Persian People

The Persian people are part of the Iranian peoples who speak the modern Persian language and closely akin Iranian dialects and languages. The origin of the ethnic Iranian/Persian peoples are traced to the Ancient Iranian peoples, who were part of the ancient Indo-Iranians and themselves part of the greater Indo-European linguistic family. The synonymous usage of Iranian and Persian has persisted over the centuries although some modern Western sources use Iranic/Iranian as a wider term that includes the term Persian as well as related Iranian languages and ethnic groups. However, these terms have been used both synonymously as well as in a complementary fashion since ancient times; as the Ancient Iranian peoples such as the Old Persians, Medes, Bactrians, Parthians and Avesta peoples considered themselves to be part of the greater Iranian ethnic stock.

The term Persian translates to “from or of Persis” which is a region north of the Persian Gulf located in Pars, Iran. It was from this region that Cyrus the Great the founder of the Achaemenid empire, united all other Iranian empires (such as the Medes and the Elamites), and expanded the Persian cultural and social influences by incorporating the Babylonian empire, and the Lydian empire. Although not the first Iranian empire, the Achaemenid empire is the first Persian empire well recognized by Greek and Persian historians for its massive cultural, military and social influences going as far as Athens, Egypt, and Libya.

The 4th Annual Norouz Gala

On March 1st, TI TV Networks sponsored the by invitation only of 4th Annual Norouz Gala at the Taglyan Cultural Complex in Hollywood. It was a who’s who of the Persian entertainment world walking down the red carpet.

The invitation only event brought out a many stars and entertainers like Navid Negahban who has appeared in over sixty films and numerous hit TV shows like Homeland with Damian Lewis and 24 starring Kiefer Sutherland. Also attending was bestselling musician Mohamad Mohebian and Solmaz Niki-Kermani, actress and Executive Producer at Mahtab

NOROUZ

No Ruz, new day or New Year as the Iranians call it, is a celebration of spring Equinox. It has been celebrated by all the major cultures of ancient Mesopotamia. Sumerians, 3000BC, Babylonians 2000 BC, the ancient kingdom of Elam in Southern Persia 2000BC, Akaddians all have been celebrating it in one form or another. What we have today as No Ruz with its’ uniquely Iranian characteristics has been celebrated for at least 3000 years and is deeply rooted in the traditions of Zoroastrian belief system.

This was the religion of Ancient Persia before the advent of Islam 1400 years ago. It is known as the mother religion in the area. The familiar concepts of Hell, Heaven, Resurrection, coming of the Messiah, individual and last judgment were for the first time incorporated into this belief system. They still exist in Judo-Christian and Islamic traditions. In order to understand No Ruz we have to know about Zoroastrians’ cosmology.

These people believed in two primal forces. In their ancient text, Bundahishn foundation of creation, we read that The Lord of Wisdom residing in the eternal light was not God. He created all that was good and became God. The Hostile Spirit, Angra Mainyu (Ahriman), residing in the eternal darkness created all that was bad and became the Hostile Spirit (The word anger in English comes from the same origin).

Everything that produced life, protected and enriched it was regarded as good. This included all forces of nature beneficial to humans. Earth, waters, sky, animals, plants were all good. Justice, honesty, peace, health, beauty, joy and happiness were regarded as belonging to the good forces. All that threatened life and created disorder belonged to the hostile spirits.

The two worlds created did not have a material form but the essence of everything was present. The two existed side by side for three thousand years, but completely separate from each other. At the end of the third millennium the Hostile Spirit saw light, wanted it and attacked the good world. This was the beginning of all troubles we face now.

The Lord of Wisdom in order to protect his world created the material world “Gaeity”,

Geety in modern Persian. This material world was created at seven different stages. The first creation was the sky, a big chunk of stone high above. The second creation was the first ocean, at the bottom. Earth a big flat dish sitting on the ocean was the third. The next three creations were the prototypes of all life forms. The first plant, the first animal a bull and the first human Gayo-maretan (Kiomarth), both male and female. The seventh creation was fire and sun together.

The struggle continues for 12000 years. There are four periods, each 3000 years. At the last phase several saviors come and the last one Saoshyant will save the world. When he comes there is resurrection, walking over the Chinvat Bridge (Sarat Bridge in Quran) and last judgement. We recognize this figure as Time Lord (Imam Zaman) in Iranian version of Shiite Islam.

