DOCSLIB.ORG

Untitled Work from the Lit Shadow Series, Mohammad-Hossein Emad (B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Untitled Work from the Lit Shadow Series, Mohammad-Hossein Emad (B F T O E C H U R S A N I Iranian contemporary art has been The modern movements of Iranian art began considered the powerhouse of Middle during the 1940s; at the time of increased N Eastern art, and one of the most unique relations and contact with the West and right forces within the global art scene. In after the death of Iran’s master painter Kamal- T making modern Iran, art has played a ol-Molk (1852 – 1940) that symbolically ended R fundamental role to break the rules of the rigid adherence to academic painting. For conventions, to crack open cemented the first time Iranian artists and intellectuals O opinions and has challenged and looked began to openly question authority and push D at the world and its own society with a boundaries, and this resulted in the creation critical eye. Iran’s modern history is of a group of artists dedicated to creating a U full of segmented episodes of artistic uniquely Iranian and modern idiom. As artistic C inquisitions for creating a native, yet a expectations gradually evolved, teaching modern artistic language. establishments began to also transform; T shifting their teaching methodologies from I what were long traditionally practiced and began to encourage innovation instead of O copying. N The three decades before the 1979 revolution saw the opening of Iran’s first galleries and Iranian artists becoming active in the international art scene by participating in solo and group exhibitions and art fairs around the world. Iran also gradually became the cultural hub of the region, regularly holding events and festivals and attracting the most well-known and most influential artists, collectors and art patrons of the world. The infamous Shiraz Art Festival for example was held annually in the city of Shiraz between 1967 until 1977 hosting and celebrating an array of avant-garde artistic productions and performances from around the world. Many of the country’s most important art The war years also highly influenced certain most prestigious museums and galleries in These days, despite the country being home centres, cinemas, theatres, concert halls, visual developments in urban art, graphic arts, the word have acquired and presented some of to dozens of active art centres, museums and national galleries and museums were built cinema and music all at work to foster national the best of what Iran has artistically produced. government funded institutions; it is dominantly between 1950s and the end of 1970s albeit support and to commemorate the many lives Iranian art has also dominated and has highly the privately funded galleries and institutions having been directly inspired by the west, to lost. Logistically however, Iran’s museums, art influenced the art market of the region, holding that discover and promote the vibrant side of encourage and flourish the domestic artistic centres and independent galleries were some record sales numbers and prices. A sculpture Iranian art, carry out quality presentations, and cultural scene. Tehran’s Vahdat Hall of the most hardly affected units no longer by Parviz Tanavoli sold in 2008 for $2.8 million exchange programs, collaborate worldwide (initially Roudaki Hall) constructed during supported or funded and no longer allowed at the Christie’s in Dubai still holds the record and develop and fund cultural ideas. Tehran the 60s for example, was home to Tehran’s the freedom of artistic exploitation the way of a highest price ever achieved for a work of is an interesting example of a city that has Opera Company, Iranian National Ballet they had experienced during the years prior art at an auction in Dubai and a world auction managed to organically develop its own unique Company and Tehran’s Symphony Orchestra to the revolution. For some time and despite record for a piece of art by any Middle Eastern artistic scene using its available own capacity, that regularly produced and held opera, dance many artists working independently inside the artist, and this trend although bumpy at times, talent and format for doing so. Galleries of and music performances. Tehran’s Museum country developing a whole new vocabulary has continued. Tehran promote such a diverse range of art of Contemporary Art (TMOCA) that opened in suitable for this challenging atmosphere, it The attention to Iranian art and its rising to such a wide range of the city’s audiences 1977, is still home to some of the world’s most was mainly Iran’s new wave cinema and some prices at auction houses around the world has today. important and finest collections of Iranian and visual artists on exile who gained most of the subsequently greatly influenced the art scene The demand for art has never been this high Western art. world’s attention and defined Iranian art. inside the country and the domestic market. post revolution and as the diplomatic mood The revolution of 1979 however, opened a Iranian artists on exile unlike their peers These days, the number of first time buyers are is shifting and Iran is once again on the verge whole new chapter in the history of Iranian inside the country were the group who could on the rise and the established and emerging of a positive political and economical change, art and even though it put the breaks on the explore the effects of revolution and war Iranian collectors are eager more than ever to focusing on Iranian art and the future of its modernist and subversive artistic movements freely and be outspoken about their inner acquire works of art for investment or for love. market seems favourable. In this edition of of the pre-revolutionary Iran, it ultimately emotional