four years after the uprising happened in 2009, which was Ahmadinejad’s fraudulent election results. Four years later, he’s running [in] another election. We wanted to run a campaign to talk about the elections, [and] highlight the fact that women can’t run for office. So we used art to connect reality with fiction. There’s a graphic novel called \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Zahra%27s_Paradise\">Zahra’s Paradise\u003c/a>\u003c/em> [which tells the story of a] mom whose son went missing during the 2009 uprising named Zahra. [She] runs in the name of her son for the office of the president — a free election for free Iran. We had little pictures of her responding to the world, to the various candidates and whatever they said. People were holding her picture in front of Gandhi’s picture in D.C. and the Nelson Mandela Museum in South Africa, all over the world. That was a really great campaign. And the government of Iran took note: the minister of intelligence wrote about it, and mentioned me as an anti-revolutionary fugitive.\u003c/p>\n\u003cp>\u003cstrong>Lastly, what’s coming up next for United for Iran, not just in terms of art, but in terms of events or ideas or campaigns?\u003c/strong>\u003c/p>\n\u003cp>Nearly all of our focus [is] inside Iran. We have four major projects that we’re doing currently, and all of them [are] constantly evolving. \u003ca href=\"https://ipa.united4iran.org/en/\">Iran Prison Atlas\u003c/a> is relaunching its new website sometime mid-summer and that’s really exciting. We’ll have visualizations of the various patterns of abuse — we have data for 10 years now. The visualization will tell the story of what’s happening inside prisons and who’s being particularly targeted or persecuted, [which] prisons have most mistreatments, or which judges have the biggest violations.\u003c/p>\n\u003cp>We have an app that I mentioned at Oakland Art Museum talk as well, called \u003ca href=\"https://gershad.com/\">Gershad\u003c/a>, where you can report and detour the location of the morality police. And new versions of the app will be coming out within the year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Firuzeh Mahmoudi and United for Iran will participate in “Iran Through Women’s Eyes,” an intimate salon to discuss the interaction of art, culture and politics with other members of the Iranian diaspora on Thursday, April 27 at the World Affairs Auditorium (312 Sutter St. Suite 200, San Francisco). Tickets and event details \u003ca href=\"https://www.worldaffairs.org/events/event/2271\">are here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cstrong>Dena Aalaei\u003c/strong> is an 18-year-old journalist and activist who attends Sacred Heart Preparatory in Atherton, California. As an Iranian American writer, she finds passion in exploring her identity through reporting and revealing truths in her community. Next fall she will be attending Boston University, majoring in media science with pre-law emphasis. When she isn’t reporting and writing, you can find her listening to music or painting canvases for her friends.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928089/firuzeh-mahmoudi-united-for-iran-women-life-freedom","authors":["byline_arts_13928089"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_10278","arts_1494","arts_5375","arts_19267","arts_4533"],"featImg":"arts_13928114","label":"arts"},"arts_13927453":{"type":"posts","id":"arts_13927453","meta":{"index":"posts_1591205157","site":"arts","id":"13927453","score":null,"sort":[1680858031000]},"guestAuthors":[],"slug":"rightnowish-presents-pens-pals","title":"Rightnowish Presents: Pen's Pals","publishDate":1680858031,"format":"standard","headTitle":"Rightnowish Presents: Pen’s Pals | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>Dear Rightnowish listeners,\u003c/p>\n\u003cp>As you know by now, I love a good story.\u003c/p>\n\u003cp>Especially tales of Black folks experiencing intergalactic romance. Have you ever heard someone wax poetically about the significance of the sport of wrestling in Iran? Has anyone ever told you about the calls to prayer in Kuwait, and how they answer their spiritual sojourn? What about the sound of new acquaintances dipping into a freezing pond on a crisp morning in England?\u003c/p>\n\u003cp>These slices of life are elements of our latest series of stories from the Rightnowish team, called Pen’s Pals.\u003c/p>\n\u003cp>We spent five weeks talking to people I know from different areas of my life, who’ve all spent formative years in the Bay Area but are now living outside of the United States. The idea started off as a cheeky joke when I pitched it to the Rightnowish team:\u003c/p>\n\u003cp>\u003cem>I’ll ask people what caused them to move, how their perspectives have changed and what they’d say if they could write letters to folks back home. And since my name is Pen, we’ll call it Pen’s Pals. \u003c/em>\u003c/p>\n\u003cp>The wry comedy ended just minutes into the first interview.\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">, an East Bay photographer I’ve known for over a decade, opened up about some traumatic events he’s experienced and his current path toward healing. Before moving to Mexico, Nechodom, who was raised in Richmond, experienced armed robbery as a kid, and lost a close friend to homicide as a young adult. Nechodom is also a survivor of the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener\">Oakland Ghostship Fire\u003c/a>, a tragedy that took the lives of 36 people in 2016. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Healing and transformation, family and art were present in every interview in this series. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927461\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg\" alt=\"Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n-160x128.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \u003ccite>(Aïdah Aaliyah Rasheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/aidahrasheed/\">\u003cb>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3065902373&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n Aïdah Aaliyah Rasheed\u003c/b>\u003c/a>\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> a photographer, filmmaker and curator for \u003c/span>\u003ca href=\"https://www.instagram.com/sapelosquare/\">\u003cspan style=\"font-weight: 400\">Sapelo Square\u003c/span>\u003c/a>, is an artist\u003cspan style=\"font-weight: 400\"> I’ve also known for about a decade. She shared with us what it’s like to live in Kuwait, where her workplace covers her rent. As a married mother of two and a high school educator, she says it’s a major game changer for someone who spent her whole adult life navigating the Northern Californian housing market. “What’s nice about not having to think about that,” says Rasheed of living rent-free, “is that you can think about other things, you know, and investing money towards other experiences like traveling.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg\" alt=\"Toby Brothers stops for a photo while standing on a bridge in England. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toby Brothers stops for a photo while standing on a bridge in Paris. \u003ccite>(Via Toby Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8777233494&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003ca style=\"color: #41a62a\" href=\"https://www.litsalon.co.uk/\">\u003cb>Toby Brothers\u003c/b>\u003c/a> is another person who has left the U.S. and fallen in love with traveling the world. After working as an educator at the East Bay high school I graduated from, she initially left for Paris before moving to the United Kingdom, where she became the founder\u003cspan style=\"font-weight: 400\"> and director of the \u003c/span>\u003ca href=\"https://www.instagram.com/londonliterarysalon/\">\u003cspan style=\"font-weight: 400\">London Literary Salon. \u003c/span>\u003c/a>The organization, i\u003cspan style=\"font-weight: 400\">n its simplest form, is a book club with a twist. They meet in-person or virtually, discuss classic works of literature and sometimes they take trips to locations mentioned in the stories. When asked what she’d share with people from her travels, Brothers advised: \u003c/span>\u003cspan style=\"font-weight: 400\">“Go not for the world to entertain you, but for you to understand how small your own experience is.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927464 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC05094-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094.jpg 1479w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3261423808&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003c/a>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">Mohammad Gorjestani\u003c/a>, \u003c/strong>a Bay Area filmmaker and head of \u003ca href=\"https://evenodd.studio/\" target=\"_blank\" rel=\"noopener\">Even/ Odd Studios\u003c/a>, was raised in San Jose and now lives in San Francisco. But in his heart, his birthplace of Iran holds just as much significance as the place where he was raised. Although he hasn’t visited Iran since leaving in the early 2000s, \u003cspan style=\"font-weight: 400\">Gorjestani has made it a practice to collect art and artifacts from Iran, some of which he goes to extensive measures to procure. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927465 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4815838840&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003cstrong>\u003ca href=\"https://www.instagram.com/anwarbey/\">Anwar Bey-Taylor\u003c/a> \u003c/strong>was raised in Southern California before spending a significant amount of his adult life in San Francisco, where he worked as a video game designer. After a few trips to an assorted list of countries on the continent of Africa, Bey-Taylor says he’s found home in South Africa. While there, he’s using the inspiration to fuel his writing, as he works on a series of stories for his \u003ca href=\"https://www.instagram.com/plasmaworlds/\" target=\"_blank\" rel=\"noopener\">PLASMAWorlds platform\u003c/a>, called \u003cem>the Book of WOLDU.