Perhaps the most widely known among these is the ceremonial spread called the Khan-e Nowruz or the Haft Chin. It features a variety of objects that symbolize key figures and values of Zoroastrian cosmology. The arrangement of this spread — or most of its elements — has historically emerged as a cultural practice shared among numerous peoples across West Asia, the Caucasus, and India.
Celebrated from Eastern Anatolia to the western parts of China, diverse communities claim Nowruz as their own New Year’s holiday. While many recognize that Nowruz, which coincides with the Spring Equinox, has roots in Zoroastrianism, very few know how Zoroastrians celebrate this holiday in parts of Iran today.
Ajam Media Collective recently worked with THE STATE, a Dubai-based publishing practice, to make a ‘zine. We provided the words and art while they provided the design to make a wonderful collaborative document. We are also publishing the work on our site, beginning with this introduction.
The preservation and restoration of religious buildings become implicated in complex and polemical questions of Georgian nationhood, citizenship, identity, and belonging. The production of a neoliberal notion of cosmopolitanism based on tolerance and celebration of different ethno-religious groups within national borders, enshrined in the preservation of religious buildings, is part and parcel of this re-branding campaign. The presentation of a public space that celebrates diversity does not however necessarily translate to lived reality where difference just is.
Reciting the history-mythology surrounding the figure of Shahrbanu and her role in the dissemination of Islam to Iranians is a significant method of (re)producing a seamless continuity between the lineage of the Prophet Muhammad and Iran’s pre-Islamic and Zoroastrian culture. In this sense, the validity of the historic objective “truth” of these stories seems to be far less important than the cultural import that these stories convey to us about the nation’s sense of itself.