Persian Dance

[Rasputin]

With all the negativity surrounding Iranians and Iran these days, there is little that is obviously optimistic. Who we really are is often masked by those desperate to drag us into their bitter feuds and hostile intentions.

So it is wonderful when a truly inspiring story comes along.

Niosha Nafei is a Bay Area Iranian Community icon. But before I get to that let me tell you what she does.

Niosha Dance Academy (NDA) has been teaching young and older students, various traditional classical, and modern Persian Dance since 1991. Niosha's love of dance came at an early age, when in Iran as the youngest of 3 sisters, they would dance around the house and at the time, troupe performance competitions were all the rage in pre-revolution Iran. Ask any female family member old enough to remember and they will recount how they participated or watched these local, regional and national competitions growing up.

Festooned in elaborate costumes depicting traditional or tribal designs, 5-6 girls per troupe would glide in unison and perform their routines on stages, all across Iran to cheering audiences. Numerous regional summer camps were organized, and girls from all over the country would travel to them to compete, perfect their craft and hone their performances.






It was certainly a time to remember, certainly an important part of our culture that more and more, cries out to be reclaimed.

And that is precisely what Niosha does.

NDA students attend classes at least one day per week, at one of 4 studios in various parts of the Bay Area. This is a necessity as Iranians, unlike other minorities in the US, infrequently group their choice of residence together, choosing to fan out as far away from each other as possible, as if on purpose. As if. So there aren't any obvious Iranian neighborhoods. Which now that I write and re-read this, is very telling indeed.

But there are obvious pockets of Iranians, and by ingenuity or luck, Niosha has at least found the right locations in near enough proximity to the mass of Iranians in the Bay Area, that her classes are over flowing with students who now have an altogether healthier alternative to AYSO Soccer, or little league baseball, or the usual Tae Kwon Do and Karate franchises, and let us not forget GYMTASTIC!

Although predominantly made up of kids programs, NDA has classes for adults as well. Teaching consists of regimented and meticulously worked out dance steps in traditional Persian, Persian Pop, and Belly Dancing, to even teaching choreography which allows the more advanced students to exercise their creativity by creating new dances and continue moving forward in their art. Not just limited to Persian Dance, Niosha has introduced other dance forms such as Ballroom, Cha Cha and Salsa, and of course everyone loves these dances.

Possibly the most important and often overlooked benefit of Niosha's program is the internship or apprenticeship program. The instructors are made up almost entirely of a first generation of Niosha dancers, many of whom started at age 7 and who now having reached a sufficient level of mastery and age, are now ready to take over the reigns of instruction themselves. Thereby ensuring one of our most important cultural rites of passage, and preparing a legacy for the future. This is huge, and unfortunately I don't know of many instances where this is happening today.

[Rasputin]

At Niosha's classes, the kids interact with each other in both Farsi and English, which inevitably leads to F-inglish as necessary. But a visit to one of Niosha's classes shows what is really happening under the clever guise of "Dance Class". Because, there is a lot more happening here than just dance instruction.

The impact on Iranian kids able to attend an after-school program in which they are the majority, is undeniably empowering. Visiting the studio, I noticed immediately a higher sense of confidence, and this was just based on the noise level! Having 2 kids myself, I have noticed that whenever Iranian children are in the minority, at a program such as this, they are often more polite and quieter than the other kids. This is an engrained social behavior we have taught by example, to our kids. Don't stick out.

At Niosha's classes, the kids are predominantly Iranian, and occasionally you will see a child either from a mixed marriage, or even non-Iranian kids whose parents are simply interested in learning Persian dance. Go figure that in this day and age there are actually people interested in our culture!

But the majority is definitely Iranian kids. And this seems to give them an extra boost of confidence, and the fact that all the instructors are Iranian, and speak Farsi and English, gives these kids a sense of belonging and family and connection. Seeing the sheer enthusiasm and glee of Iranian kids in this environment brings tears to anyone's eyes.

This 15 year higher mission hit a setback when in April 2002 Niosha was diagnosed with non-Hodgkins lymphoma, a cancer of the lymph system. Given less than a 40% chance of survival, Niosha began her difficult road to recovery, taking it just like any other challenge. With an eternal optimism, dedication, and hard work. The local Bay Area Iranian Community turned out in the thousands as well wishers, volunteers and helpers and of course her incredibly tight family, reached out to one of our own in need. After an aggressive regimen of chemo, radiation therapies, Niosha miraculously emerged from the ordeal, not as good as she was, but stronger than ever.

The hardest part of her recovery was dealing with the immense sadness that we as Iranians tend to express during situations like this. At a time when optimism and positivism is the most key, we tend to drift into a hand-wringing ritual of utter despair and hopelessness. I remember when Niosha would host "get well" parties at her house, that were thrown on a weekly basis and the house was full of flowers, it seemed that it was Niosha who would have to raise the spirits of the others, instead of the other way around. Niosha said, "It just felt right, to look after entertaining the others, and making sure they had their snacks and chaies and because in doing so, I didn't really have the time to worry about my own emotions."