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, I’m a fan of a good story. Especially one that broadens your worldview, localizes global issues, makes foreign places more familiar and allows you to get to know your neighbors– even if they live on the other side of the world. Yeah, that’s what these stories have brought forth for me, and I hope it provides the same service for you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace, \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pendarvis Harshaw\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A series of conversations with people who are connected to the Bay Area but are now living abroad.","status":"publish","parent":0,"modified":1705005656,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":922},"headData":{"title":"Rightnowish Presents: Pen's Pals | KQED","description":"A series of conversations with people who are connected to the Bay Area but are now living abroad.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rightnowish Presents: Pen's Pals","datePublished":"2023-04-07T09:00:31.000Z","dateModified":"2024-01-11T20:40:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"subhead":"Five stories of folks who spent formative years in the Bay, but have lives outside of the United States","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927453/rightnowish-presents-pens-pals","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Rightnowish listeners,\u003c/p>\n\u003cp>As you know by now, I love a good story.\u003c/p>\n\u003cp>Especially tales of Black folks experiencing intergalactic romance. Have you ever heard someone wax poetically about the significance of the sport of wrestling in Iran? Has anyone ever told you about the calls to prayer in Kuwait, and how they answer their spiritual sojourn? What about the sound of new acquaintances dipping into a freezing pond on a crisp morning in England?\u003c/p>\n\u003cp>These slices of life are elements of our latest series of stories from the Rightnowish team, called Pen’s Pals.\u003c/p>\n\u003cp>We spent five weeks talking to people I know from different areas of my life, who’ve all spent formative years in the Bay Area but are now living outside of the United States. The idea started off as a cheeky joke when I pitched it to the Rightnowish team:\u003c/p>\n\u003cp>\u003cem>I’ll ask people what caused them to move, how their perspectives have changed and what they’d say if they could write letters to folks back home. And since my name is Pen, we’ll call it Pen’s Pals. \u003c/em>\u003c/p>\n\u003cp>The wry comedy ended just minutes into the first interview.\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">, an East Bay photographer I’ve known for over a decade, opened up about some traumatic events he’s experienced and his current path toward healing. Before moving to Mexico, Nechodom, who was raised in Richmond, experienced armed robbery as a kid, and lost a close friend to homicide as a young adult. Nechodom is also a survivor of the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener\">Oakland Ghostship Fire\u003c/a>, a tragedy that took the lives of 36 people in 2016. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Healing and transformation, family and art were present in every interview in this series. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927461\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg\" alt=\"Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n-160x128.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \u003ccite>(Aïdah Aaliyah Rasheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/aidahrasheed/\">\u003cb>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3065902373&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n Aïdah Aaliyah Rasheed\u003c/b>\u003c/a>\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> a photographer, filmmaker and curator for \u003c/span>\u003ca href=\"https://www.instagram.com/sapelosquare/\">\u003cspan style=\"font-weight: 400\">Sapelo Square\u003c/span>\u003c/a>, is an artist\u003cspan style=\"font-weight: 400\"> I’ve also known for about a decade. She shared with us what it’s like to live in Kuwait, where her workplace covers her rent. As a married mother of two and a high school educator, she says it’s a major game changer for someone who spent her whole adult life navigating the Northern Californian housing market. “What’s nice about not having to think about that,” says Rasheed of living rent-free, “is that you can think about other things, you know, and investing money towards other experiences like traveling.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg\" alt=\"Toby Brothers stops for a photo while standing on a bridge in England. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toby Brothers stops for a photo while standing on a bridge in Paris. \u003ccite>(Via Toby Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8777233494&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003ca style=\"color: #41a62a\" href=\"https://www.litsalon.co.uk/\">\u003cb>Toby Brothers\u003c/b>\u003c/a> is another person who has left the U.S. and fallen in love with traveling the world. After working as an educator at the East Bay high school I graduated from, she initially left for Paris before moving to the United Kingdom, where she became the founder\u003cspan style=\"font-weight: 400\"> and director of the \u003c/span>\u003ca href=\"https://www.instagram.com/londonliterarysalon/\">\u003cspan style=\"font-weight: 400\">London Literary Salon. \u003c/span>\u003c/a>The organization, i\u003cspan style=\"font-weight: 400\">n its simplest form, is a book club with a twist. They meet in-person or virtually, discuss classic works of literature and sometimes they take trips to locations mentioned in the stories. When asked what she’d share with people from her travels, Brothers advised: \u003c/span>\u003cspan style=\"font-weight: 400\">“Go not for the world to entertain you, but for you to understand how small your own experience is.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927464 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC05094-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094.jpg 1479w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3261423808&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003c/a>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">Mohammad Gorjestani\u003c/a>, \u003c/strong>a Bay Area filmmaker and head of \u003ca href=\"https://evenodd.studio/\" target=\"_blank\" rel=\"noopener\">Even/ Odd Studios\u003c/a>, was raised in San Jose and now lives in San Francisco. But in his heart, his birthplace of Iran holds just as much significance as the place where he was raised. Although he hasn’t visited Iran since leaving in the early 2000s, \u003cspan style=\"font-weight: 400\">Gorjestani has made it a practice to collect art and artifacts from Iran, some of which he goes to extensive measures to procure. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927465 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4815838840&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003cstrong>\u003ca href=\"https://www.instagram.com/anwarbey/\">Anwar Bey-Taylor\u003c/a> \u003c/strong>was raised in Southern California before spending a significant amount of his adult life in San Francisco, where he worked as a video game designer. After a few trips to an assorted list of countries on the continent of Africa, Bey-Taylor says he’s found home in South Africa. While there, he’s using the inspiration to fuel his writing, as he works on a series of stories for his \u003ca href=\"https://www.instagram.com/plasmaworlds/\" target=\"_blank\" rel=\"noopener\">PLASMAWorlds platform\u003c/a>, called \u003cem>the Book of WOLDU.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, I’m a fan of a good story. Especially one that broadens your worldview, localizes global issues, makes foreign places more familiar and allows you to get to know your neighbors– even if they live on the other side of the world. Yeah, that’s what these stories have brought forth for me, and I hope it provides the same service for you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace, \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pendarvis Harshaw\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927453/rightnowish-presents-pens-pals","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_1494","arts_5573","arts_20223","arts_6764","arts_3539","arts_5292"],"featImg":"arts_13927460","label":"arts_8720"},"arts_13926597":{"type":"posts","id":"arts_13926597","meta":{"index":"posts_1591205157","site":"arts","id":"13926597","score":null,"sort":[1679425084000]},"guestAuthors":[],"slug":"homa-dashtaki-yogurt-and-whey-nowruz-recipes-zoroastrian-iranian","title":"If You Want to Up Your Yogurt Game, This Iranian Cookbook Will Show You the Whey","publishDate":1679425084,"format":"standard","headTitle":"If You Want to Up Your Yogurt Game, This Iranian Cookbook Will Show You the Whey | KQED","labelTerm":{},"content":"\u003cp>Homa Dashtaki didn’t really think about her relationship to food until shortly after she was laid off from a career in law, and was living at home in California. She and her father would make yogurt together from scratch, just the way her Zoroastrian-Iranian ancestors had done for many generations. The comfort in taking up ancient traditions was enough to inspire her to completely pivot and start her own business selling yogurt at a local farmers’ market.\u003c/p>\n\u003cp>From the reaction of customers, she says, she realized they were onto something.\u003c/p>\n\u003cp>[aside postid='arts_13894263']After many hurdles — including an attempt, she says, at being shut down by the California Department of Food and Agriculture and a subsequent move to New York — \u003ca href=\"https://whitemoustache.com/\">The White Moustache\u003c/a> was born. Named in honor of her father’s bushy whiskers, the yogurt has become a cult item for the kind of New Yorker who shops in stores such as Whole Foods, Eataly and the Park Slope Food Coop.\u003c/p>\n\u003cp>In her new cookbook, \u003cem>Yogurt and Whey: Recipes of an Iranian Immigrant Life,\u003c/em> Dashtaki weaves her personal journey through nearly 100 recipes, old and new. One key ingredient is whey, the liquid byproduct of the yogurt-making process. With recipes such as whey cocktails and popsicles, the book demonstrates a central value of both her culture and business: nothing goes to waste.\u003c/p>\n\u003cp>“Every scrap is not thought of as trash,” Dashtaki says. “It’s thought of as an opportunity to celebrate that food.