upheavals as Iranians. They could The newly established Tehran Auction (2011) Contemporary Istanbul, the fair is especially gave birth to a whole new era of socially and also be able to openly criticise traditions and and many active art galleries in the capital focusing on Iranian art through collaboration politically engaged art. Today, what is referred effects of religion without the need to censor are also the testimony that the business of with some of Tehran’s most active and upbeat to as “Contemporary Iranian Art” is what has their views. art is booming and the demand for art rising. galleries showcasing an interesting range of been produced after the 1979 revolution, Limitations inside Iran however, ultimately Today, art galleries in Tehran are fulfilling the art by some of the country’s established and during the Iran-Iraq conflict and the post war contributed to the birth of a highly unique increasing demand and interest in modern emerging artists. period up until now. and astonishing artistic language. Literature, and contemporary Iranian art. They act as What is presented in this event will be a For the first few years after the revolution, music, films and all of the visual arts produced facilitators for not only the acquisition of the unique chance for global art lovers to get Iranian art was dominated and highly during this time in Iran’s history have best of art the country has to offer but also closer to the allure of the diverse range of art influenced by the after shocks of the revolution predominantly managed to act as frontiers to support and promote the best of artists in represented in Iran today and to get closer to and the Iran-Iraq conflict that lasted eight of opening horizons and of social psyche. It need of agents. the art of a country that has never failed to long years (1980 – 1988). Many Iranian artists is also during this time that art eventually Iranian galleries today go beyond being just influence and touch its viewers, and to speak directly covered the war or were inspired by the came out of its elitist shell and interacted and businesses. They have a long history for having of messages universal yet consequential. atrocities this conflict caused and left behind. engaged with a much wider audience because a central role in stimulating imagination, This event will also be a rare opportunity to it dealt with relevant key issues affecting all desire and continuity despite receiving little present what Tehran’s alternative artistic Iranians. support from authorities. scene has managed to achieve with this hope Despite domestic challenges and limitations, For years, Tehran art galleries were the only that such public platforms will pave the way and the country’s poor relations with the world available public spaces in the country for artistic for new beginnings in cultural collaborations, and especially the west, attention to Iranian presentation, dialogue, experimentation and education and future of the art market in the art began to really flourish after the revolution promotion. It is not far from the truth to claim region. because of its deeply moving content, unique that the history of art galleries in Tehran for approach and representational technique in the past 35 years or so has been the story of Leila Sajjadi such critical times in its history. overcoming extraordinary challenges, and of Tehran, October 2015 From the late 1990s up until today, Iran has survival. seen an explosion of artistic activity and production. There have been numerous exhibitions and festivals held highlighting Iranian contemporary art globally. Some of the Aaran Gallery was established in 2008 with a Represented artists: A special focus on representing young and emerging Sasan Abri (b. 1984) Iranian artists. The gallery has been active ever Hadi Alijani (b. 1987) A since introducing and promoting some of Iran’s Mojtaba Amini (b. 1979) R most important and vibrant emerging artists to Nasser Bakhshi (b. 1982) the global audience.
Load more

Recommended publications
  • Le Vie Dell'amicizia: Ravenna-Kiev Riccardo Muti John Malkovich
    Le vie dell’Amicizia: Ravenna-Kiev direttore Riccardo Muti voce recitante John Malkovich Si vive meglio in un territorio che incoraggia 2018 i Sogni. Ravenna-Kiev Le vie dell’Amicizia ©2016 direttore Riccardo Muti voce recitante John Malkovich DAL 1992, UN IMPEGNO FORTE PER LA CRESCITA SOCIALE DEL MONDO GIOVANILE. La Fondazione Cassa di Risparmio di Ravenna ha sempre rivolto grande attenzione all’universo giovanile, contribuendo alla trasmissione di valori e motivazioni. I progetti sostenuti in questi anni hanno svolto un ruolo importante per la crescita dei processi educativi, dell’istruzione, della pratica sportiva e per l’acquisizione di strutture e dotazioni all’avanguardia al servizio del Polo ravennate dell’Ateneo bolognese. Da anni, la Fondazione opera inoltre per la valorizzazione dell’autonomia scolastica e, grazie al suo contributo, un numero ingente di plessi scolastici dell’intero territorio provinciale ha già rinnovato laboratori, luoghi di lettura e di studio, modalità di insegnamento. La Fondazione contribuisce a rispondere con un segnale forte di speranza e di fiducia alle aspettative sociali della comunità, per l’avvenire nostro e dei nostri figli. Palazzo Mauro de André DA SEMPRE A FIANCO DEL RAVENNA FESTIVAL. 3 luglio, ore 21 www.fondazionecassaravenna.it ringrazia Sotto l’Alto Patronato del Presidente della Repubblica Italiana con il patrocinio di Associazione Amici di Ravenna Festival Presidenza del Consiglio dei Ministri Ministero dei Beni e delle Attività Culturali e del Turismo Apt Servizi Emilia Romagna Ministero
    [Show full text]
  • Women Musicians and Dancers in Post-Revolution Iran
    Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran.