Indeed keeping her mind off of her own predicament, turned into a new project, this time to inform and educate other cancer patients that she became aware of, and this led to Niosha working with one of the Iranian satellite TV stations to produce a call-in program for women and those with cancer, in which the issues, questions and details of dealing with the disease were discussed openly offering a much needed outlet and exposure, that was widely received and callers from all over the world called in to express their gratitude to her for bringing the show to Iranians everywhere.

It is also necessary to mention that during this entire process, as a result of the harsh chemicals bombarding her system, Niosha had gained close to 40 pounds and lost virtually all of her patented long Persian flowing hair. The reality of facing death, combined with the traditional ego-hit for an Iranian woman, when it comes to her beauty and vitality, was only punctuated by the fact that Niosha was a former beauty pageant winner. So the change in her appearance was doubly difficult to digest.

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Niosha's Road to Recovery
But after her successful recovery, Niosha rebounded with a renewed and intensified life force and literally the day after being given the go ahead by her doctors, returned once again to her true passion, Dance.

As a testament to her ordeal, Niosha has kept herself and NDA involved in the fight against cancer, and she has become a committed champion and inspiration among her fellow survivors and of course all women actively fighting their own battles with this nefarious disease.

Here in the Bay Area, through her connection with the American Cancer Society, she is one ACS' most active supporters and fund raisers.

Helping to raise awareness and funds for cancer research and treatment programs here, led Niosha to find out about various programs inside Iran, even though because of her involvement in dance, she is on the government's ridiculous cultural banned list, and cannot herself go to Iran at this time.

She has nonetheless turned her attention to her homeland and an organization called The Mahak Foundation. Mahak specializes in the treatment and programs to aid children with cancer. A mother of 2 boisterous boys before her cancer, Niosha was told by doctors after her recovery that she could not expect to have children again. This too turned out to be wrong and less than a year after her recovery Niosha was pregnant with her 3rd son Rameen-John (get it?). This was what made the Mahak story so compelling and the primary reason why Niosha chose to direct her attention towards this worthy cause.


NDA Instructors Elham, Shadi, and Kimia
As a way to raise funds for ACS and Mahak, Niosha came up with the brilliant idea to put on an annual showcase of her dancers in the Bay Area. Now in it's 6th year, the show has become a hallmark Bay Area event drawing famous stars like Aref, Bijan Mortazavi, and Martik to come from LA and beyond to show their support. Each class of students from as small as 5 years old, all the way up to adults perform traditional and modern dances in lavish costumes, having spent weeks perfecting their moves, with live music and lights and backgrounds. The event is more and more extravagant each year. It has become a community tradition and more importantly has now successfully raised over $50,000 since it's start.

So, a happy ending? All's well that ends well? In this crazy world we live in, who knows? But as I started to say, it's really nice to once in a while be able to write a story like this one. Being witness to someone as dedicated and true, Niosha is a real cultural Icon, a local hero and champion, but one can especially say that, at a time when being Iranian is not exactly perceived well, she is also a multi-national treasure.

[Rasputin]

بنفشه صياد (دختر پرويز صياد) رقصنده ايرانی، مدتيه که با هنر خودش يعنی تلفيق رقص ايرانی با رقص اسپانيولی و چينی نظر خيلی ها را به کار خودش جلب کرده. در مورد سبک رقص بنفشه و برنامه هاش با او گقتگويی انجام داديم

بنفشه صياد: اين نوع رقص حرکاتيه که آدم رو می بره به سوی خلسه. در اين کارگاه من با نرمش شروع می کنم و با حرکات يوگا و بعد چند جور حرکات مختلف که بعضی از اونها از دراويش قادری الهام گرفته شده.

هدف از اين نوع رقص چيه؟

هدف "رقص وحدت" ايجاد احساس يکی شدنه با بقيه عالم. اون هم از طريق حرکت و گوش دادن به موسيقی.

لطفاً در مورد کارگاه رقص معاصر يا رقص مدرن ايرانی بيشتر توضيح بدين.

من هنوز دنبال اين موضوع هستم که رقص کهن ايرانی چه چيزی می تونسته باشه. رقصی که در اصل اسطوره ايه و مرتبط است به اشعار حافظ و مولانا.

وقتی که در مورد اون دوران مطالبی می خونيم، آيا از رقص ايرانی هم اسمی برده شده؟

من زياد به اين موضوع بر نخوردم.

