An American Perspective: Iran and the Iranian Election

by Julie Ashcraft A.K.A. Jigsawnovich

NEW YORK–Going to Iran, seeing the presidential campaign, and transitioning from being a tourist into being a supporter of the rights of Iranian voters was an evolution in knowledge and feelings.

I was upset when the Taliban blew up the giant Buddhas in Afghanistan--I’m not religious, but I’m an artist and I care about history. Then, the US military invaded Iraq, and their national museum was looted. I thought, “What could happen next? Israel has been threatening to bomb Iran for a while. Which places and things of artistic and historical importance could be at risk?”

Photos of extremely beautiful Iranian mosques and palaces beckoned on Flickr. “Cyrus created the first human rights document,” announced a caption to a photo of his tomb on Flickr. I stumbled upon Hichkas’ “Bunch of Soldiers” music video on Youtube–and feared triggering a Dept. of Homeland Security file, so scary and nationalistic it was on first viewing. But after finding a version with English subtitles, I realized that Hichkas’ lyrics showed insight and compassion, and he was advocating strength in defense–not adventurism. The music drew me in with a compelling combination of rap and traditional Iranian instruments. The shots of Azadi Tower were stunning. Tehran seemed so exciting–I had to see it in person!

Fear crept back onto me when further internet searches uncovered videos of Iranian women being arrested for revealing too much hair, prison guards whipping inmates, and executions by stoning. I realized there were internal and external dangers, but I still wanted to visit Iran.

After warily reading the Iranian Constitution and penal code, I persuaded my best friend to vacation in the Islamic Republic with me. I mentioned the upcoming Presidential election, and suggested that the run-up to it could be an exciting time to visit. And it was! In Iran, we were thrilled to see supporters joyfully and openly handing out presidential campaign literature. We took photos of Mousavi, Karroubi, and Ahmadinejad election banners in Tehran, Shiraz, and Esfehan. Mousavi supporters repeatedly showed tremendous enthusiasm–and we even heard kind words for our own president, Barack Hussein Obama. His Norooz greeting had been well-received.

Although I was keenly aware of Sharia law, and felt an underlaying angst in Iran–at the same time I met such kind and charming people there and saw so much beauty, that I experienced unexpected culture shock upon returning home to New York City. I missed being around Iranians, and wondered where I could find some. I found them on the internet, and they showed me a side of Iran I hadn’t seen as a tourist, or even as a YouTube viewer. On June 13th, the day after the presidential election, someone told me that Sepah had staged a coup d’etat in Iran. Having no idea what Sepah was, I struggled to comprehend the complicated system of Iranian politics, militias, religion, and civil rights. Within a week of the election, I attended a rally at Manhattan’s Union Square in support of voters in Iran.

I brought a Mousavi poster with me. An Iranian journalism student asked to photograph me posing with the poster–from the front, with my full face showing. I declined with the sinking feeling that such a photograph could cause real problems for me if I ever returned to Iran.

President Obama hasn’t specified a significant difference between Mousavi and Ahmadinejad regarding the nuclear issue. I felt certain there were considerable differences on other issues, however. Mousavi had set a precedent by campaigning with his wife, and he received strong support from women seeking more freedom. Hardliner Ahmadinejad cracked down on women during his first Presidential term, and he was closely aligned with the Basij.

Astonishing graphic documentation of injuries, wounds, and murder flooded the internet. Horrifying and upsetting, the videos were also morally compelling and intimately human. People tried to rescue and treat the fallen, they cried, they screamed, putting their bloody hands in the air--seeking witnesses to the violence.

Next came thousands of arrests, documented prison torture and rape, and script-like “confessions” at Revolutionary Court show trials. In the midst of this I attended Iranian rallies, hunger strikes, teach-ins, panel discussions, and art exhibitions. Before the election, people in the Islamic Republic of Iran were full of energy, life, and hope. Many Iranians there, here in New York, and all over the world, still are. So, I resist reconciling memories of my wonderful vacation in Iran with the raw severity of the crackdown going on there now! I believe that cruelty carries the seeds of its own destruction. And I tremendously admire the brave Iranians who, undaunted, and in their own ways, support democracy, freedom of speech, and human rights.

(c) 2009 Julie Ashcraft
All rights reserved

Playa Philosopher: Fred Khoshtinat

by Julie Jigsawnovich

FRED Khoshtinat is renowned for Hichkas, Xaniar and Taham videos he directed and edited. Now FRED's first official track, "If You Want Me" (Age Mano Mikhay), has debuted at www.audiocrimes.com. He also wrote the lyrics, arranged and produced the song.

Measuredly impatient, words roll off his tongue in Parsi, "Don't act like a good girl for me. You know that we don't have much time till the end of the night...so if you want me, please hurry because my cognac is losing its effect on me, girl....I don't feel like dancing tonight. We're gonna dance enough in my room." Khoshtinat walks the tightrope of frankness with devastating Persian aplomb!