    [Show full text]
  • Why the Fighting Cock? the Significance of the Imagery of the Khorus Jangi and Its Manifesto “The Slaughterer of the Nightingale”
    Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto “The Slaughterer of the Nightingale” Aida Foroutan Postdoctoral Researcher, University of Manchester Abstract In this essay I seek to explore the icon of the Fighting Cock movement (Khorus Jangi) and of its Manifesto, “The Slaughterer of the Nightingale,” in order to con- sider its implications and imagistic allusions. In outlining the background of the Khorus Jangi and associated movements, I discuss the imagery of the khorus both in ancient Iran and globally, and in the context of the ideology of the Khorus Jangi. The Manifesto is discussed and analyzed and it is seen that the khorus prefigured the Manifesto, and heralded the appearance of a new movement in painting, as distinct from what had already happened in surrealist and modernist circles in writing. The manifestation of surrealist and modernist ideology in imagery seems to have been a response to this wake-up call of the Khorus Jangi. Aida Foroutan, “Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto ‘The Slaughterer of the Nightingale,’” Iran Namag, Volume 1, Number 1 (Spring 2016), XXVIII-XLIX. Aida Foroutan was trained as a painter and graduated from the Al-Zahra University of Tehran with a BSc in Industrial Design. She moved to the United Kingdom in 2007 to study for a Masters degree in Theatre Studies at the University of Manchester, after which she gained her PhD in Art History there. Her 2012 doctoral thesis was on the reception of Surrealism in Iranian art and literature.
    [Show full text]
  • Ghazaleh Mohammadi Honored at Japanese Environment Painting
    Prayer Times Noon:11:56 Evening: 17:33 Dawn: 4:11 (tomorrow) Sunrise: 7:03 (tomorrow) DECEMBER 9, 2019 ART&CULTURE I N T E R N A T I O N A L D A I L Y www.tehrantimes.com Managing Director: Mohammad Shojaeian Editor-in-Chief: Mohammad Ghaderi Ghazaleh Mohammadi honored at Editorial Dept.: Fax: (+98 21) 88808214 — 88808895 [email protected] Switchboard Operator: Tel: (+98 21) 43051000 Advertisements Dept.: Telefax: (+98 21) 43051450 Public Relations Office: Tel: (+98 21) 88805807 Japanese environment painting contest Subscription & Distribution Dept.: Tel: (+98 21) 43051603 www.eshterak.ir Distributor: Padideh Novin Co. ARTTEHRAN — Ghazaleh Tel: 88911433 deskMohammadi, a member Webmaster: [email protected] of Iran’s Institute for Intellectual Printed at: Jame Jam Bartar Borna - 44197737 Development of Children and Young Adults (IIDCYA), on Saturday received her prize Tehrantimes79 Tehrantimesdaily previously won at the 10th Kao International Environment Painting Contest for Children No. 18, Bimeh Alley, Nejatollahi St., Tehran, Iran in Tokyo. P.o. Box: 14155-4843 Zip Code: 1599814713 Clad in local costume, Mohammadi who lives in the northwestern Iranian town of Maku, got the prize from Kao President Michitaka Sawada, the IIDCYA announced in a press release on Sunday. Another IIDCYA member, Baran Karami, who has won a Kao Prize, could not attend the awards ceremony of the painting contest. Tohid Sangvini, Janan Abedzadeh and Mohammad-Amin Asghari, all from Iran, were presented with Eco Friend Prizes at GUIDE TO the competition. Parsa Ildarabadi from SPIRITUAL AWAKENING Iran was honored with a special jury prize. Over 450 paintings by Iranian children were submitted to the contest, which was Faith is a white spot in the heart, and the stronger held on the theme of “Together, We Are that faith, the largest that spot is.
