*Vol.1, Ch.II, Methodology: 2. "Making"

My work usually takes advantage of the use of a number of multimedia, however, its treatment is distancing from just juxtaposing various art forms, and it increasingly shows tendency towards a genuine interdisciplinarity. That means the invisible lines of a phenomenon -box:C2- are translated from its original form and are allowed to grow in the context of another format -box:C3&C4-.

In the process of making, “Interdisciplinarity” plays an important role. An example of such process is the music composition for “A Silence to be Heard” (Farid 1997). The lines of the melody here are created in sympathy with the movements of the hands of the performer -box:C,C1,C2,C3&C4-. The hands’ movements are stylised gestures which are drawn from the deaf sign language which try to communicate -box:E2- some ideologies -box:E1-, originally taken from a written text.

Along the same line, in my recent works, bringing poetry and shocking images of a totally different context gives a new meaning to the outcome. Contrasting and shocking political images are showed when a love poem is recital; create some challenging atmosphere which is not aimed but that poem, but it enhances the effect of the images. It can find its way into the mind of people who may not otherwise look at those images or become interested in their topic. This is done in a sarcastic manner and creates a black hummer which puts naivety and intelligence in the same picture, and invites the onlooker to draw her/his own synthesis out of this thesis and antithesis.

Not: (Cross Lines or Interdisciplinarity is not yet shown in the “Map of My Metaphysical Journey”. I am still working on this aspect)

Qualitative Image-Based

The remaining part of this section on making looks at strategies that I use in the various media that I employ. Here, I start with photography.

"There are two types of Photography: Those which contain information
and those which provoke an emotional reaction."
(Prosser 1998, p. 71)

To me art is just a language like any other. In fact I do not see any difference between a verbal language and any other artistic media which is expressive and intuitive. Photography and videography are two very important media in my work. The way I use these media are always provocative, in particular when I put them in an unexpected context. For example in “Zolf Ashofteh”

http://www.youtube.com/watch?v=YJgsbsA8FFA&feature=related (Farid 2009)

In this piece, some pictures of suppressors and some shocking images of execution pass the screen while the narrator recites a poem which portrays a love scene. Hence even if the used photographs in my work are originally of informative nature or just pieces of visual memorandum, they are turn into provocative objects.

Looking at the Construction of Another Birth as an Example

Now I would like to look at "Another Birth" as an example of making a piece of work, as described in Volume 3.

“Another Birth” is a poem by Forough Farrokhzad, a contemporary Persian female poet which haunted my imagination for a long time. It is a dreamlike, surreal and extremely pictorial poem. Its verses draw images in front of one’s third eye, and as an artist I could not get over these images without making some form of response.

Choosing Medium: I use all art formats where and when I find a group of them the best vehicle to communicate my theme. For example in “Another Birth” (Farid 2007-8) I have used the following media: Poetry, Calligraphy, Performance, Photography, Videography, Publication and Exhibition.

I realised that by taking Forough’s poetic suggestions literally, a number of surreal images could emerge. I illustrated my visual account of “Another Birth” in form of photography/film, together with Persian calligraphy, and also in form of publication and Exhibition.

Orientation:

I initially familiarised myself with Forough Farokhzad’s poetry by reading it in its original language, Persian. I also listened to recordings of Forough's own voice, reading this poem and being interviewed. I observed this particular poem in Forough’s handwriting as well; perchance I could read something between the lines.

It was not until I started to write and analyse my work alongside this poem that I discovered some hidden mystic spaces around the phrases of this poem, so I began to travel further and further through these unexpected passages which began to open up in front of my eyes. I therefore began to believe that Forough’s promise in “taking you to the dawn of ever blooming and growth” might have been becoming a reality.

Listening to Forough’s voice, I discovered that this passage,
(12 F.F) "-Ah…
-This is my share…?
-Is this my share…?"

as it was discussed in the body of this essay, should be read and understood as a set of questions rather than statements. This small difference makes a significant change to the destination of this poem and creates a u-turn in the direction of its understanding, leading to a different realisation of Forough’s own character

(Practice as Research - Trimingham 2000).

Persian is a tonal language and reading this section of the poem as a statement would give a passive and fatalistic impression about the intention of the poet. Reading this section as a set of questions, however, would suggest Forough's awareness of the obstacles and challenges in her path as well as her determination to overcome them.

This project examines Persian poetry in an intimate way. It questions a piece of poetry that is written by a woman, about women (Hatcher & Hemmat 2002), (Forough Farrokhzad 1989 & 1992). It examines the way that Forough regards her life as a journey through which her sexual, social and spiritual identities are formed and challenged by internal and external cultural forces (Bahá’u’lláh 1986, Ruth 1981). A challenge that, as a Persian woman who lives in the west, I can identify with, in particular when my social and political identity is questioned (Butler 1990) and manipulated (Boyce-Tillman 2005) by mother country as well as my host.

Translation:
I translated this poem from Persian to English before reading any other translations. That decision was made to protect myself from being influenced by other translators. In doing that, I have tried to remain as faithful to the literal meaning of the poem as possible, but not at the expense of losing the conceptual meaning of the verses of the poem.

"Another Birth" is a surreal piece of writing that suggests a range of conceptual set of images. Translating this poem to another language is a matter of delicacy, because the readers/listeners could attribute the difficulties in comprehension to a weak translation, hence her/his attention is diverted from Forough's intentions. An attempt, therefore, has been made to keep the readers’/listeners' attention focused by the use of the medium of photomontage in portraying it, and techniques of poetry reading in its audio performance.

Photography & Photomontage:

The format that I have chosen to illustrate this poem is a combination of photomontage and calligraphy which is designed on the basis of the verses of this poem in its original language. The photographs are original and they have, purposefully, been taken with an Olympus 4 mega pixel digital camera. The storyboards have been thought through and drawn for each scene prior to the photo shoot. The photo shoots were repeated many times and the scenes were modified and changed until they reached a satisfactory stage (Planning, Making & Reflection - Trimingham 2000).

The images that are used for photomontage were chosen out of hundreds of shots and they were manipulated, using the digital editing techniques of Adobe Photoshop. The final images consist of many layers of photographs, in some cases over fifty.

Calligraphy Design:

The use of calligraphy design in this illustration work provides reference to the context of the origin of this poem as well as adding to its aesthetic and visual impact. In terms of calligraphy, I benefited from studying the work of the past and present Persian masters of calligraphy, such as Mishkin-Qalam (Mishkin-Qalam 1992) and Rassouli (Rassouli 1990-92). I also drew ideas and inspirations from a lifetime exposure to Persian calligraphy design, and that helped me to develop my own original calligraphy founts and style of writing (Farid 1980-2007). (Practice as Research - Trimingham 2000, Planning, Making & Reflection and Auto-Ethnography)

An example of one of the calligraphy designs:

Farid (2003-08)

Farid (2003-08)

http://www.youtube.com/profile?user=ParvanehFarid#p/u/31/Jmd9ahxagm4

Colour Scheme:

The hue, saturation, colour level, contrast and brightness of the images were carefully manipulated and adjusted to match the chosen colour scheme of a common template. The saturation was reduced and the use of a brown overall effect was considered to create a soft and subtle atmosphere.

Visual Composition:

In creating visual scenes I have called upon my cultural heritage which encompasses the works of other visual artists, both western and eastern, whose work is classed as surreal and their subject matter rubs shoulders with my images in this work.

This included the work of artists such as Salvador Dali (Alexa Stace 1994), Frida Kahlo (Emma Dexter 2005), and also the work of the Persian and Indian artists who have illustrated poetry and myths in the past (Stuart Cary Welch 1976, K.E. Sullivan, 1998, Robert Hillenbrand 2000, Basil Gary 1995, Ebadollah Bahari 1997). (Practice as Research - Trimingham 2000)

Modeling:
I have appeared and acted in front of the camera together with my husband wherever the subject matter required. That way I lived the poem through acting and posing (Auto-Ethnography & Interpretive Interactionism). I have tried to dive into the depth of the feelings of this poem, and that helped me to understand the motives which have provoked the poet in describing the scenes of the poem.

“One writes out of one thing only
- one’s own experience.
Everything depends on how relentlessly one forces from this experience the last drop,
sweet or bitter,
it can possibly give.
This is the only real concern of the artist,
to recreate out of the disorder of life that order which is art.”
(James Baldwin, 1990)

In posing and executing self-photography, I have drawn ideas and style from my acting and stage experiences (Parvaneh Farid 1990-2007). I have also looked at performances by artists such as (e.g. Julia Bardsley 2007), as well as studying the work of the American photographer who does self-modeling, Cindy Sherman (1995). (Practice as Research - Trimingham 2000)

Animation Rhythm of the Art-Video:

The animation of the images is rhythmic; their appearance and disappearance are not only in synchronisation with the narrative of the poem, but also in sympathy with the vocal rhythm of the narrator, the emphasis of key phrases and the significance of the words. The appearance of the calligraphy work also follows this rhythmic pattern. Furthermore, the transition effect of the images, the calligraphy and their timing are worked out in such a way that they reinforce the drama of the narrative.

Sound Effects & Music: The constant use of sound tracks is avoided and they are only used on two occasions, where they could significantly enhance the atmosphere and the mood of the story.

A soft orchestral piece of music (Farid 1998) is played towards the end of the piece. The dominating instrument is a bamboo flute which makes an association with the narrative of the poem at this point:

(26 F.F) "-I know of a small and sad fairy who lives in an ocean,

playing her heart out through a bamboo flute,

softly… softly…" (P.F. T)

Audio Recording:

The poem is narrated in a dramatic and subjective manner which reflects the mood of the story and its emotion. The voice of the narrator (Farid 2006) has a soft, sensual and at the same time a sad quality with a natural Persian accent which suits the style and the origin of the poem. It is recorded in English as well as in Persian at L'Atelier Papillon (Farid 2006), and was edited with Cubase SX (digital music software).

This method of making has made me a multi media artist, and as my background shows, I have developed skills in using a wide range of media. In doing this project, I have used calligraphy, photography, art video, expressive writing, music and performance.

The use of images, in particular photography and videography plays a major role in documenting and expressing my thoughts and emotion alongside the expressive writing, hence understanding the "Qualitative Image-Based" method could help me to project relevant expression to an image as well as enabling me to read more accurate information from it.

"Photography by itself does not mean anything until it is interpreted,

and the meaning of the photograph does not necessarily be apparent
from the manifest content...
Photographs should not be treated as 'mirrors' held up to reality:
reality itself is a product of social process,
and photographs can be part of the process,
as well as a product, of reality construction...
The purposes of which photographs are both taken and used
will have an effect on their meaning."
(Prosser 1998, pp. 74 & 80)

*Vol.1, Ch.II, Methodology: 3. "Reflection"

The process of my work often begins with “Reflection” as oppose to “Planning”. Therefore, although the “Spiral method of Planning, Making & Reflection” (Trimingham 2000), is still in place but it is not necessarily always begin with planning, hence some ambiguity may occur. In order to navigate others, therefore, I need to travel backwards in time and consciously try to find the trace of my process, clearly landmark and highlight them. This method, however, due to its spiral format, soon begins to work orderly and it works towards the refinement of the essence of the theme.

After each stage of making, there is yet again another period of reflection, during which new questions and challenges are bragged about and valued. To me in fact, the emergence of new questions and challenges could be the sign of the success of a project. Because new questions usually provoke further creativity along the way of the planning stage whereas the answers would conclude the progress of our activities. Perhaps Rumi is referring to the same issue when he says:

آب کم جوی، تشنگی آور بدست

“Do not search for water, but for thirst”

(Rumi 1976)

The reflections include my personal analyses as well as the feedbacks that I receive from the academics and the onlookers who visit my exhibitions or my website www.latelierpapillon.co.uk . On the bases of these reflections, adjustments and further planning for further development is launched.