This song is crunchy, subtly nettling--but pleasure overrides pain with net results that exposure to this song is physically thermodynamic. You will want to get with someone. And you'll want it now!

One of the sound layers in the mix imparts a classic video game feeling, triggering my memories of visiting an arcade in Times Square when people were getting shot there on a regular basis. Deceptively simple in content, this song has the confidence and casual appeal of psychological game marksmanship. And something about one of the repeating percussive sounds recalls expertly, gently applied whips.

I asked FRED what effect he would like this song to have on women. He said, "I want them to feel weak in the vastness of their need to a male, and they will feel like a slave to a great power of gravity that is coming from the man--and the fact that sometimes they will do anything to conquer it." Deeply impressed by his cosmic sensual metaphors, I was none the less confused by the last phrase. "The man conquering the woman or the woman conquering the man?" I asked.

"Woman conquering man," he replied.

"Bale? To Conquer implies gaining mastery over someone. It's tricky because, I think, you are going beyond a simple slave/master symbol. You are transcending. What is 'it' that the woman will do anything to conquer?" I asked.

"Gravity that is coming from the man--the attention," he replied.

I asked him to repeat his metaphors in Persian. Khoshtinat said, "mikham ehsas zaaf kone joloye shahvat niaze shadidesh be yek marde khass, ehsas kone ke bardeyi shode nesbat be in niaz va ghodrati ke az tarafe mard sater mishe va dokhtar ro mikeshoone va jazb mikone, yaade oon mavagheyi biofte ke vaseye fathe in tavajjoh va raaf kardane in niaz hazere har kari bokone hatta khodesho payin bire va koochik kone, humiliate herself."

Although I have no illusions regarding the many power dynamics of sexual attraction, I found his desire for the woman to humiliate herself troubling--partly because I believe there is more to Khoshtinat than this statement allows. A clue, perhaps, is the photo accompanying "If You Want Me" (Age Mano Mikhay.) FRED's head rests in the lap of a woman with strong-looking legs. He lies on his back, peering out at the viewer, smiling.

originally published at:
http://www.persianesquemagazine.com/2009/09/01/music-playa-philosopher/#more-919

Tehran Bureau "Soheil Tavakoli: Painting Green"

My first article for PBS FRONTLINE Tehran Bureau. Am I excited? Of course!
http://www.pbs.org/wgbh/pages/frontline/tehranbureau/2009/11/soheil-tavakolis-paintings-contrast-iranian-hope-vs-the-crackdown.html

sloppy spin mistress

The evolution of truth has had its quirks. Even though I honestly like the current trend towards clearly biased, opinionated reporting with no facade of objectivity, and enjoy reading conflicting opinions during my daily effort to sift out facts and find some sort of truth, I still tremendously admire the AP writers and researchers. Here is a sparkling example of AP writing:
http://news.yahoo.com/s/ap/20091114/ap_on_re_us/us_palin_book_fact_check

last thoughts of political prisoner

doesn't get realer than this...
http://shooresh1917.blogspot.com/2009/11/ehsan-fattahian-was-executed-by-islamic.html

Karoubi's Bodyguard Seriously Injured During Protest

http://www.iranhumanrights.org/2009/11/4novprotests/

"(4 November 2009) Security forces and militia used brutal force to disperse thousands of protesters on the streets of Tehran and other cities today, resulting in a number of injuries and arrests, in violation of international standards regarding the proportionate use of force against peaceful demonstrations, according to the International Campaign for Human Rights in Iran. The protests occurred parallel to officially sanctioned demonstrations on the 30th anniversary of the takeover of the United States Embassy in 1979.

"Protests also took place in other cities, including Shiraz, Rasht, and Tabriz. Many protesters were reportedly arrested in Tabriz after security forces attacked demonstrators using pepper spray and tear gas.

"Eyewitnesses have told the Campaign that, despite an intense intimidation program aimed at stifling the demonstrations by SMS threats promising prosecutions for taking part, and the closure of metro stops to discourage gatherings, thousands of protesters appeared at Hafte-e-Tir Square, Kargar Shomali, and other locations, and were met by vast numbers of riot police backed up by quasi-official militiamen. The presence of huge numbers of security and anti-riot forces and brutal attacks were common in all reports by eyewitnesses.

"Numerous demonstrators were arrested, including Ali Mashmouli, Vahideh Movahed and other prominent persons. According to a report by his son, security forces shot tear gas canisters directly at opposition politician Mehdi Karoubi, seriously injuring his bodyguard who was taken to a hospital. According to reports received by the Campaign, live ammunition was used in shots fired over the heads of demonstrators.

"The International Campaign for Human Rights in Iran expressed its deep concern about the continuing and excessive use of violence against peaceful demonstrators, and called for the immediate release of detainees."

