PERSIAN TRIBUNE Volume 2, Issue 7 by Persian Tribune

ISSN 2291-580X

9 772291 580004

IN THIS ISSUE FEATURE STORY

AN ETERNAL VOICE OF GENERATIONS... AN EXCLUSIVE INTERVIEW WITH FARAMARZ ASLANI

ART

FROM THE PERSIAN KITCHEN: POMEGRANATE-MARINATED KEBABS

LEAVE YOUR OWN MARK ON THE ART WORD

AGA KHAN MUSEUM WELCOMES THE WORLD

OF THE FATIMIDS

NESSA’S ONE OF A KIND ART PIECES

PEOPLE

PERSON OF THE MONTH HOMA SARLATI

40 46

FILM

ONTARIO FILM THE BREADWINNER ON THE GLOBAL STAGE!

8 40

BOOK REVIEW THE LEGENDARY CUISINE OF PERSIA

CALIFORNIA'S J.LOHR SEVEN OAKS CABERNET SAUVIGNON

NOWRUZ FESTIVITIES IN QASHQAI TRIBE

36 16

RUGS

KERMAN RUGS

HEALTH

LOOK AT THE NEW BUDGET AS AN OPPORTUNITY

INSURANCE

EVENTS

OUT AND ABOUT WITH PERSIAN TRIBUNE

CULTURE

DO YOU KNOW LUPUS

POLITICS

MYANMAR - TRANSITION TOWARDS DEMOCRACY NOT EASY BUT STEADY

FOOD & WINE

ENVIRONMENT

SAVE THE PLANET; EAT AN INSECT

44 43

• PERSIANTRIBUNE MAGAZINE

LETTER FROM EDITOR Volume 2, Issue 7

Every time I think of Norouz, I cannot help but to be amazed by the profound meanings of every aspect of this remarkable and over 3000-year-old Iranian New Year celebration. How did the ancient Persians know about the exact time change of every season? And before the invention of the telescope, how did they know about the change of the positions of the sun in respect to earth? Looking at every item at the beautiful and glorious Haftseen, the symbolic meaning of every “SEEN” item in that spread is amazing. These are only a few secrets and the enigmas of the magic of Norouz celebration that the Iranians have inherited as they celebrate it every year at the beginning of the spring season. I also think if one day we all decide to create and to find a new occasion for celebration, could we design it as meaningful as Norouz as our forefathers did over 3000 years ago? I think NOT. All I can say is that it is great to celebrate Norouz and its recognition of the beauty of the nature in spring, and to wish everyone a “Norouz Shaad Baad”. In this issue you will learn about the colourful custom of Norouz celebration in the Qashqai Tribe who are one of the oldest tribes in the Iranian Plato. You will also read about an old and eloquent Persian story that has existed in the Chinese culture for over a thousand years. Faramarz Aslani is an icon in the Persian music scene whose artistic talent as well as his sensitive and creative approach to his art has been respected and admired by more than three generations of Persian music fans. Without any doubt after reading our exclusive interview with him, you get to appreciate this classy artist and talented works more than before. In this issue we have selected a collection of informative and entertaining articles that I am sure you will enjoy reading as we enjoyed bringing them to you. Cheers,

Publisher: Persian Tribune Inc.

Editor-in-Chief: Kiumars Rezvanifar

Senior VP Marketing Communications: Silviu C. Apostolide

Creative Directors: Daniela Ferreira Daniel Valdivieso

Managing Editor: Courtney Boyden

Art Director: Courtney Boyden

Associate Managing Editor: Kim Galway

Graphic Designers: Hoda Gharaie Amir Vafamand

Associate Editor: Artmiz Rahimi

Contributing Writers: David Akhlaghi Suzan Ayscough Juanita Butler Hon Michael Coteau MPP Naomi Duguid Adam Field Kim Galway Anna Khan Dr. Shirali Kianian Sahar Marvasti Doris Pontieri Naser Roushan David Suzuki Wallis Wang Bryon Wilfert

Copy Editor: Arezou Amin Kim Galway

Research: Artemiz Rezvanifar Account Executives: Arman Hedayat Nooshin Riahy David Zand Behrouz Ziaci Special Projects Jacques Reiss

Printing: Quatro Canada

Web Management: Ramin Emadi James Butler

Kiumars Rezvanifar Editor-In-Chief kiu@persiantribune.ca

Director of Marketing Development: Dawn S. Marvasti

Persian Tribune magazine is published twelve times a year by Persian Tribune Inc. It is distributed free of charge in libraries, business and cultural centers in GTA. Persian Tribune magazine is an independent publication and its contents imply no endorsement of any product or service. Opinions expressed are those of the writers. The contents of this publication may not be reproduced in whole or in part without the written permission from the publisher. Canadian Head Office (Toronto) Persian Tribune magazine 25 Valleywood Drive, Suite 12 Markham, ON L3R 5L9 Canada

• PERSIANTRIBUNE

Dubai Office Ms. Roya Devon royadevon@outlook.com 0097-150-734-8005

Paris Office Mme. Niloufar Manii 9, rue de Chartres 92200 Neuilly Sur Seine, FRANCE

U.S. Office (Los Angeles) Persian Tribune magazine 22726 Ventura Blvd., Suite C Woodland Hills, CA 91364, U.S.A.

•ART

LEAVE YOUR OWN MARK ON THE ARTWORLD

• PERSIANTRIBUNE

•ART

By: Doris Pontieri

uring a recent trip to Paris, I visited the Louvre Museum. Although I've been there many times, this time was different. I took a dear friend with me, the famous Canadian sculptor Abraham Ruben. He had never entered those majestic halls. Seeing these works of art and sculptures through his eyes made me think, on the most basic levels, about the artists who created them. We look at such masterpieces and see the hype surrounding them, with wide eyed awe at their incredible worth as hundreds of people push for position to take a picture proving how close they got to it. But think for a moment about the journey the artist took to create the piece. Leonardo da Vinci was merely painting the face of a girl with the slightest hint of a subtle smile. He was not painting for fame or fortune, he was rendering his subject onto the canvas. How different the Mona Lisa looks when we try to see it just as a painting, a study if you will, of what the artist himself saw. As an artist, I have studied the mark these great painters have left on the world. The new paths they forged to create something for the very first time. Maybe to mix a colour they had never seen before, and repeatedly using that colour almost as a signature of their style. I am often asked where I get the inspiration for my paintings, if I indeed look at a scene and try to recreate it or if I mix colour with precision, intending to replicate what I see in real life. In fact, I rarely work from subject matter. I have always felt that what I paint is a reflection of how I feel or what the world looks like to me. If I just paint something exactly as I see it, I'm left feeling unsatisfied and uneasy. I want to look at my painting and know that I left a part of myself on that canvas, that I allowed myself to be vulnerable and took the route “less safe”. This might include mixing a colour that I see in my head, without care or concern whether anyone else likes it or sees what I see.

looking at the canvas differently. We enable the vision of what we are about to paint to present itself through fresh eyes, to be expressed by our own deep and personal feeling. I am always asked "is this the right colour?". The answer to that question is simple, if you like it, then it is definitely the right colour. As my dear friend Kiu Rezvanifar once told me, we all carry with us a backpack of heavy rocks representing our past. To be able to unload it and begin a new day feeling lighter is a gift. Take that same approach to creating a piece of art and the past will not become a part of that which is – and should be - new. I recently watched a documentary, Beltracchi -The Art of Forgery, about a forgery artist who made millions of dollars over the span of twenty years. I was fascinated by how he mastered recreating works of great value. Yet, he seemed so unaffected by this form of art. To the forger, his brand of paintings just offered him a well-paying job. I thought, someone with that vast amount of talent should have spent his life with a heart full of great joy, basking in the satisfaction of speaking with his own voice through his own art. It is easy to copy art that has already been created. Perhaps this man was afraid to bare himself and surrender to the vulnerability each artist allows when picking up a paint brush to face that blank canvas, when at that magic moment, as the bristles touch down, the birth of a new creation reinforces the continued pursuit of making their mark. 

Doris Pontieri is an award winning artist and art teacher. Her work is featured in many galleries in Canada and U.S. Since being invited to exhibit at the Louvre in Paris, she has been awarded the medal for Outstanding Artwork by the Paris Society of Arts, Science and Letters, one of the oldest societies in France.

As an art teacher, I want my students to make their mark and leave something of themselves behind – their legacy. Once we learn the proper techniques of painting, we begin PERSIAN TRIBUNE

•9

A PLAN FOR FAIRNESS AND OPPORTUNITY IN ONTARIO. By: Hon Michael Coteau MPP

Nowruz Pirooz – a very happy Persian New Year to you all! With the New Year upon us, I’d first like to recognize the incredible contributions of the Persian community. Ontario’s growth and prosperity are due in part to the hard work, talent and relentless spirit of Persian people across our great province, and for that, our government thanks you. I am fortunate to celebrate these contributions every day, through the Iranian Women’s Organization of Ontario and events at the Aga Khan Museum – both located within my riding of Don Valley East. As a dad, politician and former youth worker, I know first-hand how important it is to support and nurture the communities we live in, the places where we choose to raise our families. From early childhood, to school, through to adulthood, I am proud to live in a province that celebrates and respects our diversity. Nowruz falls on the day or around the time of the International Day for the Elimination of Racial Discrimination – March 21. We know that addressing systemic racism in Ontario means identifying barriers, and working to remove them. These are often simple barriers like accessing public services. Systemic racism can become embedded in our day-to-day lives without us even realizing it. Everyone in Ontario deserves to be fairly treated and served equitably by our public institutions so they can reach their full potential, no matter who they are, what they look like, what they believe or where they are from. Just last year, our government made the written portion of the provincial driving test available in Farsi, in addition to 21 other languages. Adding Farsi to the list of languages available was an important step towards breaking down a barrier that prevents many new Ontarians from getting their driver’s licence. This is just one example of the work we are doing to make government services more accessible to our diverse and growing population.