    [Show full text]
  • Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting Mohammad Kazem Dekamvand University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1995 The search for identity: aspects of spirituality in the late Twentieth Century expressed in contemporary Iranian painting Mohammad Kazem Dekamvand University of Wollongong Recommended Citation Dekamvand, Mohammad Kazem, The es arch for identity: aspects of spirituality in the late Twentieth Century expressed in contemporary Iranian painting, Doctor of Creative Arts thesis, Faculty of Creative Arts, University of Wollongong, 1995. http://ro.uow.edu.au/theses/938 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] 7*t the, 7ta#ne, of AUGA, the 3eai^iceatt tde TKe^ciftd THE SEARCH FOR IDENTITY Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. A written submission in partial fulfilment of the requirements for the award of the degree of DOCTOR OF CREATIVE ARTS from UNIVERSITY OF WOLLONGONG by MOHAMMAD KAZEM HASSANVAND DEKAMVAND BFA, MCA FACULTY OF CREATIVE ARTS 1995 CERTIFICATION I certify that this work has not been submitted for a degree to any university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Mohammad Kazem Hassanvand Dekamvand October 1995 THE SEARCH FOR IDENTITY Aspects of Spirituality in the Late Twentieth Century Expressed in Contemporary Iranian Painting. ABSTRACT This research centres on an artist's interpretation of the search for identity in the late twentieth century—particularly as expressed by the Post-Revolutionary Art of Iran.
    [Show full text]
  • Ravenna-Tehran Conductor Riccardo Muti Giovedì 6 Luglio Tehran - Vahdat Hall Sabato 8 Luglio Ravenna - Palazzo Mauro De André
    THE ROADS OF FRIENDSHIP: RAVENNA-TEHRAN conductor RICCARDO MUTI GIOVEDÌ 6 LUGLIO TEHRAN - VAHDAT HALL SABATO 8 LUGLIO RAVENNA - PALAZZO MAURO DE ANDRÉ Istituto Culturale dell’Ambasciata della Repubblica Islamica dell’Iran - Roma Farnesina Ministero degli Affari Esteri e della Cooperazione Internazionale HORMOZ VASFI Ambasciata d’Italia Ambasciata della Repubblica a Tehran Islamica dell’Iran in Italia con il contributo di Si vive meglio in un territorio che incoraggia 2017 i Sogni. Ravenna-Tehran Le vie dell’Amicizia ©2016 direttore Riccardo Muti DAL 1992, UN IMPEGNO FORTE PER LA CRESCITA SOCIALE DEL MONDO GIOVANILE. La Fondazione Cassa di Risparmio di Ravenna ha sempre rivolto grande attenzione all’universo giovanile, contribuendo alla trasmissione di valori e motivazioni. I progetti sostenuti in questi anni hanno svolto un ruolo importante per la crescita dei processi educativi, dell’istruzione, della pratica sportiva e per l’acquisizione di strutture e dotazioni all’avanguardia al servizio del Polo ravennate dell’Ateneo bolognese. Da anni, la Fondazione opera inoltre per la valorizzazione dell’autonomia scolastica e, grazie al suo contributo, un numero ingente di plessi scolastici dell’intero territorio provinciale ha già rinnovato laboratori, luoghi di lettura e di studio, modalità di insegnamento. La Fondazione contribuisce a rispondere con un segnale forte di speranza e di fiducia alle aspettative sociali della comunità, per l’avvenire nostro e dei nostri figli. Palazzo Mauro de André DA SEMPRE A FIANCO DEL RAVENNA FESTIVAL. 8 luglio,
    [Show full text]
  • The Art of State Persuasion: Iran's Post-Revolutionary
    Persica 22, 1-13. doi: 10.2143/PERS.22.0.2034398 © 2008 by Persica. All rights reserved. THE ART OF STATE PERSUASION: IRAN’S POST-REVOLUTIONARY MURALS H.E. Chehabi & Fotini Christia Largely ignored by Western visitors for almost three decades, Tehran is the puzzling capital of an increasingly powerful and defi ant Iran. Vast and densely populated, this Middle Eastern megalopolis makes for a rich urban topography, its mystique amplifi ed by a shroud of chronic smog.1 Though landscape stimulants competing for the visitor’s atten- tion abound — be they fl ashy billboards, colorful posters, or catchy advertisements —, none are more gripping for the foreign visitor than the city’s murals.2 Cast across Tehran’s prominent avenues, on both private and public buildings, the murals constitute dominant fi xtures of the city’s visual space. Varying in color, genre, and symbolism, they are of distinctive artistic style, painted and brought to life by regime-sanctioned artists. Though Iran’s propaganda culture has been a subject of academic inquiry,3 mural images per se had not been systematically presented to Western audiences until the spring of 2007. At a time when Iran was making daily headlines, the murals’ number and size, as well as their powerful iconography and aesthetics, inspired a photo exhibit entitled “Walls of Martyrdom”: Tehran’s Propaganda Murals, displayed from May to July 2007 at Harvard’s Center for Government and International Studies South Concourse Gallery.4 The exhibit employed mixed visual media such as a fi fteen meter-long cityscape design, 1 For a relatively recent study of Tehran see Ali Madanipour, Tehran: The Making of a Metropolis.