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Think about butchering an animal — “from head to toe, you are using every single piece of it,” Dashtaki says. “And in a celebratory way … I think that very intense feeling has sort of informed everything I do.”\u003c/p>\n\u003cp>\u003cem>Yogurt and Whey\u003c/em> arrives just in time for this year’s Persian New Year (or \u003cem>Nowruz\u003c/em> in Persian), and the start of spring.\u003c/p>\n\u003cp>Below, find Dashtaki’s recipe for pancakes featuring whey.\u003c/p>\n\u003cfigure id=\"attachment_13926603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg\" alt=\"A woman stands in a bright, white kitchen, dressed in crisp white chef's uniform. She is standing over a white mixing bowl smiling.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homa Dashtaki. \u003ccite>(Nicole Franzen/ The White Moustache)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Whey-to-Start-the-Weekend Pancakes\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cp>1 1/3 cups all-purpose flour\u003cbr>\n2 tablespoons sugar\u003cbr>\n1 teaspoon baking powder\u003cbr>\n1 teaspoon baking soda\u003cbr>\n1 teaspoon kosher salt\u003cbr>\n2 large eggs\u003cbr>\n1 cup yogurt whey\u003cbr>\n4 tablespoons (1/2 stick) unsalted butter, melted, plus more for the skillet\u003cbr>\nNeutral oil (such as sunflower, canola, or grapeseed) or coconut oil for the skillet\u003c/p>\n\u003cp>\u003cem>Makes about 8 (4-inch) pancakes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Recipe\u003c/strong>\u003c/p>\n\u003cp>In a large bowl, whisk together the flour, sugar, baking powder, baking soda, and salt.\u003c/p>\n\u003cp>In a medium bowl, whisk the eggs, whey, and melted butter until thoroughly combined. Pour the wet ingredients into the dry and gently whisk just until incorporated. (A few lumps are okay and preferable to an overmixed batter, which will lead to denser pancakes). Set the batter aside for 15 minutes at room temperature, until the surface is dotted with bubbles.\u003c/p>\n\u003cp>[aside postid='bayareabites_94115']Heat a large nonstick skillet or griddle over medium light. Plop in approximately 1 teaspoon butter and 1 teaspoon oil (you get the flavor and browning properties of butter, while the oil tempers burning), and swirl the pan to coat well.\u003c/p>\n\u003cp>Pour about 1/3 cup batter per pancake into the hot pan. Bubbles will form on the tops of the pancakes; wait to flip them until most of the bubbles have popped and the surface begins to lose its wet, shiny look, 2 to 3 minutes. If you like, use a spatula to peek underneath when you think the pancakes are getting close — the bottom should be golden brown. Flip and cook for another 1 to 2 minutes, just until golden. Transfer to a plate and repeat to cook the remaining pancakes, adding more butter and oil as needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Serve with maple syrup, jam, yogurt, fresh fruit, or lemon juice and sugar… or all of the above. Or just stand at the stove and eat them with your hands. Hey, it’s the weekend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=If+you+want+to+up+your+yogurt+game%2C+this+Iranian+cookbook+will+show+you+the+whey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Just in time for the Persian New Year, Homa Dashtaki has published the ‘Yogurt and Whey’ cookbook.","status":"publish","parent":0,"modified":1705005719,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":678},"headData":{"title":"If You Want to Up Your Yogurt Game, This Iranian Cookbook Will Show You the Whey | KQED","description":"Just in time for the Persian New Year, Homa Dashtaki has published the ‘Yogurt and Whey’ cookbook.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"If You Want to Up Your Yogurt Game, This Iranian Cookbook Will Show You the Whey","datePublished":"2023-03-21T18:58:04.000Z","dateModified":"2024-01-11T20:41:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"/food/","sticky":false,"nprImageCredit":"Mobolaji Adeolu ","nprByline":"Diba Mohtasham","nprImageAgency":"The White Moustache","nprStoryId":"1163377520","nprApiLink":"http://api.npr.org/query?id=1163377520&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/03/20/1163377520/if-you-want-to-up-your-yogurt-game-this-iranian-cookbook-will-show-you-the-whey?ft=nprml&f=1163377520","nprRetrievedStory":"1","nprPubDate":"Mon, 20 Mar 2023 09:13:00 -0400","nprStoryDate":"Mon, 20 Mar 2023 05:10:00 -0400","nprLastModifiedDate":"Mon, 20 Mar 2023 05:31:15 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/03/20230320_me_if_you_want_to_up_your_yogurt_game_this_iranian_cookbook_will_show_you_the_whey.mp3?orgId=1&topicId=1053&d=213&p=3&story=1163377520&ft=nprml&f=1163377520","nprAudioM3u":"http://api.npr.org/m3u/11164641759-3ae172.m3u?orgId=1&topicId=1053&d=213&p=3&story=1163377520&ft=nprml&f=1163377520","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13926597/homa-dashtaki-yogurt-and-whey-nowruz-recipes-zoroastrian-iranian","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2023/03/20230320_me_if_you_want_to_up_your_yogurt_game_this_iranian_cookbook_will_show_you_the_whey.mp3?orgId=1&topicId=1053&d=213&p=3&story=1163377520&ft=nprml&f=1163377520","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Homa Dashtaki didn’t really think about her relationship to food until shortly after she was laid off from a career in law, and was living at home in California. She and her father would make yogurt together from scratch, just the way her Zoroastrian-Iranian ancestors had done for many generations. The comfort in taking up ancient traditions was enough to inspire her to completely pivot and start her own business selling yogurt at a local farmers’ market.\u003c/p>\n\u003cp>From the reaction of customers, she says, she realized they were onto something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894263","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>After many hurdles — including an attempt, she says, at being shut down by the California Department of Food and Agriculture and a subsequent move to New York — \u003ca href=\"https://whitemoustache.com/\">The White Moustache\u003c/a> was born. Named in honor of her father’s bushy whiskers, the yogurt has become a cult item for the kind of New Yorker who shops in stores such as Whole Foods, Eataly and the Park Slope Food Coop.\u003c/p>\n\u003cp>In her new cookbook, \u003cem>Yogurt and Whey: Recipes of an Iranian Immigrant Life,\u003c/em> Dashtaki weaves her personal journey through nearly 100 recipes, old and new. One key ingredient is whey, the liquid byproduct of the yogurt-making process. With recipes such as whey cocktails and popsicles, the book demonstrates a central value of both her culture and business: nothing goes to waste.\u003c/p>\n\u003cp>“Every scrap is not thought of as trash,” Dashtaki says. “It’s thought of as an opportunity to celebrate that food.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Think about butchering an animal — “from head to toe, you are using every single piece of it,” Dashtaki says. “And in a celebratory way … I think that very intense feeling has sort of informed everything I do.”\u003c/p>\n\u003cp>\u003cem>Yogurt and Whey\u003c/em> arrives just in time for this year’s Persian New Year (or \u003cem>Nowruz\u003c/em> in Persian), and the start of spring.\u003c/p>\n\u003cp>Below, find Dashtaki’s recipe for pancakes featuring whey.\u003c/p>\n\u003cfigure id=\"attachment_13926603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg\" alt=\"A woman stands in a bright, white kitchen, dressed in crisp white chef's uniform. She is standing over a white mixing bowl smiling.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/f-w_white_moustache_0031_vert-a3cf5d907cf12cc8625ef6d5c848fd918baa4e8c-1.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Homa Dashtaki. \u003ccite>(Nicole Franzen/ The White Moustache)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Whey-to-Start-the-Weekend Pancakes\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cp>1 1/3 cups all-purpose flour\u003cbr>\n2 tablespoons sugar\u003cbr>\n1 teaspoon baking powder\u003cbr>\n1 teaspoon baking soda\u003cbr>\n1 teaspoon kosher salt\u003cbr>\n2 large eggs\u003cbr>\n1 cup yogurt whey\u003cbr>\n4 tablespoons (1/2 stick) unsalted butter, melted, plus more for the skillet\u003cbr>\nNeutral oil (such as sunflower, canola, or grapeseed) or coconut oil for the skillet\u003c/p>\n\u003cp>\u003cem>Makes about 8 (4-inch) pancakes\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Recipe\u003c/strong>\u003c/p>\n\u003cp>In a large bowl, whisk together the flour, sugar, baking powder, baking soda, and salt.\u003c/p>\n\u003cp>In a medium bowl, whisk the eggs, whey, and melted butter until thoroughly combined. Pour the wet ingredients into the dry and gently whisk just until incorporated. (A few lumps are okay and preferable to an overmixed batter, which will lead to denser pancakes). Set the batter aside for 15 minutes at room temperature, until the surface is dotted with bubbles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"bayareabites_94115","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Heat a large nonstick skillet or griddle over medium light. Plop in approximately 1 teaspoon butter and 1 teaspoon oil (you get the flavor and browning properties of butter, while the oil tempers burning), and swirl the pan to coat well.