I spoke about the cost of inaction on systemic racism – or as I like to call it, the cost of standing still – at the Economic Club of Canada last year. Because racism isn’t just hate crimes. It’s subtle, insidious, and sophisticated. It’s institutional and systemic, and it becomes normalized when we don’t talk about it. There is more than just a social and moral imperative to end racism; there is a practical and an economic one, too. Across Canada, over 20 per cent of us are foreign-born –the highest percentage of any G8 nation –and we have the highest per-capita rate of immigration in the world. Here in Ontario, we have people from over 200 nations who speak 130 different languages. We are trained professionals, community leaders, and liaisons to different nations. Every newcomer is a thread added to our web of international trade relationships. With immigration driving population growth and racialized people making up such a significant portion of our population, we need to be inclusive. Canada is uniquely positioned to continue to make and drive impressive economic gains by ending systemic racism and harnessing the potential of our diverse population. In Ontario, we believe in looking after our loved ones. This means taking care of each other when we’re sick, ensuring our families have access to health care and a good education, and making sure that when you work hard, you can live comfortably. This is what it means to be an Ontarian, and I’m proud to be part of a government that supports these goals. It’s 2018/1397 [Persian Year] – a good year to be a Canadian living in Ontario. Michael Coteau Minister of Children and Youth Services Minister of Community and Social Services Minister Responsible for Anti-Racism MPP Don Valley East

PERSIAN TRIBUNE

• 11

The World of the Fatimids at the Aga Khan Museum AGA KHAN MUSEUM

he Aga Khan Museum’s newest exhibition, The World of the Fatimids, on until July 2, sheds light on one of history’s most intriguing and vibrant dynasties, which had its earliest roots in southwestern Iran and which at its height in the 10th and 11th centuries influenced thought and life throughout the Mediterranean, Southern Europe, and the Near East. Through monumental architectural pieces as well as intimately scaled artwork, the exhibition explores life, both royal and everyday, in the capital the Fatimids founded, al-Qahirah, or Cairo.

Those inspirations are evident in the artifacts on display. Among the highlights are luminous ceramics often known as lustreware. One lustreware bowl, on loan from the Metropolitan Museum of Art in New York, shows an eagle with outspread wings pointing down, in what is known as the “heraldic posture.” Under the Sassanian dynasty in preIslamic Iran as well as across the Mediterranean, this was an ancient royal symbol. It was revived by the Fatimids in Egypt. The luxurious artwork the Fatimids commissioned, and the motifs the court favoured, presented the dynasty to the world as worthy equals to rival regimes.

The Fatimids sought out and embraced the skills and knowledge of people from different places and faiths, welcoming them into court and city life. “This multifaceted society in part accounts for the very diverse sources of inspiration that characterize Fatimid art,” says Dr. Assadullah Souren Melikian-Chirvani, the curator of The World of the Fatimids.

Another lustreware bowl in the exhibition provides an insight into the lifestyle of the Fatimid rulers. It shows a princely rider hawking with his falcon, an ancient Middle Eastern motif which, by the time of the Fatimids, was used in royal contexts all across the Islamic and Mediterranean world. On this bowl, according to Dr. Melikian-Chirvani,

PERSIAN TRIBUNE

• 13

AGA KHAN MUSEUM

•ART

“the rider is depicted in Iranian garb: a riding coat cut from a brocaded silk characterized by joined circles, called parniyan in Persian and barrakan in its Arabised form. The circles often enclose single bird images like the peacocks seen here. Rigid straps dangle from the rider’s belt, in similar fashion to those visible in the carved relief of a pre-Islamic, 4th-century Persian emperor at Taq-e Bostan in western Iran.” Under Fatimid rule, Cairo’s vast commercial empire, reaching from the Mediterranean into Africa and across the Red Sea and the Indian Ocean to China, oversaw international trade routes for luxury commodities, including rock crystal, a naturally occurring, colourless, and transparent quartz that was prized in the Fatimid world and across its trading network. The last section of the exhibition displays objects from the Fatimids’ commercial empire. Among the highlights from that section are 10 pieces from a rock crystal chess set, described by Dr. Melikian-Chirvani in the catalogue that accompanies the exhibition. “Two kings or queens, two bishops, two knights, a rook, and three pawns are all carved with motifs drawn from the Iranian ornamental repertoire, in particular, the profile of a gazelle stylized into an abstract motif,” he writes. “Until proven otherwise, these provide a good reason for assigning them to Iran.” In addition to being the occasion for such groundbreaking scholarship, The World of the Fatimids bears witness to a remarkable dynasty that fostered the arts and the sciences, yet is little known in North America. “In bringing together objects from many international collections, the exhibition offers a rare opportunity,” says Henry Kim, Aga Khan Museum Director and CEO. “Not only to admire Fatimid art but also to understand what life would have been like in this lively, diverse, and tolerant society.”  Image credits for Persian Tribune article: The World of the Fatimids at the Aga Khan Museum 1. Bowl (Ka’s)  Egypt, late 10th–early 11th century Earthenware body covered with a white slip and painted with golden colours derived from metal oxides Copyright © The Metropolitan Museum of Art, New York. Image: Art Resource, NY 2. Bowl (Ka’s) Egypt, late 10th-11th century Earthenware covered with a white slip and painted overglaze with golden colours derived from metal oxides Copyright © Museum of Islamic Art, Cairo. Image: The American University in Cairo Press. Reproduced by permission. Chess Pieces Iran, 10–11th century Rock crystal, carved Copyright © The al-Sabah Collection, Dar al-Athar al-Islamiyyah, Kuwait

• PERSIANTRIBUNE

NOWRUZ

FESTIVITIES

Q ashqai IN

Tribe

By: Dr. Shirali Kianian

Qashqai’s are descendants of the Turks who established their history and culture in Mesopotamia around 3000 years B.C., and later on built their civilisations in Central Asia, Anatolia plateau in Turkey and in Azerbaijan. They were one of the first tribes creating the greater Azerbaijan which includes Qashqai, Hun, Oghuz, Khazar, Sardis, Saka and Bulgars. Approximately eight centuries ago, following political changes or in search of greener pastures some of them migrated to Southern Iran and currently with the population of over four million reside in five different provinces. Qashqai’s speak Turkish which is one of the five strong languages in the world. Some of the ones who stopped their nomadic

In this section, I will talk about Nowruz customs of the past.

lifestyles and settled in urban areas still maintain their culture and traditions. Qashqai’s are brave and patriotic people and during their stay in Iran have talked effective steps in defending sovereignty and independence of the country which is described in the historical books published in Iran and abroad. In the distant past, around fifty years ago, the Qashqai tribe lived a nomadic lifestyle and conducted New Year ceremonies in accordance with the customs of those days. However, many of them currently live in cities and have changed many of their tribal customs and traditions.

• PERSIANTRIBUNE

On a day before the New Year and while performing special religious ceremony honoring the dead and the ones who passed away, they cooked a type of sweet (halva) and distributed it among the friends and relatives. This sweet was made with special oil from their sheep, and with date, aromatic medicinal herbs such as cardamom, clove, cinnamon, Alpine galangal, wild oregano, and Kakai and presented it to all the neighboring tents, and if they lived close to a cemetery, would have taken it there to share it with the poor people. Then they would get on with the preparation of the New Year festivities of the next day. Little boys and girls would roam about the fields collecting wild flowers such as red puppies,

bunch them together and attach the bouquets to ropes and poles of the tents, and design the front of the tents with colorful woollen balls. They would clean and beautify whatever was in their tent home. A day or two before the New Year, they would prepare red paint to smear on the back of their white sheep because they believed that they domestic animals should also be blessed and look beautiful for the New Year. Usually on the New Year eve, they had to lit up their stoves and have a complete dish ready, such as rice with meat, usually chicken or rooster for the less fortunate, and lamb or goat for the rice for the wealthier ones who could slaughter one. The lady of the family would have prepared henna paste the night before the New Year, which is an aromatic and colorful substance, and smear it on the palms of the little girls and their daughter in laws so when they would wake up in the morning, to be happy and be merry because of the redness of their hands. The morning of the Nowruz festival, when children woke up, the parents would dress them with the new and beautiful cloths for them before, would kiss them and wish them a happy New Year to come. The New Year greetings usually started at home, parents and children greet each other with Happy New Year wishes, and prepare themselves to go to the homes of their elders and chieftains. It was customary to bring a lamb, goat, or a woven item such as carpet, kilim, sacks or Gabeh, to the home of the tribal leader, or the local chiefs.

After that, from the house of the tribal leader, or the tribe elders, it was the turn of the neighbors and friends when all people in groups would visit their neighboring tents and greet each other. The people of Qashqai tribe believed that they should not eat medicines on the New Year, not to get angry and for all to be happy and merry. If they were in mourning, the elders would exchange their black dresses with new colorful cloths, reconciliation for the one who were not happy with each other, and to try to sooth the pains of the ones who had lost their love ones by going to their homes to comfort them. On the day of the New Year no one would leave home and the men, women and children must eat together from the food prepared on their stoves. The duty of the tribal leader, chieftains and elders was to reconcile the ones in disputes and to maintain peace and order. Usually weddings and circumcisions happened on this day, and people made incursions into valleys and open lush fields full of puppy flowers, to get together to happily break bread with each other and share lunch and supper, to dance to the beat of drums and to be happy and be merry. People were happy and restful until the thirteenth day, â&#x20AC;&#x153;Sizdah Bedar,â&#x20AC;? full of laughter. ď Ž

In their turn, the head of the tribe also usually presented gifts to them and their children. Musicians and instrument players would attend at the great house of the tribe and entertain the men and women with their music and dance. At times over 200 people would gather to watch shooting competitions and riding games or at times cockfights, and to receive gifts from the Tribal leader, and to dine with him. There were no pasties at the tribe. The sweet hospitality was with raisins, young dates, canes, oleaster and sweet bread baked by the women in the tribe.