    [Show full text]
  • Tehran Symphony Orchestra Performs at Vahdat Hall
    WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 16 Pages Price 40,000 Rials 1.00 EURO 4.00 AED 39th year No.13541 Saturday NOVEMBER 30, 2019 Azar 9, 1398 Rabi’ Al thani 3, 1441 Iran calls French FM’s Officials should Iran runners-up IDFA honors Iranian remarks on nuclear deal apologize for at CAFA U23 documentary cinema ‘irresponsible’ 2 recent problems 3 Women’s C’ship 15 with three awards 16 Tehran hosting 2 intl. expos TEHRAN- Tehran Permanent Interna- ing the printing, packing fair, while the tional Fairgrounds is hosting the 16th edi- METAFO 2019 is hosting 300 Iranian tion of Iran’s international exhibition of companies along with exhibitors from metallurgy, dubbed IRAN METAFO 2019, Europe and Asia. and the 26th international exhibition of As reported, renowned companies printing, packing and related machinery from Germany, Italy, France, Spain, the during November 29-December 2, IRNA Netherlands, Switzerland, Sweden, Eng- Insult to the nationsSee page 2 Leader reacts to Trump’s unexpected visit to U.S. military base in Afghanistan reported. land, Turkey, Austria, Norway, Mexico, Some 445 domestic and foreign Australia, Russia, China, the United Arab companies from 12 countries including Emirates, India and Japan are showcas- Italy, Germany, France, Sweden, South ing their latest products and services at Korea, China, and Turkey are attend- METAFO exhibition. 4 Baghdad apologizes to Tehran for Iranian consulate attack TEHRAN – Iraqi Foreign Minister Mo- and their staff in Iraq, according to Press hammad Ali al-Hakim has apologized to TV.
    [Show full text]
  • Matine-Daftary I Bahman Mohassess I Malekeh Nayini I Fereydoon Omidi I Hamed Rashtian I Ali Akbar Sadeghi I Mina Talaee I Parviz Tanavoli
    Hessam KHALATBARI & Yassi METGHALCHI ont le plaisir de vous convier au vernissage de l’exposition JEUDI 30 JUIN 2016 À PARTIR DE 18H00 Aydin Aghdashloo I Mehrak Davoudi I Reza Derakhshani I Kambiz Derambakhsh I Mohsen Fouladpour I Sahand Hesamiyan I Ramin Jamshidi Leyly Matine-Daftary I Bahman Mohassess I Malekeh Nayini I Fereydoon Omidi I Hamed Rashtian I Ali Akbar Sadeghi I Mina Talaee I Parviz Tanavoli 216 rue Saint Martin 75003 Paris, France T. +33 1 42 71 87 83 - [email protected] www.galerienicolasflamel.com 2 INTRODUCTION PREFACE A JOURNEY THROUGH TIME I grew up in an Iranian household surrounded by art and literature. Our wooden library was home to a spiraling tower of hundreds of carefully- Galerie Nicolas Flamel is pleased to present TIME MACHINE, an exhibition stacked books, and our dining room walls were peppered with the works of featuring the works of fifteen Iranian artists that illuminates modern and contemporary artists Aghdashloo, Katouzian and Bijani among them. contemporary creativity. Much to my mother’s despair, and despite weekly painting and calligraphy A very symbolic theme inspired by Albert Einstein’s famous theory of relativity lessons, I was a failed artist. As Salvador Dali once said, when it comes to who predicted that “time is relative to the observer”. drawing, “there is no possibility of cheating. It is either good or bad”. And mine He showed that time travel will be possible as well as «premonition» and «deja were bad. I couldn’t draw a straight line, much less put my thoughts on paper. vu» during which an observer experiences the future before it becomes the Nevertheless, art maintained a strong presence in my life.