My PhD project is an ongoing academic study in a form of multimedia artwork, recognising no barriers in choosing media, as and when they are recognised as the best format for expression. That includes; visual media such as design, calligraphy, photography, video making, painting, sculpture, installation on one hand and performance, dance, music, poetry and expressive writing on the other. The visual images are, mostly, purposefully produced and used alongside with the texts which consist of commentaries, debates, expressive writings and poetry. The outcome of each section of work is presented in form of DVD, written texts or publication, although they may alter and/or expand, and new chapters be added, while practice as research continues into my PhD. The spiral process of planning, making and reflection remains the fundamental framework of methodology to reach a desirable result.

*Vol.1, Ch.II, Methodology: "Conclusion"

I have shown in this chapter on the methodology of Practice as Research, how I have employed a number of strategies to explore the Invisible lines and translate them into multi-media productions. Some of these are philosophical such as the use of spiritual frames and Hegelian dialectic,; some are art making strategies, found here largely in the area of making and demonstrating the translating of lines from one media to another and the juxtaposition of lines in various media to produce complex phenomena. Others are more psychosocial and reflect on my own position within society such as subjugated ways of knowing, autoethnography, genetic epistemology and interpretive interactionism. These are to be found largely in the planning phase and are revisited in the Reflection. The origin of invisible lines lies in the ontology of the artist which is why such a combination of strategies is appropriate. The translation of the invisible lines into a visible form requires strategies of art-making in which the invisible lines are translated into visible lines.

*Table of Contents to Volume Two, "Licensed to Live", "Body, Mind, Spirit"

The University of Winchester
March 2009

Volume Two

“Licensed to Live”
“Body, Mind & Spirit”

V. 2.
Introduction to Volume Two - p. 2

V. 2. Chapter I
Body
Section A - p. 3
“My Body is a Temple for My Soul”


V. 2. Chapter II
Mind
Section A - p. 9
“I Mask, Therefore, I Am”
Section B - p. 12
“Happy Birthday O Womb-Man”
Section C - p. 14
Related study: “A Stranger in Charge of the Temple of My Soul”


V. 2. Chapter III
Spirit
Section A - p. 18
“Where is it Written?”
Section B - p. 19
“Another Birth”
.
Bibliography - p. 20

*Intoduction to Volume Two, "Licensed to Live"

Media, Process and Product: This project is an ongoing academic study in a form of multimedia artwork, recognising no barriers in choosing media, as and when they are recognised as the best format for expression. That includes; visual media such as design, calligraphy, photography, video making, painting, sculpture, installation on one hand and performance, dance, music, poetry and expressive writing on the other. The visual images are, mostly, purposefully produced and used alongside with the texts which consist of commentaries, debates, expressive writings and poetry. The outcome of each section of work is presented in form of DVD, written texts or publication, although they may alter and/or expand, and new chapters be added, while practice as research continues into my PhD.

It should be noted that this volume of work intends to show both, products and process. The process, however, in some cases has been put forward in greater detail. In others, the process is embedded in the product. In other words, the video making (DVD) edges more towards a product, and the literature review has been integrated within the presentations. An example to that is “My Body is a Temple for My Soul” where references to the literature are founded.

Body, Mind and Spirit: This volume is divided into three main areas, under the subheadings of “Body, Mind & Spirit”. The first chapter of three focuses on our physical aspect of identity and character. The other two chapters, however, ponder upon the developments of our emotional character and spiritual identity.

Having originally divided this into three main areas, under the subheadings of “Body, Mind & Spirit”, I am now realising that a restricted pigeonhole system is not ideal to reach the best result. The reason being, that these aspects of our existence not only develop spontaneously and overlap each other’s progress, but they even draw from one another. In other words, one aspect does not end its progress before the next begins. A schema, however, is needed to help me with the research; hence I endeavour to look at these three aspects as three separate entities which develop in parallel, while their crossings and interactions are not overlooked.

*Vol.2, Ch.I, Sec.A - "My Body is a Temple for my Soul"

Chapter I
“Licensed to Live”
Body

Section A
“My Body is a Temple for My Soul”

Presented at:
The University of Winchester Feb 2008 - May 2008
The University of Southampton May 2008

· This video endeavours to identify and illustrate the forces behind an urge which makes us to look like someone else; “Imitation for Protection”.
· The commentary is narrated as some related visual images (self-portraits) are unfolded on screen alongside some related quotations.
· Written form of what is spoken on the DVD is on the next page and also on line: http://parvanehfarid-academicprojects.blogspot.com/2008/11/section-c-spirit.html
· The presentation is also found on YouTube: http://www.youtube.com/watch?v=krlCFi3LfVM

“My Body is a Temple for My Soul”
(Farid 2007-08)
Commentary and Debate
Written form of what is spoken on the DVD
.
I have been grooming and decorating my body, almost to the point of obsession, throughout my life. This, however, is not something particular to me or a few others; in fact it is a cross cultural phenomenon, affecting males and females. At this part of my project, I would like to understand the reasons which provoke me to behave this way. Of course I could think of a wide range of reasons for such enterprise. Being naturally programmed to attract the best genes could be one of them. Being systematically influenced by a number of social and cultural forces such as the commercial market could be another.

Although these factors in isolation could provide some motivation, their combination would suggest a more complex texture. To avoid confusing myself, I therefore try to look at the roots and the origin of such behaviour. It is, however, important to bear the meaning of grooming in mind throughout this finding. I would define the term “GROOMING” as “to look my best”. If we could accept this definition, then we need to define the term “MY BEST”. If you think the term “My Best” is self explanatory, then I would argue that “My Best” often means “Looking Like Someone Else”.

“Imitation for Protection”

We are born with an “Instinct”, “Urge” or a “Built-in Mechanism that Secures our Survival”. This “Mechanism” remains with us throughout our lives and it manifests itself in the form of a series of Systematic Political Behaviours,
which according to our level of maturity and cultural advancement, takes various forms.

The “Survival Mechanism” is motivated by “Self-interest”

“…First the prima naturae, which are the natural drives or instincts for self-preservation…” (Haakonssen 1996 – P. 27)

To the question, “What proposition is there respecting human nature which is absolutely and universally true?", Macaulay, replies,
"We know of only one . . . that men always act from self-interest."
(Fieser & Dowden 2008)
http://www.iep.utm.edu/e/egoism.htm#H1


Babyhood
As a baby, the “Mechanism for Survival” manifests itself and operates in a form of a Single Tool, that is: Cry

This provides us with a “Survival Package”, which contains food, warmth, shelter, security and love (FWSSL).

Childhood
Through out this period, we begin to learn a series of certain social skills. The collection of these skills forms our “Social Toolbox”
which contains
• Verbal and Nonverbal Languages,
• Codes of Behaviour
and understanding the Mechanism of
• Cause and Effect.
•
This “Social Toolbox” gradually overpowers our “Single Tool”, Cry, in providing us with the “Survival Package” (FWSSL).


Adulthood
As adults we maintain our access to our “Single Tool” and “Social Toolbox”. There are, however, new tools added to our Social Toolbox, that is
• “Life Experience”
and more advanced skill in the
• “Application of Intelligence”
A new requirement is also urged and added to our “Survival Package”; that is the need for
• “Receiving/Passing the Best Available Genes” (FWSSLG).

As we become more sophisticated in the use of our new “Toolbox”, we learn to plan and secure a better share of the “Survival Package” (FWSSLG)

We also realise that those who manage to get a better share of the “Survival Pack” (FWSSLG) are acquiring “Certain Physical Characteristics” and “Certain Mannerisms”.

The combination of these characteristics and mannerisms gradually form a package of “Cultural Trade Marks” which facilitate success, and it is eventually accepted as a superior and “Ideal Appearance” which is desired and recognised by all.

“Rousseau claims that by our nature,
each of us has this natural feeling of love toward ourselves.
By contrast, amour-propre is an unnatural self-love
and is a negative product of the socialization process.
Unlike amour de soi, amour-propre is a love of self
that depends on comparing oneself with others.
Essentially it consists in someone basing his or her self-worth
on a perceived superiority to another.”
(Fieser & Dowden 2008)
http://www.iep.utm.edu/r/rousseau.htm#H5

An association between this “Ideal Appearance” and a better share of the “Survival Package” is soon established and becomes a platform for “Imitation” for success. As a result the community is divided into two groups, the “Role Models” and the “Followers”.

The “Role Models” form the “Leadership Group” and the followers form the “Commoners”.

“According to… the explanations that constitute our culture,
the political, social, professional, economical, intellectual arenas
belong to public sector.
The emotional, sexual and domestic are private sector.”
(Spivak 1987)

The Commoners learn through experience that by “Imitating” the “Leaders”, they can “Bluff” their way into the “Leadership Group”, hence a higher degree of social approval and a richer share of the “Survival Package”.

Here a spiral mechanism of “Imitation for Protection” is formed that is increasingly becoming superficial and hence visual.

Due to its superficiality, an “Urge for Approval”, therefore, becomes an easy way for survival.



To respond to this “Urge for Approval” we begin to “Bluff” our way in by grooming ourselves to look the part all the time at the price of losing our individualities.

“When my colleagues were reacting adversely
to my invocation of marginality,
they were in fact performing another move
within the centre (public) - margin (private) set.
They were inviting me into the centre
at the price of exacting from me the language of centrality.”
(Spivak 1987- p. 106)

Sophistication in Bluffing leads to accumulation of “Survival Package” (FWSSLG) that leads to the Creation of Centralised “Power” and the formation of a Local Culture, which has developed its own “Internal Role Model Industry”.

“…the prima naturae, which are the natural drives
or instincts for self-preservation, and …
right reason or sound judgment of what is honestum, that is,
what makes life with others possible – which is in itself a natural inclination.
Considered as a feature of the person,
ius is the exercise of these two sides of human nature together.”
(Haakonssen 1996)
In post Industrial Revolution and furthermore in today’s global village, however, we witness a number of these Internal Role Model Industries which begin to rub shoulders with each other and begin to superimpose their standards. Hence a new phenomenon is recognised, which could be called an “External Role Model Industry”.

A battle between the Internal and External Role model Industries leads to an ongoing challenge for the respective communities on a macro scale as well as for their individual citizens in the formation of their personal identities. This challenge would result in the inferior community giving up its individual appearance in favour of Imitating the Superior Appearance of the winning culture. Hence;

“Looking Like a God” who is outside of your own organically developed role models industry.

“Rousseau calls the two forms of self-love:
amour-propre and amour de soi.
Amour de soi is a natural form of self-love
in that it does not depend on others.
Rousseau claims that by our nature,
each of us has this natural feeling of love toward ourselves.
By contrast, amour-propre is an unnatural self-love
and is a negative product of the socialization process.
Unlike amour de soi,
amour-propre is a love of self
that depends on comparing oneself with others.
Essentially it consists in someone basing his or her self-worth
on a perceived superiority to another.
It breeds contempt, hostility, and frivolous competition.
In fact, it is precisely these negative consequences
that are under attack in the Discourse on the Sciences and Arts.”
(Fieser & Dowden 2008)
http://www.iep.utm.edu/r/rousseau.htm#H5

*Vol.2, Ch.II, Sec.A, "I Mask Therefore, I Am"

Chapter II
“Licensed to Live”
Mind

Section A
“I Mask, Therefore, I Am”

Art Video on DVD
(Please find this DVD in the above relevant sleeve)
· This is an art-video based on an expressive writing and animation of purposefully taken photographs
· Written form of what is spoken on the DVD is on the next page and also on line:
http://parvaneh-farid.blogspot.com/2007/12/i-mask-therefor-i-am.html
· This presentation is also found on YouTube:
http://www.youtube.com/watch?v=zi12O0gAe9s

.
“I Mask, Therefore, I Am”
(Farid 1995-2008)
Written form of what is spoken on the DVD
.
As wondrous as a point without co-ordinates......
............ across the broken axes of time, place and thoughts,
............Like a kite which has lost its link with the earth,
I am finding different paths across the sky.

On a circle, the starting point is the end,
And the end is the beginning.
And the square root of the negativity of the number of my thoughts
is still to be found.

It is me who is missing
I open the window and look at the infinity........
................To the clouds and the greens..........
................To the sky which is bright,......although there is no sun
The sound of the wings of the butterfly which is searching for freedom is echoing around the window.