Dr. Shirali Kianian is a Qashqai representative in Toronto.

•FEATURE

An Eternal voice of generations... An exclusive interview with

Faramarz Aslani By: Kim Galway

hroughout our lives there are certain songs that have intertwined with our memories and they become part of our being. I strongly can say that Faramarz Aslani’s music and songs not only can be categorized that way, but they have the absolute respect and the admiration of three generations of Iranians all over the world. Recently Persian Tribune had a chance to learn more about this exceptionally talented Iranian music icon whose popularity goes beyond any language barrier. PT: Mr. Aslani please tell us about yourself, when and where were you born? Where did you grow up? How many siblings? And describe your family life, childhood and teenage years in the Tehran of that era? FA: I was born in Tehran, Iran, where I grew up and went to school. I was an only child and never experienced the joys, or agonies of having brothers or sisters! I went to a French primary school and studied Persian in the morning and French in the afternoon. Throughout the six years of primary studies, I was a good student and received regularly high grades, especially in French. My family, however, having noticed that my Farsi mode of speaking was being undermined by my French accent, decided against sending me to the French high school, Razi. My teenage years in Tehran were colourful ones. Tehran was a bustling city and had many features to offer young people who were forever looking for new and exciting things. We spent our holidays on the shores of the Caspian Sea which offered wonderful beaches and recreational facilities especially in The Swan Motel “Motel Ghoo” which was the IN place in those days with great music and entertainment. We were the teenagers of Tehran’s Rock and Roll era and danced to the latest music from abroad. PT: Who were your idols while growing up? FA: I did not idolize anyone in particular but I liked Elvis, PERSIAN TRIBUNE

• 19

•FEATURE

Jerry Lee Lewis, Ray Charles, James Dean, Marlon Brando, John Wayne. Later, when I was introduced to the music of Leonard Cohen, he became my soul-mate!

PT: How old were you when you realized that aside from playing the guitar you could also sing? How did that happen?

PT: Were there any professional musicians in your family?

FA: As I mentioned before, our house was often filled with my mother’s vocalizing. I remember singing along with her as a child. Later, when I acquired my first guitar, by exchanging a very expensive sapphire ring for a modest instrument, I sang to myself and played along. I must say I could keep a tune! I recorded myself and listened to the playback with an impartial and critical ear.

FA: There were musicians in my family, but none were “professional”. My father played the Tar, and my uncle played the violin. My mother had a heavenly singing voice and throughout my childhood, her voice echoed around the house. PT: At what age did you realize that music is an integral part of your life and playing guitar is a big component of it? FA: I was 14 when I felt the urge to express myself through music. However, my father was adamant that I should only see music as a hobby and stick to my academic studies. To me music was more than that. No matter how I pleaded with him to buy me a guitar, he wouldn’t budge. I used to play my favorite tunes on his Tar, but because that instrument’s fretting is different from that of the guitar, it sounded abysmal! But at least it had strings which could give me some degree of satisfaction. I should also say that my mother was very supportive of my musical activity. PT: How did you learn to play the guitar and who was/ were your teacher(s), if any? FA: I have never had any teachers. I wish I had, but again my father wouldn’t hear of it. I moved ahead the hard way and played by ear. I always regret not having studied music properly.

• PERSIANTRIBUNE

PT: At what age did you decide to pursue a career in music? FA: Much later in life. When I wrote my signature song “Age Yeh Rooz” (If One Day), I was in my early twenties and living abroad. I sang that song to my friends the night I wrote it and they encouraged me to record it. I did so a few years later, when back in Iran. PT: When and where was your first public performance and do you remember how that felt? FA: My very first public performance was in 1977, at The Iran-America Cultural Society’s theater in Tehran. The occasion was the debut of my first album “Delmashghuliha”, or Occupation of The Heart, which had recently been released in Iran by CBS Records. Before the 1979 upheavals, I recorded another album for CBS, “Hafez, A Memorandum.” PT: Are any of your family members as passionate about music as you are?

•FEATURE FA: Having lived abroad most of my adult life (decades in England and now twenty years in US), I do not have first-hand knowledge of my cousins’ passions and aspirations. But my two daughters Phaedra and Roxana, are quite musical and released a duet album in the UK a few years ago. Their album, “Something for the Weekend,” did quite well on the UK charts. Nowadays, they both have careers other than music. PT: When growing up in Iran what types of music did you listen to? FA: Lyrical and romantic French, Italian, English and Persian songs. As soon as anything was released in Europe or the US, we were dancing to it the next day! That’s how fast music travelled, even then. I have very fond memories of those days. PT: How old were you when you went to England to pursue your Education and what did you study? FA: I first went to England when I was 20 and got a B.A. in Journalism. When I returned home in 1975 I worked for The Tehran Journal. Two years later, I was at a gathering and was “discovered” by a director for CBS. I then left The Tehran Journal. In 1979, my family and I went back to London. I had just begun to gain some recognition for my music in my own country, but alas, the “revolution” put an end to that early stage in my career. PT: How did life in a foreign land change you? FA: I don’t think it changed me much as a person. My roots were solid and throughout decades of living in England and the United States, I have tried to further my knowledge and the understanding of both worlds and their cultures. I am now as familiar with English language writers and poets as I am with Persian ones. I miss Regent Street in London as much as I lament for Amirieh in Tehran. I have a chaotic world of reminiscing in both English and Farsi! My childhood recollections are mostly in Farsi, but my memories “abroad” are in English. At times the two languages challenge one another and I have to become the intermediary, with a third language, namely music! Living outside Iran has taught me many things and has opened my eyes to so many different worlds. PT: Leaving for the UK, do you still remember how it felt to leave your loved ones back in Iran, especially the ONE that you left behind? It seems it must have

had a great impact on your life, since most of your songs are nostalgic ballads about the “Lost Love” and of solitude, or the heartaches of being away from the one you love. Am I right? FA: I had mixed feelings leaving home the first time. I was both excited and heart-broken. I was going to leave all the familiar faces, sights and scents to enter an unknown land about which I had only seen in the movies. Especially difficult was leaving that special someone. You’re right in assuming that I am quite a nostalgic person. Although I do not live in the past, I have great affection for my yesterdays and the people who shared them with me. The “ONE” you refer to, is the one that we have all lost at one time or another and is perhaps the “Muse” that casts a spell over poets and other artists. However, in my songs, I always feel as though I am expressing the feelings of those who wish they could write or sing about what is in their hearts, but are not able to. PT: Who or what has influenced you the most in life and in your music career? FA: My maternal grandfather was my first teacher, mentor and constant companion when I was a child. He introduced me to the beauty of the Persian language and its poetry. Apart from the fondness I have for my mother’s voice, I must say the first time I heard that great man of Persian traditional singing, Banan, I was quite enchanted by the vocals I was hearing. The smooth delivery and the highs and lows of his voice took me to a magical place! Viguen was another singer whose voice and songs I liked, although these two singers were worlds apart as far as their singing styles were concerned. One singer was a “traditional” vocalist, and the other, Viguen, a pop singer. I must have been only seven when I first heard them on the National Radio. When I was 16, I discovered the poetry of Nima, Naderpoor, Shamloo, Forough, Sepehri. When I arrived in London as a young man, I got to know the works of Elliot, Baudelaire, Rimbaud and Poe. Reading the authors that I have mentioned, gave me tremendous inspiration for writing my own poetry and prose. I have always been an avid reader of books, poetry and prose alike.

PERSIAN TRIBUNE

• 21

•FEATURE are also venues I aspire to perform at. But let me tell you, before it all comes to an end, I hope to be able to play in Persepolis. That is the ultimate venue for me. PT: You were – and still are - a household name on the Iranian music scene, what are the challenges you feel you face to live up to that image and status? FA: Perhaps the greatest challenge is delivering the goods each time with the same quality my followers got accustomed to and showed their appreciation of by remaining loyal to me throughout the decades.

The Doors, Moody Blues, Charlie Parker, Jacques Brel, Paco de Lucía and so many others have given me fuel for writing music. However, none other than Leonard Cohen has so Influenced my style. That man was the kind of artist I aspired to become. PT: You are among a few successful Iranian performers who are admired and respected as well as followed by 3 generations of Iranian fans. How does it feel when you witness the magnitude of love and admiration they show for your music, especially when some of them weren’t even born when some of your songs were first released? FA: I feel honored, humbled and grateful. At the same time a voice in my ear whispers, “You were right to choose this path. You have made many people happy. They must know that you are not a fake!” As far as the age of my listeners, there is no generation gap in music. Like all other arts, your offering is either good or bad. PT: You have performed internationally at every corner of the world. Do you have a favorite venue or a city? And is there a famous venue that you have not performed in yet, but would love to? FA: I have a soft spot for the Shrine Auditorium in Los Angeles because it was the very first venue where I performed in LA in the early 90’s. To be honest with you I love all the stages I have performed upon but the venues close to Iran, like Turkey, Armenia, Dubai, where many of my country’s folks travel to from the old country, must be among my favorites. The Kennedy Center in DC and Dolby Theater in LA

• PERSIANTRIBUNE

I believe you must respect your audience if you expect respect in return. By staying true to yourself you remain true to them. There is also some degree of responsibility which comes with “image and status”. PT: You were the first Iranian artist in the 1970s who had a contract with an international recording company (CBS). How did that happen? It must have felt out of this world. FA: I was at a famous Iranian Opera singer’s gathering where many noted Iranian artists had also attended. I was asked to sing one of my songs. I sang “If One Day” and “Wild Deer” (Age Yeh Rooz and Ahooye Vahshi) and when I was putting my guitar back in its case, a distinguished gentleman approached me and wanted to know who the composers of the two songs were. I said they were my own. He gave me his card and asked me to visit his office the next day. I met the same gentleman the following day and came out of CBS’s building with a contract in my pocket. I was to record 10 of my songs for the company. The feeling of elation was quite out of this world. PT: When was the last time you were in Iran and when did you leave to start your life abroad? FA: 1979 was the last time I was in Iran. England was my destination. PT: Where is home for you now and what do you miss most about not living in Iran? FA: Home now is outside Washington, DC in Maryland. I very much miss the good-old times I had in Iran as a teenager. PT: Did you face any difficulties launching your music career out of Iran? FA: I did not go through the hardship that some of

•FEATURE my colleagues went through in the early stages of living abroad. I worked as a journalist and did translations for a few publications. Later on, when I appeared at the Shrine, my music career abroad took a turn for the better.

for fame and fortune, which is not healthy for the music industry. I always say if you are good, fame and fortune will inevitably come your way. That should not be the goal of an artist.