\u003c/p>\n\u003cp>Pour about 1/3 cup batter per pancake into the hot pan. Bubbles will form on the tops of the pancakes; wait to flip them until most of the bubbles have popped and the surface begins to lose its wet, shiny look, 2 to 3 minutes. If you like, use a spatula to peek underneath when you think the pancakes are getting close — the bottom should be golden brown. Flip and cook for another 1 to 2 minutes, just until golden. Transfer to a plate and repeat to cook the remaining pancakes, adding more butter and oil as needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Serve with maple syrup, jam, yogurt, fresh fruit, or lemon juice and sugar… or all of the above. Or just stand at the stove and eat them with your hands. Hey, it’s the weekend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=If+you+want+to+up+your+yogurt+game%2C+this+Iranian+cookbook+will+show+you+the+whey&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926597/homa-dashtaki-yogurt-and-whey-nowruz-recipes-zoroastrian-iranian","authors":["byline_arts_13926597"],"programs":["arts_13999"],"categories":["arts_1","arts_73","arts_12276"],"tags":["arts_928","arts_16106","arts_1494"],"affiliates":["arts_137"],"featImg":"arts_13926598","label":"source_arts_13926597"},"arts_13922777":{"type":"posts","id":"arts_13922777","meta":{"index":"posts_1591205157","site":"arts","id":"13922777","score":null,"sort":[1671480000000]},"guestAuthors":[],"slug":"iranian-american-artists-women-life-freedom-protests-bay-area","title":"‘It’s Not Art, It’s Our Lives’: Iranian American Women Put Protests at the Center of New Work","publishDate":1671480000,"format":"standard","headTitle":"‘It’s Not Art, It’s Our Lives’: Iranian American Women Put Protests at the Center of New Work | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Nov. 30, Iranian authorities arrested the creators of \u003ca href=\"https://english.alarabiya.net/News/middle-east/2022/11/30/Iran-arrests-two-actors-behind-defiant-no-headscarves-video\">a defiant viral video\u003c/a>, who stood silently without headscarves in solidarity with the Woman, Life, Freedom movement.\u003c/p>\n\u003cp>Two weeks later, a collective of Bay Area Iranian American activists \u003ca href=\"https://www.instagram.com/p/CmKm9QIDcTS/\">restaged the performance\u003c/a> in front of the San Francisco Museum of Modern Art to continue to raise awareness for the protests against the Islamic regime, which has reportedly now killed nearly 500 protesters and carried out \u003ca href=\"https://www.npr.org/2022/12/12/1142165598/second-iranian-detainee-is-executed-over-alleged-protest-crime\">the execution of a second detainee\u003c/a> in an attempt to quell a national uprising.\u003c/p>\n\u003cp>Chopped hair and discarded hijabs have become worldwide symbols for women’s liberation after the death of 22-year-old Mahsa Amini. And for many Iranian American women, the ongoing movement has excavated traumatic histories and stories of oppression they thought they left behind. But staying silent is not an option, they say, especially since they won’t suffer the same consequences their loved ones in Iran face.\u003c/p>\n\u003cp>As the Women, Life, Freedom movement continues, Bay Area Iranian American women are bringing their lived experiences into protest art projects that speak to the beauty of the Iranian diaspora while condemning the current regime’s subjugation of its people. The stories they carry prove that Iran is not just a country in turmoil, but the home of a culture and a heritage they’re embodying through their art, for the liberation of future generations. \u003c/p>\n\u003cfigure id=\"attachment_13922786\" class=\"wp-caption aligncenter\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/MobinaAI.jpg\" alt=\"Grid of images of blood dripping on white cloth in mosques\" width=\"1242\" height=\"1254\" class=\"size-full wp-image-13922786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-1020x1030.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-768x775.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">AI-generated work by Mobina Nouri. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I wanted to be the voice of the women inside Iran’\u003c/h2>\n\u003cp>When Mahsa Amini died, all of Mobina Nouri’s work came to a standstill. Her existing practice, which uses traditional Persian calligraphy and iconography to tell the stories of immigrant women, felt inadequate to express the moment. She turned instead to AI-generated art, creating digital renders by inputting phrases that described her feelings juxtaposed with Iran’s vibrant cultural history, such as “gun blood on Persian carpet” and “women sculpture shot in blood in a mosque.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CkaCyITuLqn/\">The results are macabre\u003c/a>: statues crying blood in mausoleums, bloody guns left atop Persian rugs. Many renders are too gruesome for her to post on Instagram. “Sorry that my content is so violent,” Nouri writes in her captions, “but this is the reality of our experience.” \u003c/p>\n\u003cp>For Nouri, who left Iran in 2010 after experiencing oppression, the project means more than raising awareness. It has become a healing process. “I witnessed so much cruelty,” she says. “I could feel the brutality of the regime on my skin, and I wanted to be the voice of the women inside Iran.” \u003c/p>\n\u003cp>Nouri fears she can’t go back to Iran as a result of her recent art. Thousands of political prisoners (including artists, activists and teachers) are held in Evin Prison, where \u003ca href=\"https://www.amnesty.org/en/latest/campaigns/2017/10/iran-human-rights-defenders-jailed-for-their-anti-death-penalty-work/\">some face the death penalty\u003c/a>. Searching for a way to speak out on the prisoners’ behalf, she discovered a social media project by an anonymous Iranian graphic design artist known as “\u003ca href=\"https://www.instagram.com/_themilad/\">The Milad\u003c/a>” who posts the names and faces of those held captive. \u003c/p>\n\u003cp>With permission, Nouri incorporated the images into her performance \u003cem>The Wind In My Hair\u003c/em> on Nov. 12, part of an event organized by Los Angeles-based Iranian artist Katayoun Bahrami in San Francisco’s Clarion Alley.\u003c/p>\n\u003cp>Using the alley gate as a reference to prison bars, Nouri attached 60 scissors to her red dress and stood with long strands of her hair tied to the gate, each strand bearing the photo and name of an imprisoned protester. She invited participants to cut her hair and keep the images as sobering reminders of these individuals’ unknown fates. \u003c/p>\n\u003cp>With the last cut, Nouri, freed from the gate, lip-synced a cover of the Iranian classic “Vatan” (“homeland” in Farsi). \u003c/p>\n\u003cp>“So many people from Iran reached out to say thank you for being their voice,” Nouri says. “I feel like I’ve given them hope to not give up.”\u003c/p>\n\u003cp>The relative liberties of living in America do not erase the oppression Nouri experienced in the past. “This is our life, so whatever is happening in Iran, we are a part of it,” she says. “Now that we are free, why are we silent?” \u003c/p>\n\u003cfigure id=\"attachment_13922785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920.jpg\" alt=\"Woman with dark hair and classes holds pen surrounded by works on paper\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Jose artist Pantea Karimi. \u003ccite>(Photo by Carolina Porras Monroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The struggle continues’\u003c/h2>\n\u003cp>For many women who grew up in Iran, subservience was inculcated at an early age. “Learning was intertwined with religious indoctrination,” says Pantea Karimi, a San Jose visual artist who left Iran in early 2001 after experiencing harassment on multiple occasions from the morality police. “I was subjected to this systematic brainwashing to make me a religious female product.”\u003c/p>\n\u003cp>Now, Karimi draws from her experiences in post-revolutionary Iran to create work that simultaneously celebrates and protests Iranian life. One symbol reappears: the Kaaba (or “cube” in Arabic), the most sacred Islamic site.\u003c/p>\n\u003cp>Like Nouri, Karimi moved quickly to address the protests in her own work, which erupted while she was preparing a solo exhibition for Oakland’s Mercury 20 Gallery. “The upheaval and flashbacks took me to a very dark, emotional place,” Karimi says, and she felt compelled to reinvent her show.\u003c/p>\n\u003cp>Karimi began filming women who cut their hair in solidarity with the Women, Life, Freedom movement. Twenty (mostly non-Iranian) women in her Bay Area and San Diego art communities participated in the project, garnering over two million views on her \u003ca href=\"https://www.instagram.com/karimipantea/\">Instagram account\u003c/a>. \u003c/p>\n\u003cp>“Some of the women, cutting their hair, had tears in their eyes, and their hands were shaking,” Karimi recalls. “It’s a meaningful gesture, when a woman cuts her hair in solidarity.”\u003c/p>\n\u003cfigure id=\"attachment_13922784\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Naked-Cube-details_1200.jpg\" alt=\"Overhead view of locks of hair pinned to broken glass inside metal cube framework\" width=\"1200\" height=\"1594\" class=\"size-full wp-image-13922784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-1156x1536.jpg 1156w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail image of Pantea Karimi’s sculpture ‘Naked Cube’ at Mercury 20 Gallery. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her exhibition, Karimi marked the opening and closing by staging a \u003ca href=\"https://www.instagram.com/p/ClhoHQTJZ9b/\">performance\u003c/a> around \u003cem>Naked Cube\u003c/em>, a sculpture made with donated hair. The piece is dedicated to Iranian women and girls, including Karimi’s cousin, who was beaten by the morality police just a few months ago. \u003c/p>\n\u003cp>“The piece is symbolic of simultaneous bravery and mourning,” explains Karimi. “None of the hair I presented in the piece was truly free — they were pinned to the broken glass, because the struggle continues.” \u003c/p>\n\u003cp>Karimi says the response from her friends and family in Iran was overwhelmingly positive, and \u003cem>Naked Cube\u003c/em> has allowed her to finally express the hardship she endured as a child and young adult. She hopes to reprise the exhibition to keep advocating on behalf of the uprising, saying, “The struggle of Iranian women to gain their agency cannot die.”\u003c/p>\n\u003ch2>‘I can only make art’\u003c/h2>\n\u003cp>Like Nouri and Karimi, Aisan Hoss left Iran to more freely pursue her artistic passion. When she was 12 years old, the Iranian American choreographer found an underground dance studio in Iran and began performing traditional dance forms to a female-only audience. Years later she started her own dance company in Iran, but her practice became increasingly risky as it grew in popularity.\u003c/p>\n\u003cp>Hoss left Iran in 2013 at age 22, launching her contemporary Iranian dance company \u003ca href=\"https://www.aisanhossdance.com/\">Aisan Hoss and Dancers\u003c/a> in the Bay Area in 2017. \u003c/p>\n\u003cp>For Hoss, choreography is a tool to transmit her identity outside of her home country, a theme her non-Iranian dance community didn’t fully understand until the current protests.