It is me who is missing
I take the mirror down, dust its eyes and look into them,
But no face I recognise.
Who am I?
Where am I?
Where is that hiding place?
Where is that shelter?
In the depth of the loneliness of this mobile flesh, a disguise of a life is living.

It is me who is missing
I call upon my clothes, which are hanging in their coffins.
They witness my being, but no acknowledgement is made.
Where am I?
Where have I gone?
To what dimension?
To what sphere?
What time?

I open the window and look at the sky which is pouring with light, though there is no sun.

I light a candle in the memory of the sun
and call myself by name,
The space becomes saturated with its echo..........
...........Yet no reply is heard.

Where am I?
Who am I?
From which book?
Which dictionary?
What statistics?

The butterfly has sold the pride of freedom to a dream of flight,.......... .........................while denying the detention of a life's ambition.

and the airplane,
breaking the law of gravity,
escaping from the natural imprisonment of the earth,
has now delivered me from the womb of my mother land,
through a painful experience,
into an unknown world,
which promising a new birth…

And now, I am an alien from a strange planet,
who upon hearing her own name,
Her ears do not ring any more,
Her face does not turn back,
Neither do her tears run,
remembering her old memories.

and now, on the steep hill of tomorrow…
with looted hands…
with vandalised hopes…
in a stormed city
I learn to be happy by following one day after another…

“I have succeeded…
I’ve registered myself by a name in a certificate of Naturalization…
So glory be to 175208.
Now, I can write on175208 bills…
And on 175208 application forms…
Parvaneh Farid”
.
The words inside the quotation mark
are inspired by a poem by Forough Farrokzad,
“The Land of Jewels” (Farrokhzad 1989 & 92)

*Vol.2, Ch.II, Sec.B - "Happy Birthday O Womb-Man"

Chapter II
“Licensed to Live”
Mind

Section B
“Happy Birthday O Womb-Man”

An Art Video on DVD
(Please find this DVD in the below sleeve)
· This is an art-video based on an expressive writing and animation of purposefully taken photographs
· Written form of what is spoken on the DVD is on the next page and also on line:
http://parvaneh-farid.blogspot.com/2007/11/happy-birthday.html
· This presentation is also found on YouTube: http://www.youtube.com/watch?v=RGGZuhJ0bos

“Happy Birthday O Womb-Man”
(Farid 2008)
Written form of what is spoken on the DVD


Happy birthday, O Womb-man
Up to now, the cast of the womb of your mother
has been trying to mould you after your father,
and as from now on,
society will try its best to shape you to the order of its desire.

as from now, you will be brought up as an obedient citizen
who shall desire nothing but what others have…

You will follow the same path that others have trodden before…
and like a carriage, you shall only be following the others on the railway.


Happy birthday, O man and welcome aboard…
That your stupidity will be your only saviour,
and your imitation will be your only means of protection.


Never ask an unpredictable question,
Never expect an answer that is not in the form of a cliché.
In fact you will be safer if you never ask any questions at all...

Never wish what others don't,
Never think of what others haven't yet,
and if you could be wise enough to take my advice,
you would never think of thinking at all…

....Because the path has already been laid out before you,
and you are so privileged to be invited to walk along it,
so I should not step out, if I were you…

So, with closed eyes, deaf ears, dumb tongue and a dim mind,
if you do not mind,
walk along the same path on which many have trodden many times, before you…

A path that offers you no surprises, but a path which is safe and sound…
a path that gets you where they wish you to end,
and is it not what you should wish too???

Happy birthday, O Womb-man, and I shall tell you that…
you will be more of a “man”, if you could be more of the “kind”

*Vol.2, Ch.II, Sec.C - Stranger in Charge of the Temple of My Soul

Chapter II
“Licensed to Live”
Mind

Section C
“A Stranger in Charge of the Temple of My Soul”

Presented at:
The University of Winchester 2008

Commentary and Debate on DVD
(Please find this DVD in the above relevant sleeve)
· This is a related piece of study in form of audio visual commentary/debate which is presented with some purposefully taken videos together with references to some film clips and music of other artists, while the commentary is narrated.
· Written form of what is spoken on the DVD is on the next page and also on line:
http://parvanehfarid-academicprojects.blogspot.com/2008/06/stranger-in-charge-of-temple-of-my-soul.html
· The presentation is also found on YouTube: http://www.youtube.com/watch?v=mPDI_ScFRbw&feature=related

“A Stranger in Charge of the Temple of My Soul”
(Farid 2007-08)
Commentary and Debate
Written form of what is spoken on the DVD

This is a related study on a three part project on the theme of the journey of our body, mind and spirit throughout our lives, during which our physical, mental and spiritual characters form. The first part of this project; “My Body is a Temple for My Soul” looked at our appearance as a determining factor for social positioning.

This part of the project; “A Stranger in Charge of the Temple for My Soul” examines the process through which our faculties develop and forms our individual character within the reality of our social life, and the way that our faculties operate in terms of adapting or rejecting an idea or a belief system. During the course of this research an attempt, also, will be made to identify and analyse some of the contributing factors to this formation, such as family, media, education, religion and so on.

Where does our physicality end and our faculties begin?
It appears that our physical bodies grow to their apex of maturity and strength between 16 and 30 years of age, a period during which we are at our best to pass our genes. Once the body clock sounds its alarm, whether we have performed our duty or not, the physical world no longer has any interest in keeping us around. Our bodies, thereafter, begin to decline, and so do our faculties, and one does not need to acquire a PhD to work out what would happen next.

Want More
He: “What are you going to do?
Don’t you understand? I want you to be a real woman”
She: “I am areal woman”
He: “Then act like one.
There is no other god that is more beautiful and more miraculous.
You know everything without opening a single book.
What more do you want?”
She: “More!”
(Streisand 1983)

But we want more than what Mother Nature has bargained for. What keeps us fighting our mortality after fertility is our leftover instinct for survival with the support of our developed faculties. In other words our instinct for survival, having given up with our fertility to make an imprint, has now to find an alternative route. This alternative route leads us to the realm of the arts, music, thoughts, beliefs, and if corrupted to vandalism and destructive behaviour. We also supplement our instinct for looking after our young with developing an interest in passing on experience, knowledge, thoughts/beliefs/religion and lifestyle, which in the case of corruption manifest itself in a form of desire to control.

On the other hand our instinct for occupation forms habits and makes us sustain our lifestyle as though nothing has happened. We get dressed up to the nines and work towards completing our unresolved/unfinished business in our earthly lives. If up to then we had a free ride on Mother Nature, from now on we are on our own. The charity account is closed and we have to fight/cheat for credits. From now on we continue living on borrowed time. Mother Nature no longer has any interest in our survival. Our being is only legitimised by our manmade philosophy and our technological civilisation at the expense of a collective sense of social solidarity.

“Ubuntu” I Am Because You Are

“In old days, when we were young, a traveller through a country
would stop in a village and he didn’t have to ask for food or for water.
Once he stops, the people giving food and entertaining.
That is one aspect of –Ubuntu-, but Ubuntu has various aspects…”
http://www.youtube.com/watch?v=ODQ4WiDsEBQ
(Mandela 2006)

“The central wisdom of Africa that a human condition is captured in a word; Ubuntu. The literal translation of Ubuntu in English is –I am because you are-“
http://www.youtube.com/watch?v=6YswUI-yqXo
(Clinton 2007)

“I am because we are. Think about it. I am not defined without you…”
http://www.youtube.com/watch?v=NfQQAnQEs6I&feature=related
(Madonna 2008)

Although we learn from our own experience and understanding of the mechanism of “Cause & Effect”, mostly we learn from experiences which have been passed on to us. Remind yourself of everything you have been doing since you woke up this morning. How much of that was your idea and what percentage did you learn from others? You might have some choices, of course, but have you done anything today of your own volition?

Education
This, however, does not mean that we are totally programmed pieces of machinery. If that was the case civilisation could never evolve to what it is today. We would still be running around on bare feet perchance finding food and hiding in caves to protect ourselves from the elements. Observing Feral Children could be a proof of this assumption.
Oxana: http://www.youtube.com/watch?v=qyqbnDjId7g&feature=related (You Tube 2007)

Our being consists of three entities; “genetic makeup”, a given individual character and environmental influences, which include our upbringing (Abdul-Bahá 1979). It could, therefore, be suggested that a given piece of information (thesis) could be challenged/questioned and processed (antithesis) by any of these mentioned entities or a combination of them and lead to a new phenomenon (synthesis), which itself will go through a similar dialectic process. This spiral Hegelian Dialectic process, therefore, could be the very mechanism for the evolution of our civilisation.
“… according to which the Absolute Reality is progressively manifesting itself dialectically in the form of thesis, antithesis and synthesis…”
(Hegel 1998)

Developing Cognition
Jean Piaget (1896-1980), is perhaps the first name which comes to mind upon hearing the term; “Cognitive Development”. Pondering on his work, very quickly guides us to the weight that he gives to education in developing our cognition.

The 'Voice' of the Child in Family Proceedings:
http://www.youtube.com/watch?v=X2_ks5dKBuQ (You Tube 2007)

Jean Piaget, interview:
http://www.youtube.com/watch?v=JEfjjYgsT44&feature=related (You Tube 2007)

Cause and Effect
All these ways of learning are directed to the understanding one universal law; “Cause and Effect”. To develop this cognition, however as Piaget suggests, we create our own schema.

It also appears that in the same way that we feel an urge to pass on our genes, we also develop an interest to passing on our experiences, thoughts and beliefs

Education, Education, Education

“Regard man as a mine rich in gems of inestimable value.
Education can, alone, cause it to reveal its treasures,
and enable mankind to benefit therefrom”
(Bahá'u'lláh 1952)

A well developed and up to date system of education should be geared to discovering the individualities and the unique potentials of all and promote them to their limits. It is noticeable that the old system of education is heavily focused on a public uniformisation, in order to create order and management.

*Vol.2, Ch.III, Sec.A - "Where is it Writen"

Chapter III
“Licensed to Live”
Spirit

Section A
“Where is it Written”

An Art Video on DVD
(Please find this DVD in the above sleeve)
· This is an art-video on the basis of a song by Alan & Marilyn Bergman (Lyrics) and
· Michel Legrand (Music) & (Bergman & Legrand 1983)
· The singing and music is reconstructed and some verses from “The Seven Valleys” (Bahá’u’lláh 1986) are added as subtitles, with no relation to the lyrics of the song.
· The original song is from a film by Barbra Streisand, and a song from her film “Yentl” (Streisand 1983) http://en.wikipedia.org/wiki/Yentl_(film)
· This presentation is also found on YouTube:
http://www.youtube.com/watch?v=4p1TI2IYwrQ&feature=channel_page

*Vol.2, Ch.III, Sec.B - "Another Birth"

Chapter III
“Licensed to Live”
Spirit

Section B
“Another Birth”

Presented at:
The University of Winchester 2007
Winchester School of Arts 2007

This section is produced as a separate volume, as "Another Birth" & "An Intuitive Analysis"
Please refer to:
“Volume Three”

· Volume Three is produced in form of an Art Book, and it consists of:
1. A complete collection of purposefully taken photographic and photomontage images which illustrates the poem.
2. A complete set of innovative calligraphy design of the poem, in Persian.
3. The handwritten form of the poem by the poet.
4. The English translation
5. An Intuitive Analysis of the poetry
6. The methodology and the process of work.
7. An illustration of the visual literature review.