PT: How has living outside of Iran affected your views about life?

PT: Of all the performers in the world, who has left the biggest impression on you?

FA: It has shown me that life is fragile and one should cherish it while it lasts.

FA: I must say as a very young man, Viguen was my musical role model. Later on, Leonard Cohen. A very wide and diverse spectrum one might say!

PT: When you put pen to paper to write a song, what usually comes to mind? Where do you find inspiration? FA: I do not sit down and say, “I want to write a song.” The song usually writes itself for me! Words circle in my head and music accompanies them. It is an unusual state of affairs, really. I pen the words and know exactly which mode of music fits them. In a way, the words and music happen simultaneously. PT: How many albums have you produced and do you have any particular favourite? If so, why? FA: I do not have many albums. Perhaps six or seven. But I must admit, I put my best songs in all my albums and avoid including “fillers!” I always say it is better to have a few good albums that many mediocre ones. PT: Tell us about your latest or your next project? FA: My latest album was “From Midnight Til Dawn,” which was a collaboration with my friend and world-class guitarist/ musician, Babak Amini, who arranged all eight of my songs. At the moment I have at least 18 songs which I consider “record worthy.” I will release some singles soon and then, another album. Meanwhile I have to travel and perform here and there. Time has adopted a faster pace while I still run at the same speed!! PT: What makes you move forward artistically? FA: The love I am shown by my fans and the fact that one should not become stagnant. Also, the need to express myself through my music and my poetry. I still have many unwritten songs in me! PT: How do you view current music produced within and outside of Iran? FA: I hear some good Iranian music. There are a few musicians with style and something to offer. Unfortunately, though, many others are copiers and are there merely

As a romantic, I am quite impressionable. Any good singer with a meaningful song can bring tears to my eyes. Nowadays I am mesmerized by the passionate voice of Lara Fabian. PT: In your spare time what do you do and what type of music do you listen to? FA: I read, write my memoirs, play the guitar, listen to all types of good music. Ebi, Dariush, Googoosh, Ghomeishi, are the Persian ones we usually listen to. Marjan, my better half, listens to everything that bears a note! Actually we both have more or less the same taste in music. PT: Do you have a hobby? FA: I collect model cars from half-an-inch to a couple of feet in size. I love classic, old cars. PT: Who is your favorite poet or writer and why? FA: Favorite Persian writers: Hedayat, Choobak and Dowlatabadi. Poets: Shamloo, Nima, Sepehri, Forough Farrokhzad. European writers and poets: Joyce, Sartre, Beckett, Eliot, Baudelaire, Cavafy and some others that I mentioned previously. There are many more. They each have inspired me in one way or another. PT: What is your favorite book? FA: “Kelidar” by Mahmoud Dowlatabadi PT: Do you cook and if so, what is your specialty? Or what is your favorite Persian dish? FA: I am very good in making all types of omelets. My favorite Persian food is Albaloo and Lubia Polo. PT: When you look back at your life what do you see? FA: I see a small stream which is childhood; a brook, which is youth; a river, which is maturity; a sea. which is old age

PERSIAN TRIBUNE

• 23

•FEATURE and an ocean, which will hopefully be eternity! PT: How do you perceive love? FA: As an entity without which life has no meaning at all. PT: How do you define success and happiness? FA: Success is having achieved at least a good portion of what you aspired to do. Happiness is realizing that you have done so! PT: If you could go back in time, to what age would you like to return and why? FA: To when I was a child of seven, sitting close to grandfather and copying what he was drawing. When everyone that I loved and are no more, were chatting and laughing under the same roof and my mother’s voice filled those rooms. PT: If you could change something about your life what would that be? FA: I am quite happy with the hand I was dealt. I would not change a thing. PT: If you could be “king for a day” what would you do? FA: I would abdicate in favor of a capable Queen! PT: What is your advice or message for our readers, more particularly for new artists? FA: I would like to thank your readers for reading this interview. The only advice I dare give is to love one another and be forgiving. To the new artists, my advice is to learn your trade before presenting it to the public. Be true to your art and rest assured that you will make your mark if your goals and needs are honorable. PT: Thank you. 

Pictures by: Navid Studio Photography, www.navidstudio.com

• PERSIANTRIBUNE

Farah Financial Services Inc.

Farah Jahed Senior Financial & Insurance Advisor

Leading Provider of Insurance and Investment Services to Individuals, Families , Professional Business Owners, Physicians and Dentists In Ontario.

www.farahhinancials.com Email :info@farahhinancials.com Tel: 416 894 8944 Address: 610-625 Cochrane Dr., Markham ON - L3R 9R9 PERSIAN TRIBUNE

â&#x20AC;˘ 25

Kerman

he city of Kerman is the capital of Kerman province. In 2011, it had a population of 823,374, with 21,389 households, making it the 10th most populated city in Iran. It is located south of Iranâ&#x20AC;&#x2122;s capital, Tehran, on expansive, flat land. Kerman City is the largest and most developed city in the province and the most important city in southeast Iran. Kerman is famous for its rich history and strong cultural heritage, also manifested by way of magnificent Kerman carpets. Because Persian rugs are named after the city in which they are made, they are considered traditional Persian rugs. Kerman has been a major center for the production of high quality rugs since at least the 15th century. In 1800, some considered Kerman rugs among the finest Persian rugs because of their high-quality wool.

RU G S By: Naser Roushan.

brilliant as it is varied. Tones can range from ivory, blue and magenta to more golden and saffron cast.

Ravar Kerman Rugs Another rare and distinct variation of Kerman carpets is the Lavar or Ravar Kerman. Although Lavar is not the correct name, some are still labeled as such. These carpets were produced in Ravar village which is next to Kerman city in the northern region. These rugs are particularly popular for their fine weave, elegant, classical designs and central medallion format. Most Ravar rugs were created in the early to mid19th century and are considered antique. Some Ravar rugs were either named or signed by the weaver. There is a tremendous demand for Ravar antique rugs regardless of the patterns and designs. Many antique Ravar Kerman rugs sell through auction houses around the world.

Master weavers have been creating variety of patterns since the 15th century Safavieh period. Patterns are mostly floral, some with center medallions and others with woven patterns throughout. In response to market demand, Kerman rugs have been incorporated western motifs, vase, symmetric, garden themes and pictorial designs. The dye process for Kerman rugs takes place while the wool is still in flock and before spinning, allowing for uniform color. The palette for Kerman rugs is as PERSIAN TRIBUNE

â&#x20AC;˘ 27

•RUGS When it comes to Persian rugs, Kerman carpets are celebrated as being among the best. Kermans are priced by collectors using different criteria, including a wide range of designs, a broad palette, use of natural dyes and fibers, great tensile strength and abrasion resistance, and expert color combinations created by master and high skill weavers.

Vase Design “Vase” carpets, a type of Kerman rug distinctive of the 16th and 17th centuries, are characterized by an all-over pattern of stylized flowers and oversized palmettes with vases placed throughout the field. A Kerman "vase” carpet from middle of the XVII, estimated at GBP 200,000 - GBP 300,000 was sold at Christie's in London for 9.6 million USD ( GBP 6,201,250 ). It was a record for Persian carpets and Persian arts in general. This particular carpet, though, had no actual vase on it; only a continuing pattern of intricately joined leaves that gave the design an unusual energy and charm, consisting of a Herati all-over pattern spread throughout the indigo-blue field of the carpet. But it was the weaving technique that alerted the dealer to the fact that it might be a “vase” carpet and inflated its purchase price. By the 17th century, when this carpet was made, Kerman's designers were at their most inventive and their sophisticated weaving techniques had not been seen in other parts of the Persian Empire. The weavers had learned to set their looms so that the cotton warps were on two different levels. They then threaded the wool wefts, leaving some tight and others sinuous, giving an immediately recognizable wavy finish to the surface of the carpet. This extraordinary carpet had an excellent provenance.  Naser Roushan is the President of Blue fine Rugs located at 1440 Bathurst St. in Toronto, Canada. www.bluepaisley.com 28

• PERSIANTRIBUNE

Poor Persian and the Pearl By: Wallis Wang

moonlight, where the carriage is drawn by cattle, not horses, so it doesn’t fit either. Coincidentally, Tang Dynasty poet Li Yishan also wrote about “something that does not match” in his book, Miscellaneous Compilation. He includes a description of one who is “unbecoming” as well as a “poor Persian, sick doctor, thin sumo-man, fat bride.” Today, more than a thousand years later, we can still understand why the latter three things listed above are disproportionate. But it raises the question as to why reference to a "poor Persian" would also be deemed as such. Could the sight of a poor-looking Persian seem that weird in the eyes of the Tang Dynasty people? Photography by: Alexvi Li

efore I tell you this story, I would like to talk about a book called The Pillow Book of Sei Shonagon.