In order to protect his creations the Lord of Wisdom also created six holy immortals,

Amesha Spenta one for each creation. Khashtra (Sharivar), the protector of sky, Asha-Vahishta (Ordibehesht) protected fire. Vahu Manah (Bahman) for all animals, Haurvatat

(Khordad) protected all waters, Spenta Armaiti (Esphand) a female deity protector of mother earth and Ameratat (Amurdad) supported all plant life. Ahura Mazda himself became the protector of all humans and the holy fire.

There was one problem with this material world, it did not have a life cycle. The sun did not move. There were no days or nights and no seasons. The three prototypes of life were sacrificed. From the plant came the seeds of all plants. The bull produced all animals and from the human came the first male and female. The rest of the humanity was created from their union. The cycle of life started. Sun moved, there was day, night and the seasons. This was called the first No Ruz.

The Lord of Wisdom also created guardian angles (forouhars) for all living beings. Every human had one as long as they stayed with the good forces. As we see in the myth of Azydahak in Avesta, the Zoroastrians’ holy book. We know this figure as Zahak in modern Persian. A prince, he chooses the Hostile Spirit as his protector. He was made a king, ruled for 999 years and became immortal.

Zoroaster (Zardosht) the architect of this cosmology introduced many feasts, festivals and rituals to pay homage to the seven creations and the holy immortals. Seven were amongst the most important. They are known as Gahambars, feasts of obligation. The last and the most elaborate was No Ruz, celebrating the Lord of Wisdom and the holy fire at the time of spring equinox.

The oldest archaeological record for No Ruz celebration comes from the Achaemenian (Hakhamaneshi) period over 2500 years ago. They created the first major empire in the region and built Persepolis complex (Takhte Jamshid) in central Iran. This magnificent palace/temple complex was destroyed by Alexander the Great in 334 BC.

Achaemenians had four major residences one for each season. Persepolis was their spring residence and the site for celebrating the New Year. Stone carvings show the king seated on his throne receiving his subjects, governors and ambassadors from various nations under his control. They are presenting him with gifts and paying homage to him. We do not know too much about the details of the rituals. We do know that mornings were spent praying and performing other religious rituals. Later on during the day the guests would be entertained with feasts and celebrations.

We also know that the ritual of sacred marriage took place at this palace. An ancient and common ritual in Mesopotamia, the king would spend the first night of the New Year with a young woman. Any offspring produced from this union would be sent back to the temples and they would normally end up as high-ranking religious officials. There is no evidence that this was practiced later on and was part of the New Year rituals.

What we have today as No Ruz goes back to the Sassanid period. They were the last great Persian Empire before the advent of Islam 1400 years ago. Their celebrations would start five days prior to the New Year. They believed the guardian angles (Fourohars) would come down to earth within these five days to visit their human counter parts. A major spring-cleaning was carried out to welcome them with feasts and celebrations. Bon fires would be set on rooftops at night to indicate to the guardian angles that humans were ready to receive them. This was called Suri Festival.

Modern Iranians still carry out the spring-cleaning and celebrate Wednesday Suri.

Bon fires are made and all people will jump over the fire on the last Tuesday of the year. This is a purification rite and Iranians believe by going over the fire they will get rid of all their illnesses and misfortunes. Wednesday Suri did not exist before Islam and very likely is a combination of more than one ritual to make it last.

The ancient Zoroastrians would also celebrate the first five days of No Ruz, but it was the sixth day that was the most important of all. This day was called the Great No Ruz (No Ruze bozorg) and is assumed to be the birthday of Zoroaster himself. Zoroastrians today still celebrate this day, but it has lost its significance for the rest of the Iranians. In Sassanid period the New Year would be celebrated for 21 days and on the 19th day there would be another major festival.

Modern Iranians celebrate New Year for 13 days only. The first few days are spent visiting older members of the family other relatives and friends. Gifts are exchanged; sweets and feasts will be consumed. At the last day, the 13th of the first month, all people will leave their homes to go to the parks or rural areas to spend a day in nature. Again this was not celebrated in this manner before and might be several rituals in one. A major part of the New Year rituals is setting a special table with seven specific items present, Haft Sin (Haft chin, seven crops before Islam). In the ancient times each of the items corresponded to one of the seven creations and the seven holy immortals protecting them.