پس در حقيقت شما اين رقص ها رو تصور می کنيد؟

بله. تصور می کنم. به هر حال همه هنرهای يک جامعه به هم مرتبط هستند و من حس کردم اون رقصی که ما به عنوان رقص شهری و امروزه قبول کرديم، زياد مرتبط با موسيقی سنتی نيست. بنابراين دنبال رقصی بودم که بتونه اين هنر رو بازگو بکنه.

شما از چه نوع موسيقی استفاده می کنيد؟

برنامه هايی که من اجرا می کنم اکثراً با موسيقی زنده است. مثلاً با گروه "زربانگ" و يا پژمان حدادی کار کردم که اين موسيقی ها رو همزمان با رقص من ساخته اند. اين نوع موسيقی در حقيقت موسيقی سنتی هست که در اون نشانه های از موسيقی مدرن و امروزی هم ديده ميشه. موسيقی سنتی ما، ولی به زبان امروز.

کسانی که در کارگاه شما شرکت می کنند معمولاً چه تيپ آدم های هستند؟

افرادی مختلف. در اسپانيا بيشتر رقصنده های حرفه ای يا معلم رقص هستند. در بعضی از کلاس هام حتی افراد مبتدی هم شرکت می کنند. اسپانيايی ها حس می کنند که نکات مشترکی با فرهنگ ما دارند و براشون جالبه که درباره فرهنگ ايرانی بيشتر بدونند.

خانم صياد، شما خودتون کجا تعليم رقص ديده ايد؟

من هميشه از بچگی می رقصيدم و يک جورايی خودم به خودم رقص رو ياد دادم. با اينکه ما ايرانی ها خيلی علاقه به رقصيدن داريم، اما رقص جای به خصوصی توی فرهنگ ما نداره. وقتی به آمريکا مهاجرت کردم، از سن ۱۷ سالگی به کلاس های تعليم رقص رفتم و رقص های مختلف اسپانيايی رو ياد گرفتم. بعد از اون رقص های مختلف ديگه ای رو ياد گرفتم و بعد از موسيقی ايرانی و اشعار مولانا تعليم رقص خودم را گرفتم. بعد از اون در دانشگاه UCLA فوق ليسانس طراحی رقص رو گرفتم. در اين مدت هم رقص های هندی، مدرن و آفريقايی رو هم تعليم گرفتم.

فرض کنيد من به کلاس شما اومدم و دارم رقص وحدت رو ياد می گيرم. بعد می خواهم در منزل اين رقص رو تمرين بکنم. چجوری بايد تمرين بکنم؟

اگر يک رقصنده حرفه ای باشيد، من سی دی های کارهايم رو در اختيار شاگردهايم قرار ميدم که بتونند با موسيقی اون کار کنند. ولی بعضی ها رقصنده حرفه ای نيستند و با قصد اينکه بيشتر بتونند توی بدنشون حضور داشته باشند به کلاس های من می آيند. من آموزش ميدم که چجوری با بدن رفتار کنيم و چطور اون رو بيشتر زنده کنيم.

[Rasputin]

The Hallmarks of the Persian Style

The first time I saw Iranians dance at a party, in the Tehrani style, I was enchanted. Like Persian poetry and visual arts, the dance was delicate, intricate, subtle, and full of meaning. Delicate hand movements, gentle upper body undulations, and facial expressions were the essential elements of this dance. Persian classical dance is very similar to the Tehrani-style recreational dance, but the execution is more refined and sophisticated, so as to be suitable for presentation to an audience. Unlike Arabic dance, which emphasizes movements of the hips, or western ballet, where the legs are lifted and feet moved in intricate patterns, the movements of Persian classical dance mostly involve the upper body: the face, head, torso, and hands. Professional dancers may also dance with tea glasses or finger cymbals to mark the rhythm. The movements require extreme flexibility and grace of the upper body and varied facial expressions, including moving both eyebrows independently. Indeed, Persian classical dance emphasizes feeling, rather than movement. The dancer teases the audience with her coquettish glances, and displays a variety of expressions: reluctance, joy, sensuality, pride, laughter. Of course, the arms move, and turns and small hip movements are part of the style. But movement without expression cannot be considered true Persian style; the mere movement of the body through space where there is no expression of emotion seems empty and uninteresting to the Iranian audience.

A Definition of "Classical" Dance

Here, perhaps, I should take a moment to define what I mean by "classical" dance, and, in particular, classical Persian dance. I distinguish several types of Iranian dance, including performance and recreational dance. By recreational dance, I mean the kind of dance that people do together for fun at social occasions like weddings and parties. Performance dance is dance done by an individual or a group for others to watch, not to join in. Classical dance is performance dance that has a tradition, is taught and maintained through the generations, whether by schools, dance masters, or by any student-teacher relationship.