\u003c/p>\n\u003cfigure id=\"attachment_13922782\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AisanHoss2_1920.jpg\" alt=\"Visibly pregnant woman in black dress dances in front of mural depicting Iranian flag and protest messages\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13922782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aisan Hoss performing at at a Women, Life, Freedom march on Oct. 7, 2022 at San Francisco’s Civic Center. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt like my art read as being this miserable, oppressed woman,” she says. Hoss tried to organize a flash mob as a symbol of Bay Area solidarity weeks before San Francisco’s Women, Life, Freedom march on Oct. 7, but she couldn’t find enough dancers who were willing to be associated with a protest. \u003c/p>\n\u003cp>So nine months pregnant, \u003ca href=\"https://www.instagram.com/p/CjhZUAJuqoq/\">she performed by herself\u003c/a> against the backdrop of a “Women, Life, Freedom” mural at Civic Center, dancing to the Iranian protest anthem, “\u003ca href=\"https://www.washingtonpost.com/world/2022/10/04/iran-protests-song-shervin-hajipour-arrested/\">Baraye\u003c/a>.”\u003c/p>\n\u003cp>“It was very powerful for me,” Hoss remembers. “At first I was very sad that I couldn’t find dancers, but it just felt fearless. It was empowering for me to do this while pregnant.”\u003c/p>\n\u003cp>Like many Iranian American artists, Hoss is skeptical that her work can instigate real change in the regime back home. “My friends are in the streets every day. My mom got shot and beaten. I can only make art,” she says. “It’s like eating a nice meal in front of the people who are hungry.”\u003c/p>\n\u003cp>And yet, Nouri, Karimi and Hoss continue to fight for liberation in their home country through their primary means: their own artistic platforms. Nouri has pop-up ensemble performances scheduled; Karimi and Hoss are using social media to speak out against the executions of Iranian protesters. Here and elsewhere, Iranians are preparing to gather for Yalda, a Dec. 21 festival that celebrates the coming of winter, the renewal of the sun and victory of light over darkness. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In this spirit, Hoss says she asks herself: “Should I just be quiet or does my art really change something? And then I decided, yes, it does.”\u003c/p>\n\n","blocks":[],"excerpt":"Bay Area artists have joined the fight for liberation in their home country through their artistic platforms.","status":"publish","parent":0,"modified":1705006042,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1595},"headData":{"title":"Iranian American Women Put Protests at the Center of Their Art | KQED","description":"Bay Area artists have joined the fight for liberation in their home country through their artistic platforms.","ogTitle":"‘It’s Not Art, It’s Our Lives’: Iranian American Women Put Protests at the Center of New Work","ogDescription":"","ogImgId":"","twTitle":"‘It’s Not Art, It’s Our Lives’: Iranian American Women Put Protests at the Center of New Work","twDescription":"","twImgId":"","socialTitle":"Iranian American Women Put Protests at the Center of Their Art %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘It’s Not Art, It’s Our Lives’: Iranian American Women Put Protests at the Center of New Work","datePublished":"2022-12-19T20:00:00.000Z","dateModified":"2024-01-11T20:47:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13922777/iranian-american-artists-women-life-freedom-protests-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Nov. 30, Iranian authorities arrested the creators of \u003ca href=\"https://english.alarabiya.net/News/middle-east/2022/11/30/Iran-arrests-two-actors-behind-defiant-no-headscarves-video\">a defiant viral video\u003c/a>, who stood silently without headscarves in solidarity with the Woman, Life, Freedom movement.\u003c/p>\n\u003cp>Two weeks later, a collective of Bay Area Iranian American activists \u003ca href=\"https://www.instagram.com/p/CmKm9QIDcTS/\">restaged the performance\u003c/a> in front of the San Francisco Museum of Modern Art to continue to raise awareness for the protests against the Islamic regime, which has reportedly now killed nearly 500 protesters and carried out \u003ca href=\"https://www.npr.org/2022/12/12/1142165598/second-iranian-detainee-is-executed-over-alleged-protest-crime\">the execution of a second detainee\u003c/a> in an attempt to quell a national uprising.\u003c/p>\n\u003cp>Chopped hair and discarded hijabs have become worldwide symbols for women’s liberation after the death of 22-year-old Mahsa Amini. And for many Iranian American women, the ongoing movement has excavated traumatic histories and stories of oppression they thought they left behind. But staying silent is not an option, they say, especially since they won’t suffer the same consequences their loved ones in Iran face.\u003c/p>\n\u003cp>As the Women, Life, Freedom movement continues, Bay Area Iranian American women are bringing their lived experiences into protest art projects that speak to the beauty of the Iranian diaspora while condemning the current regime’s subjugation of its people. The stories they carry prove that Iran is not just a country in turmoil, but the home of a culture and a heritage they’re embodying through their art, for the liberation of future generations. \u003c/p>\n\u003cfigure id=\"attachment_13922786\" class=\"wp-caption aligncenter\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/MobinaAI.jpg\" alt=\"Grid of images of blood dripping on white cloth in mosques\" width=\"1242\" height=\"1254\" class=\"size-full wp-image-13922786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-1020x1030.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/MobinaAI-768x775.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">AI-generated work by Mobina Nouri. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I wanted to be the voice of the women inside Iran’\u003c/h2>\n\u003cp>When Mahsa Amini died, all of Mobina Nouri’s work came to a standstill. Her existing practice, which uses traditional Persian calligraphy and iconography to tell the stories of immigrant women, felt inadequate to express the moment. She turned instead to AI-generated art, creating digital renders by inputting phrases that described her feelings juxtaposed with Iran’s vibrant cultural history, such as “gun blood on Persian carpet” and “women sculpture shot in blood in a mosque.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CkaCyITuLqn/\">The results are macabre\u003c/a>: statues crying blood in mausoleums, bloody guns left atop Persian rugs. Many renders are too gruesome for her to post on Instagram. “Sorry that my content is so violent,” Nouri writes in her captions, “but this is the reality of our experience.” \u003c/p>\n\u003cp>For Nouri, who left Iran in 2010 after experiencing oppression, the project means more than raising awareness. It has become a healing process. “I witnessed so much cruelty,” she says. “I could feel the brutality of the regime on my skin, and I wanted to be the voice of the women inside Iran.” \u003c/p>\n\u003cp>Nouri fears she can’t go back to Iran as a result of her recent art. Thousands of political prisoners (including artists, activists and teachers) are held in Evin Prison, where \u003ca href=\"https://www.amnesty.org/en/latest/campaigns/2017/10/iran-human-rights-defenders-jailed-for-their-anti-death-penalty-work/\">some face the death penalty\u003c/a>. Searching for a way to speak out on the prisoners’ behalf, she discovered a social media project by an anonymous Iranian graphic design artist known as “\u003ca href=\"https://www.instagram.com/_themilad/\">The Milad\u003c/a>” who posts the names and faces of those held captive. \u003c/p>\n\u003cp>With permission, Nouri incorporated the images into her performance \u003cem>The Wind In My Hair\u003c/em> on Nov. 12, part of an event organized by Los Angeles-based Iranian artist Katayoun Bahrami in San Francisco’s Clarion Alley.\u003c/p>\n\u003cp>Using the alley gate as a reference to prison bars, Nouri attached 60 scissors to her red dress and stood with long strands of her hair tied to the gate, each strand bearing the photo and name of an imprisoned protester. She invited participants to cut her hair and keep the images as sobering reminders of these individuals’ unknown fates. \u003c/p>\n\u003cp>With the last cut, Nouri, freed from the gate, lip-synced a cover of the Iranian classic “Vatan” (“homeland” in Farsi). \u003c/p>\n\u003cp>“So many people from Iran reached out to say thank you for being their voice,” Nouri says. “I feel like I’ve given them hope to not give up.”\u003c/p>\n\u003cp>The relative liberties of living in America do not erase the oppression Nouri experienced in the past. “This is our life, so whatever is happening in Iran, we are a part of it,” she says. “Now that we are free, why are we silent?” \u003c/p>\n\u003cfigure id=\"attachment_13922785\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920.jpg\" alt=\"Woman with dark hair and classes holds pen surrounded by works on paper\" width=\"1920\" height=\"1094\" class=\"size-full wp-image-13922785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-1020x581.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Pantea-Karimi-photo-by-CAROLINA-PORRAS-MONROY-MASS-MoCA_1920-1536x875.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">San Jose artist Pantea Karimi. \u003ccite>(Photo by Carolina Porras Monroy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The struggle continues’\u003c/h2>\n\u003cp>For many women who grew up in Iran, subservience was inculcated at an early age. “Learning was intertwined with religious indoctrination,” says Pantea Karimi, a San Jose visual artist who left Iran in early 2001 after experiencing harassment on multiple occasions from the morality police. “I was subjected to this systematic brainwashing to make me a religious female product.”\u003c/p>\n\u003cp>Now, Karimi draws from her experiences in post-revolutionary Iran to create work that simultaneously celebrates and protests Iranian life. One symbol reappears: the Kaaba (or “cube” in Arabic), the most sacred Islamic site.