    [Show full text]
  • Traditional Iranian Music in Irangeles: an Ethnographic Study in Southern California
    Traditional Iranian Music in Irangeles: An Ethnographic Study in Southern California Item Type text; Electronic Thesis Authors Yaghoubi, Isra Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 05:58:20 Link to Item http://hdl.handle.net/10150/305864 TRADITIONAL IRANIAN MUSIC IN IRANGELES: AN ETHNOGRAPHIC STUDY IN SOUTHERN CALIFORNIA by Isra Yaghoubi ____________________________ Copyright © Isra Yaghoubi 2013 A Thesis Submitted to the Faculty of the SCHOOL OF MIDDLE EAST AND NORTH AFRICAN STUDIES In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Isra Yaghoubi APPROVAL BY THESIS DIRECTOR This thesis has been approved
    [Show full text]
  • The Evolution of Opera Theatre in the Middle East and North Africa
    The Evolution of Opera Theatre in the Middle East and North Africa The Evolution of Opera Theatre in the Middle East and North Africa By Paolo Petrocelli The Evolution of Opera Theatre in the Middle East and North Africa By Paolo Petrocelli This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Paolo Petrocelli All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3800-1 ISBN (13): 978-1-5275-3800-9 This book is dedicated to my parents, Maria Franca and Pier Luigi my brothers, Carlo and Enrico and Carolina CONTENTS List of Illustrations ..................................................................................... xi List of Tables ............................................................................................. xii Acknowledgements .................................................................................. xiii Summary .................................................................................................. xiv Chapter One ................................................................................................. 1 Introduction Chapter Two ...............................................................................................
    [Show full text]
  • 2019 MARCH 40Th Season
    2019 MARCH 40TH SEASON NOWRUZ: PERSIAN NEW YEAR SPECIAL CONCERT Carl St.Clair, conductor Dvořák CARNIVAL OVERTURE Shahrdad Rouhani, conductor and piano Homayoun Shajarian, vocalist Khachaturian “SABRE DANCE” FROM GAYANE Tahmoures Pournazeri, tanbour Rohani DANCE OF SPRING Sohrab Pournazeri, kamancheh and tanbour Shahrdad Rouhani Navid Kandelousi, violin Rohani FREEDOM Shahrdad Rouhani Rohani PERSIAN GARDEN FOR VIOLIN AND ORCHESTRA Navid Kandelousi Rohani BEAUTY OF LOVE Shahrdad Rouhani Rohani MEDLEY IN ISFAHAN SCALE Shahrdad Rouhani Intermission THE MUSIC OF HOMAYOUN SHAJARIAN, TAHMOURES POURNAZERI, AND SOHRAB POURNAZERI This concert is genorously sponsored by Anoosheh and Alan Oskouian, with generous additional support from members of Pacific Symphony’s Cyrus Society. Sunday, March 24, 2019 @ 7 p.m. This concert’s special cultural sponsor is the Segerstrom Center for the Arts Farhang Foundation. Renée and Henry Segerstrom Concert Hall OFFICIAL HOTEL OFFICIAL TV STATION OFFICIAL MUSIC STATION CULTURAL SPONSOR PacificSymphony.org 40TH SEASON | MARCH 2019 25 PROGRAM NOTES should have been far more influential in they are often viewed as two pawns the development of American classical stranded on the Kremlin’s deadly cultural Antonin Dvořák: music than it turned out to be. chessboard. But there was a third pawn For the Prague premiere of the in the game: Aram Khachaturian, whose Carnival Overture overture—a concert that turned out to popular and exuberant “Sabre Dance” is his be a kind of farewell performance for most often-heard composition. Observed at the the departing Dvořák—he wrote his own Composed as part of a serious four- astronomical moment program notes. Regarding the “Carnival act ballet, the gleeful “Sabre Dance” marking the onset of Overture,” he commented that it was became one of those excerpts that springtime, Nowruz intended to evoke “a lonely, contemplative popped up seemingly everywhere.
    [Show full text]