My First Training in Persian Classical Dance

In 1974 I began to study Persian dance with Leona Wood, the noted artist, choreographer, and, with Anthony Shay, co-founder of the AMAN Folk Ensemble. Miss Wood had gleaned information about Persian classical dance from a variety of sources. Her first encounter was in a night club; the dancer was advertised as a "belly dancer", and though she wore the standard belly dance costume and danced to Arabic music, her dancing was unlike any belly-dancing Miss Wood had ever seen. Though the dancer herself was coarse and low-class, her movements showed the subtleties of the Persian classical style. Miss Wood was also acquainted with an upper-class Iranian lady, who showed her the genteel dancing she had been taught as a little girl. It was Miss Wood’s combination of these two styles that formed my own first instruction in Persian classical dance.

In Persian nightclubs I could watch Iranian women dance in the Tehrani style. The women danced in couples, with men or other women, or in groups. In the groups, they played a sort of dance game; the dancers stood in a circle moving slightly to the music and clapping or snapping their fingers. One after the other, those in the circle were cajoled, teased, and eventually pushed into the center of the circle, to dance a little solo for the group. Each woman had her own specialty within the Persian style: gentle shoulder shakes, head or eyebrow movements, and delicate hand movements.

Historical Background

The seeds of modern Persian classical dance were sown during the Qajar dynasty (1780-1906). Fath ‘Ali Shah (1798-1834) in particular devoted a great deal of the royal treasury to all forms of art, including dance. He was said to have “maintained a stately court and a large harem or anderun full of ladies groomed to the perfection of Persian taste for the amusement and pleasure of the Shah” [Qajar Paintings, S.J. Falk, p.23]. His successor, his grandson Muhammad Shah, furthered the support of dance, and “the dancing girls, those lavishly decorated women who typified the luxurious living of the monarchy” [Qajar Paintings, S.J. Falk, p.24].

“The most beautiful women in Persia are devoted to the profession of dancing; the transparency of their shift, which is the only covering they use to conceal their persons, the exquisite symmetry of their forms, their apparent agitation, and the licentiousness of their verses, are so many incentives to a passion which requires more philosophy than the Persians possess to restrain.” [Edward Scott Waring. A Tour to Sheeraz. London, 1807. p. 55]
After the Constitutional Revolution of 1906, Persia became increasingly influenced by the West, largely as a result of political intrigues with Russia, England, and Germany. The decline in the monarchy was paralleled by a decline in the support and status of dancers.
Thus the Persian professional classical dance tradition was maintained by prostitutes and courtesans; these women, and also dancing boys, were the only public performers. Particularly in urban areas professional dancers traditionally performed with troops of musicians, singers, comedians, actors, and other entertainers, These itinerant groups performed on the street and could be hired for weddings and other festivities. Their performances could be vulgar, involving suggestive lyrics and movements.

In a visit to a house of ill-repute, a Swedish journalist writes of a dance performance she witnessed, performed by girls of the house, with musical accompaniment provided by the cooks:

“Two lovely girls prepared for the dance.....went to change and came out again in wide green trousers, embroidered white bodices, which did not cover more than their breasts; and with castanets of silver blended metal on their fingers.
The musicians tuned up and the two girls began.

Their foot movements were controlled and unimportant. It was the upper part of their bodies which moved. Sinuous and supple, they waved their arms gracefully backwards and forwards above their heads, while their fingers played with the castanets so that they sometimes clapped like Spanish castanets and sometimes rang like a chime of bells.......The tempo of the dance increased until the dancers’ feet flew over the mat so lightly that the soft thudding of their feet was scarcely even heard.

Urged on by the dance and the music, the audience began to shout to the girls, who suddenly stood on their heads, turned somersaults, and made snake-like movements. The audience was delighted.” [Countess Maud Von Rosen. Persian Pilgrimage. London, 1937. p.109]

For non-professionals, the Persian classical dance tradition has largely been maintained in private homes. Persian women begin to learn to dance when they are small girls. They are taught by family members, or learn to imitate their elders, to provide entertainment for the family. There were also, prior to the 1979 revolution, classes taught by non-Muslim women, Jews and Armenian Christians, attended by proper Iranian ladies in great secrecy [A. Nazemi, personal communication]. Girls learn the Iranian cultural bias against females dancing in front of anyone other than the family; so they like to dance, but learn not to dance in public, and express reserve when asked to dance even at private parties outside the family.
In the 1950's and 60's, Persian classical dance began a revival, which removed it from a context of prostitution and low-class nightclubs. Dancers began to appear on television and the government began to sponsor dance companies that performed classical and folk dance (recreational dance of the villages and tribes). This trend continued until the 1979 revolution, when all such activity was discontinued.

Persian Classical Dance Today, in "TehrAngeles"

Unlike Indian classical dance or western classical ballet, Persian classical dance has not been organized and codified. Thus each dancer creates her own style and improvises within a recognizably Persian framework of movements. An innovative dancer is able to extend the vocabulary of movements in many directions, while retaining the essential Persian feeling.