· The Intuitive Analysis & the illustration of the visual literature review is also available on line:
http://parvanehfarid-academicprojects.blogspot.com/2008/03/intuitive-analysis-on-another-birth.html

· This presentation is also found on YouTube:
1. "Another Birth" video work in English (full colour)
2. http://www.youtube.com/watch?v=Jmd9ahxagm4
3. "Another Birth", video work in English (tinted full colour)
4. http://www.youtube.com/watch?v=6ur2fsxNX7s
5. "Tavalodi Digar" video work in Persian (original language) http://www.youtube.com/watch?v=Ghr4YDhQu9I

· Exhibition
30 A2 size printed images of photomontage and Calligraphy design of this work are mounted on A1 size white boards and the relevant verses of the poem are placed beside them. They have been exhibited in the below venues:
1.Totton College, June 2003 (2 images which were ready at that time)
2.Southampton City Art Gallery, Feb-March 2007
3.Turner Sims, University of Southampton, May 2008
4.Art House, Southampton, July-September 2008
5.The Link Gallery, the University of Winchester, Sept-October 2008
6.There is a plan to exhibit this work at the Persian Library, in London

· Postcards
Three images are made as postcards for publicity and promotion of this work.

*Bibliography

· Attar, Farid-Din (1985) The Conference of the Birds (Mantiqu't-Ta'ir), translation from Persian to English by C.S. Nott, London, Melbourne & Henley
· Baldwin, James (1990) Notes of a Native Son, Boston: Beacon
· Bahari, Ebadollah (1997) Bihzad, London, Tauris & Co. Ltd.
· Bahá’u’lláh, Hosain-Ali (1952) Gleanings from the Writtings of Baha’u’llah, translated to English by Shoghi Effendi, USA, Wilmette Illinois
· Bahá’u’lláh, Hosain-Ali (1986) Seven Valleys, translation from Persian to English by Marzieh Gail, USA, Wilmette Illinois
· Bergman, Alan & Marilyn (Lyrics) and Legrand, Michel (Music), (1983) Where is it Written, USA, Central Litho
· Boyce-Tillman, June (2005) Ways of Knowing, Unconventional Wisdom, Theologising the Margins, Vo13.3, USA, Imprint Academic, pp 317-341
· Boyce-Tillman, June (2007) A Letter of Reference, Winchester, e-mail
· Boyce-Tillman, June (2008) Feb & Oct supervisions, Winchester, e-mail
· Clinton, Bill (2007) I Am Because You Are, You Tube http://www.youtube.com/watch?v=6YswUI-yqXo
· Davami, Abdollah (2000) The Vocal Radif and Old Tasnifs, Tehran, Mahoor Institute of Culture and Art
· Denzin, Norman K. (1989) Interpretive Interactionism, London, Sage Publications
· Dexter, Emma (2005) Frida Kahlo, London, Tate Publishing
· Dietrich, Marlene (1994) I’ve been in Love Before, USA, MCA Records
· Estill, Jo (1996) Primer of Basic Figures, CA, Estill Voice Training System
· Farid, Parvaneh (2007-08) A Stranger in Charge of the Temple of My Soul, UK, L'Atelier Papillon
· Farid, Parvaneh (1998-2006) Audio Albums, Music & Audio Book, UK, L'Atelier Papillon
· Farid, Parvaneh (2007-08) Another Birth, an intuitive analysis & illustrated art book, UK, L'Atelier Papillon
· Farid, Parvaneh (2007-08) A Stranger in Charge of the Temple of My Soul, UK, L'Atelier Papillon
· Farid, Parvaneh (2008) In a Supervision Session, Winchester
· Farid, Parvaneh (2008) Happy Birthday O Womb-Man, UK, L'Atelier Papillon
· Farid, Parvaneh (1995-2008) I Mask, Therefore I Am, UK, L'Atelier Papillon
· Farid, Parvaneh (2007-08) My Body is a Temple for My Soul, UK, L'Atelier Papillon
· Farid, Parvaneh (2008) Performance, UK, L'Atelier Papillon
· Farrokhzad, Forough (F.F) (1989 & 92) Complete Collection of Forough’s Poetry, Another Birth, Germany, Navid Publication
· Fieser, James (founder and general editor) & Dowden, Bradlet (general editor), (2008) The Internet Encyclopaedia of Philosophy, A Peer-Reviewed Resource http://www.iep.utm.edu/
· Freud, Sigmund (2001) Pioneer of the Mind, New York, Clarion Book
· Gary, Basil (1995) Persian Painting, Switzerland, IRL Imprimeries Reunies Lausanne
· Grylls, Vaughan (1997) A Letter of Reference, Kent, KIAD
· Haakonssen, Knud (1996) Natual Law and Moral Philosophy from Grotius to the Scottish Enlightenment, UK, Cambridge University Press http://books.google.co.uk/books?id=luwipM3Mg-oC&printsec=frontcover&dq=natural+law+and+moral+philosophy+:Grotius&lr=&ei=Ary5R-z5DZzUzATFuazbCA&sig=f9vkDCWhNpM-w6L5VOdYGaXyCJo#PPA27,M1
· Hafez (1997), edited by Sayeh, Tehran, Karnameh Publishing House, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
· Hegel, G.W.F. (1998) Phenomenology of Spirit, India, Motilal Banarsidass Publisher
· Hillenbrand, Robert (2000) Persian Painting, London, I.B. Tauris & Co Ltd.
· Kayes, Gillyanne (2000), Singing and The Actor, London, A&C Black
· Karimi, Mahmoud (1978) Radif Vocal de la Musique Traditionnelle de Iran, Tehran, Ministere de la Culture et des Arts
· Madonna (2008) New Documentary Film: “I am because we are”, You Tube http://www.youtube.com/watch?v=NfQQAnQEs6I&feature=related
· Mandela, Nelson (2006) The Ubuntu Experience, You Tube http://www.youtube.com/watch?v=ODQ4WiDsEBQ
· Man Ray, Juliet (1995) Man Ray, London, Sotheby's
· Mishkin-Qalam, Mirza Husain (1992) Mishkin-Qalam XIX Century Artist & Caligrapher, Germany, Reyhani
· Neshat, Shirin (2000) Exhibition, London, Serpentine Gallery
· Oxana (2007) Dog Girl, You Tube http://www.youtube.com/watch?v=qyqbnDjId7g&feature=related
· Piaget, Joan (1968) Genetic Epistemology, a series of lectures delivered by Piaget at Columbia University, translated by Eleanor Duckworth, NY, Columbia University Press
· Piaget, Joan (2007) The 'Voice' of the Child in Family Proceedings, (You Tube 2007) http://www.youtube.com/watch?v=X2_ks5dKBuQ
· Prosser, Jon (1998) Image-based Research, London, Falmer Press
· Rabbani, Shoghi Effendi (1978) The Proclamation of Bahá’u’lláh, Wilmette, Bahá’í Publishing Trust p.11
· Rassouli, Jalil (1990, second print 1992) The Soul of The Soul, Tehran, Negar Books
· Rumi, Jalaledin Mohamad (1976) Ghazaliat Shams Tabrizi, Iran, Safiali Shah Publishing, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
· Sa'di, Shaikh Moslehadin (1978) Koliat Saedi, Iran, Mir Khani, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
· Shenasa, Masoud (2004) Charming Sorrow, Iran, Hamavaz Ahang
· Shanes, Eric (1989) Brancusi, New York, Abbeville Press
· Sherman Cindy (1995) Cindy Sherman, USA, Schirmer Art Books
· Spivak, Gayatri Chakravorty (1987) In Other Worlds: Essays in Cultural Politics, NY, Routledge
· Stace, Alexa (1994) The Life and Works of Dali, UK, Parragon Book Service Ltd
· Streisand, Barbra (1983) Yentl (film), Miami, MGM
· Sullivan, K. E. (1998) Indian Myth & Legends, London, Brockhampton Press
· Taiwo, Olu (2008) A Letter of Support, Winchester, e-mail
· Tieney, William G. & Lincoln, Yvonna S. Editors (1997) Representation and the Text Re-Framing the Narrative Voice, New York, State University of NY Press
· Trimingham, M (2000) A Methodology for Practice as Research, Studies in Theatre and Performance, 22/1, pp. 54-60
· Viola, Bill (1996) The Crossing, (2005) Love/Death, (2007) a projected video, USA, Google
· Welch, Stuart Cary (1976) Persian Painting, N.Y. George Braziller
· Wikipedia, (2009) Theory of justification, http://en.wikipedia.org/wiki/Theory_of_justification)
· Yusuf Ali, Abdullah (1975) The Holy Quran, London, The Islamic Foundation

*Vol. 3 "Another Birth" & "An Intuitive Analysis"

Parvaneh Farid
on a poem by
Forough Farrokhzad

"Another Birth"
Translation, Photomontage, Design and Research by Parvaneh Farid
April 2007
University of Winchester
© Parvaneh Farid, L’Atelier Papillon

www.latelierpapillon.co.uk

Parvaneh.Farid@winchester.ac.uk
papillon@latelierpapillon.co.uk

To view the related art videos please click on the underlined words below:
1- "Another Birth"video work in English (full colour)
2- "Another Birth", video work in English (tinted colour)
3- "Tavalodi Digar" video work in Persian (original language)

4. تحلیل به زبان فارسی

"This is just to say that having seen Parvaneh Photomontage art work I wanted to comment on the degree of professionalism that her work embodies. I think that it is important to stress that aesthetics aside, it is refreshing to see sublime work presented as practice as research. This is important, particularly as she is using the presentation of 'harmony' in an Aristotelian way to reveal her transcultural struggle underpinned by her religious and philosophical belief. Not to have this as an example of good practice from a different, as she put it 'illegitimate cultural' perspective, would be a great shame."
Dr. Olu Taiwo, The University of Winchester
.

Another Birth

-The entire existence of mine is but a dark verse

that while repeating your mantra within

ascends and takes you to the dawn of ever blooming and growth.

-In this verse,

I sigh you,

I sigh…

-In this verse

I graft you to the tree,

submerge you in water

and burnish you with fire.

-Life is perhaps

but a long street,

along which a woman passes by,

day after day,

carrying a shopping basket.

-Life is perhaps

but a rope

that a man hangs himself with off a branch.

-Life is perhaps

but a child

who returns from school.

-Life is perhaps

but lighting a cigarette

during the moments of fatigue between two climaxes,

-or perhaps it is the vague passing by of a pedestrian

who takes his hat off to another

and with a meaningless smile says:

“Good morning”

-Life is perhaps

but that closed moment

when my gaze destroys itself within the pupil of your eyes,

-and in this,

there is a sensation which I would merge with

comprehension of the moon

and the receipt of darkness.

-In a room

that measures up my loneliness,

-my heart, that encompasses a love,

is staring at its naïve excuses for happiness;

-The beauty of the slow death of flowers in a vase,

the sapling that you planted in our garden,

and the songs of canaries that sing as wide as a window.

-Ah…

-This is my share…?

-Is this my share…?

-My share is a piece of sky

that is taken away from me

by hanging a curtain?

-My share is descending an abandoned staircase

and merging with something that is in deterioration and alienation?

-My share is a miserable walk around the garden of memories?

-and to die

in anticipation of hearing a voice that says:

“I love your hands…?”

-I shall plant my hand in the garden.

I shall grow…

I know… I know… I know…

and swallows will lay their egg in the hollow of my inky fingers.

-I shall wear earrings of twin red cherries,

and glue chrysanthemum petals on my nails.

-There is an alleyway

in which those boys

who were in love with me,

with the same untidy hair and thin necks and twig like legs…

are dreaming, still,

of the innocent smiles of a girl

who one night has gone with the wind.

-There is an alleyway,

that my heart has stolen

from my childhood’s memories.

-A journey of a volume along the dimension of time,

that makes the dry line of time pregnant with a volume

-a volume of a conscious image,

that is returning from its reunion with a mirror.

-And that is how someone dies

and someone remains.

-No fisherman would ever find a pearl in a narrow stream

that leads to a shallow lake.

-I know of a small and sad fairy

who lives in an ocean,

playing her heart out

through a bamboo flute,

softly… softly…

-A small and sad fairy

who dies at night with a kiss

and she is born yet again with another

at dawn.

.
Introduction
to
An Intuitive Analysis of "Another Birth"

This is an analysis of a contemporary poem, "Another Birth", by Forough Farrokhzad (1935-67), which is aimed to assist the viewers of this photomontage and video work in understanding and following the procedure and the path that has been taken in developing and composing these visual images which are created on the bases of this poem.