\u003c/p>\n\u003cp>Like Nouri, Karimi moved quickly to address the protests in her own work, which erupted while she was preparing a solo exhibition for Oakland’s Mercury 20 Gallery. “The upheaval and flashbacks took me to a very dark, emotional place,” Karimi says, and she felt compelled to reinvent her show.\u003c/p>\n\u003cp>Karimi began filming women who cut their hair in solidarity with the Women, Life, Freedom movement. Twenty (mostly non-Iranian) women in her Bay Area and San Diego art communities participated in the project, garnering over two million views on her \u003ca href=\"https://www.instagram.com/karimipantea/\">Instagram account\u003c/a>. \u003c/p>\n\u003cp>“Some of the women, cutting their hair, had tears in their eyes, and their hands were shaking,” Karimi recalls. “It’s a meaningful gesture, when a woman cuts her hair in solidarity.”\u003c/p>\n\u003cfigure id=\"attachment_13922784\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Naked-Cube-details_1200.jpg\" alt=\"Overhead view of locks of hair pinned to broken glass inside metal cube framework\" width=\"1200\" height=\"1594\" class=\"size-full wp-image-13922784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-800x1063.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Naked-Cube-details_1200-1156x1536.jpg 1156w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Detail image of Pantea Karimi’s sculpture ‘Naked Cube’ at Mercury 20 Gallery. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For her exhibition, Karimi marked the opening and closing by staging a \u003ca href=\"https://www.instagram.com/p/ClhoHQTJZ9b/\">performance\u003c/a> around \u003cem>Naked Cube\u003c/em>, a sculpture made with donated hair. The piece is dedicated to Iranian women and girls, including Karimi’s cousin, who was beaten by the morality police just a few months ago. \u003c/p>\n\u003cp>“The piece is symbolic of simultaneous bravery and mourning,” explains Karimi. “None of the hair I presented in the piece was truly free — they were pinned to the broken glass, because the struggle continues.” \u003c/p>\n\u003cp>Karimi says the response from her friends and family in Iran was overwhelmingly positive, and \u003cem>Naked Cube\u003c/em> has allowed her to finally express the hardship she endured as a child and young adult. She hopes to reprise the exhibition to keep advocating on behalf of the uprising, saying, “The struggle of Iranian women to gain their agency cannot die.”\u003c/p>\n\u003ch2>‘I can only make art’\u003c/h2>\n\u003cp>Like Nouri and Karimi, Aisan Hoss left Iran to more freely pursue her artistic passion. When she was 12 years old, the Iranian American choreographer found an underground dance studio in Iran and began performing traditional dance forms to a female-only audience. Years later she started her own dance company in Iran, but her practice became increasingly risky as it grew in popularity.\u003c/p>\n\u003cp>Hoss left Iran in 2013 at age 22, launching her contemporary Iranian dance company \u003ca href=\"https://www.aisanhossdance.com/\">Aisan Hoss and Dancers\u003c/a> in the Bay Area in 2017. \u003c/p>\n\u003cp>For Hoss, choreography is a tool to transmit her identity outside of her home country, a theme her non-Iranian dance community didn’t fully understand until the current protests.\u003c/p>\n\u003cfigure id=\"attachment_13922782\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/AisanHoss2_1920.jpg\" alt=\"Visibly pregnant woman in black dress dances in front of mural depicting Iranian flag and protest messages\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13922782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/AisanHoss2_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Aisan Hoss performing at at a Women, Life, Freedom march on Oct. 7, 2022 at San Francisco’s Civic Center. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I felt like my art read as being this miserable, oppressed woman,” she says. Hoss tried to organize a flash mob as a symbol of Bay Area solidarity weeks before San Francisco’s Women, Life, Freedom march on Oct. 7, but she couldn’t find enough dancers who were willing to be associated with a protest. \u003c/p>\n\u003cp>So nine months pregnant, \u003ca href=\"https://www.instagram.com/p/CjhZUAJuqoq/\">she performed by herself\u003c/a> against the backdrop of a “Women, Life, Freedom” mural at Civic Center, dancing to the Iranian protest anthem, “\u003ca href=\"https://www.washingtonpost.com/world/2022/10/04/iran-protests-song-shervin-hajipour-arrested/\">Baraye\u003c/a>.”\u003c/p>\n\u003cp>“It was very powerful for me,” Hoss remembers. “At first I was very sad that I couldn’t find dancers, but it just felt fearless. It was empowering for me to do this while pregnant.”\u003c/p>\n\u003cp>Like many Iranian American artists, Hoss is skeptical that her work can instigate real change in the regime back home. “My friends are in the streets every day. My mom got shot and beaten. I can only make art,” she says. “It’s like eating a nice meal in front of the people who are hungry.”\u003c/p>\n\u003cp>And yet, Nouri, Karimi and Hoss continue to fight for liberation in their home country through their primary means: their own artistic platforms. Nouri has pop-up ensemble performances scheduled; Karimi and Hoss are using social media to speak out against the executions of Iranian protesters. Here and elsewhere, Iranians are preparing to gather for Yalda, a Dec. 21 festival that celebrates the coming of winter, the renewal of the sun and victory of light over darkness. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this spirit, Hoss says she asks herself: “Should I just be quiet or does my art really change something? And then I decided, yes, it does.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922777/iranian-american-artists-women-life-freedom-protests-bay-area","authors":["11771"],"categories":["arts_1","arts_70"],"tags":["arts_10278","arts_1494","arts_5375","arts_19267"],"featImg":"arts_13922799","label":"arts"},"arts_13921268":{"type":"posts","id":"arts_13921268","meta":{"index":"posts_1591205157","site":"arts","id":"13921268","score":null,"sort":[1667501125000]},"guestAuthors":[],"slug":"10-books-to-read-to-learn-about-womens-plight-in-iran","title":"10 Books to Read to Learn About Women's Plight in Iran","publishDate":1667501125,"format":"standard","headTitle":"10 Books to Read to Learn About Women’s Plight in Iran | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Mass \u003ca href=\"https://www.npr.org/2022/10/29/1131830324/india-hijab-iran-protests\">demonstrations\u003c/a> happening in Iran were sparked by the death of a 22-year-old woman named Mahsa “Jina” Amini, in a Tehran hospital on Sept. 16, two days after her arrest by Islamic Republic authorities for failing to properly cover her hair.\u003c/p>\n\u003cp>Hijab is mandatory in Iran and is enforced by “vice-and-virtue” squads. Iranian officials claim she suffered a heart attack, but witnesses at the police station and her relatives say Amini was severely beaten while she was in custody.\u003c/p>\n\u003cp>[aside postid='arts_13920137']Videos and posts on social media and independent news reports show the resulting Iranian protests — the largest since 2009 — are being violently and often fatally suppressed by Iranian security forces. Many women and girls at these demonstrations have removed their own headscarves in public and cut or shaved their hair. The images and reports have spurred solidarity protests around the world.\u003c/p>\n\u003cp>But the uprising in Iran is about much more than mandatory hijab.\u003c/p>\n\u003cp>We have put together a reading list that can offer insight into Iranian women and what is happening in their country. This list of 10 books was complied with the help of fellow Iranian friends and family, including journalist and author Nazila Fathi; refugee and migration law expert Parastou Hassouri, comedian Maz Jobrani, and Maryam Haghbin, a Montessori field consultant (and also my cousin). Many are memoirs by women who were forced to flee Iran:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Persepolis (I and II)\u003c/strong> \u003c/em>by Marjane Satrapi, a French-Iranian illustrator and children’s author. The engaging memoir told in comics as well as its film adaptation are about her childhood in Iran and adolescence in Europe — and describe how the four-decade old revolution that toppled the Shah ended up oppressing the public it purported to liberate, especially women.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Until We Are Free: My Fight for Human Rights in Iran\u003c/em>\u003c/strong> by Shirin Ebadi, the 2003 Nobel Peace Prize winner and judge who because of her sex was forced from office in the Islamic Republic — yet remained defiant. This is her second memoir.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Iran Awakening: One Woman’s Journey to Reclaim her Life and Country\u003c/em>\u003c/strong> by Shirin Ebadi (with journalist Azadeh Moaveni). Her first memoir, chronicling her earlier years and how the Iranian revolution that so many embraced turned into a theocracy.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Lonely War: One Woman’s Account of the Struggle for Modern Iran,\u003c/em> \u003c/strong>by Nazila Fathi, a former \u003cem>New York Times\u003c/em> reporter who seamlessly weaves her compelling story as a journalist ultimately forced to flee her native Iran with the post-revolution history of her country.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Prison, My Home: One Woman’s Story of Captivity in Iran\u003c/em>\u003c/strong> by Haleh Esfandiari, an Iranian-American scholar and former director of the Middle East Program at the Woodrow Wilson Center. The memoir delves into her arrest on false charges and her time at the notorious Evin Prison.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reconstructed Lives: Women and Iran’s Islamic Revolution\u003c/em> \u003c/strong>by Haleh Esfandiari, who presents interviews with Iranian professional and working women and their dramatic accounts about what has happened to them following the 1979 revolution.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Women and Revolution in Iran\u003c/strong> \u003c/em>by Guity Nashat, a historian and researcher who edited this collection of essays featuring various perspectives on the participation of women in the 1979 Islamic revolution in Iran and its complexities.