[Rasputin]

[Rasputin]

There is nothing cheap or shameful in learning a cultural art form and performing it to share the sense of pride and joy


Shadi Gholizadeh

I, like most every Persian girl I knew, was enrolled in the community Persian dance class soon after my sixth birthday. I hated it. I was awkward -- my gher looked like a muscle spasm and I sprained two fingers trying to beshkan. Still, my parents made me go and somehow over the next few years a sense of grace and confidence became instilled in me and I learned to love this cultural art form. It was only through dance that I began to love and embrace my culture -- a phenomenon that is true for many Persian girls.

I began to notice, however, that soon after their 12th birthdays, most of the girls gradually dropped dance class never to return. The reasons they gave were similar -- their parents had wanted them to be familiar with Persian dance, but to continue it after a few years…well that would just be tacky. They did not, after all, want their daughter to be considered a “raghas”.

I recently attended a dance performance that was hauntingly beautiful -- the choreography, the passion with which the women danced, the sound of santur, the colors of the fabric, the raw sense of tribal unity and femininity that these women were exuding was magical. I have taken many Iranian Studies courses and ready many books on Persian history but I still feel that to truly understand the richness of Persian culture, once must sit in on a music performance, a dance performance, a poetry reading.

Read 40 books on Persian history and culture (most of which are written by self-proclaimed “Iranian Studies experts” who neither speak the language nor have ever even set foot on Iranian soil): you will not understand Persian culture or Persian history until you witness a musical performance, a poetry reading, a dance. I learned more about my history from listening to rifts of a santur and daf ensemble, from hearing the breaking voice of an old woman reading Rumi, from feeling the earthy tribal energy of a Shateri dance performance than reading any book on Iranian history or listening to a speech given by a pompous historian who has memorized every battle and political scandal, but knows nothing of the art that is my culture.

I recently began a Persian dance group at my University. Though the on-campus Persian association was accommodating, their anxiety before our first performance was palpable. They possessed the same fear that causes Iranian mothers to withdraw their daughters from Persian dance after a few years. Yet after we performed, the sense of energy that filled the room was incredible. After they were able to see what Persian dance can do for bringing together a room of Iranians, we got the okay to continue choreographing and performing for future events.

There is nothing cheap or shameful in learning a cultural art form and performing it to share the sense of pride and joy that has developed in you from learning it. It is also rather ironic that those that are the most verbal about the negatives of raghs are the first ones to jump at an opportunity to watch it performed. Ours is a culture with art running through its veins. Lift up Iranians who strive to keep their culture alive by learning and sharing pieces of your culture for you. After all, it was Rumi who guided us to,

“Dance, when you're broken open.

Dance, if you've torn the bandage off.

Dance in the middle of the fighting.

Dance in your blood.

Dance, when you're perfectly free.”

[Rasputin]

[bnt1234]

Thanks for the informative information.

bnt

[Rasputin]

ساشار ظریف هنرمند ایرانی و استاد رقص خاورمیانه دانشگاه یورک در تورنتو است. او اخیرا در زمینه پروژه دکتری خود مکتب رقص تلفیقی جدیدی با عنوان "ساقی" رابداع کرده است. گفت و گویی با او در همین زمینه:
وقتی آمدم به کانادا با خودم یک دایره هم آوردم تا تنهایی ها یم را با آن پر کنم

در خانواده ای اهل موسیقی و هنر بزرگ شد و ۱۶ ساله بود که به تنهایی به کانادا مهاجرت کرد، اما با وجود گذر این همه سال هنوز با گذشته و هویت خویش متصل است و موفقیت خود را هم مرهون آن می داند. رقص از نگاه او ابزاری است برای بیان مفاهیم و احساسات. ساشار ظریف را همه جا و همه کس با هنر رقص مترادف می دانند. طراحی و اجرای دهها رقص سنتی، عرفانی و معاصر ایرانی و مطالعه، تدریس و تحقیق در این زمینه از جمله دستاوردهای ساشار محسوب می شود که در نهایت موجب شد تا برای اولین بار به همت این هنرمند ایرانی تبار برای اولین بار رشته رقص خاورمیانه در دانشگاههای کانادایی راه اندازی شود.

ساشار ظریف

" دیدار با ساقی " تازه ترین کار او به شمار می رود که پس از دو سال کار مطالعاتی ، چندی پیش در تورنتو بر روی صحنه رفت تا شخصیت ساقی را با حرکاتی موزون و گروهی به مخاطبان ایرانی و خارجی بنمایاند و پیام "صداقت برتراز هر چیز"را با الهام از شعر حافظ تفهیم کند. او بنا دارد تا برای اولین بار مکتب رقص ساقی را ره اندازی کند .در حاشیه این اجرای جدید، فرصتی دست داد تا با این استاد رقص خاورمیانه دانشگاه یورک به گفت و گوبنشییم که با هم می خوانیم.

