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DTSTART;TZID=America/New_York:20220320T140000
DTEND;TZID=America/New_York:20220320T170000
DTSTAMP:20260728T024146
CREATED:20220128T144924Z
LAST-MODIFIED:20220405T165249Z
UID:10001145-1647784800-1647795600@www.bowerbird.org
SUMMARY:Shiraz: Cultural Synthesis
DESCRIPTION:While the performance events of the Shiraz Festival were limited to a single decade (1967-1977)\, their cultural impact in Iran was both wide ranging and long lasting. And with the festival presenting artists from both the East and West and traditional along with experimental\, among the most profound impacts was a “cultural synthesis” that emerged as a result of exchange of ideas and individuals. Musicologist Armaghan Fakhraeirad will discuss how the Shiraz Festival rekindled domestic interest in Iranian folk music and led to a series of folk music festivals in Iran that continue to this day. Musicologist Robert Gluck will consider how the Shiraz Festival advanced an early experimental electronic music scene in Iran. And musicologist Joshua Charney will explore the ways in which the festival can be viewed in the context of the rising tide of the 1979 Islamic Revolution. \n\nThis event is part of  Beyond Borders: The Shiraz Festival \n\nPROGRAM \n2:00pm: Talk: “Shiraz Festival and Its Legacies Through the lens of the Revivalist Trends in Iranian Folk Music” with Armaghan Fakhraeirad\n3:00pm: Talk: “East and West\, West and East: Alireza Mashayekhi\, the Shiraz Festival\, and the Origins of Electronic Music in Iran” with Bob Gluck\n4:00pm: Talk: “The Shiraz Festival and Its Place in the Revolutionary Narrative” with Joshua Charney\n*All times are Eastern Standard Time (EST)\, UTC -5* \nAdmission to this online event is Free / Pay What You Wish. REGISTRATION IS REQUIRED. (Use ticket link). A link will be sent to you the day of the event. \n\nPROGRAM DETAILS \nArmaghan Fakhraeirad: “Shiraz Festival and Its Legacies Through the lens of the Revivalist Trends in Iranian Folk Music”  \nAbstract: Forthcoming. \nBiography: Armaghan Fakhraeirad is a PhD Candidate in Music Studies at the University of Pennsylvania. She received her master’s from the Tehran University of Art\, where she wrote about the history of Iranian folk music preservation and revival. This study predominantly deals with subjects such as nationalism\, nativist movements\, and cultural policies during the 1960s and 1970s and its legacies after the Islamic Revolution (1979). Fakhraeirad’s current research focuses on the music of the Iranian side of the Persian Gulf seashores which deals with the history of the rise and fall of the port cities in this region and the way they have exerted influence on the music and musical culture. \nBob Gluck: “East and West\, West and East: Alireza Mashayekhi\, the Shiraz Festival\, and the Origins of Electronic Music in Iran”  \nAbstract: The founding figure of electronic music in Iran is Alireza Mashayekhi\, whose first electronic works date to the 1960s. Having studied classical Persian and Western music in Iran\, Germany\, Austria\, and The Netherlands\, Mashayekhi trained numerous musicians who built compositional and academic careers throughout the world. The highest profile events that introduced electronic music to a broader\, albeit elite Iranian public\, took place at an annual festival under the Shah\, without the participation of Mashayekhi. The Shiraz Festival\, championed by Empress Farah Diba and sponsored by National Iranian Radio and Television (NITV) during the 1960s-70s\, featured both Western and traditional Persian art. Among the Western electronic musicians who participated at Shiraz festivals were Iannis Xenakis\, Karlheinz Stockhausen\, and\, with the Merce Cunningham Dance Company\, John Cage\, Gordon Mumma and David Tudor. The most dramatic and controversial performance was a site-specific work by Xenakis amid the ancient ruins of Persepolis. The fall of the Shah ended Western-focused public events\, yet the creative work of Mashayekhi and his students continued in Iran and internationally\, mindful of the culturally hybrid nature of artistic identity. \nBiography: Robert J. Gluck is Professor of Music and Director of the University at Albany Electronic Music Studio. He also teaches in the Africana Studies Department and Judaic Studies Program. Gluck is a pianist\, writer\, and composer. Bob Gluck has written numerous articles documenting the international history of electronic music. He is author of “You’ll Know When You Get There: Herbie Hancock and the Mwandishi Band” (2012) and “The Miles Davis ‘Lost’ Quintet and Other Revolutionary Ensembles” (2016)\, both published by University of Chicago Press. His essays have been published in Leonardo Music Journal\, Jazz Perspectives\, Organized Sound\, Journal SEAMUS\, Leonardo\, Living Music Journal\, The Reconstructionist\, Tav+\, the EMF Institute\, and in various conference proceedings. Gluck’s musical training is from the Juilliard\, Manhattan\, and Crane Schools of Music\, as well as the State University of New York at Albany (B.A.