CRITICAL REFLECTION
What Language Do I Use for Feeling?
Storytelling and the language I choose for it are big parts of my project. I am working on very personal narratives in this project and when I was exploring through the ways I would like to include this narrative in the project I realized that most of the time I don’t think about these art pieces in English, because English is not my mother tongue.For example, when I decided to make a sign for my love containers, I had to decide about the languages on it. When I think about my love containers, I think in Persian and even the meanings of the words are slightly different in that language. “Container” is the closest word I could find in English to the word ظرف in Persian.
In one of my one of the most recent containers that I've made, I was thinking about a Persian poem while making it. My mom used to read this poem for me from the book Rubaiyat of Omar Khayyam when I was a child because of the beauty of the metaphorical sense of it. I love this poem and I wrote it on the container in Persian. The poem says:
این کوزه چو من عاشق زاری بودهست
در بند سر زلف نگاری بودهست
این دسته که بر گردن او میبینی
دستیست که بر گردن یاری بودهست
Which can be translated to:
This vessel was deeply in love, like me
It was captivated by the beauty of its lover’s braids
This handle that you see on its neck
Was an arm that was embracing a lover
This vessel like me has been deeply in love
Taraneh Dana
I kept asking myself questions related to languages. Should I write in the language that I think I'm more comfortable with? Or should I write and speak in the language that my viewers mostly understand in this country? Or should I use both? What are some of the things that will be lost in translation? How comfortable I am personally with English? When I was thinking about recording my voice asking questions I had in mind in order to engage the viewers more, I was thinking about using both languages and in the sign I made for my love containers, I also used both Persian and English.
I quite often use this metaphor for how I feel about making these containers: In a cartoon series named Disenchantment, there is a king that goes mad at some point in the story. He can’t talk and he only makes noises. His subjects try their bests to find a cure for him but they all fail. Finally, the king finds a ventriloquist dummy and suddenly he’s able to talk through the doll. As soon as they take the doll away, he starts making noises again! I feel like what art does for me is very similar to what that ventriloquist dummy did for the king in that cartoon. I get to talk about things that I can’t express without art and it sets me free. It allows me to speak in a way I can’t do with words.
Disenchantment, season 3 episode 9
Language is a big part of each culture and I have found interesting connections between my metaphorical use of objects in my art practice with different aspects of Iranian culture. For example, in many old folklore stories there is a mythical creature called deev which is a kind of monster that heroes have to fight in order to succeed. Most of the deev are very hard to kill and in many cases their life is kept in a glass in a form of liquid and the only way to kill them would be to break the glass of that deev’s life. (Hamiyan-co.com, 2020) Thinking about these stories and how keeping something so valuable such as life in a container is a part of it, I made a container for keeping my life in it if I were a deev.
Language is a big part of each culture and I have found interesting connections between my metaphorical use of objects in my art practice with different aspects of Iranian culture. For example, in many old folklore stories there is a mythical creature called deev which is a kind of monster that heroes have to fight in order to succeed. Most of the deev are very hard to kill and in many cases their life is kept in a glass in a form of liquid and the only way to kill them would be to break the glass of that deev’s life. (Hamiyan-co.com, 2020) Thinking about these stories and how keeping something so valuable such as life in a container is a part of it, I made a container for keeping my life in it if I were a deev.
Deeve Sefid, a mythical character that appears in Shahnameh Ferdowsi.
Taraneh Dana
Container of my life, if I were a Deev
Another valuable thing in the region of Iran is water. Ancient Iranians had complicated systems for keeping and transferring water from one part to another named qanat. Throughout the arid regions of Iran, agricultural and permanent settlements are supported by the ancient qanat system of tapping alluvial aquifers at the heads of valleys and conducting the water along underground tunnels by gravity, often over many kilometers. Each qanat comprises an almost horizontal tunnel collecting water from an underground water source, usually an alluvial fan, into which a mother well is sunk to the appropriate level of the aquifer. Well shafts are sunk at regular intervals along the route of the tunnel to enable removal of spoil and allow ventilation. These appear as craters from above, following the line of the qanat from water source to agricultural settlement. The water is transported along underground tunnels, so-called koshkan, by means of gravity due to the gentle slope of the tunnel to the exit (mazhar), from where it is distributed by channels to the agricultural land of the shareholders (UNESCO World Heritage Centre, 2017). The piece “generations passing stories” reminds me of the system of qanats and how this fascinating channel of wells leads water towards the fields.
The Persian Qanat: Aerial View, Jupar
Author: S.H. Rashedi
Generations passing stories
Taraneh Dana
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References:
رباعیات خیام. رباعی شماره 15.
Disenchantment 2021.
Hamiyan-co.com. (2020). یادداشتی درباره دیوهای شاهنامه – شرکت حامیان میراث فرهنگی. [online] Available at: https://hamiyanco.com/mehreparse/%DB%8C%D8%A7%D8%AF%D8%AF%D8%A7%D8%B4%D8%AA%DB%8C-%D8%AF%D8%B1%D8%A8%D8%A7%D8%B1%D9%87-%D8%AF%DB%8C%D9%88%D9%87%D8%A7%DB%8C-%D8%B4%D8%A7%D9%87%D9%86%D8%A7%D9%85%D9%87/ [Accessed 5 Jun. 2022].
UNESCO World Heritage Centre (2017). The Persian Qanat. [online] Unesco.org. Available at: https://whc.unesco.org/en/list/1506/.