Sei Shonagon, who was most likely born in the year of 966, wrote The Pillow Book of Sei Shonagon. She had become a close confidant to the empress and evidently left the court that year. The Pillow Book of Sei Shonagon was a product of her court years. The title refers to a common custom among courtiers of keeping notes or a diary in a wooden pillow with a drawer. She wrote a wide range of subjects in this book which later became a classic of Japanese literature. Shonagon’s era was the early reign of China’s Northern Song Dynasty. The Pillow Book of Sei Shonagon makes reference to "something that does not match.” For example, unkempt people wearing white silk clothes, curly hair adorned by mallow leaves, ugly calligraphy written on elegant red paper, the homes of the poor buried under snow and also lit by moonlight. These images are not compatible and are, therefore, regrettable. Another section of the book describes a nighttime encounter with an open carriage under full, bright

In distant Tang dynasty, adventure was common and what qualified as ‘adventure’ is interesting. An example given was coming across a Persian trader who was facing terminal illness along his lonely journey. This brings me to the story I wanted to share. One day, a man named Li Guan was standing inside a boat on the shore, surrounded by desolation. He saw a nearby shack with a Persian man lying inside it. Li Guan discovered that this blue-eyed, curly-bearded man was Persian, a "poor Persian” who was ill and dying alone in a foreign land. Li Guan fed him rice porridge every day, then sat quietly, quietly watching him with warm, serene eyes. A few days later, the Persian was approaching his end. Li Guan stretched out his pale hands. The fragile Persian pointed at the black felt blanket underneath him saying, "Pearl." And a huge pearl it was. When Li Guan removed the Persian’s body, he saw a faint, shiny light under the black felt blanket. The pearl was sewn onto the inside of it. Before closing the coffin, Li Guan quietly looked at the Persian gentleman. Li Guan’s eyes were still warm and serene as he gazed at him. Li Guan then looked to the precious pearl in his palms, its silver light floating like morning fog. Li Guan cupped his hands together, outstretching

them towards the Persian’s slightly opened mouth. And when those hands opened again, they were empty, as if they’d never contained anything. The man named Li Guan now stood on the bow of his boat, contemplating a small tree on the shore under which the Persian was buried with the pearl in his mouth. After the boat began drifting away, the tree became smaller and smaller and the secret between two men from two very different countries had been sealed. Today, as I remember this story I am reminded of a sentence from an old poem, “Both of us in misfortune go from shore to shore; meeting now, need we have known each other before?” I was trying to imagine, when this story spread from mouth to mouth over the centuries, how many people have been touched by it? Did they get the message from the story? Did they understand that even a "poor Persian" must also have your unexpected treasure? And deeper still, that this treasure amounts to more than just pearls? Treasure can also be found in the nobility of people, and is alive anytime a favour is granted to another without expectation of compensation or benefits or when mercy is shown with no strings attached or when love is freely given with material reward refused. I believe we all have pearls hiding inside of us, just like the “poor Persian.” I also believe we can treasure others’ pearls, just like Li Guan did. These life-changing pearls grow in our hearts, with every twist and turn. They stand the test of time until one day, we finally find them shining through the darkness. The idea of holding tightly to this pearl, as we face life’s challenges and difficulties, is a powerful metaphor for abiding by worthwhile principles. No matter how time changes us, a person with a pearl will still be respected and honored. People who value pearls will surely have pearls. May pearls be with you, growing bigger and brighter in each of your days.  Wallis Wang is an author and a photographer PERSIAN TRIBUNE

• 29

•FILM

Ontario film THE BREADWINNER on the global stage! By: Suzan Aysough

Afghanistan was represented at the 90th Oscars, but not in the foreign film category. It was in Ontario’s animated feature, THE BREADWINNER, an international co-production and a prime example of Ontario’s successful creative industries, which collectively drive $17 billion into the economy, employing 215,000 people annually.

The Breadwinner’s Saara Chaudry (Parvana-voice) at OMDC’s Celebrate Ontario during tiff17

THE BREADWINNER is a family film which tells the story of Parvana, an eleven-year-old Afghan girl who disguises herself as a boy to provide for her family when her father is arrested by the Taliban. Its trip to the Oscars represent the province’s investments at work on the global stage and how the Ontario Media Development’s program, From Page To Screen, brought a diverse Ontario book to life for local, national and international audiences. It is also indicative of OMDC’s strategy to contribute to a strong knowledge-based economy in Ontario through innovation, job creation and export. This critically acclaimed family feature is based on the international bestselling book of the same name by Ontario author Deborah Ellis and published by Ontario’s Groundwood Books. THE BREADWINNER film was directed by Nora Twomey, and executive produced by actor and humanitarian, Angelina Jolie, who was approached by Ontario producer Andrew Rosen, of Aircraft Pictures. It is an official Canadian co-production with Ireland and Luxembourg.

The Breadwinner at TIFF 17 |Angelina Jolie, Executive Director, Nora Twomey. Director and ), Saara Chaudry (Parvana-voice) Courtesy of TIFF. Photo George Pimentel for Getty/Wireimage

• PERSIANTRIBUNE

THE BREADWINNER premiered at the Toronto International Film Festival last fall, and has garnered top prizes from both the Toronto and Los Angeles’ Films Critics’ Associations. It recently received the Justice Award from the Berlin-based Cinema for Peace Foundation. The Academy of Canadian Cinema & Television has nominated it for six Canadian Screen Awards, including Best Motion Picture.

•FILM the wealth of talent and creativity we tapped into here in Ontario,” said Aircraft Pictures’ Executive Producer Andrew Rosen. “That connection at From Page to Screen was so powerful, we even attended this year’s program the day before we hopped on a plane to the Oscars. We learned from experience that diverse stories—ones which capture the hearts and imagination of audiences internationally—are showcased at From Page to Screen every year, and we didn’t want to miss it for any reason,” he added. Courtesy of TIFF. Photo George Pimentel for Getty/Wireimage

The creative industries are big business in Ontario, generating over $1.6 billion of film and television production activity annually, thanks to world-class crews and talent, state-of-the-art facilities and services, endless locations, and support from agencies like the OMDC, home to the Ontario Film Commission, which is the province’s “concierge” for screen-based productions. Books publishers in Ontario also generate $1.12 billion in annual operating revenues, representing two-thirds of the national total. The economic impact is rounded out with significant contributions from internationally recognized interactive digital media and music sectors.

The Breadwinner | Kane Mahon (Optician/Kiln Owner -voice), Ali Badshah, (Nurullah-voice) Saara Chaudry (Parvana-voice), Andrew Rosen (Producer, Aircraft Pictures) , Anthony Leo (Producer, Aircraft Pictures), Kawa Ada (Razaq -voice)

“THE BREADWINNER’s incredible success is a shining example of the impact of our collaboration programs, financial and export supports,” says Karen Thorne-Stone, OMDC President & CEO. “It showcases the breadth and depth of the creative talent we have in Ontario and proves that our industry includes some of the world’s best filmmakers.” The OMDC played a key role in THE BREADWINNER at several important junctures. In 2009, it connected the book’s publisher, Groundwood Books, with Aircraft Pictures (which eventually bought the film rights) at its annual B2B event, From Page to Screen, which puts book publishers and screen producers in the same room to talk potential deals. “We always knew this was a special story, but we could never have brought it to life without the incredible support of the OMDC or

The OMDC continues to play a significant role in growing Ontario’s economy. Its Export Fund helped create $480 million in international sales for Ontario companies last year, or $227 for every dollar invested. Every tax credit dollar leveraged more than $18 in additional production spending for the 2,500 book, film, television and interactive digital media products that were certified by OMDC. Industry Development activities initiated over 14,000 new business leads for Ontario companies. And by assisting Ontario companies to make over 800 trips to 284 foreign markets, the OMDC is helping the creative industries to forge vital business connections in key markets around the world. For more information about OMDC and its programs, please visit www.omdc.on.ca

Suzan Ayscough is the head of communications at the Ontario Media Development Corporation. She is a former journalist and Variety alum. PERSIAN TRIBUNE

• 31

•POLITICS

Myanmar - Transition Towards Democracy Not Easy But Steady By: Bryon Wilfert

uring my recent trip to Myanmar, I was impressed by the optimism of the people, and in particular of the State Counsellor, Aung San Suu Kyi.

August 2017 by members of the Arakan Rohingya Salvation Army and the brutal response of the military, has led to international condemnation and a massive refugee crisis.

After 50 years of military rule, the Election of 2015 brought Aung San Suu Kyi’s National League for Democracy (NLD) to power.

These events have consumed the government and in many ways, forced their proactive response.

The Nobel Peace Prize winner arrived in office with stratospheric expectations and a belief that everything was possible. Change was the operative word. Hope was the message of the day.

The Kofi Annan Commission (also known as the Advisory Commission on Rakhine State created in 2016 by the former UN Secretary General, at Aung San Suu Kyi’s request) provided a document called, “Towards A Peaceful, Fair and Prosperous Future for the People of Rakhine.” All the recommendations were accepted and Ministerial Committees were established for their implementation. This seems to have been lost in the international press.