I initially became interested in the poetry of this celebrated and iconic figure in the history of Persian women's poetry during my early youth. One reason, amongst many, was the ease in following her pattern of surreal thoughts and receiving a kind of emotional reward as a result. As I familiarised myself more with Forough's work, I established a stronger sense of rapport with her work, and I developed a sense of appreciation for the originality that she had managed to introduce to the language of her poetry.

"Another Birth" was one of Forough's poems that haunted my imagination for a long time. It is a dreamlike, surreal and extremely pictorial poem. Its verses draw images in front of one’s third eye, and as an artist I could not get over these images without making some form of response. As time passed by, I became convinced that I had to illustrate my visual account of this poem in the form of photography/film and Persian calligraphy. In doing that, I realised that by taking Forough’s poetic suggestions literally, a number of surreal images could emerge.

It was not until I started to write and analyse my work alongside this poem that I discovered some hidden mystic spaces around the phrases of this poem, so I began to travel further and further through these unexpected passages which began to open up in front of my eyes. I therefore began to believe that Forough’s promise in “taking you to the dawn of ever blooming and growth” might have been becoming a reality.

Using a poetic format as well as having been exposed to a culture of rich mystic heritage, Forough offers her feelings of a sensual nature together with spiritual discoveries in the same basket. She heavily relies on her intuitions, and the medium of poetry allows her to do that. Her freedom of imagination and boldness in writing which somehow sound abstract and original, demonstrate characteristics of a “...Subjectivity, Personal feeling, Emotion, Magic, Involvement, Associative ways of knowing, Belief and Non-Casual Knowing” nature, as suggested by Gooch (Boyce-Tillman 2005), to a higher degree than most of her contemporaries.

I

“In a growing movement in the 21st century
the West is trying to heal a rift
that has developed in its intensely rationalistic culture.

Gooch defines this rift in terms of two systems of thought,
both of which co-exist in the human personality.”
(Boyce-Tillman 2005, p8)

“The favoured characteristics of one system (A) are:
• Activity leading to product
• Objectivity
• Impersonal logic
• Thinking and thought
• Detachment
• Discrete categories of knowledge which is based on proof and scientific evidence.” (ibid)

“The other system (B) favours:
• Being
• Subjectivity
• Personal feeling
• Emotion
• Magic
• Involvement
• Associative ways of knowing
• Belief and non-casual knowing” (ibid)

“…We can identify certain individuals as

• Type A
that is, those who are happy acting on logic and scientific reasoning which are part of system A

and others as;

• Type B
and that is those who favour system B, acting intuitively and valuing belief …”

(ibid)

In that respect, one can certainly categorise “Another Birth” by Forough Farrokhzad, as with most poetry, as type B. She allows her intuitive mind to soar across the valleys of her feelings and imagination, and it is through this spiritual journey that she begins to make discoveries which make her endeavours worth the while.

"I have been placed behind a mirror, like a parrot
repeating, only what the Lord of eternity put in my mouth"
(Hafez 1997) (P.F. T)

“Another Birth” could be regarded as an account of a personal journey that Forough has undertaken towards self recognition and discovery of the meaning of her life. The stages of mind and the layers of vision that she goes through appears to make parallel associations with the spiritual valleys of development that form the core structure of Sufism and some other Eastern spiritual schools of thought.
.
To demonstrate these parallel associations, I refer to a letter written by Bahá’u’lláh to a Sufi, Shaykh Muhyi’d-Din, known as “The Seven Valleys”, in the latter part of 19th century. Sufism, as a school of mystical thought, in general and "The Seven Valleys", as a response to this school, in particular are regarded as the ways of knowing as Gooch and Boyce-Tillman refer to as Type B because they clearly demonstrate acting intuitively and valuing belief. (Gooch & Boyce-Tillman 2005)

II

“The stages that mark the wayfarer's journey
from the abode of dust to the heavenly homeland
are said to be seven.
Some have called these Seven Valleys, and others, Seven Cities.
And they say that until the wayfarer taketh leave of self,
and traverseth these stages,
he shall never reach to the ocean of nearness and union,
nor drink of the peerless wine."
(Bahá'u'lláh 1986)

These Seven Valleys are:

1. THE VALLEY OF SEARCH
2. THE VALLEY OF LOVE
3. THE VALLEY OF KNOWLEDGE
4. THE VALLEY OF UNITY
5. THE VALLEY OF CONTENTMENT
6. THE VALLEY OF WONDERMENT
7. THE VALLEY OF TRUE POVERTY and ABSOLUTE NOTHINGNESS

(ibid)

------------------------------------------------------------------------------------

An Analytical Account
of
"Another Birth"

*
A world of mystery
behind a series
of thought patterns

At a first glance at Forough Farokhzad’s “Another Birth”, the poem seems very much like a documentation of a series of unfocused thought patterns that resembles a chain of unconnected dreams, and occasionally nightmares, which indicates the poet's desire to not necessarily follow a clear direction of thought, or attempt to arrive at any premeditated destination.

By probing beyond the surface of the words and the face value of the suggested scenes of this most theatrical poem, however, a mystical source of imagination may be discovered, and a trace of an emotional, mental and spiritual journey could be detected, through which the soul may discover the purpose of its existence and the mind could detect its destination in life. In describing her thoughts, feelings and visions, Forough seems to imply with the method of "Interpretive Interactionism" (Denzin 1989). She does not hesitate to bring her private world to the surface and share it, generously and openly, with the public. For that reason one feels as if s/he is invited and empowered to interpret her work on the basis of the direct and first hand evidence which is provided by her.

That way she facilitated that my intuition become awaken, and it made me see this poem in a new and astonishing light. As the poem unfolded, a series of stages of a personal development began to emerge.

The opening of “Another Birth” portrays a scene of a sexual nature. In its description, Forough is bold and direct, yet inoffensive and polite; she is descriptive and original, and her lines remain beautiful and romantic, yet honest and truthful to herself as well as to her audience.

I -The entire existence of mine is but a dark verse
that while repeating your mantra within
ascends and takes you to the dawn of ever blooming and growth. (F.F)(P.F. T)

Here, when Forough defines herself in a sexual context, she creates a reference to a divine entity by using a religious structure such as; “Verse”. To her, a lovemaking performance is a spiritual concept that is a euphemism for a “Mantra” that leads to a mutual growth for the lovers both.

Right from the beginning, Forough portrays herself as a woman with a spiritual sense of sexuality that although it remains obscured, “Dark Verse”, yet it is functioning, fulfilling and flourishing.

Like the Messiah, she claims to have the ability to take (to save) her lover (disciple) with herself and through a devotional and intimate experience (sacrifice) delivers him (disciple) “to the dawn of ever blooming and growth”, which is a metaphor for spiritual development that the Messiah promises to his disciples (washing away their sins).

To make a spiritual transition take place, Forough suggests the need for a foreign stimulus or a second entity (a soul mate) which acts as a trigger. In other words a sparkle of an epiphany is essential to start a blaze.

"... the focus of interpretive research is on those life experiences
that radically alters and shapes
the meanings persons give to themselves and their life projects."
(Denzin 1989 - p14)

This notion reminds us of a theory, known as "Hegelian Dialectic", according to which the two lovers could be identified as “Thesis” (an intellectual proposition) and “Antithesis” (the negation of the thesis). Their love, therefore, could be the emergence of something wonderful and original; a “synthesis”, that is a new proposition and a flourishing phenomenon.

“… according to which the Absolute Reality is progressively manifesting itself dialectically
in the form of thesis, antithesis and synthesis…”
(Hegel 1998)

This notion has often been experienced in the history of mankind in a mystical sense. The story of Rumi and Shams Tabrizi is a well-known example in the world of Sufism. The epiphany of his life occurred when they met, causing Rumi to start his mystical journey of self-development.

“The wise man was searching around the city last night,
carrying a lantern,
chanting that he was fed up
with the company of the devils and the beasts,
chanting that he was in search of a Human
He was assured that ‘one cannot be found around, we have tried’
He made a response: ‘So I desire what cannot be found’”
(Rumi 1976) (P.F. T)

Along this line Hafez, a Persian mystical philosopher, also points out the importance of a Soul Mate in one's life:

“If I were given a choice of a soul mate
or whatever there is in this world and the one to come
I should take the first and leave all of the heavenly bounties to you”
(Hafez 1997) (P.F. T)

..................................
The story of Frida Kahlo, and Diego Rivera who helped her to develop her talent in painting and to use that medium in expressing her inner emotions, could be another supportive example. Forough’s her own life story and her most significant love affair with Ebrahim Golestaneh, which led to a turning point, or an epiphany (Denzin 1989), in her career, is yet a further evidence.

Bill Viola has said: ‘

"Tristan und Isolde is the story of a love so intense and profound
that it cannot be contained in the material bodies of the lovers.
In order to fully realise their love,
Tristan and Isolde must ultimately transcend life itself’."

(Viola 2005)

*
Love as a primary element
for existence
Furthermore, Forough establishes that her lover is a primary and intimate cause of her existence, just as the breathing cycle is.

II -In this verse, I sigh you, I sigh… (F.F)(P.F. T)

In this “verse” she sighs “you” (her lover) twice, and that is as often as Seraph blows into his Trumpet:

"[39:68] The Trumpet will be sounded,
when all that are in the heavens and on earth will swoon,
except such as it will please God (to exempt).
Then will a second one be sounded, when, behold,
they will be standing and looking on!

[39:69] And the Earth will shine with the Glory of its Lord:
The record (of deeds) will be placed (open);
The prophets and the witnesses will be brought forward;
And a just decision pronounced between them;
And they will not be wronged (in the least)."
(Sura 39 - Al-Zumar, Quran, Yusuf Ali 1975)

Or as often as a breath would complete its cycle of inhalation and exhalation:

“Every breath that we inhale,
promotes our living,
and as we exhale,
it refreshes our soul

So, there are two bounties hidden in every breath,
and every breath oblige us to praise God again, and yet again”
(Sa'di 1978) (P.F. T)

The idea of sighing “you” could also refer to sighing your name which invites "you" to an intimate presence. The tempo and repetitive manner of sighing suggests a sexual rhythm that is joyful, and could result in generating a new life both in a physical and spiritual terms. She then concludes her sexual involvement and love affair by saying:

III -In this verse I graft you to the tree,

submerge you in water and burnish you with fire. (F.F)(P.F. T)

The analogies that Forough uses here are:
“Tree”; that is a symbol of growth, steadfastness and connection between the earth and the sky (heaven).

“Water”; that is a symbol of purity as well as purifying and also the most significant and needed element for the life to begin and to carry on.

“Fire”; that symbolises passion, pain, ambition and progression as well as purification.

“Love setteth a world aflame at every turn ...”
(Bahá'u'lláh 1986)

The overall suggestion of this scene, however, is a sexual, and at the same time a spiritual climax.

*
A search for the meaning of life
At this point Forough emerges out of the “Valley of Love” and enters the “Valley of Search”.
It appears that Forough is not necessarily passing through the stages of self-discovery/development as they have been stated by Baha'u'llah in "The Seven Valleys". The reason for that could be found in the texts of "The Seven Valleys" itself.

"This journeys have no visible ending in the world of time,
but the severed wayfarer...
may cross these seven stages in seven steps,
nay rather in seven breath, nay rather in a single breath,
if God will and desire it..."
(ibid)

Here Baha'u'llah explains that there is no visible border between these valleys. It could, therefore, be understood that the wayfarers can travel through these valleys not only at a different rates, but also in a different order. Furthermore, they could even miss one stage and bridge to the next, or they could regret to an earlier stage at times. Another way to look at this issue is that this journey of development could take a spiral and a never ending rout towards its final stage.