یک رقص خوب چه ویژگی ها و چه تعریفی دارد؟

یک رقص خوب مثل یک کتاب یا یک مقاله خوب است . که مفهوم و معنی داردو کلمات همگی به درستی در جای خود قرار گرفته باشند. حالا هر قدر این نوشتار پرمفهوم تر و ساده تر باشد به همان نسبت بهتر است. رقص خوب هم به دراماتیک بودن و پریدن نیست. باید با حس کردن همراه باشد. اگر بروید توکردستان، مازندران،آذربایجان،بختیار ها و قشقایی هامی ببینید که چطور با احساس و هویت می رقصند. بنابراین وقتی رقص انجام می دهی باید با هویت و ریشه تو ارتباط داشته باشد.

فکر می کنی اگر ایران بودی می توانستی هم از نظر آکادمیک و هم اجرایی به اهدافت برسی و اینجا چقدر توانستی از طریق رقص به معرفی فرهنگ ایرانی بپردازی ؟

اگر ایران بودم نمی توانستم این قدر پیشرفت کنم. در عین حال که همه کسانی که در ایران در این زمینه تلاش کردم مورد تقدیر من هستند.

زندگی در کانادا به خاطر چند ملیتی بودنش این فرصت را به من داد که چیزهای مختلفی را یاد بگیرم. ولی موضوع این است که ما باید نگاهمان را نسبت به رقص عوض کنیم. و برای رقص های سنتی خودما ن ارزش بیشتری قاثل باشیم و آنها را حفظ کنیم.برای من جالب است که ماها با رقص های خارجی طور دیگری برخورد می کنیم. سعی می کنیم آنها را بفهمیم و بیشتر به آن فکر می کنیم . ولی وقتی به رقص های خودمان می رسیم، کلا یک دفعه نگاهمان عوض می شود . انگار دو شخصیته هستیم. یک شخصیت ما با دنیای خارج کار می کند و شخصیت دیگرمان با دنیای داخل.با دنیای داخل که کار می کنیم خیلی چیزها عوض می شود.

قبل از رقص ،من اول مهندسی خواندم و برای این که آن را ول کنم و وارد رشته رقص شوم خیلی سخت بود.خیلی سال های افسردگی (دیپرس) داشتم. به عنوان هنرمند خیلی سال های سختی داشتم. به تنهایی آمدم کانادا و همیشه نگران پول تو جیبی و غذا و جا بودم. چون خیلی سخت است که از سنین کودکی این جا باشی و بخواهی یک اهدافی را هم دنبال کنی. من این پستی بلندی ها را زیاد دیدم.




کمی از مشکلات و سختی های کارت بگو . چطور می شود هم ایرانی بود و هم در یک جامعه چد بعدی مثل کانادا در حوزه هنر و رقص موفق بود ؟

سختی ها خیلی زیاد است. در واقع هنر از تفریح و تفنن کاملا جدا است. وقتی می خواهی مثلا کار رقص را به عنوان هنر انجام بدهی خیلی مشکل داری چون باید از فکر و جانت مایه بگذاری و تازه به مردم هم التماس کنی که بیایند و این را بفهمند. از نظر شخصی هم مثلا طراحی یک رقص یک مساله شخصی است، انرژی و فکر باید بگذاری.این با روح و روان تو خیلی مرتبط است. من ایستادن در این نقطه را مدیون گذشته ام می دانم. من یادم است که مادر بزرگ من یک دایره داشت و همیشه در اتاق خودش می نشست و دایره می زدو سه گاه می خواند. مثل این که این طوری دردو دل می کرد.

من هم وقتی آمدم به کانادا با خودم یک دایره آورده بودم که هر وقت دلم می گرفت ، می گذاشتم هم اتاقی هایم که می رفتند بیرون در تنهایی خودم دایره می زدم. می خواستم آن تنهایی را از بین ببرم و خودم را متصل کنم به گذشته ام. تمام آنها برای من آموزش بود و من از همه این گذشته درس گرفتم. راه من خیلی راه هموار و آسانی نبود. تنهایی خیلی سخت بود . روبر شدن با زندگی واقعی در سنین پایین همگی در شخصیت هری امروز من تاثیر داشته است. وقتی به همکارانم نگاه می کنم می بینم که مثلا هندی ها همگی هر وقت دلتنگ می شوند و یا به اصطلاح کم می آورند بر می گردندمی روند کشورشان موسیقی و همه چیز هست، یعنی یک جایی دارند که بروند شارژ شوند و بر گردند . ولی برای من چنین جایی وجود ندارد. من دیگر همینم که هستم.