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Between Warrior Brother and Veiled Sister: Islamic Fundamentalism and the Politics of Patriarchy in Iran\u003c/em>\u003c/strong> by Minoo Moallem, a professor of gender and women’s studies at the University of California at Berkeley. She analyzes modern Iran and, while critical of the treatment of women, sets aside stereotypes of Islam and Muslims as fanatical and backward.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Honeymoon in Tehran: Two Years of Love and Danger in Iran\u003c/em>\u003c/strong> by Azadeh Moaveni, former journalist who directs the Gender and Conflict Program at the International Crisis Group. This is her second memoir, an engaging account of her personal and professional life in Tehran during the rise of populist President Mahmoud Ahmadinejad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reading Lolita in Tehran \u003c/em>\u003c/strong>by Azar Nafisi, an English literature professor. This bestselling memoir about a clandestine book club she hosts at her home in Tehran draws readers in, but has been criticized by many in the Iranian diaspora and some non-Iranians for portraying Iranian themes through a narrow, Western lens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+books+to+read+to+learn+about+women%27s+plight+in+Iran&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The latest uprising in Iran is about much more than mandatory hijab.","status":"publish","parent":0,"modified":1705006192,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":725},"headData":{"title":"10 Books to Read to Learn About Women's Plight in Iran | KQED","description":"The latest uprising in Iran is about much more than mandatory hijab.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Books to Read to Learn About Women's Plight in Iran","datePublished":"2022-11-03T18:45:25.000Z","dateModified":"2024-01-11T20:49:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Meghan Collins Sullivan","nprByline":"Soraya Sarhaddi Nelson","nprImageAgency":"NPR","nprStoryId":"1133056694","nprApiLink":"http://api.npr.org/query?id=1133056694&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/11/03/1133056694/10-books-to-read-to-learn-about-womens-plight-in-iran?ft=nprml&f=1133056694","nprRetrievedStory":"1","nprPubDate":"Thu, 03 Nov 2022 10:50:00 -0400","nprStoryDate":"Thu, 03 Nov 2022 10:50:15 -0400","nprLastModifiedDate":"Thu, 03 Nov 2022 10:50:15 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13921268/10-books-to-read-to-learn-about-womens-plight-in-iran","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mass \u003ca href=\"https://www.npr.org/2022/10/29/1131830324/india-hijab-iran-protests\">demonstrations\u003c/a> happening in Iran were sparked by the death of a 22-year-old woman named Mahsa “Jina” Amini, in a Tehran hospital on Sept. 16, two days after her arrest by Islamic Republic authorities for failing to properly cover her hair.\u003c/p>\n\u003cp>Hijab is mandatory in Iran and is enforced by “vice-and-virtue” squads. Iranian officials claim she suffered a heart attack, but witnesses at the police station and her relatives say Amini was severely beaten while she was in custody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920137","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Videos and posts on social media and independent news reports show the resulting Iranian protests — the largest since 2009 — are being violently and often fatally suppressed by Iranian security forces. Many women and girls at these demonstrations have removed their own headscarves in public and cut or shaved their hair. The images and reports have spurred solidarity protests around the world.\u003c/p>\n\u003cp>But the uprising in Iran is about much more than mandatory hijab.\u003c/p>\n\u003cp>We have put together a reading list that can offer insight into Iranian women and what is happening in their country. This list of 10 books was complied with the help of fellow Iranian friends and family, including journalist and author Nazila Fathi; refugee and migration law expert Parastou Hassouri, comedian Maz Jobrani, and Maryam Haghbin, a Montessori field consultant (and also my cousin). Many are memoirs by women who were forced to flee Iran:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Persepolis (I and II)\u003c/strong> \u003c/em>by Marjane Satrapi, a French-Iranian illustrator and children’s author. The engaging memoir told in comics as well as its film adaptation are about her childhood in Iran and adolescence in Europe — and describe how the four-decade old revolution that toppled the Shah ended up oppressing the public it purported to liberate, especially women.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Until We Are Free: My Fight for Human Rights in Iran\u003c/em>\u003c/strong> by Shirin Ebadi, the 2003 Nobel Peace Prize winner and judge who because of her sex was forced from office in the Islamic Republic — yet remained defiant. This is her second memoir.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Iran Awakening: One Woman’s Journey to Reclaim her Life and Country\u003c/em>\u003c/strong> by Shirin Ebadi (with journalist Azadeh Moaveni). Her first memoir, chronicling her earlier years and how the Iranian revolution that so many embraced turned into a theocracy.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Lonely War: One Woman’s Account of the Struggle for Modern Iran,\u003c/em> \u003c/strong>by Nazila Fathi, a former \u003cem>New York Times\u003c/em> reporter who seamlessly weaves her compelling story as a journalist ultimately forced to flee her native Iran with the post-revolution history of her country.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Prison, My Home: One Woman’s Story of Captivity in Iran\u003c/em>\u003c/strong> by Haleh Esfandiari, an Iranian-American scholar and former director of the Middle East Program at the Woodrow Wilson Center. The memoir delves into her arrest on false charges and her time at the notorious Evin Prison.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reconstructed Lives: Women and Iran’s Islamic Revolution\u003c/em> \u003c/strong>by Haleh Esfandiari, who presents interviews with Iranian professional and working women and their dramatic accounts about what has happened to them following the 1979 revolution.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Women and Revolution in Iran\u003c/strong> \u003c/em>by Guity Nashat, a historian and researcher who edited this collection of essays featuring various perspectives on the participation of women in the 1979 Islamic revolution in Iran and its complexities.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Between Warrior Brother and Veiled Sister: Islamic Fundamentalism and the Politics of Patriarchy in Iran\u003c/em>\u003c/strong> by Minoo Moallem, a professor of gender and women’s studies at the University of California at Berkeley. She analyzes modern Iran and, while critical of the treatment of women, sets aside stereotypes of Islam and Muslims as fanatical and backward.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Honeymoon in Tehran: Two Years of Love and Danger in Iran\u003c/em>\u003c/strong> by Azadeh Moaveni, former journalist who directs the Gender and Conflict Program at the International Crisis Group. This is her second memoir, an engaging account of her personal and professional life in Tehran during the rise of populist President Mahmoud Ahmadinejad.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Reading Lolita in Tehran \u003c/em>\u003c/strong>by Azar Nafisi, an English literature professor. This bestselling memoir about a clandestine book club she hosts at her home in Tehran draws readers in, but has been criticized by many in the Iranian diaspora and some non-Iranians for portraying Iranian themes through a narrow, Western lens.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+books+to+read+to+learn+about+women%27s+plight+in+Iran&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921268/10-books-to-read-to-learn-about-womens-plight-in-iran","authors":["byline_arts_13921268"],"categories":["arts_1","arts_73"],"tags":["arts_1942","arts_1494","arts_19000","arts_1756"],"affiliates":["arts_137"],"featImg":"arts_13921269","label":"arts_137"},"arts_13918020":{"type":"posts","id":"arts_13918020","meta":{"index":"posts_1591205157","site":"arts","id":"13918020","score":null,"sort":[1661455012000]},"guestAuthors":[],"slug":"exiled-writers-reflect-on-freedom-of-speech-in-america-in-light-of-rushdie-attack","title":"Exiled Writers Reflect on Freedom of Speech in America in Light of Rushdie Attack","publishDate":1661455012,"format":"standard","headTitle":"Exiled Writers Reflect on Freedom of Speech in America in Light of Rushdie Attack | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>For dissident writers fleeing persecution overseas, the United States has long been a safe haven, a place where freedom of expression is tolerated and, even, valued.\u003c/p>\n\u003cp>That suddenly changed earlier this month, with the \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">brutal attack\u003c/a> on author Salman Rushdie at a speaking event in western New York.\u003c/p>\n\u003cp>“Oh my God! When I heard that, I was screaming,” said Masih Alinejad, a writer and activist who has criticized the Iranian government. “I was just running corner to corner in my safe house and shouting and just calling my husband, ‘I cannot believe this is happening in America, in New York.”\u003c/p>\n\u003cp>[aside postid='arts_13917567']While literary writers in the U.S. increasingly face online threats, they rarely metastasize into actual physical attacks, said Karin Deutsche Karlekar, who directs the Writers at Risk program at PEN America. Authors routinely make public appearances with little or no security.\u003c/p>\n\u003cp>Such was the case with Rushdie. The India-born writer became the target of a Fatwa by Iran’s Ayatollah Khomeini in the late 1980s, over his depiction of the Prophet Muhammed in his book \u003cem>The Satanic Verses\u003c/em>, and was forced into hiding.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He ultimately emerged and moved to New York. Over time, he began making personal appearances and, in the process, turned into an eloquent proponent of the right to free speech.