Two years later much has changed and little has changed. In my second meeting with her, this one in the capital Nay Pyi Taw, I found a leader struggling to impress upon the world her message about how Myanmar is facing difficulties and challenges but also enjoying a sense of renewed optimism about the country’s potential. As the Honorary Consul General of Myanmar to Canada, I was visiting as part of the celebrations of the 70th anniversary of independence from Britain, as well as to meet with officials including the President U Htin Kyaw, and Minister for International cooperation Kyaw Tin. Myanmar’s government has been restrained by the provisions of the 2008 military-drafted constitution. Among the provisions: it prevents Aung San Suu Kyi from becoming President, amending the constitution which requires 75% + 1, and forbids civilian control over the military or the police.

Aung San Suu Kyi indicated that her government will not defend any atrocities by the army and is anxious to have the army leave the political arena. Strengthening democratic institutions in Myanmar and assisting in good governance measures is something that Canada must pursue if we sincerely believe in the importance of a democratic state in southeast Asia.

A constitution in line with democratic reforms has been a key priority for the NLD, but is, by no means, an easy task given the political constraints in Parliament regarding the military MPs.

I found Suu Kyi engaged on all issues, thankful for the support and goodwill shown to her during her recent visit to Canada last June, and determined to address the social, economic and political issues facing a nation struggling to emerge from the long shadow of military rule.

The government is committed to building a democratic, federal state based on justice, freedom for all ethnic races, equality and the right of selfdetermination, respect for human rights and a cession of all armed conflicts.

The hope for the future lies in supporting the development of a federal system and ensuring the democracy takes firm root. Canada and other Western nations can --and should -- provide that support. 

The military sees its main role as safeguarding the constitution, which in turn guarantees it a continuing and important leadership role. Constitutionally, 25 percent of seats in all national and regional parliaments are reserved for the military which also holds three key cabinet positions – Defence, Home and Border Affairs and appointment of a Vice President. The latest challenge to the government has been the crisis in Rakhine State. This recent crisis, sparked by attacks on police/military installations in 32

As Aung San Suu Kyi pointed out in our meeting, the roots of the issue are not religious (far more Muslims are living throughout the rest of the country) but are, rather, steeped in economic and social problems. More than 50% of Muslims still live in northern Rakhine State. Repatriation has already begun, with new homes being constructed. An agreement with Bangladesh has also assisted in this regard.

• PERSIANTRIBUNE

The Honourable Bryon Wilfert, P.C.,ICD.D is a former MP who was Liberal Party Critic for Foreign Affairs/Defence. Currently Senior Strategic Advisor at Tactix Government Relations/Public Affairs in Ottawa

•BOOK REVIEW

The Legendary Cuisine of Persia T

hough the countries in the Persian culinary region are home to diverse religions, cultures, languages, and politics, they are linked by beguiling food traditions and a love for the fresh and the tart. Named a Best Cookbook of the Year by The New York Times, Food & Wine, The Wall Street Journal, and many others, and winner of both the James Beard and the International Association of Culinary Professionals cookbook awards in 2017, Taste of Persia: A Cook’s Travels Through Armenia, Azerbaijan, Georgia, Iran, and Kurdistan (Artisan Books) by Canadian culinary ambassador Naomi Duguid presents a collection of recipes from the heart of the Persian Empire, in which astonishing flavours, riveting tales, and ancient history come alive. Duguid, who for more than twenty years has been bringing us exceptional recipes and mesmerizing tales from regions seemingly beyond our reach, introduces us to a culinary paradise where ancient legends and ruins rub shoulders with new beginnings, framed with stories and photographs of people and places.

BOOK REVIEW

There are delectable filled dumplings, flatbreads, and stuffed vegetables, plus gorgeous Persian rice dishes, welcoming soups, and skewered kebabs. There are fresh cheese, sparkly salads, and spectacular sauces based on walnuts ground to a paste. There are also captured moments on a crowded train, in an ancient church, at the beach, in a shrine, on the road in search of saffron being experiences and individuals to life. We journey through markets and visit with beekeepers and bakers, students and shepherds. In all, this magical region—rich with history and variety, and a wealth of culinary traditions and innovations— comes into its own as an alluring destination for travelers and cooks, and anyone with a hankering to experience the foods of a wider world. Taste of Persia transcends beyond being singularly a cookbook and instead richly contextualizes an edible heritage. This book could be obtained from www.fitzhenry.ca 

PERSIAN TRIBUNE

• 33

•POLITICS

LOOK AT THE NEW BUDGET AS AN OPPORTUNITY S BY: ANNA KAHN, BA, MBA, PFP CASTLE FINANCIAL GROUP

ome believe that among the plethora of uncertainties in life, there exist only two certainties; death and taxes. Leaving the topic of death aside, let us shine a light on the latter, as it is a hot topic of debate given the recent release of the 2018 Federal Budget.

With the government preferring to keep their powder dry for the Pre-Election Budget of 2019, our current federal budget gave us little that encouraged investment in our ever-more fragile Canadian economy. Nowhere is this more evident than with businesses known as Canadian Controlled Private Corporations (CCPCs). The budget’s backtrack on the treatment of passive income within CCPCs and changes to the treatment of dividends from CCPCs will affect a large swath of businesses across Canada. And while clarity on these issues was finally provided on the wide range of potential tax treatments discussed since July of last year, the final decision revealed in this budget will greatly disadvantage a critical growth engine in our economy: small and medium sized businesses.

The new budget has severely restricted the ability to distribute dividends to smaller stakeholders in these businesses, resulting in these dividends being taxed at the highest possible rate of the principal shareholders. Further, the budget’s new taxation of passive income inside CCPCs discourages the accumulation of retained earnings earmarked for future investment or active investment of this surplus cash. Small businesses in Canada enjoy a preferred tax rate of 12-13%, depending on the province, on the first $500,000 of net income. But the budget stipulates that any passive income in excess of $50,000 will result in a 5:1 reduction in this limit.

So would an entrepreneur put his company’s cash to work by investing in other great Canadian companies, or stick it in a shoebox? Shoebox is the sensible choice under this budget. But, how is this good for our economy? Ironically, this budget discourages companies from retaining their earnings while simultaneously discouraging paying earnings out to smaller shareholders. There seem to be no rational options available. “It is this kind of nickel-and-diming, termed ‘fairness’ by our government, that discourages investment and entrepreneurship in our country”, states Rob MacKenzie, CPA, CFP and president of Castle Financial Group. “They are creating an environment where fewer Canadians would consider opening their own businesses.” The budget virtually guarantees that CCPCs will pay more tax in 2018. Fortunately, there are still strategies that allow private corporations to accumulate and invest retained earnings, and others that allow earning to move from the company into the hands of their shareholders on a tax preferred basis. Sheltering earnings through various Life Insurance products is one way to do this, and employing a tax-managed investment strategy is another. Castle Financial plans and executes a variety of tax minimization strategies to the benefit of our private corporation clients, and the families that own them. How do you know which of these strategies might apply to your situation? We always start with a conversation. To learn more visit www.castlefinancial.net and contact one of our advisors.

PERSIAN TRIBUNE

• 35

•JEWELLERY

DAVID’S

Wine Pick C OF THE MONTH

By: David Akhlaghi Executive Director at The Wine Cave

CALIFORNIA’S J. LOHR SEVEN OAKS CABERNET SAUVIGNON

lassic barrel-aged 2013 J Lohr Seven Oaks Cabernet Sauvignon is from Central coast of California with a high-toned fruity wine and a lovely bouquet of hazelnut and toasted pastry. Boasting layered fruit aromas of cherry and plum which are further accented by an authentic barrel bouquet of hazelnut, dark chocolate and toasted pastry. This wine has been recognized by the Wine Enthusiast Magazine’s ‘American Wine Legend’ Wine Star Award. A great Cabernet Sauvignon to enjoy with friends or with bruschetta and barbequed meats. This incredible cabernet sauvignon could be found at LCBO. 

From the Persian Kitchen...

Pomegranate-Marinated Kebabs Torshe Kebab - Serves 6 generously

he combination of walnuts and pomegranate molasses is classic in Georgia, and also in northern Iran. This Persian marinade serves two purposes spectacularly. First, it makes the meat extremely tender. Second, it gives it an extraordinary flavor. And there’s a bonus, because the remaining marinade can be cooked up and used as a sauce for the rice. Although my first choice for these is lamb, I often make some with beef also to accommodate those in my family who prefer it. Serve with rice and a plate of herbs, as well as a chopped salad if you wish. Marinade 1 cup walnuts or walnut pieces ½ cup pomegranate molasses 1 teaspoon sea salt 2 garlic cloves, mashed or minced 2 tablespoons sunflower or extra-virgin olive oil ½ cup minced fresh flat-leaf parsley (optional) 2 pounds boneless lamb or goat shoulder, or boneless beef top round or hanger steak, cut into approximately 1-inch cubes Sugar (optional) Fresh tarragon leaves (optional) Accompaniments Herb Plate: scallions and sprigs of fresh mint,

tarragon, or basil Basic Persian Rice or another plain rice (see Note) To make the marinade, place the walnuts in a food processor and pulse to chop them to smaller than raisin size. Add the remaining ingredients and pulse to blend. Transfer to a large bowl. (Alternatively, very finely chop the walnuts and pound to a coarse powder in a large mortar. Transfer to a large bowl, add the remaining ingredients, and stir to blend thoroughly.) Add the meat to the bowl and stir, turning to make sure all surfaces are coated with marinade. Cover and set aside to marinate for at least 1 hour or as long as overnight; refrigerate if the marinating time is more than 2 hours. Bring the meat to room temperature before grilling. Preheat a charcoal or gas grill. Brush off most of the marinade that is clinging to the meat and reserve the marinade. Thread the meat onto metal skewers so that the pieces are barely touching each other, not crowded together; this helps the meat cook evenly. Place the skewers 4 to 5 inches from the coals or flame and grill, turning occasionally, for 7 to 12 minutes, depending on the heat of your fire and the desired degree of doneness.