در رقص دیدار با ساقی چطور با هویت و ریشه خودت ارتباط برقرار کردی؟

از سال های ۹۸ میلادی شروع به تدریس رقص دراروپا و کانادا کردم و با توجه به این که ۹۹ درصد شاگردانم غیر ایرانی بودند، مجبور بودم که قبل از هر چبزاین همه سال سعی کنم که فرهنگ ایرانی و سنت ها و فرهنگ فولکولوری را به آنها برسانم. این باعث شد ه که همه کارهای من زاده این مسایل باشد و همه طراحی های من با هویت من عجین باشدو فرهنگ را با حرکت به مخاطب معرفی کند.
مثلا فرهنگ لوطی گری و خاله زنکی ها و نظایر آن را به شاگردان حتی ایرانی خودم در قالب رقص یاد می دهم و به صورت تکنیکی با آن برخورد می کنم، اول براشون خنده دار است. ولی بعد که با آن آشنا می شوند خیلی براشون جالب است. چون با فرهنگ خودشان ارتباط برقرار می کنند.

چطور به فکر طراحی "دیدار با ساقی" افتادی؟

همیشه سوال هایی که هنرجویان از من می پرسیدند من را به این فکر می انداخت که چرا رقص ما فاقد یک ساختار تعریف شده است . چطور موسیقی کلاسیک ما و شعر ما این قدر غنی است و ساختار مشخصی دارد که عمدتا هم الهام گرفته از مکتب های عرفانی هستند. برای همین من از ساقی به عنوان وسیله ای که بتواند این کار را در رقص انجام بدهد استفاده کردم. من از بچگی به ساقی و شعر حافظ خیلی علاقه داشتم. با شخصیت ساقی خیلی رابطه داشتم. ساقی در شعر کسی است که شراب حقیقت را به تو می دهدو به عنوان یک معلم است برای تو. برای همین شروع به تحقیق روی ادبیات و موسیقی ایرانی انجام دادم و در علم عروض مطالعه کردم. روی فلسفه عرفانی و حرکت های عرفانی مکاتب دراویش مختلف مطالعه کردم و یک ساختاری را برای رقص تعریف کردم که امیدوارم بتواند با شعر و موسیقی ما پا به پا جلو رود.

در این مطالعات به این موضوع پی بردم که ما هنرهایی داریم که به آن هنرهای زمانی می گویند که با زمان رابطه مستقیم دارند: شعر، موسیقی و رقص.من به این ها می گویم سه تفنگ دار. رقص به نظر من در گذر زمان از بین رفته است و تکامل آن دوتای دیگر بدون وجود رقص بوده است.

لذا به نظر من ما نیاز به ساختاری داشتیم در موسیقی و برای رقص هم کلمات حرکتی. به طوری که مفهوم باشد . حرکت و موسیقی همیشه مورد استفاده صوفی ها و عرفا بوده است به این دلیل که با استفاده از این حرکت به قدرت ایمان و اندیشه خود رشد دهند. من هم در این کار سعی کردم کلماتی را که برای رقص درست می کنم از آن جا سرچشمه بگیرد.امیدوارم که به زودی بتوانم مکتب رقص ساقی را راه اندازی کنم. این شاید شروعی باشد برای بنیان گذاشتن سیستم رقصی که ما بتوانیم در کنار هنر موسیقی و شعر مان داشته باشیم.



کار تحقیقاتی روی ساختار دیدار با ساقی چقدر طول کشید؟

من دو سال روی این موضوع به عوان تز دکترایم کار مطالعاتی کردم و برای آن هم به ایران رفتم

در دیدار با ساقی به خوبی از همه عناصر لازم مثل نور و موسیقی و صحنه سازی استفاده کرده بودی و جالب این که مخاطبان غیر ایرانی تو خیلی تحت تاثیر قرار گرفته بودند . در این کار سادگی خیلی به چشم می آمد. نظرت در این مورد چیست؟

هر چیزی که انسان می خواهد بیان کند باید با صداقت بیان شود تا کاملا تاثیر گذار باشد.

من در اجرای مقدماتی دیدار با ساقی از رنگ ها زیاد استفاده کرده بودم، لباس ها تمام رنگی و سنتی بود و طراحی هم به همین ترتیب. ولی بعد در اجرای اصلی ، لباس ها خیلی ساده بود و سفید. حرکت ها ساده بود. هر کسی شخصیت خودش را روی صحنه داشت. من فکر می کنم هر کسی با صداقت حرف حودش را بزند، بیشتر از هر چیز ارزش دارد و این پیام اصلی رقص من بود .