Today they are changed and modified but some have kept their symbolism. All the seven items start with the letter S; this was not the order in ancient times. Wheat or barley representing new growth is still present. Fish the most easily obtainable animal and water are present. Lit candles are a symbol of fire. Mirrors are used today, origin unknown. These were expensive items in ancient times and were made from polished metal. It is unlikely that all households would have one. Zoroastrians today place the lit candle in front of the mirror. Wine was always present. Today it is replaced by vinegar since alcohol is banned in Islam.

Egg a universal symbol of fertility corresponding to the mother earth is still present. Garlic is used to warn off bad omen. This is a modern introduction. There is no evidence that it was used in that context before. However the ancient Iranians would grow seven different herbs for the New Year and garlic might have been one of those. Samano a thick brownish paste is present today. It is a nutritious meal and could have been part of the feasts. It is also possible that it has replaced Haoma.

Haoma is a scared herbal mix known for its healing properties. It was a major cult on its own with many rituals and ceremonies. The cult is still performed by the Zoroastrians today, but is abandoned by the rest of the Iranians. Coins symbolizing wealth and prosperity, fruits and special meals are present as well.

Why this festival has survived? There have been major attempts by the Muslim rulers over the centuries to minimize it, ban it or get rid of it once and for all. The reasons for their failure should be sought in the spirit of this festival. Contrary to the Islamic traditions where death and martyrdom mark all the major rituals, No Ruz is a celebration of life.

Forces of nature completely beyond them dominated people in ancient times. They formed a union with these forces to protect themselves. Through this union they created a balance and maintained the cosmic order Asha. Without it there would be chaos, the world of the Hostile Spirit (Ahriman). The Zoroastrians were and are required to have the same mind, the same voice and act the same way as their god the Lord of Wisdom.

They are expected to only think of good things, speak the good words and act the good deeds. Our celebrated poet Ferdousi over a thousand years ago virtually single handedly translated Avestan mythology into modern Persian. A Zoroastrian who was persecuted all his life because of his fate; he starts his book in the name of the Lord of Life and Wisdom (beh nameh khodavand jaan o kherad). The lord of life and wisdom was Ahura Mazda’s title in the Avestan texts of the Sassanid period.

Lord or not, life and wisdom are what that makes us humans. We are the only beings who know we have a life and what we do with our lives depend on the wisdom. At the end of the millennium with the mess this planet is in we need that wisdom more than ever. Creating a balance with nature and maintaining order are very relevant. These are the lessons we can learn from such a wonderful and ancient tradition. So happy New Year, enjoy the festival. Joy and happiness were regarded as major forces defeating the hostile spirits. This is why we are still celebrating this occasion after 3000 years

Azam Ali

Born in Tehran, Iran 1970, Ali spent most of her childhood in Panchgani, India.[1] Ali and her mother moved to Los Angeles, California in 1985, after which Ali discovered the santour. Ali then studied the santour under Persian master Manoocher Sadeghi, which led to the rediscovery of her voice.[2] She is now living in Montreal, Quebec, Canada.

In 1996, Ali formed “alternative world” group VAS with percussionist Greg Ellis after meeting the year prior at a concert at UCLA.[3] She and her husband, Loga Ramin Torkian, are also part of another group, Niyaz, an Iranian acoustic electronic group. In 2005, Azam Ali was featured in Enter The Chicken, a Buckethead album, singing the song Coma along side Serj Tankian.

In 2002, Ali released her first solo album, Portals of Grace.This was followed up with 2006′s Elysium for the Brave, which reached #10 on Billboards World Albums chart on 23 September 2006.Ali’s most recent release, 2011′s From Night to the Edge of Day, is a collection of lullabies inspired by her son.

Maryam Akhondy

Maryam Akhondy (born 1957) is a classical trained singer from Tehran, Iran. She was student of Ostad Esmail Mehrtasch and Ostad Nassrollah Nassehpour, two masters of classical Iranian music. Because of the difficult situation for artists, especially female artists, in Iran after the Islamic Revolution of 1979, she moved to Europe and, since 1986, has lives in Cologne, Germany.

After 1986, Maryam Akhondy started working with other Iranian musicians in exile. With Nawa and Tschakawak, two groups of traditional Iranian musicians, she performed in Germany and Scandinavia.

