Waking Up Iranian American

a series of one-to-one performances by Zoya Sardashti

Waking Up Iranian American is an autoethnographic work and series of performative interventions focused on the ways cultural exchange develops between a performer and a participant. These one-to-one performances create a space where people are invited to participate in discussions and actions about being between cultures, nationalism and Islamophobia, so that we might move beyond antiquated notions of free and oppressed. In this sense, the dialogical framework of the performances is a form of collaboration and, in its broadest sense, a key to changing power relationships between performers and participants. In Waking Up Iranian American, intimacy is used as a strategy to counteract the positioning cultures of fear intend to create.

This Story Doesn’t Begin With Me ~ participatory performance & installation

What if you could get to know a stranger by asking a question that elicits desire as a mode of self identification rather than a definition of location or ethnicity? Since our identities are subjected to trauma and systematic violence that nation-state projects through categorization, This Story Doesn’t Begin With Me, invites participants to consider what they long for or where they belong when introducing themselves. Through this exchange we will attempt to discover a more precise and relevant vocabulary, specific to our new relationship.

Glurns Art Point, Glorenza 2016

Parricida ~ public participatory performance & installation

In Letter to My Father Franz Kafka uses parricida (the killing of the father) as a concept to reflect on how actions by authoritarian governments manifest in the family unit. To confront this concept an attendant will offer a provocation in the women’s restroom while washing your hands. What if you inherited your mother’s family name rather than your father’s family name? How would it change the way you self-identify, interact with others and perceive the world? With the participant’s permission this experience will be documented,  so it’s traces will be hand written on the walls of the men’s restrooms and exhibited as an installation.

28th Iranian Women’s Studies Foundation, La Compagnia, Florence 2017

Mandala signage co-designed and created by Elena Mojarad

Learning Farsi on Teheran-ro (테헤란로) ~ public participatory performance, installation & video 

Traces of a love story will be under a bowl of sugar next to a cup of tea. This love story requires multiple endings. Would you like to write, in any language, the final chapter of Learning Farsi on Teheran-ro (테헤란로)? Napkins will be provided; please bring your own pen.

20170609_09372120170609_093159

28th Iranian Women’s Studies Foundation, La Compagnia, Florence 2017

To Be Seen & Unseen ~ public participatory performance & installation

What if you could be in the world without directly receiving the gaze of others? Through various modes of theatricality the performance confronts ideas of exposure, empowerment and in/visibility. You will be invited to take a journey with a performer. You will be invited to wear a costume, a traveler’s garment and a mask. Similar to masks worn in Venetian culture, this mask will free you from social codes and markers of identity. We will walk hand in hand wherever you wish. At certain points during our journey we might sit in silence, we might talk to other people, or we might just talk to each other. When we decide our journey has reached a midway point we will retrace our steps. We will walk back to the place of our departure separately on opposite sides of the path. 

28th Iranian Women’s Studies Foundation, La Compagnia, Florence 2017

Costumes co-designed and created by Kristina Foley  Masks co-designed and created by Anna M. Rose

Dancing through the Diaspora ~ participatory performance

On the screen, I see myself there where I was, once in a physical space that opened up a place inside; I am there and here. What is worse than loneliness? There is light behind us and there is light in front of us. Now that you are with me our shadows guide where we might travel through. –adapted from Michel Foucault Of Other Spaces: Heterotopias

Is celebration public if the streets are not accessible to each and every body? In honor of the Iranian New Year, Norouz, the first Persian Day parade in Los Angeles took place during March 2015. Videos and photographs of the parade will be projected onto a screen  showing various forms of traditional Persian dance and movements performed by members of the ethnically diverse community of the Iranian diaspora in Southern California. Participants will be invited to move with a performer as she recalls  the experience. Somewhere between the sensual and the disembodied, Dancing Through the Diaspora, is a performative process of reorienting one’s self through and with another person. 

Aldes.1

SPAM! / ALDES Produzione residency, Lucca 2015

How Do We Dress for the Weather? ~ participatory dance performance

The climate will change. Regimes will change. Flags will change, and so must modes of self-expression and perception. How do we express agency in a world where one’s body has been framed in a particular racial discourse? How Do We Dress for the Weather? is an opportunity to inhabit one’s body through the interplay between learning new movement and language, so through alterity we might sense sameness.

Venice Art House, Venice 2016

How do we dress for the weather? Ma dar che havayi che lebasi mepoosheem?

Sharayete ma cheguneh hastand? What is our condition?

What do you mean our condition? Manzoorat az sharyet cheest?

Manzooram az sharayet mogheiyyatmost. By condition I mean our situation.

I don’t know. Nemeedonam.

Manmedonam. I know.

The sun is shining. I can’t see the sun. I see the moon.

Khorshid miderakhshad.  I am freezing. 

I am burning. Man marah mebeenam.

Man daram yakh meezanam.

28th Iranian Women’s Studies Foundation, La Compagnia, Florence 2017

Performed with Sona Baradaran

Every Four Years ~ a live-streamed performance lecture in two forty-five minute halves 

To what extent has fear impacted the way you move? What constitutes movement enforcing fear? What denotes fearless movements? Every Four Years considers how cultures of fear (re)enforce values that form identity through embodiment. It is a performative mediation, analyzing ways one (re)inhabits ‘self’ through other cultures at different times, and in several places. In this performance, place is virtual, physical and psychological.

psevery4years

A freshman Senator tweets an open letter threatening sanctions with a tap of his finger, evoking an iconic gesture, I Want You!.  A gesture is released from the other side. It is an ascending thumb and index finger commanding, His Divine Right.

]performance space[ London, 2014

Information in the virtual missives are disseminated throughout our environment generating fear and suspicion. The particles merge with our ecological atmosphere. We inhale, exhale, receive, process, and transmit the traces of this proxy war. It changes the way we move and the way we relate to others.

Patsy’s Irish Pub Laguna Niguel, California 2018 https://goo.gl/maps/ks7zYAk6nLE2

We have already watched the most widely witnessed death in human history. On June twentieth, two thousand and nine years after the birth of Christ, a woman disappeared. Within seconds the past multiplied. A day after people assembled in her place. Next to flickering lights, they claimed to be one of her.

Chelsea Theatre, London 2014

Between States

When you watch a tragedy the main character dies at the end of the play. When you watch someone die on screen you have the choice to press backward, forward, pause or stop. Oftentimes you are also able to scroll up.

Not speaking with you, for you, or through you. Not speaking for myself, about myself, or of myself.

Hope

World Cup Stadium Seoul, South Korea 2009-present https://goo.gl/maps/pHwx6A6ewDH2

3 Comments

  1. I can relate to your identity crisis in many ways. I was born in Vietnam and adopted by an American family when I was two. I grew up in Pennsylvania and Florida acutely aware I was a) not Caucasian and b) a reminder of a war that Americans preferred to forget. Thank you for sharing your voice.

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