IV -Life is perhaps but a long street,
along which a woman passes by day after day,

carrying a shopping basket. (F.F)(P.F. T)

V -Life is perhaps but a rope,
that a man hangs himself with off a branch. (F.F)(P.F. T)


VI -Life is perhaps but a child,
who returns from school. (F.F)(P.F. T)

VII -Life is perhaps but lighting a cigarette,
during the moments of fatigue between two climaxes, (F.F)(P.F. T)

VIII -or perhaps it is the vague passing by of a pedestrian
who takes his hat off to another
and with a meaningless smile says: “Good morning” (F.F)(P.F. T)

In the “Valley of Search”, Forough is after the meaning of life. In finding the object of her quest, she remains open-minded at any cost. She is not worried about getting it wrong. She sacrifices her social position by not responding to those stereotypical answers that may be demanded of her. She is not concerned about not making sophisticated and profound statements that may satisfy or make sense to the elite. Instead, she puts forward a series of unrelated questions and thought patterns that not only indicate her thirst for an answer, but provoke the mind of the listeners/readers... “Life is perhaps…”.

“The true seeker hunteth naught but the object of his quest, ……
Nor shall the seeker reach his goal unless he sacrifice all things.
That is, whatever he hath seen, and heard, and understood,
all must he set at naught,
that he may enter the realm of the spirit,……
On this journey the traveler abideth in every land
and dwelleth in every region.
In every face, he seeketh the beauty of the Friend;
(the answer to her quest)
in every country he looketh for the Beloved
(the answer to her quest).
He joineth every company,
and seeketh fellowship with every soul,
that haply in some mind he may uncover the secret of the Friend, (the answer to her quest)
or in some face he may behold the beauty of the Loved One
(the answer to her quest).”
(Bahá'u'lláh 1986)

Towards the end of this valley, Forough suggests that:

IX -Life is perhaps but that closed moment
when my gaze destroys itself within the pupil of your eyes, (F.F)(P.F. T)

*
An objective
quest for love
It appears that in search for the answer to her quest, Forough finds herself wondering around the "Valley of Love" and the "Valley of Search" at the same time. She arrives at the "Valley" of "Love" after destroying "sacrificing" whatever she has seen "heard or understood" before. That is of course, if we take “Gaze” as a metaphor for seeing things in a broader sense. This indicates that, she is prepared to be completely receptive and objective in finding the answer to her quest whatever it may be and wherever it may be found.

“One must judge of search by the standard of the Majnún of love.
It is related that one day they came upon Majnún sifting the dust,
and his tears flowing down.
They said, ‘What doest thou?’
He said, ‘I seek for Laylí.’

They cried, ‘Alas for thee! Laylí is of pure spirit,

and thou seekest her in the dust!’
He said, ‘I seek her everywhere;
haply somewhere I shall find her.’
Yea, although to the wise it be shameful to seek
the Lord of Lords in the dust,
yet this betokeneth intense ardor in searching."
(Bahá'u'lláh 1986)

“Whoso seeketh out a thing with zeal shall find it”
(ibid)

*
A sense of awareness
that follows a search
Here, Forough concludes her search for the meaning of life. She arrives at a sensation that is bright, meaningful and focused, and makes everything else irrelevant and meaningless in comparison; just like looking at the moonlight against the backdrop of a dark night; (Valley of Knowledge, ibid)

X -and in this, there is a sensation

which I would merge with comprehension of the moon
and the receipt of darkness. (F.F)(P.F. T)

As a result, Forough arrives at her loneliness and isolation that is one of the characteristics of the “Valley of Search”;

“and shut the door of friendliness and enmity upon all the people of the earth…”
(Bahá'u'lláh 1986)

XI -In a room that measures up my loneliness,

-my heart, that encompasses a love,
is staring at its naïve excuses for happiness;
-The beauty of the slow death of flowers in a vase,
-the sapling that you planted in our garden,
and the songs of canaries that sing as wide as a window. (F.F)(P.F. T)

* On the road to discovery
Despite finding herself imprisoned in a room that is as large as her loneliness, Forough comes to term with the passion of her heart that is not only capable of encompassing a love, but finding any excuse to relate (unite) to everything that happens to be in her surroundings, regardless of their significance. (Valley of Unity, Bahá'u'lláh 1986)

She sees beauty even in “the slow death of flowers”. She sees her lover, “you”, when she looks at “the sapling that you planted in our garden”. She hears “the songs of the canaries that sing as wide as a window”, and a "window" which symbolises a gate, separating her internal and external world of existence. It is through this gate that Forough's internal loneliness begins to relate to her external surroundings before they are both united.

“In this station he pierceth the veils of plurality,
fleeth from the worlds of the flesh,
and ascendeth into the heaven of singleness.…
He steppeth into the sanctuary of the Friend,
and shareth as an intimate the pavilion of the Loved One.
........ ‘all songs are from the King,’
and every melody from Him.
He sitteth on the throne of ‘Say, all is from God,’
......... He looketh on all things with the eye of oneness,
and seeth the brilliant rays of the divine sun shining from the dawning-point of Essence alike on all created things,
and the lights of singleness reflected over all creation.”
(ibid)

*
"A ladder's hight is too modest
for my ascension" (F.F) (P.F. T)
At this point, Forough’s sense of ambition soars and she rebels against the limitations that she may have been subjected to. She tries to break through an invisible threshold, by questioning the legitimacy of her fate and the reality of the obstacles that are put in her way by the controlling social structures and traditions which doubt her will to grow and make her hesitate to trust in her own abilities.

XII -Ah…
-This is my share…?
-Is this my share…? (F.F)(P.F. T)

XIII -My share is a piece of sky
that is taken away from me by hanging a curtain? (F.F)(P.F. T)

XIV -My share is descending an abandoned staircase
and merging with something that is in deterioration and alienation? (F.F)(P.F. T)

XV -My share is a miserable walk around the garden of memories? (F.F)(P.F. T)

XVI -And to die in anticipation of hearing a voice that says:

“I love your hands…?” (F.F)(P.F. T)

*
Is Forough challenging her fate
or becoming its victim?
Here we should look at the way that Persian language works, in order to have a better understanding of Forough’s encounters. Persian is pitch tone language. The intonation, stresses and the way that phrases are articulated, therefore, has a bearing on the meaning.

In its original language, the above section of this poem is not marked with any question marks. Looking at Forough’s original handwriting of this poem shows that, as it happens, she was not in the habit of using question marks nor full stops in her writing. Listening to the recorded version of this poem by Forough, however, a questioning tone is clearly heard. In my translation, therefore, I have taken notice of this finding. Furthermore, putting this passage in the context of the poem confirms the accuracy of this finding which will become more clear later on in this analysis.

All of Forough's questions here intelligently designed to generate some unspoken negative replies. By doing that, Forough releases adrenalin in the system and prepares the listeners/readers, as well as herself, to take positive actions. This suggestion is clearly demonstrated during the next passage of this poem:

XVII -I shall plant my hand in the garden.
I shall grow…
I know… I know… I know…

and swallows will lay their eggs in the hollow of my inky fingers. (F.F)(P.F. T)

*
Courageous & Innovative descriptions
Forough is courageous and innovative in the use of the language, symbolism and metaphors. The phrases: "planting hands in the garden" is an example of her original method in describing conceptual notions in an original and effective manner. A method which could claim a pioneering position for her in the modern Persian poetry.

“Planting hands in the garden” and portraying “the inky fingers” which become a nest for “the swallows to lay their eggs” are examples of the use of this method. When Forough wrote this poem, the idea of “planting hands in the garden” was a surreal and disturbing way of saying “I shall role up my sleeves and do something about it”. Despite the rage of protest by the intellectuals and conservatives of time, Forough's style of expression has since became a model for imitation by her succeeding poets.

Through the use of this method, Forough establishes the fact that only by taking personal actions (getting her hands to work) she will grow, and her growth will facilitate a new life (egg) and a new beginning. In other words, she creates a platform, from which she can be in charge of her own destiny.

Following the profound vision of the above section, Forough seems as if she is suddenly regresses to a childlike character. In a way, she becomes frightened of the responsibilities that her declaration could put on her shoulders. Therefore, she heads for a diversion and she takes refuge in the following girlish ideas which undermines her earlier strong position. This could be just a manoeuvre to escape to her comfort zone, for a while, and give a way to the patriarchal social traditions and demands.

XVIII -I shall wear earrings of twin red cherries,
and glue chrysanthemum petals on my nails. (F.F)(P.F. T)

From there, Forough travels further into her past and portrays a flashback scenario, both in time and place.
She says:

XIX (a) -There is an alleyway in which
those boys who were in love with me,
with the same untidy hair,
thin necks and twig like legs… (F.F)(P.F. T)

XIX(b) - …are dreaming still,
of the innocent smiles of a girl
who one night has gone...
with the wind. (F.F)(P.F. T)

XX -There is an alleyway that my heart has stolen
from my childhood’s memories. (F.F)(P.F. T)

*
Is this the beginning
of a "Rebirth"?

Regression to her past and to her childhood's “alleyway” bring Forough back on her path, and make her aware of the dimensions of her authentic identity within the axes of her aims and objectives in life. Hence, she announces her transformation from being a naive and innocent girl to a mature and alert woman. “… a girl who, one night, has gone with the wind …” (P.F.T)

By becoming aware of her authentic identity, Forough manages to break through the threshold of the social conventions. By learning to read between the lines, she begins to close the old chapters of her life and open the new ones. This is perhaps the beginning of her self-recognition, self-acceptance and the establishment of her independence. This is perhaps, the moment that she finds her co-ordinances within the entire universe. This is perhaps the sound of her footsteps entering “The Valley of Contentment”. These are perhaps the outcry of her "Rebirth".

XXI -A journey of a "volume#" along the dimension of time,
that makes the dry line of time pregnant with a "volume##". (F.F)(P.F. T)

XXII -A "volume###" of a conscious image,
that is returning from its reunion with a mirror. (F.F)(P.F. T)

*
"Ask the mirror
who your redeemer is" (F.F) (P.F. T)
By “A journey of a volume# along the dimension of time”, Forough is referring to her quest in life as a wayfarer. It is during this journey that the volume#, meaning the wayfarer, manages to fertilise her life (the dry line of time) with experiences and new understandings (makes the dry line of time pregnant with a volume##). Then this repertoire of understanding (volume##) helps the wayfarer to identify and unite with her authentic self (volume###) (reunion with a mirror), which is the final destination of the wayfarer’s journey. This is perhaps a turning point on the road to development which is taken by the wayfarer.

Here, Forough is using the term "Volume" three times, but to my understanding she is giving this term (Volume) three different attributes and charges. To make that point more clear, I have written them here in three different colours; "volume#" which represents the wayfarer, "volume##" that referrs to the dept of understanding, and enrichment of the wayfarer's experiences in life, and finally "volume###" which indicated the authentic identity of the wayfarer.

As the result of this understanding this verse of the poem, therefore, could be rewritten in the following form:

-A journey of a wayfarer (volume#) along the dimension of time, that makes the emptiness of her life (the dry line of time) enriched (pregnant) with experiences and understandings (a volume##),
-A wayfarer (volume#) who gets in touch with her authentic being (of a conscious image), is now becoming united with her/his reality and authentic self (volume###) (that is returning from its reunion with a mirror).

This section of this poem, yet again reminds us of "Hegelian Dialect" (Hegel 1998). In this scenario, prior to arriving at its final stage, (volume#) acts as "thesis". As the result of being exposed to "antithesis" which is the life physical and spiritual experiences (volume##), a "synthesis" is born which is the wayfarer's authentic spiritual identity (volume###).

*
Does this resemble
the story of "Simorgh"?
This tale of self-discovery reminds us of the story of “Simorgh” or “The Conference of the Birds", from "Mantiqu't-Ta'ir” (Attar 1985). The story is about a flock of birds that starts a journey to find the “Master of all Birds” or the “Divine Bird”; “Simorgh”. Despite various obstacles, most of them are determined to travel across many lands.

Every time they face a problem, however, a few birds are demoralised and stay behind. The remaining birds finally reach to the end of their journey. After pondering upon their own state, they realise that their flock, which now consists of thirty birds, is reflecting the attributes of "Simorgh"*. They realise that all those hardships that they were subjected to during their journey have caused them to lose their infirm members (characters) of their flock (their beings), so that the pure ones could arrive at the presence of "Simorgh", where finding themselves mirroring His majesty and attributes. They realise, then, that "Simorgh" or the "Divine Bird" exists nowhere but within them.