By: Naomi Duguid

the pieces of meat on the sheet and cook for 8 to 10 minutes, turning the meat at the halfway point and checking it for doneness after 7 minutes. While the meat is grilling, or once it comes off the grill, pour the marinade into a small saucepan, add about 1⁄2 cup water, and bring to a boil over medium heat. Cook for a few minutes, stirring occasionally. Taste it and season with salt if you wish; if it is too tart for your taste, stir in a teaspoon of sugar or more to taste. You might want to stir in some tarragon leaves once it comes off the heat. Pour into a small serving bowl. If you grilled the kebabs, you can either remove the meat from the skewers or simply serve it on the skewers. Put out the platter of herbs, the rice, and the sauce for the rice. Note on Rice: The classic combination of rice and kebab in Iran is called chelo-kebab, but in fact any rice, plain or flavored, is a great partner for these kebabs.  Excerpted from Taste of Persia (Artisan Books). Copyright © 2016. Photographs by Brian John, Gentl & Hyers, and Naomi Duguid. Used with permission by the publisher.

Alternatively, you can broil the meat: Preheat the broiler with a rack about 5 inches below it. Line a baking sheet with parchment or lightly oil it. Place PERSIAN TRIBUNE

• 37

•COMMUNITY

DO YOU KNOW LUPUS? Written by: Juanita Butler, Information provided by: Lupus Ontario

he cause remains unknown. What we do know is that in lupus, the immune system (the body’s defense against viruses and bacteria) is unable to tell the difference between intruders and the body’s own tissues. This can result in the immune system targeting parts of the body such as the heart, blood, muscles, joints, skin, lungs, kidneys and the brain. People with lupus may not look sick, as people expect a person with an autoimmune should look – SICK! Believe me, they are very sick. Imagine going through life feeling like you have the flu every day. Feeling of not wanting to eat, inflammation in all your muscles and joints, fever, rash, unable to handle easy everyday tasks affects every part of the body, mind and soul.

• Lupus can be diagnosed as early as childbirth • There are more people with lupus then people with Multiple Sclerosis and AIDS combined • 1 in 1000 Canadians have been diagnosed with Lupus • There is no known cure for Lupus People such as Michael Jackson, Seal, Selena Gomez, DeMar DeRozan’s mother and aunt has lupus, Dini Petty, Cindy Frey, wife of Glen Frey from the Eagles, Kristen Johnston, Dale Dedrick, Shannon Boxx, Nick Cannon, Toni Braxton, Oleta Adams, Snoop Dogg’s daughter Cori also battles with lupus, Mary McDonough, Kelle Bryan, Kelly Stone, Sharon Stone’s sister, John Wayne’s brother Michael suffered from Lupus, President Ferdinand Marcos, James Garner’s daughter Gigi suffer from lupus., Jeramie Rain, Richard Dryfuss’ first wife has lupus, Pietra Thornton, ex-wife of Billy Bob Thornton has lupus, Ray Walston, Rachel Blanchard, Wayne Newton’s sister-in-law was diagnosed with lupus in 2001, Jay Dilla, Tick Daddy, Film Producer Lauren Schuler has lupus, and Catherine McCormack. The list goes on and on. In our corner of the world many everyday people suffer from lupus; Natalie Samaroo being one of them. Natalie suffers from lupus – and the word suffer, does not express enough of the horrendous life she has endured dealing with its major symptoms.

• PERSIANTRIBUNE

Natalie Samaroo has been living with this horrible disease for 13 years. What better way to describe how she and others battle with lupus than from her own words. “To say it has changed my life, would be an understatement. I can no longer live my life the way I have always dreamed. Lupus is debilitating at times for me that I can't even help myself to do things. There are times I need help just to go to the bathroom or feed myself because the pain is too much to bare. Lupus almost killed me 6 years ago when it attacked my kidneys and they shut down. I am so very lucky to even be alive today. Unlike so many others who have lost their battle, we need to do everything we can to find a cure, and we need your help to do it”.

Lupus is well known; the problem is people know very little about the disease. Raising much needed funds to help lupus research may be the answer to this debilitating, life altering disease. Thousands upon thousands of people all over the world battle with lupus and its major symptoms everyday. Let us not forget that with funding comes change. There may be a link between lupus and hormones, but how this works remains uncertain. Genetic factors may make certain people more likely to develop lupus, but these factors are not yet fully known. Until science fully understands how the immune system works, the specific cause of lupus remains unknown.  If you suspect you may have lupus, please speak with your doctor. For more information about lupus, please visit www.lupusontario.org or call Lupus Ontario at 1-877-240-1099.

NESSA’s one of a kind

art pieces…

By: Sahar Marvasti

Nessa was born and raised in Tehran by a loving family. Her maternal ancestors have been involved with art calligraphy for years. Nessa’s formal calligraphy training took place in classes led by famous artists within Tehran’s professional calligraphy association known as “Anjoman e Khoshnevisan.”

essa Abdollahi is an Iranian professional handicraft artist whose passion is personalizing fashion with her beautiful hand-painted shoes, purses, bags, wallets, ties, and other items. Her work is inspired by Persian poems, calligraphy and history, as well as monuments from ancient Iran. It is fuelled by her years of experience and formal study of visual art subjects. N e s s a carefully hand-paints individual “one of the kind” pieces, then professionally s e a l s them with prote c tive layers. Her artwork creates items so unique that no two are similar! 40

• PERSIANTRIBUNE

Nessa was only 9-years old when she discovered a strong passion for drawing. Right after she shared her vision with her mother, her mom surprised Nessa with a drawing set and drawing instruction books. Since then, her mother has become her biggest supporter, encouraging her in every step. As a self-taught young artist, 18-year old Nessa decided to continue her journey academically. She enrolled in Sooreh Art University in Tehran and successfully received her Bachelor degree in Handicraft Arts. She strongly believes that no matter how talented an artist can be, the right tools and good material are vital to creating highquality art pieces. Nessa will be forever thankful to her sister for supporting this philosophy and consistently sending her the best art materials and tools from overseas for university studies. Nessa’s signature creations were born when, in Dubai, she decided to personalize her own carry-on travel bag. It was so beautiful, her family and friends also wanted one! Once Nessa had gained experience working in private sector companies, she began dreaming of owning her own business. By this time, she had another strong supporter: her husband. He would help Nessa make her dream a reality.

In 2015 Nessa and her husband moved to Canada, where the young couple chose to raise their family. Today Nessa, a humbled and strong artist, is the founder of the “ARTS BY NESSA” line. She has created more than 200 incredible art pieces and receives orders accompanied by notes of congratulations and recognition from famous artists, designers and passionate clients from all over the world. Her method of painting can be seen on everything from fabrics to leather, ceramic, glass, and candles. Each order takes between 2 to 3 weeks to create. Nessa also makes hand-crafted candles and designs other traditional decorative collections for Norouz celebration. Through her art, Nessa has been supporting charities like Kahrizak Foundation in Toronto and Neekoo Philanthropic Society in Vancouver. Whether looking for a special gift for loved ones or hoping to make a fashion statement, visit “ARTS BY NESSA” on Instagram. Having carried a big heart for visual art from early childhood, Nessa Abdollahi was born to become a great and beloved artist indeed. Sahar Marvasti is an Art Director and a Visual Artist.

•ART

Shen Yun Shen Yun

By: Adam Field

Telling the Story of 5,000 Years of Culture Through Grace, Dynamism, and Expression

Shen Yun reviving China’s traditional arts and culture through dance and music Celestial maidens in heaven, scholars playing a drinking game, China's longest reigning emperor, the ruffians of the Cultural Revolution, the legendary and supernormal Monkey King— these are just a few of the characters Shen Yun Performing Arts brought to life in one of its seasons. By portraying grand concepts like creation or simple, universal feelings like joy and sadness or even the experience of mild annoyance, these characters are brought to life with feeling. The ability to portray such a wide range of human—and nonhuman—beings owes to the enormous expressiveness of classical Chinese dance.

Like Iran, China has a rich history and culture going back thousands of years. Preserving this rich culture—one that has been brought to the brink of extinction after decades of communist rule in China and the notorious Cultural Revolution—is the mission that Shen Yun has championed using classical Chinese dance. While the thousands-of-years-old form is not yet widely known in the Western world, New York-based Shen Yun has been pioneering a sort of renaissance. In the short 12 years Shen Yun has been around, it's burgeoned from one to five companies of equal size, performing all-new programs around the globe each year. This year's program features performances of classical Chinese dance accompanied by an orchestra, along with performances of ethnic or folk dance, bel canto vocal solos, and an erhu solo. Audiences can see that classical Chinese dance combines dynamic leaps, flips, and other aerial techniques with a gentle elegance, and can even be moved to tears by the performance. But they may leave the theater wondering at what the inner springs of this powerful art form are. On its website, Shen Yun helps audiences go deeper. It divides the discipline into three main categories: form, technique, and bearing.