Iran opposition to apologise to US for embassy siege

This is huge.

http://www.telegraph.co.uk/news/worldnews/middleeast/iran/6488799/Iran-opposition-to-apologise-to-US-for-embassy-siege.html
http://www.iranian.com/main/news/2009/11/03/iran-opposition-apologise-us-embassy-siege

Iran's Sepah--More Secular or Simply More Severe?

There are comments on this article as posted on Iranian.com. That site has an amazing number of page views per day. It's a great site, and a great community. http://www.iranian.com/main/blog/jigsawnovich/irans-sepah-more-secular-or-simply-more-severe

by Julie Jigsawnovich
Dictators may or may not be religious. There is speculation in the US about whether Iran's Revolutionary Guards, Sepah, will become less and less religious as they seize more and more control over businesses and industries in Iran. The following news story might reinforce this speculation. But does it really mean that Sepah is becoming more secular? And if they did become more secular, would this result in an easing up on laws supposedly based on religion in Iran? Would the great irony of brutal secular dictators granting more personal freedoms of expression--as long as they did not challenge the State--occur? Well, from what I've seen, don't hold your breath for that. Religion is a mighty power in Iran, and a useful one. Sepah may instead be simply positioning themselves to perpetrate an even more severe round of political repression, exceeding even that of the clerics.

Some of my Iranian friends are secular and some are devout Muslims. Those who are religious resent the regime's exploitation and corruption of Islam as a means to the end of brutal repression. Those who are secular deeply resent having religion and Sharia laws forced upon them, and would prefer a separation of religion and state. Within the context of awareness of their concerns, I read the following article with great interest.

www.ayandenews.com/news/14482/
via Tehran Bureau headlines

"IRGC Chief: Preserving regime more sacred than Islamic prayers

According to Sepah News, the official website of the Islamic Revolutionary Guard Corps (IRGC), Mohammad Ali Jafari, the commander of the Guards, in an IRGC meeting in the city of Urumiye on Wednesday, said "Preserving the Islamic Republic establishment is even more vital [a duty] than performing namaz" [Islamic daily prayers, the main pillar of Islam].

[This is the first time an IRGC commander appears to be issuing a religious edict. Some suggest it is a reformulation of an existing 1988 fatwa by Ayatollah Khomeini.]

'No one dares to claim that the Islamic Republic regime must be destroyed, and no one must dare to challenge the principles of this establishment,' Jafari added.29 Oct 2009"

Dj Spooky Supports Iranians' Quest For Freedom And Democracy

http://www.persianesquemagazine.com/2009/10/16/azadi-dj-spooky-shows-support-for-iranians-freedom-quest/

Seeking Refuge: Mahdyar Flees the Crackdown on Iran's Hip-Hop

Photo by Farbud Akhtarry

by Julie Ashcraft (A.K.A. Jigsawnovich)
18-Oct-2009

At the tender age of 17, Mahdyar Aghajani produced the critically acclaimed, top-selling album, Jangale Asphalt (Asphalt Jungle) by Iranian rapper, Hichkas. Taking an art form that sprang from the streets of New York into their own hands, Mahdyar and Hichkas teamed up to create a uniquely Iranian Hip Hop sound, with Mahdyar incorporating traditional Persian instruments and tonalities. Yet, Hip Hop is forbidden in Iran, and the authorities there soon came looking for Hichkas and Mahdyar. Hichkas remains in Tehran, but Mahdyar fled the country. He spoke with me a few days ago, from Paris.

What are you working on now?

Mahdyar: Six albums, one film. The albums are Reveal, Quf, Bahman Ghobadi, my own instrumental album, a London based alternative band, and Hichkas' new album. And the film is 60 Seconds about Us by Bahman Ghobadi.

Plus, you told me that you made two songs for, and play yourself in, Ghobadi's film, No One Knows About Persian Cats--which won the Un Certain Regard and the Special Jury Prize at the Cannes Film Festival. This film is about the underground music scene in Tehran. Do you miss Tehran yet?

Mahdyar: Sometimes...somethings...'someones.' But the thing is, right now I have lots of things to think about. I'm in a kind of survival mode.

Was it a culture shock coming to Europe--women wearing fewer clothes, etc.?

Mahdyar: Not at all. My friends in Berlin, they were like, "Look at this building, look at this bar, look at these chicks--why aren't you surprised?!" And I was like, "I traveled outside of Iran a few times when I was a kid. Maybe that's the reason."
Where did you go when you were a kid?
Singapore, Malaysia, Emirates and Turkey. But I think that's not the reason.

Are private parties in Tehran like parties in other countries?

Mahdyar: They are like parties here in Paris, exactly the same.

You are finding it easy to adapt to living in Europe?

Mahdyar: Because of cultural differences, or because of starting a life from zero?

