| English Translation |
This is Bonn, headquarters (markez)
of The Voice of Germany
(Deutsche Welle.) Dear listeners: A short while ago, a few
of the
members of the board of the secretaries of the Society of
Writers of
Iran in Exile published a statement and in it condemned (mahkum
sākhtand) the artistic works and the participating artists
in the Iranian
Cultural Festival in Berlin under the title "Long-distance
Nearness." In
this context (dar in zamine), I held an interview (mosāhebe)
with Mr.
Dr. Bahman Nirumand, resident of the city of Berlin who is
himself also
member of the Society of Writers. And I asked him (az ve
porsidam),
about this step/initiative (eqdām) of the ones responsible (mas'ulān)
for
the Society of Writers. I draw (jalb mikonam) your attention
(tavajjoh)
to this interview.
Mr/Dr Nirumand, in the festival, "Long-distance Nearness"
which is an
Iranian cultural festival and is held (bar-gozār mishe) in
Berlin by
cultural houses of the world, a display window (vitrin =
vitrine, a
French word) was put on display of the personal (shakhsi)
but
rehabilitated/reconstructed effects (vasāel) of the
Ayatollah Khomeini,
leader of the Islamic revolution of Iran.
Now the secretaries of the Society of Writers of Iran in
Exile in a
proclamation, condemned the exhibition of this show window
and are
claiming (moda`i-an) that this festival is
basically/actually (osulan) for
furthering the politics/policies of the Islamic Republic
(jomhuri) of Iran
and this is a propaganda (tabligh) for this regime.
You are member of this Society of Writers and I wanted
(māyel
budam) to find out/know (bedunam) your view about this.
I would like to say (`arz mikonam) that I should just
explain that as far
as I know, the entire council of secretaries of the Society
of Writers in
Exile did not have such a viewpoint but rather there were
these...a
number of these members of the Society who even without
informing
(ettelā`) some (barkhi) of the secretaries of the Society
disseminated/sent out such a proclamation/statement
(e`lāmiye).
However, now let us imagine that in principle/for the sake
of argument it should be
so, in my
opinion the artistic work that was presented, we can be for
(movāfeq)
it or against (mokhālef) it and I'm confident that many of
the
individuals who signed this statement never saw that
work at all
and don't know it (nemishenasand) at all and don't know what
the
issue (mas'ale) is about (bar sar-e chi).
The thing which (kāri ke) they (ishun = polite form)
presented there is
this just as you said that things (ashyā is the plural of
shay) from the
personal life of Khomeini were restored and put on display
in a
different place outside of its (= their) natural place. And
this thing is
just like this that your furniture/furnishings (mobellement,
a
pseudo-French word) when you move (change residence) you get (paydā mikonin) a
different perspective (did) concerning (nesbat be) this
furniture and
your feeling towards (nesbat be) that (un) changes (taghir
mikone),
and this they call it (behesh = be ān) entfremdung in German since Berthold
Brecht, the
well-known writer coined it (be vojud āvarde/āvorde =
brought into
existence) that means to make strange/foreign (alienation,
estrangement) the things
with the
changing of their original (asli) place (jāygāh).
This now one (ādam) can be in agreement or disagreement with
that,
however the thing which these individuals are doing is
exactly (dorost)
that very (hamun) thing which the censorship (censeur, from
French)
apparatus (dastgāh) of the Islamic Republic performs.
I mean, they want to determine/decide that the artist should
exhibit
(`arze bekone/bokone) what, that the thinker/intellectual
should think
what, the man of wisdom/scientist (dāneshmand) should do
research
(tahqiq) about (rāje` be) what, which theatrical performance
(te'atr)
may come upon the stage (sahne). They want to play exactly
that very
role of the censor (sānsur-chi). And they don't know that
our society is
a society in the state of transformation, a society
which many
contradictions in it is (=are) in motion and naturally
(tabi`atan) our art
also is contradictory (zedd) and contradictory (naqiz). It
is an art which
has Islamic tendencies, it is an art which has secular
(laique, a French
word) tendencies, it is an art which one can say (mishe
goft) has left
tendencies right tendencies and generally human (ensāni)
societies
(javāme` is the plural of jāme`e) are just so (hamin-and).
They are
never homogenous (yek dast). Therefore we can be against
or for
an art or work of art but this thing which they are doing,
that is,
insulting the artists who (honarmandāni ke) under pressure
(feshār)
under censorship despite (bā)....in spite (`alā raghm-e) all
the
difficulties they have they have retained/preserved their
creative power
and they have valuable works which they deliver, we can't supress/trounce on all of them and insult them that they are
defending
the Islamic Republic, they are supporters of the Islamic
Republic, etc. |