کمی در مورد مکتب رقص ساقی بگو ، دقیقا می خواهی چه بکنی؟

با آقای سهیل پارسا و پیروز یوسفیان که از هنرمندان ایرانی هستند کار را ادامه خواهیم داد . مکتب رقص ساقی را اگر داشته باشیم می توانیم روزی را ببینیم که بچه های ما به این مکتب می روند و این افکار از نسلی به نسلی دیگر منتقل می شود. و وقتی این رقص را یاد می کیرند از فرهنگ ما الهام بگیرند.

ما صبح تا شب از حافظ و سعدی حرف می زنیم ولی جایی نداریم که این افکار را تمرین کنیم و به فرزندانمان منتقل کنیم. بویژه برای ایرانیان خارج از کشور و نسل دومی ها این افکار نیاز به تمرین و ممارست دارد. برای رقص ساقی اول باید زبان شعر را بفهمیم و با استفاده از زبان اشاره آن را درک کنیم. بنابراین آموختن این زبان اشاره مهم است. امیدوارم این شروعی باشد که واقعا آن ثروت عرفانی فرهنگ ما را نشان بدهد.

من سعی کردم از تمام فرهنگ های غیر ایرانی که در بوجود آوردن شخصیت ساقی نقش داشتند در این کار استفاده کنم. این زیبا است که نشا بدهیم که این فرهنگ ها چطور با هم تعامل کردند. مثلا تاجیکستان ، ترکمنستان، آذربایجان و نظایر آن.

از بین انواع رقص معاصر، سنتی و عرفانی کدام یک را بیشتر دوست داری ؟

من همه را دوست دارم ولی رقص سنتی برای من از همه مهم تر است و بیشتر از آن لذت می برم. چون در واقع رقص سنتی تمرین هویت من است . در واقع آنجا از وجود خودم لذت می برم.

رقص های عرفانی برای من لذت نیست، فقط تجربه است و خود شناسی. رقص های معاصر هم تلاش من است برای برقراری ارتباط با دنیای اطراف.

چطور شد که رشته رقص خاورمیانه را در دانشگاه یورک راه اندازی کردید ؟ آیا دانشجوی ایرانی هم داری ؟

رقص های خاورمیانه و از جمله رقص های ایرانی در آمریکای شمالی تا به حال نبوده و اولین بار در دانشگاه یورک راه اندازی شد . از رقص های شالیزار گرفته تا رقس های قشقایی را به دانشجو معرفی می کنیم. و قبل از هر چیز فرهنگ را از طریق حرکت ها به دانشجو یان آموزش می دهیم. بیشتر دانشجویان هم غیر ایرانی هستند .

به هر حال خیلی سال طول کشید که من افکارم را در قالب یک دوره و رشته آکادمیک پیاده کنم . تا بتوانیم آن را به دیگران معرفی کنیم و از این راه فرهنگ ایرانی را بشناسانیم.

کار تحقیق را باز ادامه خواهی داد ؟

هر سال تابستان موقع تحقیقات من است. امسال هم برنامه دارم که به افغانستان و تاجیکستان بروم و خیلی دوست دارم دوباره به ایران بروم. به دهات دور افتاده ایران که چقدر برای من قابل تقدیر هستنند.

[reza-george]

Thanks

[Rasputin]

The Djanbazian Dance Company, recent recipient of 2007 Lester Horton Dance Award For Outstanding Achievement Company, offers an enticing and delightful evening of traditional and folk stage dances. The vibrant multiple award winning company will bring colors, music and poetry of Persia to the stage at the California State University Northridge Performing Arts Center, Sunday, September 9th, 2007 @ 6:00pm .


The multimedia production incorporating Anna Djanbazian’s exceptional choreography with beautiful video excerpts from Djanbazian’s Rumi: Path to Enlightenment takes a joyful journey with dances symbolizing the rituals, ceremonies and customs throughout the different provinces of Iran.



WHERE: Plaza Del Sol Performance Hall - California State University Northridge Performing Arts Center - 18111 Nordhoff Street - Northridge, Ca 91330-8393

WHEN: Sunday, September, 9 , 2007 at 6:00pm



TICKETS: General Admission $40, DRC members $10 off, Students w/ID $20, Excellent group rates for 15 or more are available

Q Market / Dariche - Van Nuys: 818 - 758 – 9995

Djanbazian Dance Foundation: 818 – 580-2170

Online: www.itsmyseat.com





Performance starts at 6:00 pm and is approximately 1hour 30 minutes. Suitable for all ages. For more information: (81 580-2170

[Rasputin]

wow ...

http://www.youtube.com/watch?v=4oyi_sqNDmI

[Rasputin]

http://www.youtube.com/watch?v=5Yg6Mcp7taw

[Rasputin]

[ame]http://www.youtube.com/watch?v=vIxlyQUSYrs[/ame]

[Rasputin]

ohhhh she has the real persian dance ...

[ame]http://www.youtube.com/watch?v=Z5w7UxYHH28[/ame]