"...they became aware that Simorgh was there with them,
...and in the reflection of each others' faces
these thirty birds (si-morgh) of the outer world,
contemplated the face of the Simorgh of the inner world.
This so astonished them that they did not know
if they were still themselves
or if they had become the Simorgh.
At last,
in a state of contemplation,
they realised that they were the Simorgh
and that the Simorgh was the thirty birds."
(Attar 1985, p. 131-132)

*Understanding the double meaning of "Simorgh" in the Persian language, could clarify the reason for which Attar has chosen that name. The name "Simorgh" consists of two separate words; that is "Si", meaning thirty and "Morgh", meaning bird(s). In other words, "Si-Morgh" on the one hand means "Thirty Birds" and on the other, refers to “Master of all Birds” or “the Divine Bird”.

Along the same line of mystical notion of becoming united with our supreme being, Baha'u'llah says:

“And when thou hast attained this highest station
and come to this mightiest plane,
then shalt thou gaze on the Beloved,
and forget all else.
The Beloved shineth on gate and wall Without a veil,
O men of vision.
Now hast thou abandoned the drop of life
and come to the sea of the Life-Bestower.
This is the goal thou didst ask for;
if it be God's will, thou wilt gain it.

In this city,
even the veils of light are split asunder and vanish away.
"His beauty hath no veiling save light,
His face no covering save revelation."
How strange that while the Beloved is visible as the sun,
yet the heedless still hunt after tinsel and base metal.
Yea, the intensity of His revelation hath covered Him,
and the fullness of His shining forth hath hidden Him.

Even as the sun, bright hath He shined,
But alas, He hath come to the town of the blind!
In this Valley, the wayfarer leaveth behind him the stages of the "oneness of Being
and Manifestation" and reacheth a oneness that is sanctified above these two stations.
Ecstasy alone can encompass this theme,
not utterance nor argument;
and whosoever hath dwelt at this stage of the journey,
or caught a breath from this garden land,
knoweth whereof We speak.”
(Bahá'u'lláh 1986)

XXIII -And that is how someone dies and someone remains. (F.F)(P.F. T)

*
Who is dying?
& Who will remain?
Does the above verse refer to a part of Forough which is dying, while another part of her carries on living? If that is the case, which part is dying and which part is living? Is it by its death that one part gives way so that the other can grow stronger? Is it her conscious mind which is dying while her subconscious is reaching a turning point? Is it her authentic self which is emerging out of her fading ego? Is she referring to her body that would die in 1967, while her poetry would carry her thoughts through to the future? After all Forough says in another poem: “Only the voice lives on...” (P.F. T).
Perhaps this is the moment of “Another Birth”.

*
Drawing from Sigmund Freud
Sigmund Freud has established a landmark across the Western world in understanding human behaviour. Debating on his theory is not the purpose of this paper; however, the basis of his theory can offer an anchor point to this discourse. Freud (2001) talks about three separate entities influencing human behaviour: "the Id" (the subconscious mind that is responsible for emotional impulses); "the Ego" (mostly conscious); and "the Superego" (the part of the personality that is influenced by one’s conviction to a set of moral and cultural values that is responsible for rational mind and insight). "The Id" and "the Superego" could get into conflicting situations throughout life, and "the Ego" acts as a negotiator or mediator between them.

*
Finding a balance between
"the Ego" and "the Superego"
"The Ego", therefore, can be trained to become more aware of the motives behind the impulses of "the Id", and learn to use "the Id’s" emotional energy as fuel for its development. "The Ego" is also responsible for filtering, prioritising and identifying the rational aims and objectives suggested by "the Superego". Ultimately, it is "the Ego’s" responsibility to liaise between "the Id" and "the Superego" in order to achieve a higher standard of character.

This notion of pick and choose or finding the right balance, requires a degree of sacrifice and endeavour, and it appears that in Forough’s poem this notion is portrayed as “that is how someone (the Id) dies and someone (Superego) remains”, which is a direct reference to Sufism’s ideology of life and death.

*
Is there any similarity between
the Freudian theory
and the one of Sufism?
Despite the apparent differences between the Freudian theory and the core belief of Sufism, there is a similar foundation for them both. In Freudian theory, as it was mentioned earlier, the impulses of "the Id" are used as an energy source for the progress of "the Ego", which endeavours to respond to the moral and cultural objectives that are set by "the Superego". In Sufism, on the other hand, the mechanism of taming one’s impulses (the Id) through which a higher end is achieved, is referred to as “death or sacrifice”. For example, when an egg is destroyed, it is to give birth to a chicken that has the potential for enjoying life at a higher level of existence. In Sufism, therefore, through sacrificing the desires of a selfish nature (the Id) one’s character (the Ego) can make further progress on the road to unity with God (the Superego).

Along the line of the same notion Hafez, a Persian philosopher/poet says:

“O Hafez, you are your own veil of obstruction, move away”
(Hafez 1997) (P.F. T)

*
Dying from self
This verse of Forough’s poem, “that is how someone dies and someone remains”, could be the sign of her approaching the “Valley of True Poverty” and living in God, as Bahá’u’lláh refers to:

“This station is the dying from self and the living in God
(the wayfarer’s goal and destiny),
the being poor in self and rich in the Desired One ...”
(Bahá'u'lláh 1986)

He continues:

“Now hast thou abandoned the drop of life
and come to the sea of the Life-Bestower.
This is the goal thou didst ask for;
if it be God's will, thou wilt gain it.”
(ibid)

*
You cannot find something
where it does not exist
Furthermore, Forough points out that:

XXIV -No fisherman would ever find a pearl
in a narrow stream that leads to a shallow lake. (F.F)(P.F. T)

Through this verse, Forough is pointing out the importance of logical mind (the Ego) and the fact that it should be activated in order to become wise and assertive in directing the subconscious mind (the Id) towards a higher level of wisdom and understanding (the Superego)

“O Brother! Not every sea hath pearls;
not every branch will flower,
nor will the nightingale sing thereon.
Then, ere the nightingale of the mystic paradise repair to the garden of God,
and the rays of the heavenly morning return to the Sun of Truth-
-make thou an effort,
that haply in this dustheap of the mortal world
thou mayest catch a fragrance from the everlasting garden,
and live forever in the shadow of the peoples of this city.
And when thou hast attained this highest station
and come to this mightiest plane,
then shalt thou gaze on the Beloved, and forget all else.”
(Bahá'u'lláh 1986)

*
Living in God
Here Forough is continuing to travel across “The Valley of True Poverty and Absolute Nothingness”. (Bahá'u'lláh 1986)

“This station is the dying from self and the living in God,
the being poor in self and rich in the Desired One.
Poverty as here referred to signifieth being poor in the things of the created world,
rich in the things of God's world.
For when the true lover and devoted friend reacheth to the presence of the Beloved,
the sparkling beauty of the Loved One
and the fire of the lover's heart will kindle a blaze
and burn away all veils and wrappings.
Yea, all he hath, from heart to skin, will be set aflame,
so that nothing will remain save the Friend.

When the qualities of the Ancient of Days stood revealed,
Then the qualities of earthly things did Moses burn away.
He who hath attained this station is sanctified from all that pertaineth to the world.
Wherefore,
if those who have come to the sea of His presence
are found to possess none of the limited things of this perishable world,
whether it be outer wealth or personal opinions, it mattereth not.
For whatever the creatures have is limited by their own limits,
and whatever the True One hath is sanctified therefrom;
this utterance must be deeply pondered
that its purport may be clear."
(ibid)

XXV -I know of a small and sad fairy
who lives in an ocean,
playing her heart out through a bamboo flute,
softly… softly…
-A small and sad fairy who dies at night with a kiss
and she is born yet again with another at dawn. (F.F)(P.F. T)

*
The fairy within
We can assume that the “small and sad fairy” is no one but Forough’s “Id”, the little girl who lives within her (her subconscious mind) that plays her heart’s desires out “softly, softly through a bamboo flute”. This “small and sad fairy dies at night with a kiss and she is born yet again with another at dawn”.

“small and sad fairy” who, according to Bahá’u’lláh, after passing through the valleys of self-discipline has now arrived at the last valley; “dying from self and the living in God”, and the kisser is, perhaps, nobody but Forough's own "Ego", that tries to make a balance between her "Id" and her "Superego" by suppressing her desires according to cultural conventions, as Freud’s theory would suggest.

“This station is the dying from self and the living in God,
the being poor in self and rich in the Desired One……
This is the plane whereon the vestiges of all things
(Kullu Shay') are destroyed in the traveler,
and on the horizon of eternity the Divine Face riseth out of the darkness,
and the meaning of "All on the earth shall pass away,
but the face of thy Lord...." is made manifest.”
(ibid)

*
And life goes on...
In this verse of her poem, Forough uses the “present tense” that indicates that a self-developmental journey is an ongoing business and a gradual build up similar to the spiral methodology of “Investigating, Making and Reflection” which could be thought as if it is augmented from the “Seven Valleys” explained by Bahá’u’lláh:

“These journeys have no visible ending in the world of time,
but the severed wayfarer-
-if invisible confirmation descend upon him
and the Guardian of the Cause assist him-
-may cross these seven stages in seven steps,
nay rather in seven breaths,
nay rather in a single breath,
if God will and desire it.
And this is of ‘His grace on such of His servants as He pleaseth.’”
(ibid)

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Methodology

The methodology that I have applied to this work is based on:

1. “Practice as Research” (Trimingham, 2000), "Spiral method of Planning, Making & Reflection"

2. "Subjugated Ways of Knowing”, (Boyce-Tillman 2005)

3. "Interpretive Interactionism”, (Denzin 1989)

4. "Autoethnography "

"Bourdieu holds that through the business of everyday life
people learn and construct models of how the world is,
of how the world ought to be,
the human nature, of cosmology.
These models do not simply fulfill purely theoretical or cognitive functions;
they are about doing,
as much as they are about things

Bourdieu describes three features of practice:

1. it is located in time and space

2. it is most often guided by tacit understanding instead of rational decisions,
3. it has purpose and strategies for accomplishing its goal."

(Tieney & Lincoln 1997 - p10)

My Path in Illustrating "Another Birth"

Orientation:

• I initially familiarised myself with Forough Farokhzad’s poetry by reading it in its original language, Persian. I also listened to recordings of Forough's own voice , reading this poem and being interviewed. I observed this particular poem in Forough’s handwriting as well, perchance I could read something between the lines.

Listening to Forough’s voice, I discovered that this passage,

(12 F.F) "-Ah…
-This is my share…?
-Is this my share…?..."

as it was discussed in the body of this essay, should be read and understood as a set of questions rather than statements. This small difference makes a significant change to the destination of this poem and creates a u-turn in the direction of its understanding, leading to a different realisation of Forough’s own character (Practice as Research - Trimingham 2000).

As mentioned earlier, Persian is a tonal language and reading this section of the poem as a statement would give a passive and fatalistic impression about the intention of the poet. Reading this section as a set of questions, however, would suggest Forough's awareness of the obstacles and challenges in her path as well as her determination to overcome them.

• This project examines Persian poetry in an intimate way. It questions a piece of poetry that is written by a woman, about women (Hatcher & Hemmat 2002), (Forough Farrokhzad 1989 & 1992). It examines the way that Forough regards her life as a journey through which her sexual, social and spiritual identities are formed and challenged by internal and external cultural forces (Bahá’u’lláh 1986, Ruth 1981). A challenge that, as a Persian woman who lives in the west, I can identify with, in particular when my social and political identity is questioned (Butler 1990) and manipulated (Boyce-Tillman 2005) by by mother country as well as my host.

Translation:
I translated this poem from Persian to English before reading any other translations. That decision was made to protect myself from being influenced by other translators. In doing that, I have tried to remain as faithful to the literal meaning of the poem as possible, but not at the expense of losing its conceptual meaning.