At the same time she founded Ensemble Barbad, a group with three to five musicians, all classical trained artists. Barbad has been touring all over Europe for the past years. Maryam Akhondy and Ensemble Barbad’s newest project is called Sarmast, which means intoxicated, in this case intoxicated by the lyrics of the great Iranian poets, such as Hafez and others. Sarmast is Akhondy’s own compositions in the style of classical Persian art and music. The CD Sarmast – Iranian art music for texts of Persian poets was published in 2006.

Between 1999 and 2000, Maryam Akhondy created an all-female acapella group, Banu, because in Iran, it is difficult for female singers to appear publicly. Only for religious rituals, called Tazieh, are they allowed to make music. Furthermore, for men it is forbidden to listen to the singing of women. Therefore, for Iranian women, singing is possible only in private sphere, where women are alone or among themselves: at the cradle, doing housework, working in the fields, and women’s celebrations. Maryam Akhondy made it her business to bring traditional women’s songs back to life again. Over years she has been collecting songs and published them in 2004 on her album Banu – Songs of Persian Women.

Banu, named after the Persian word for noble lady or distinguished lady, is a kind of musical expedition to the different regions and cultures of Iran. It gives an informative view of the singing culture and self-confidence of the Persian women. Most of these songs are full of life and energy, accompanied by various percussion instruments. This is quite unusual for Iranian music which is often more serene and melancholic. But these old folk songs are funny, ironic and give a view of the Iranian woman when she is in private. The women of Banu have been touring in Europe, Turkey and Tunisia until recently.

They have also done non-Iranian collaborations with the Schäl Sick Brass Band of Cologne between 1994 and 1999, with Mike Herting during the Ruhrtriennale in 2008, and with Bobby McFerrin in 2009.

Mohammad Nouri

Mohammad Nouri (Persian: محمد نوری ‎) (December 22, 1929 – July 31, 2010) was one of the foremost folk and pop singers in Iran.

He studied the English Language and Literature at the University of Tehran, but continued his professional career in music.[1] He studied Persian music under Esmaeil Mehrtash and music theory and piano under Sirous Shahrdar and Fereidoun Farzaneh. In his singing style he was considered as a follower of Hossein Aslani and Naser Hosseini.[1]

Nouri rose to prominence in the 1960s with his distinct style of singing and enjoyed four decades of popularity among Iranians of all generations.

His song Jaan-e Maryam, Gol-e Maryam (جان مریم، گل مریم), as well as his patriotic song Iran, Iran, have been and are well known melodies and themes among three generations of Iranians from both before and after the 1979 Iranian

Shanbehzadeh Ensemble

Shanbehzadeh Ensemble (Persian: گروه شنبه زاده‎) is an Iranian folk band, formed in Bushehr in 1990. The band offers a rare aspect of the traditional music and dance of the Persian Gulf, more specially of the province of Bushehr, south of Iran and bordering Persian gulf.

The principal instruments of the ensemble are the neyanbān (bagpipe), neydjofti (flute), dammām (drum), zarbetempo (percussion), traditional flute, senj (cymbal) and boogh (a goat’s horn). The Ensemble has delighted audience in Iran, Europe and North-America.

The band was founded by internationally acclaimed Iranian musician and dancer, Saeid Shanbezadeh in 1990. Saied, who traces his ancestry to Zanzibar in East Africa,[3][4] was born in Bushehr, Iran, where he started playing music at the age of 7 with the old masters of the music of the region. He began with percussions, singing, and traditional dance. At 20 he founded the group of Shanbehzadeh Ensemble and won the 1st prize at the Fajr Music Festival in Tehran in 1990. In 1996 he was invited by the University of Toronto to teach a half-a-year course. In 2007 he was invited again by La Cité de La Musique of Paris to teach dance, singing and music. In 1998 he was named the professor and director of the House of Culture, Music and Dance of the Isle of Kish in Iran. That same year he portrayed himself in Talking with the Wind by Bahram Beyzaei.

Saeid Shanbehzadeh left Iran in 2002 and now lives in Paris.

Mohamad, Marde Tanhaye Shab

The new music video by Mohamad has been released exclusively on Radio Javan.  The video was directed by Solmaz Niki- Kermani of Mahtab Entertainment using original footage from her film To the Moon which she starred in and wrote. To the Moon was directed by Damian Harris.