I was thinking of cultural differences. Starting a life from zero would probably be hard anywhere.

Mahdyar: There is no cultural difference, I think. I mean, we were living the same, except we were living "underground" that way.

The big difference is your music is not illegal in the West. You don't have to fear being arrested and imprisoned just for making a particular genre of music. That's a big change.

Mahdyar: Yes it is. And it's the main reason I got out of Iran.

What is it like to have freedom of expression now?

Mahdyar: I always had freedom of expression. When you really don't care about being arrested or dying--you always, wherever, whenever you are--you are free.

I heard Hichkas was arrested a while back. Was the Iranian government looking to arrest you too?

Mahdyar: I was always on the list. I was making all of Hichkas' music. He was mentioning my name in his lyrics. But their first goal was to arrest Hichkas, because he had the most influence on people.

When did they first arrest him?

Mahdyar: Two or three years ago, after releasing the Jangale Asphalt album.

Were there lyrics to songs on Jangale Asphalt that the government didn't like? Or did they dislike it because Hip Hop is "Western music?"

Mahdyar: Both. Mainly because of the political lyrics, but there are so many rappers rapping political lyrics. The thing is, he was so famous. Everyone was listening to his tracks. They liked it, and he had lots of fans.

Which songs had political lyrics the government didn't like?

Mahdyar: "Ghanoon" and "Ekhtelaf." But they didn't say it was because of the lyrics. They said there was a problem because he is a rapper, and he is polluting the culture! And because he was the most known, he was targeted in their efforts to destroy Iranian Hip Hop.
Ghanoon is about things happening in the streets. Everyone is aggressive and all, but it's not their fault. It's because of the government that we have, that everyone hates everyone. And in the chorus he says, "Look, don't handcuff me. Why do you say, 'Shut up,' when you arrest me? I'm just a sacrifice from the jungle," --someone who they kill in Islam like a sheep for the god. I dunno the word in English. He says "I'm ghorbani from the jungle." Ghorbani: the animal they kill for the sake of god.

When he was rapping about them treating him like a sacrifice, did people listening to it think he was criticizing the Islamic regime in a religious way too?

Mahdyar: Yes, of course. He, himself, believes in Islam. But he knows that the government is using and changing Islam against people. He finishes one of his verses in "Ghanoon" like this: "I'm innocent, God is my witness. Or did someone pay God a bribe too?"

Do you express love in your music sometimes?

Mahdyar: Not really. Most of my songs, like 99%, have a sad theme. And I haven't made any tracks about a girl, or love.

There is a lot of "sadness music" in Iran. I think sadness is part of the culture.

Mahdyar: It is.

But the sadness is beautiful.

Mahdyar: I love it. Sometimes I want to be sad. I kinda like the feeling. But for some time now, I'm already so sad, that I'm looking hard for happiness.

It can't be easy, being an artist fleeing political persecution.

Mahdyar: My first night in Berlin was very hard. I was told that someone would pick me up with his car from the airport, and put me in a ready home studio--with a fridge full of food, and a cell phone, and money, and all the things that are needed for a life. So I should only think about my music, and do my music--completely focused and free. But when I came to Berlin, there was nothing, no one.
I rented a room in an apartment. I got to the apartment with the metro--carrying all of my tools and life with me. When I got to the room, the owner wasn't there. Someone showed me my room, and said, "You sleep here." Every door was locked. Just my room and toilet. No food in the kitchen.
The owner was an artist. I didn't know that. In the room there was a lot of blood on the ceiling and walls. And the apartment was in the ghetto. Some drunk guys were fighting each other in the street, yelling.
What happened in that room!? What was the blood from?!!
It was paint, I think. But he put it there like blood. I will tell you about him later. In that situation, I was thinking, "What did I do--leaving the life I had made in Tehran with my own hands for this." But it became right the second night. The artist was a 30yr old, cool guy. He listened to some of my music and he was so excited. We became friends.
In Berlin, after one month, I made a life again. I had a home studio. I had friends and artists around me. The city was great. Everything seemed to be going well again, until my visa expired.
They told me don't worry. You'll go to Paris--again the same--you go straight to your ready home studio and lawyers are going to get you a two year business visa in a day. But when I came, again there was nothing. I couldn't even find a place to sleep.
I found a lawyer the day after, and talked with him. He told me to forget getting a long visa. The only way is to ask for refugee status, and that is so hard to get.

Mahdyar's case is in court. Reveal's album, and Quf's album, will be released soon. Mahdyar is looking for a studio, to master Quf's album.


AUTHOR
 Julie Jigsawnovich is an artist who visited Iran a few weeks before the election. She lives in New York, and can be contacted at Jigsawnovich1 (at) gmail.com. This article was first published in Persianesque Magazine, and later published on Iranian.com http://www.iranian.com/main/2009/oct/seeking-refuge