"Another Birth" is a surreal piece of writing that suggests a range of conceptual visionary images. Translating this poem to another language is a matter of delicacy, because the readers/listeners could attribute the difficulties in comprehension to a weak translation, hence her/his attention be diverted from Forough's intentions. An attempt, therefore, has been made to keep the readers/listeners' attention focused by the use of the medium of photomontage in this visual display, and techniques of poetry reading in its audio performance.

Photography & Photomontage:
The format that I have chosen to illustrate this poem is a combination of photomontage and calligraphy which is designed on the basis of the verses of this poem in its original language. The photographs are original and they have, purposefully, been taken with an Olympus 4 megapixel digital camera. The storyboards have been thought through and drawn for each scene prior to the photo shoot. The photo shoots were repeated many times and the scenes were modified and changed until they reached a satisfactory stage (Planning, Making & Reflection - Trimingham 2000).

The images that are used for photomontage were chosen out of hundreds of shots and they were manipulated, using the digital editing techniques of Adobe Photoshop. The final images consist of many layers of photographs, in some cases over fifty.

Colour Scheme:
The hue, saturation, colour level, contrast and brightness of the images were carefully manipulated and adjusted to match the chosen colour scheme of a common template. The saturation was reduced and the use of a brown overall effect was considered to create a soft and subtle atmosphere.

Visual Composition:
In creating visual scenes I have called upon my cultural heritage which encompasses the works of other visual artists, both western and eastern, whose work is classed as surreal and their subject matter rubs shoulders with my images in this work.

This included the work of artists such as Salvador Dali (Alexa Stace 1994), Frida Kahlo (Emma Dexter 2005), and also the work of the Persian and Indian artists who have illustrated poetry and myths in the past (Stuart Cary Welch 1976, K.E. Sullivan, 1998, Robert Hillenbrand 2000, Basil Gary 1995, Ebadollah Bahari 1997). (Practice as Research - Trimingham 2000)

Modeling:
I have appeared and acted in front of the camera together with my husband wherever the subject matter required. That way I lived the poem through acting and posing (Auto-Ethnography & Interpretive Interactionism). I have tried to dive into the depth of the feelings of this poem, and that helped me to understand the motives which have provoked the poet in describing the scenes of the poem.

“One writes out of one thing only
- one’s own experience.
Everything depends on how relentlessly one forces from this experience the last drop,
sweet or bitter,
it can possibly give.
This is the only real concern of the artist,
to recreate out of the disorder of life that order which is art.”
(James Baldwin, 1990)

In posing and executing self-photography, I have drawn ideas and style from my acting and stage experiences (Parvaneh Farid 1990-2007). I have also looked at performances by artists such as (e.g. Julia Bardsley 2007), as well as studying the work of the American photographer who does self-modeling, Cindy Sherman (1995). (Practice as Research - Trimingham 2000)

Calligraphy Design:
The use of calligraphy design in this illustration work provides reference to the context of the origin of this poem as well as adding to its aesthetic and visual impact. In terms of calligraphy, I benefited from studying the work of the past and present Persian masters of calligraphy, such as Mishkin-Qalam (Mishkin-Qalam 1992) and Rassouli (Rassouli 1990-92). I also drew ideas and inspirations from a lifetime exposure to Persian calligraphy design, and that helped me to develop my own original calligraphy founts and style of writing (Farid 1980-2007). (Practice as Research - Trimingham 2000, Planning, Making & Reflection and Auto-Ethnography)

An example of one of the calligraphy designs:

Farid (2003-08)

ibid

Animation Rhythm of the Art-Video:
The animation of the images are rhythmic; their appearance and disappearance are not only in synchronisation with the narrative of the poem, but also in sympathy with the vocal rhythm of the narrator, the emphasis of key phrases and the significance of the words. The appearance of the calligraphy work also follows this rhythmic pattern. Furthermore, the transition effect of the images, the calligraphy and their timing are worked out in such a way that they reinforce the drama of the narrative.

Sound Effects & Music:
The constant use of sound tracks is avoided and they are only used on two occasions, where they could significantly enhance the atmosphere and the mood of the story.

A soft orchestral piece of music (Farid 1998) is played towards the end of the piece. The dominating instrument is a bamboo flute which makes an association with the narrative of the poem at this point:

(26 F.F) "-I know of a small and sad fairy who lives in an ocean,

playing her heart out through a bamboo flute,

softly… softly…"
(P.F. T)

Audio Recording:
The poem is narrated in a dramatic and subjective manner which reflects the mood of the story and its emotion. The voice of the narrator (Farid 2006) has a soft, sensual and at the same time a sad quality with a natural Persian accent which suits the style and the origin of the poem. It is recorded in English as well as in Persian at L'Atelier Papillon (Farid 2006), and was edited with Cubase SX (digital music software).

Exhibition, Video Making, Installation & Publication:
This work, so far, has been prepared in three different formats; exhibition, video-art and a poetry book. It has also got potential for being made into an installation work at some stage.

Exhibition Poster
University of Southampton, May 2008
Farid (2003-08)

Exhibition Poster
The Link gallery, Sept-Oct 2008
The University of Winchester
Farid (2003-08)

Exhibition View, Sept-Oct 2008
The Link gallery
The University of Winchester
Farid (2003-08)

Exhibition:

• Totton College June 2003
• Southampton City Art Gallery 2007
• Turner Sims, The University of Southampton May 2008
• The Link Gallery, The University of Winchester Sept-Oct 2008
  

Art-Video:

• You-Tube 2007
  Version 1- "Another Birth"video work in English (full colour)
  Version 2- "Another Birth", video work in English (tinted full colour)
  Version 3- "Tavalodi Digar" video work in Persian (original language)

To view any of the above videos please click on the underlined titles.

• Presentation:

Winchester School of Art 2007
The University of Winchester 2007

• Publication as an Poetry & Art Book

This book includes the entire sequence of the illustration and calligraphy design for this
poem, a hard copy of this essay and a copy of its audio-visual recording in DVD format.

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Visual Literature Review
&
Bibliography of the Images

Prior to the completion of my work, I avoided looking at any other related work in order to allow my imagination to arrive at unbiased and original ideas and compositions. It is, however, noticeable that some visual traces/similarities indicate the impact of the cultural heritage that I have been exposed to, and /or a collective intelligence that may exist amongst the artists of different culture and time period. Below are some examples of this, in terms of subject matter, composition or both.
........
I realise that Persian surreal miniature painting (Welch 1976 & Bahari 1997) in illustrating poetry, the style of Dali's surreal painting (Stace 1994), the photography work of Man Ray (Man Ray 1995) and the work of Romanian sculptor; Constantin Brancusi (Shanes 1989) have a tremendous bearing on the creation and structure of my surreal imagination and execution of work.

The other artists that I have been drawn from are Frida Kahlo (Dexter 2005) and Cindy Sherman (Sherman 1995) . These two artists have vastly used their own images in their works. I am also aware of the work of Iranian born photographer/visual artist Shirin Neshat (Neshat 2000) and have noted some similarities between some of her works and mine, in terms of composition and subject matter.

Some Examples of Kinds

• Persian Painting

Persian Painting (Stuart Cary Welch 1976)

• Birth

Parvaneh Farid (2003-07)

Frida Kahlo (Emma Dexter 2005)

Salvador Dali (Alexa Stace 1994)

Frida Kahlo (Emma Dexter 2005)

ibid

• Soul Mate

Parvaneh Farid (2003-07)

Frida Kahlo (Emma Dexter 2005)

Cindy Sherman (1997)

• Emerging from another Element/Being
  

Parvaneh Farid (2003-07)

Bill Viola (1996)

Frida Kahlo (Emma Dexter 2005)

Indian Myth & Legends (Sullivan, K. E.1998)

ibid

• Street & Woman
  

Parvaneh Farid (2003-07)

Cindy Sherman (1997)

• Gaze
  

Parvaneh Farid (2003-07)

Bill Viola (2007)

Frida Kahlo (Emma Dexter 2005)

Shirin Neshat (2000)

Man Ray (1995)

• Loneliness

Parvaneh Farid (2003-07)

Frida Kahlo (Emma Dexter 2005)

Cindy Sherman (1997)

• Pair of Hands as a Symbol
  

Parvaneh Farid (2003-07)

Shirin Neshat (2000)

• Pair of Feet as a Symbol

Parvaneh Farid (2003-07)

Shirin Neshat (2000)

• Dependency on a Soul Mate/Lover
  

Parvaneh Farid (2003-07)

Bill Viola (2005)

Frida Kahlo (Emma Dexter 2005)

Shirin Neshat (2000)

• Metaphor of Egg and Hand

Parvaneh Farid (2003-07)

Salvador Dali (Alexa Stace 1994)

• Metaphor of Time

Parvaneh Farid (2003-07)

Salvador Dali (Alexa Stace 1994)

• Reunion with Oneself
  

Parvaneh Farid (2003-07)

Cindy Sherman (1997)

ibid

Frida Kahlo (Emma Dexter 2005)

Man Ray (1995)

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Bibliography

• Attar, Farid-Din (1985) The Conference of the Birds (Mantiqu't-Ta'ir), translation from Persian to English by C.S. Nott, London, Melbourne & Henley

• Baldwin, James (1990) Notes of a Native Son, Boston: Beacon
• Bahari, Ebadollah (1997) Bihzad, London, Tauris & Co. Ltd.
• Bahá’u’lláh, Hosain-Ali (1986) The Seven Valleys, translation from Persian to English by Marzieh Gail, USA, Wilmette Illinois
• Boyce-Tillman, June (2005) Ways of Knowing, Unconventional Wisdom, Theologising the Margins, Vo13.3, USA, Imprint Academic, pp 317-341
• Denzin, Norman K. (1989) Interpretive Interactionism, London, Sage Publications, p 19
  
• Dexter, Emma (2005) Frida Kahlo, London, Tate Publishing
  
• Farid, Parvaneh (P.F. T), (2003-08) Another Birth, Translated from Persian, UK, L'Atelier Papillon
• Farrokhzad, Forough (F.F) (1989, 1992) Complete Collection of Forough’s Poetry, Another Birth, Germany, Navid Publication
• Freud, Sigmund (2001) Pioneer of the Mind, New York, Clarion Book
  
• Gary , Basil (1995) Persian Painting, Switzerland, IRL Imprimeries Reunies Lausanne
• Hafez (1997), edited by Sayeh, Tehran, Karnameh Publishing House, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
• Hegel, G.W.F. (1998) Phenomenology of Spirit, India, Motilal Banarsidass Publisher
• Hillenbrand, Robert (2000) Persian Painting, London, I.B. Tauris & Co Ltd.
• Man Ray, Juliet (1995) Man Ray, London, Sotheby's
• Mishkin-Qalam, Mirza Husain (1992) Mishkin-Qalam XIX Century Artist & Caligrapher, Germany, Reyhani
• Neshat, Shirin (2000) Exhibition, London, Serpentine Gallery
  
• Rassouli, Jalil (1990, second print 1992) The Soul of The Soul, Tehran, Negar Books
• Rumi, Jalaledin Mohamad (1976) Ghazaliat Shams Tabrizi, Iran, Safiali Shah Publishing, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
• Sa'di, Shaikh Moslehadin (1978) Koliat Saedi, Iran, Mir Khani, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
• Shanes, Eric (1989) Brancusi, New York, Abbeville Press
  
• Sherman Cindy (1995) Cindy Sherman, USA, Schirmer Art Books
• Stace, Alexa (1994) The Life and Works of Dali, UK, Parragon Book Service Ltd
• Sullivan, K. E. (1998) Indian Myth & Legends, London, Brockhampton Press
• Tieney, William G. & Lincoln, Yvonna S. Editors (1997) Representation and the Text Re-Framing the Narrative Voice, New York, State University of New York Press
• Viola, Bill (1996) The Crossing, (2005) Love/Death, (2007) a projected video, USA, Google
  
• Welch, Stuart Cary (1976) Persian Painting, N.Y. George Braziller
• Yusuf Ali, Abdullah (1975) The Holy Quran, London. The Islamic Foundation