Mahan Esfahani

Mahan Esfahani (Persian: ماهان اصفهانی ) is an Iranian-American keyboardist; he is the first harpsichordist named as a BBC Radio 3 New Generation Artist. As a concerto soloist, recitalist, and collaborative musician, he has gained an international reputation on a variety of early keyboards.

Born in 1984 in Tehran, Esfahani grew up in United States. While at Stanford University, Esfahani studied musicology and came most seriously under the influence of the American scholar George Houle.[2] Later, he continued his harpsichord studies with the Australian harpsichordist Peter Watchorn in Boston and with the Italian organist Lorenzo Ghielmi in Milan, and benefited from the advice and guidance of the Czech harpsichordist Zuzana Růžičková.

Having quickly gained an international reputation without the benefit of going through the customary competitions, played many significant concerts,he has been praised as “exceptionally gifted” (The Times) and for “the virtuosity of a master” (Keyboard Magazine).,currently he is as Artist-in-Residence at New College, Oxford. He made his Wigmore Hall debut in 2009 as a concerto soloist with The English Concert, and in the same year performed at the BBC Proms’ chamber series and made extensive recordings of concerto and solo repertoire for the harpsichord for BBC Radio 3.

From 2008-2010 Mahan Esfahani was a BBC Radio 3 New Generation Artist. Currently he is the first and only early instrument specialist to have joined the programme.

Respected for gaining attention for the harpsichord as a concert instrument, Mahan Esfahani is known for his criticism of what he perceives as the many dogmas of the early music movement, preferring to use many of his own editions and conclusions gained from the close reading of period sources, and works actively with modern instrument players in re-creating the sonic world of earlier music. He is also well known for his advocacy of contemporary music and has played numerous new commissions.

Esfahani is managed by Rayfield Allied of London. He was the recipient of a Borletti Buitoni Trust Award in 2009, being the first harpsichordist and first Iranian to do so. He has continued his work in bringing the harpsichord to the mainstream of Classical Music, and in 2011 made history with the first solo harpsichord recital at the BBC Proms.

He also started to make a name as a conductor and director, appearing with such ensembles as The Academy of Ancient Music, The Manchester Camerata, the Hanover Band

Mahan Esfahani

Mahan Esfahani (Persian: ماهان اصفهانی ) is an Iranian-American keyboardist; he is the first harpsichordist named as a BBC Radio 3 New Generation Artist. As a concerto soloist, recitalist, and collaborative musician, he has gained an international reputation on a variety of early keyboards.

Born in 1984 in Tehran, Esfahani grew up in United States. While at Stanford University, Esfahani studied musicology and came most seriously under the influence of the American scholar George Houle.[2] Later, he continued his harpsichord studies with the Australian harpsichordist Peter Watchorn in Boston and with the Italian organist Lorenzo Ghielmi in Milan, and benefited from the advice and guidance of the Czech harpsichordist Zuzana Růžičková.

Having quickly gained an international reputation without the benefit of going through the customary competitions, played many significant concerts,he has been praised as “exceptionally gifted” (The Times) and for “the virtuosity of a master” (Keyboard Magazine).,currently he is as Artist-in-Residence at New College, Oxford. He made his Wigmore Hall debut in 2009 as a concerto soloist with The English Concert, and in the same year performed at the BBC Proms’ chamber series and made extensive recordings of concerto and solo repertoire for the harpsichord for BBC Radio 3.

From 2008-2010 Mahan Esfahani was a BBC Radio 3 New Generation Artist. Currently he is the first and only early instrument specialist to have joined the programme.

Respected for gaining attention for the harpsichord as a concert instrument, Mahan Esfahani is known for his criticism of what he perceives as the many dogmas of the early music movement, preferring to use many of his own editions and conclusions gained from the close reading of period sources, and works actively with modern instrument players in re-creating the sonic world of earlier music. He is also well known for his advocacy of contemporary music and has played numerous new commissions.

Esfahani is managed by Rayfield Allied of London. He was the recipient of a Borletti Buitoni Trust Award in 2009, being the first harpsichordist and first Iranian to do so. He has continued his work in bringing the harpsichord to the mainstream of Classical Music, and in 2011 made history with the first solo harpsichord recital at the BBC Proms.

He also started to make a name as a conductor and director, appearing with such ensembles as The Academy of Ancient Music, The Manchester Camerata, the Hanover Band, The English Concert, and Arion Baroque Orchestra of Montreal