PERSIAN TRIBUNE

• 41

•ART demonstrated the simple but exact way of moving her hand in a mere circle. "How your hand moves up, how it makes a circle, how it moves downward; how the body moves, how the head, hand, and eyes move. How to use one's breath, and eventually where one eventually rests, and how to relax." It is all exact. There are movements and postures specific to the dance form, and distinctly Chinese. Throughout the thousands of years of Chinese history, each dynasty had its own imperial court dances, and form has been passed down to the public and courts through these dances, plays, and performances. So classical Chinese dance has developed into an independent dance system, one of the most comprehensive in the world alongside ballet. Sparks of Excitement The most recognizable aspect of these three may be the technique. We recognize the walkovers and handsprings in gymnastics, the flying leaps and spinning kicks in martial arts, the impossible flexibility in acrobatics, the no-hands corkscrews, cartwheels, and dynamic twists of parkour—strikingly athletic forms that are hard-landing versions of its more elegant predecessor, classical Chinese dance. These are, however, not actually found in other dance styles. And this is just one feature of the dance that is unique. As Shen Yun explains, these highly difficult techniques have two classifications. First you have techniques where one is "flipping the body," but it is not necessarily an actual flip. These are "turning movements wherein the waist is the axis and the dancer's torso is slightly tilted." The second classification is aerial or tumbling techniques: the flips, high jumps, and leaps. Like the "si cha," where you perform a perfect split in midair; or the walkover that requires a dancer to kick into a handstand, do an upside-down split, and land on one leg at a time before catching a handkerchief she threw into the air a second ago. Form and Method Now, form is what really makes this a culturally Chinese art. "Its [form's] literal meaning is really just method," said awardwinning Shen Yun dancer and choreographer Michelle Ren, in a mini-documentary on classical Chinese dance, as she 42

• PERSIANTRIBUNE

Tony Award-winning Broadway producer and classically trained dancer Elan McAllister saw a performance in New York and was amazed by what she called a "delicate quality" in the dance. "It's just beautiful, it's lush, the movement is enchanting. I am amazed at just how delicate it is and clean and pure. It's something really so simple and yet there's something so deep and rich about the movements." Imbued with Spirit This deeper meaning, Ms. McAllister and so many other audience members feel is integral to the dance, most likely comes from the last but very vital part of classical Chinese dance: bearing. Bearing is similar to inner spirit. Shen Yun defines it as consisting of "internal spirit, breath, intent, personal aura, and deep emotional expression." It is what makes the hand motion of a mere circle a different one from person to person, as each person has a different and unique bearing. In dance, these are no longer formulaic movements, but portrayals of character. Several choreographers explained among many things, in a video, how they came to Shen Yun in New York. Many were dancers of critical acclaim back in China, and noticed right away the very critical difference Shen Yun took to classical Chinese dance. That is, without bearing, it is not truly classical Chinese dance. "In essence, the spirit leads form, so that form is imbued with spirit," the website states. 

•ENVIROMENT

Save the planet; eat an insect By: David Suzuki with contributions from Science Projects Manager Louise Hénault-Ethier

eople sometime get bugged by insects, but we need them. They play essential roles in pollination, combatting unwanted agricultural pests, recycling organic matter, feeding fish, birds and bats, and much more. They’re the most numerous and diverse animals on Earth and form the base of many terrestrial and aquatic ecosystems. Our admiration for these critters goes beyond their ability to adapt, their fantastically diverse colours and shapes, and their accomplishments that create dramatic impacts on our world’s functioning. Could the same six-legged creatures that form the backbone of ecosystem services also help minimize humanity’s environmental footprint? Could insects revolutionize the way we eat and produce food? We will be nine billion people on Earth in 2050. To feed that many, we should double food production, according to the UN Food and Agriculture Organization. But the way we currently produce food weighs heavily on the environment. If food were a country, it would rank third behind China and the U.S. as one

of the largest greenhouse gas emitters. We eat too much meat, and its production is disastrous from an environmental standpoint. In Canada, we’re struggling to curb water pollution related to corn and soybean production for livestock feed, and aquaculture relies on wild-caught fish to produce meal and oil feedstock. Although vegetarian diets would suffice to feed humans and drastically reduce our environmental footprint, meat consumption remains a firmly established tradition. But if we bartered beef, pork or chicken for a handful of insects, the environmental impact of our animalprotein intake would drop dramatically. According to the FAO, 18 per cent of all greenhouse gas emissions are linked to animal husbandry. Emissions from insect production are negligible in relation to the amount of protein produced. Insects are especially effective at converting their food because they’re cold-blooded and therefore waste less energy to keep warm. Although few people in Canada have integrated insects into their regular diet, nearly half of us have tasted an insect, according to a survey conducted in Quebec. According to the study, males are significantly more likely than females

to bite into an insect like a fly larva! To reduce our environmental footprint, not everyone needs to incorporate these crisp, delicious arthropods into their diet. Changing the diet of farmed animals could also help. People who may not want to ingest insects themselves would likely have little problem feeding their pets insect-containing kibble, or eating farmed animals like chickens raised on insect-based feeds. The Canadian Food Inspection Agency has already licensed fly larvae to feed farmed salmon and chickens. (Full disclosure: My suggestion to use insects to feed carnivores like salmon inspired a company in which I have invested that harvests insects grown on food waste.) Emerging entotechnologies (from the Greek root entomo, for “insects”) bring together applications that focus on what insects do best. For example, organic residues can be fed to fly larvae, which can then be used as livestock feed. Black soldier fly larvae have voracious appetites for fruit and vegetable residues and could help improve the way we handle this highquality organic waste. It’s a way to give a second life to stale food, rather than sending it to compost bins or biogas PERSIAN TRIBUNE

• 43

•ENVIROMENT plants. Considering nearly 45 per cent of fruit and vegetables produced worldwide is wasted, this is not a fringe idea. After feeding the hungry with the highest quality unsold portions of our food, we could feed our breeding animals with insects raised on organic residues from grocery stores and restaurant kitchens. With clean organic residues from urban agriculture, we could also feed humans! In Montreal, the Blanc de Gris farm grows grey oyster mushrooms on recovered coffee and brewery residues. But we can take it even further. Several tonnes of mycelium (akin to the “roots” of fungi mixed with growth substrate) are discarded from the company’s mushroom production each year. A research project by the David Suzuki Foundation, Montreal Biodome, Concordia University, Université du Québec à Montréal and Université Laval is finding out if mealworms could grow on this mycelium. The first results are promising. In fact, entotechnology and entomophagy (eating insects) research is blooming in Canada.  You can join the research on edible insects by participating in a survey by Concordia University PhD student Didier Marquis.

Dr. David Suzuki is a scientist, broadcaster, author, and co-founder of the David Suzuki Foundation. He is Companion to the Order of Canada and a recipient of UNESCO's Kalinga Prize for science, the United Nations Environment Program medal, the 2009 Right Livelihood Award, and Global 500. Dr. Suzuki is Professor Emeritus at the University of British Columbia in Vancouver and holds 27 honorary degrees from universities around the world. He is familiar to television audiences as host of the long-running CBC television program The Nature of Things, and to radio audiences as the original host of CBC Radio's Quirks and Quarks, as well as the acclaimed series It's a Matter of Survival and From Naked Ape to Superspecies. His written work includes more than 52 books, 19 of them for children. Dr. Suzuki lives with his wife, Dr. Tara Cullis, and family in Vancouver, B.C. Learn more at www.davidsuzuki.org

When students are genuinely known, their learning can be fully understood and beautifully supported. They can thrive.Our Montessori start and IB ﬁnish provide a unique framework within which your child can say I Am Known. We are worth the visit: 905.889.6882 Ext. 2254 www.tmsschool.ca

•EVENTS Out and About with

PERSIAN TRIBUNE

AZADI JEWELLERY GALA AT CASA LOMA. Photo: Amir Vafamand

PERSIAN TRIBUNE

• 45

•PEOPLE

PERSIAN TRIBUNE

PERSON OF THE MONTH

Homa Sarlati

A woman of courage and achievement. 1925-2013 By: Kiumars Rezvanifar

rs. Homa Rouhi Sarlati was born on a spring day in 1925 in Kerman Iran. Her father Reza Rouhi was an intellectual and a knowledgeable man who worked for the East Carpet Company. The Rouhi family were all educated and were instrumental in bringing constitutional law to Iran between 1905 to 1911 during the reign of Ghajar Dynasty.

oma started her education in the city of Kerman at the age of 4 after crying everyday for wanting to go to school with her older brother. Her tears for learning paid off when the principal of the school agreed to let her to join the class. She received her high school diploma before the age of 18 in Kerman.

uring her shinning career she was employed by the Bank Melli ( National Bank) of Iran in 1943 and also graduated from the prestigious Tehran University School of Law in 1959. When Homa attended St. Godric’s College in London, she was the first woman to be sent abroad for training by the National Bank of Iran.

n 1961 Homa was assigned to the New York branch of the Iranian National Bank and in 1964 she joined the Iranian Economic Mission in Washington D.C. Upon her return to Iran she was posted as a Research Staff at the newly founded Central Bank of Iran in 1965. Her passion for education resulted in receiving her MBA from Farah Pahlavi University in 1970.

he served as a trustee at Farah Pahlavi University and as a board member at the National Institute for Protection of Children. She was also a board member at the International Women’s Lawyers Association. 46

• PERSIANTRIBUNE

n 1971 Homa was appointed Secretary General of the Women’s Organization in Iran, and in 1974 she was the Director General of Foreign Trade at the Ministry of Economics. The role of Deputy Minister in Charge of Parliamentary and Administrative Affairs at the Ministry of Industries and Mines was Homa’s last official position and public service career which was ended by the occurrence of the Iranian Islamic revolution in 1979.

fter immigrating to Canada in 1989, Home revitalized the newly formed Iranian Women’s Organization of Ontario and she worked tirelessly to support Iranian newcomer families, more particularly women. She served in that organization for 20 years and also founded the Iranian Canadian Senior Citizen Organization in Toronto.

ue to her extraordinary contribution to her community, she was the recipient of the Order of Ontario, Women’s Intercultural Network Award, the Queen’s Diamond Jubilee Award and many other recognitions.

oma was an important and effective player in the contemporary Iranian women’s movement and one of the first women to break the glass ceiling in areas such as the banking industry and Economics.

n spite of a difficult life, she worked hard and she was a great service to her country. Her life story shows that being born a woman with its challenges in Iran almost a century ago, did not prevent her from striving for and achieving success in her homeland as well as in her adopted country Canada.