Translation can be characterized as an interplay between literary traditions, a process that illuminates the difference in approaches to and articulation of poeticity. Consequently, linguistic and cultural challenges arise that need to be addressed by the translator regardless of his or her approach to translation. The Persian literary tradition presents unique challenges that are particularly well-revealed in the ghazaliyyāt of Hafez of Shiraz, a poet who is widely read in Persianate societies. Poets and scholars alike have expressed the difficulty of translating Hafez.
Our mix this month presents a seemingly unorthodox combination: avant-garde and folk music from Iran and the region. The goal with this month’s podcast was to continue presenting samples of Iran’s many musical traditions in a multitude of forms to show the variety and ongoing development of Iran’s diverse folk music traditions. (Photo Credit: Shahrokh Dabiri)
گروه رسانهی عجم از سال 1392 تاکنون مجموعه مقالههایی دربارهی هنرهای تجسمی ایرانیان داخل و خارج کشور نوشته و نمایشگاههای هنری نیویورک، هنرمندان خیابانی تهران و برنامهی زیباسازی شهرداری مشهد…
Never having visited the Republic of Bangladesh, my reflections are probably missing a certain something. Nevertheless I began to ask about the suburb’s unofficial name. “Why is it called Bangladesh?” mimicked a colleague, incredulous. “Because it’s hot, poor, far away, and nobody knows much about it.”
The work of Tehran-based street artist Ghalamdar exemplifies a new direction in Iranian street art. While the majority of artists operating in Iran are heavily influenced by motifs and techniques popularized outside of Iran, Ghalamdar is inspired by endemic calligraphic styles and miniature paintings that have been the primary targets for 20th century modernist art. In several conversations with AjamMC, the artist discussed how Iranian visual and literary culture influenced his work and how dominant trends in Iranian street art have solidified.
Our latest mixtape by our Digital Resident, Kamyar aka Yavaran. Here he takes us through a sampling of jazz from the 1950s through the present to tell the history of Iran’s relationship with jazz. Track list includes songs from Duke Ellington, Viguen, 127 Band, and others.
The post-Soviet art of Central Asia and the Caucasus comes out of a Soviet-era conversation of artistic styles that looks not just to Moscow but also to Mecca. An understanding of the high and low registers of this Soviet cultural heritage allows the humor and self-confidence of the work to be appreciated — aesthetically as well as financially — by audiences.
Shahzad’s rap attempts a resurrection not only of a distinct Sindhi language, but also a Sindhi culture. His songs aren’t just in Sindhi, he also sees them as a continuation of the long Sindhi tradition of Sufi poems. While other Pakistani rappers, prominently BillyX, rap about topics deeply taboo in Pakistani society – sex and intoxicants – Shahzad seeks to reinvigorate a more traditional subject matter. But why through rap? Why resuscitate a tradition through a medium that is foreign to it? He likens it to wearing western dress when going to school; the medium does not compromise the message.
Ajam brings you a mix that attempts to capture a wide range of some of the influential voices in the current Iranian hip-hop scene. The beats and production work have audibly international influences, with traditional instruments like the santoor coexisting with bass-heavy hip-hop drums. Between so many styles, multiple languages, and multiple aesthetics, Iranian rap never fails to tell its own story. (Graffiti Cover image: Elf Crew a>)
Ahmad Zahir, the major Afghan pop singer of the 1970s, died mysteriously in 1979, a year of upheaval and turmoil in Afghanistan’s political history. Since then, many Afghans, in diaspora and in Afghanistan, maintain a special relationship with Ahmad Zahir and his music. This article explores the memory of one family in using Ahmad Zahir as a way to connect to their homeland.