\u003c/p>\n\u003cp>“Many of us who joined this field grew up being sort of galvanized by his case and what had happened to him,” Karlekar said. “And in the decades since, he has really been this sort of stalwart defender of free expression for other writers at risk.”\u003c/p>\n\u003cp>By this year, the dangers he faced appeared to have faded. Then, on Aug. 12, as Rushdie was about to begin a lecture at the \u003ca href=\"https://www.npr.org/2022/08/14/1117465755/the-chautauqua-institutions-role-after-the-salman-rushdie-attack\" target=\"_blank\" rel=\"noopener noreferrer\">Chautauqua Institution\u003c/a>, a man rushed the stage and stabbed him repeatedly. The 75-year-old writer was severely injured but is expected to survive.\u003c/p>\n\u003cp>[aside postid='forum_201509101000']Police arrested 24-year-old Hadi Matar of Fairview, New Jersey, who is said to have pro-Iran sympathies.\u003c/p>\n\u003cp>The viciousness of the attack is forcing speaking venues that regularly host writers to rethink their security procedures, according to an official of one organization that often sponsors lectures.\u003c/p>\n\u003cp>But “unless you want to make every event like going to the airport,” it’s difficult if not impossible to completely eliminate risk, said the official, who was not authorized to speak publicly.\u003c/p>\n\u003cp>As a result, dissident writers who had come to feel safe in the United States are questioning that assumption.\u003c/p>\n\u003cp>Osama Alomar, a Syrian poet who has criticized his government and was forced to flee into exile, lives in a house sponsored by a U.S. human-rights group, where he has felt safe. After the Rushdie attack, he’s not as sure.\u003c/p>\n\u003cp>“I used to say it when I was in Syria that I’m worried about freedom of speech in Syria. Now I’m worried about that even here in America,” he said.\u003c/p>\n\u003cp>For journalist and activist Alinejad, an outspoken critic of Sharia law, the attack follows several incidents in which her safety was threatened. Last year, the FBI said it had foiled a plot by Iranian intelligence officers to kidnap Alinejad at her Brooklyn home. On July 28, a man was arrested carrying an AK-47 assault rifle outside her home.\u003c/p>\n\u003cp>Then came the attack on Rushdie, whom she has come to admire.\u003c/p>\n\u003cp>[aside postid='arts_13917750']“To be honest, Salman Rushdie changed my life,” she said. As a teenager in Iran, she was furious at the writer, because she was “brainwashed” by government propaganda, she said.\u003c/p>\n\u003cp>“But when I started doing my own research about him, I was like, ‘This is unbelievable. This is what I believe now, that I have to speak out,'” she said.\u003c/p>\n\u003cp>While the threats against her have made her feel “miserable,” she is resolved to keep writing and speaking out against tyranny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her dream now is to one day appear at the Chautauqua Institution, on the same stage where Rushdie was so viciously attacked this month.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Exiled+writers+reflect+on+freedom+of+speech+in+America+in+light+of+Rushdie+attack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"For dissident writers fleeing persecution overseas, the United States has long been a safe haven.","status":"publish","parent":0,"modified":1705006457,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":707},"headData":{"title":"Exiled Writers Reflect on Freedom of Speech in America in Light of Rushdie Attack | KQED","description":"For dissident writers fleeing persecution overseas, the United States has long been a safe haven.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Exiled Writers Reflect on Freedom of Speech in America in Light of Rushdie Attack","datePublished":"2022-08-25T19:16:52.000Z","dateModified":"2024-01-11T20:54:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jim Zarroli","nprStoryId":"1119199533","nprApiLink":"http://api.npr.org/query?id=1119199533&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/08/24/1119199533/exiled-writers-reflect-on-freedom-of-speech-in-america-in-light-of-rushdie-attac?ft=nprml&f=1119199533","nprRetrievedStory":"1","nprPubDate":"Wed, 24 Aug 2022 16:59:00 -0400","nprStoryDate":"Wed, 24 Aug 2022 16:17:46 -0400","nprLastModifiedDate":"Wed, 24 Aug 2022 16:17:46 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/08/20220824_atc_exiled_writers_reflect_on_freedom_of_speech_in_america_in_light_of_rushdie_attack.mp3?orgId=1&topicId=1032&d=219&p=2&story=1119199533&ft=nprml&f=1119199533","nprAudioM3u":"http://api.npr.org/m3u/11119308638-a4bce1.m3u?orgId=1&topicId=1032&d=219&p=2&story=1119199533&ft=nprml&f=1119199533","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13918020/exiled-writers-reflect-on-freedom-of-speech-in-america-in-light-of-rushdie-attack","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2022/08/20220824_atc_exiled_writers_reflect_on_freedom_of_speech_in_america_in_light_of_rushdie_attack.mp3?orgId=1&topicId=1032&d=219&p=2&story=1119199533&ft=nprml&f=1119199533","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For dissident writers fleeing persecution overseas, the United States has long been a safe haven, a place where freedom of expression is tolerated and, even, valued.\u003c/p>\n\u003cp>That suddenly changed earlier this month, with the \u003ca href=\"https://www.npr.org/2022/08/12/1117164727/salman-rushdie-condition-stabbing-new-york\" target=\"_blank\" rel=\"noopener noreferrer\">brutal attack\u003c/a> on author Salman Rushdie at a speaking event in western New York.\u003c/p>\n\u003cp>“Oh my God! When I heard that, I was screaming,” said Masih Alinejad, a writer and activist who has criticized the Iranian government. “I was just running corner to corner in my safe house and shouting and just calling my husband, ‘I cannot believe this is happening in America, in New York.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917567","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>While literary writers in the U.S. increasingly face online threats, they rarely metastasize into actual physical attacks, said Karin Deutsche Karlekar, who directs the Writers at Risk program at PEN America. Authors routinely make public appearances with little or no security.\u003c/p>\n\u003cp>Such was the case with Rushdie. The India-born writer became the target of a Fatwa by Iran’s Ayatollah Khomeini in the late 1980s, over his depiction of the Prophet Muhammed in his book \u003cem>The Satanic Verses\u003c/em>, and was forced into hiding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He ultimately emerged and moved to New York. Over time, he began making personal appearances and, in the process, turned into an eloquent proponent of the right to free speech.\u003c/p>\n\u003cp>“Many of us who joined this field grew up being sort of galvanized by his case and what had happened to him,” Karlekar said. “And in the decades since, he has really been this sort of stalwart defender of free expression for other writers at risk.”\u003c/p>\n\u003cp>By this year, the dangers he faced appeared to have faded. Then, on Aug. 12, as Rushdie was about to begin a lecture at the \u003ca href=\"https://www.npr.org/2022/08/14/1117465755/the-chautauqua-institutions-role-after-the-salman-rushdie-attack\" target=\"_blank\" rel=\"noopener noreferrer\">Chautauqua Institution\u003c/a>, a man rushed the stage and stabbed him repeatedly. The 75-year-old writer was severely injured but is expected to survive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_201509101000","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Police arrested 24-year-old Hadi Matar of Fairview, New Jersey, who is said to have pro-Iran sympathies.\u003c/p>\n\u003cp>The viciousness of the attack is forcing speaking venues that regularly host writers to rethink their security procedures, according to an official of one organization that often sponsors lectures.\u003c/p>\n\u003cp>But “unless you want to make every event like going to the airport,” it’s difficult if not impossible to completely eliminate risk, said the official, who was not authorized to speak publicly.\u003c/p>\n\u003cp>As a result, dissident writers who had come to feel safe in the United States are questioning that assumption.\u003c/p>\n\u003cp>Osama Alomar, a Syrian poet who has criticized his government and was forced to flee into exile, lives in a house sponsored by a U.S. human-rights group, where he has felt safe. After the Rushdie attack, he’s not as sure.\u003c/p>\n\u003cp>“I used to say it when I was in Syria that I’m worried about freedom of speech in Syria. Now I’m worried about that even here in America,” he said.\u003c/p>\n\u003cp>For journalist and activist Alinejad, an outspoken critic of Sharia law, the attack follows several incidents in which her safety was threatened. Last year, the FBI said it had foiled a plot by Iranian intelligence officers to kidnap Alinejad at her Brooklyn home. On July 28, a man was arrested carrying an AK-47 assault rifle outside her home.\u003c/p>\n\u003cp>Then came the attack on Rushdie, whom she has come to admire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13917750","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“To be honest, Salman Rushdie changed my life,” she said. As a teenager in Iran, she was furious at the writer, because she was “brainwashed” by government propaganda, she said.\u003c/p>\n\u003cp>“But when I started doing my own research about him, I was like, ‘This is unbelievable. This is what I believe now, that I have to speak out,'” she said.\u003c/p>\n\u003cp>While the threats against her have made her feel “miserable,” she is resolved to keep writing and speaking out against tyranny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her dream now is to one day appear at the Chautauqua Institution, on the same stage where Rushdie was so viciously attacked this month.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Exiled+writers+reflect+on+freedom+of+speech+in+America+in+light+of+Rushdie+attack&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918020/exiled-writers-reflect-on-freedom-of-speech-in-america-in-light-of-rushdie-attack","authors":["byline_arts_13918020"],"categories":["arts_1","arts_73"],"tags":["arts_7573","arts_1494"],"affiliates":["arts_137"],"featImg":"arts_13918045","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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