\, 1977) and Rensselaer Polytechnic Institute (M.F.A.\, 2001). His primary teacher of piano was Regina Rubinoff (first in the Juilliard Preparatory Division). He is also a rabbi (a 1989 graduate of the Reconstructionist Rabbinical College)\, and he holds a Master’s in Hebrew Letters from the RRC (1989) and a Master’s in Social Work from Yeshiva University’s Wurzweiler School of Social Work (1984). He has held various senior leadership positions in the Jewish Reconstructionist movement. \nJoshua Charney: “The Shiraz Festival and Its Place in the Historical Narrative” \nAbstract: Because of certain controversies surrounding the Shiraz Arts Festival\, critics and historians often place it in the context of the 1979 Iranian Revolution. This presentation examines conflicting and subversive ideas behind the festival’s programming of traditional Iranian and contemporary Western performance\, while also clarifying certain misconceptions of the festival within the revolutionary narrative. \nBiography: Joshua Charney is a performer\, composer\, and musicologist based in California. He received his Ph.D. in music from UC San Diego where he completed his dissertation entitled The Shiraz Arts Festival: Cultural Democracy\, National Identity\, and Revolution in Iranian Performance\, 1967-1977. He is an active researcher who has lectured and presented papers on contemporary jazz in Iran\, musical improvisation in postwar America\, and the corporate soundscapes of Southern California. Charney is also the cofounder and editor of First : Listen – The Journal of Critical Listening Through Music\, an open-access web journal concerned with current and emerging discussions about music\, sonic art\, and creative practices concerned with sound. \n\nThis event is part of  Beyond Borders: The Shiraz Festival \n\n\nMajor support for BEYOND BORDERS has been provided by The Pew Center for Arts & Heritage. Presented in collaboration with Slought.
URL:https://www.bowerbird.org/event/shiraz-cultural-synthesis/
LOCATION:Streaming Online
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DTSTART;TZID=America/New_York:20220316T190000
DTEND;TZID=America/New_York:20220316T210000
DTSTAMP:20260728T024146
CREATED:20220128T191750Z
LAST-MODIFIED:20220318T032606Z
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SUMMARY:After Shiraz: Music from Exile and Diaspora
DESCRIPTION:Throughout its run\, the Shiraz Festival was host to an array of contemporary classical and avant garde composers from Europe and the United States. Among them were Karlheinz Stockhausen\, Iannis Xenakis\, Olivier Messiaen\, Bruno Maderna\, John Cage\, David Tudor\, and Morton Feldman. A significant arts center\, which was to include electronic music and recording studios\, was planned as an outgrowth of the festival. While the complex politics of the Shah’s regime and the approaching revolution brought these developments to an end\, the festival had broad and lasting impacts on contemporary and experimental music in Iran. This program includes music by Iranian composers\, several generations removed from the festival\, all living in exile\, whose work is an example of this enduring legacy. \n\nThis event is part of  Beyond Borders: The Shiraz Festival \nPictured above: Mantra\, for two Pianos\, Karlheinz Stockhausen (composer)\, Alfons Kontarsky\, Aloys Kontarsky (pianists) – Saray-e Moshir\, 1972; Courtesy Stockhausen-Stiftung für Musik / Archaeology of the Final Decade Archives \n\nPROGRAM \n7:00pm: Conversation: (Live Webinar) Anahita Abbasi\, Sepehr Pirasteh\, and Dustin Hurt\n8:00pm: Concert Program: Iranian Contemporary music performed by members of Arcana New Music Ensemble and pianist Layla Ramezan (Prerecorded\, broadcast live) \nAnahita Abbasi: Seven Impressions\nAlize Rozsnyai – voice\nAndy Thierauf – percussion \nFarzia Fallah: Posht-e Hichestan \nNic Handahl – flute \n Fozié Majd:  Dialogue 88 no.3 \nLayla Ramezan – piano \nAida Shirazi: Longing for a Distant Memory\nMolly Germer – violin \nSepehr Pirasteh: Rubáiyát\, for Cello solo\nTom Kraines – cello \n*All times are Eastern Standard Time (EST)\, UTC -5* \nAdmission to this online event is Free / Pay What You Wish. REGISTRATION IS REQUIRED. (Use ticket link). A link will be sent to you the day of the event. \n\nABOUT THE COMPOSERS \nAnahita Abbasi (world citizen-1985) was born and raised in Iran. In 2005 she moved to Austria and pursued her undergrad at the University of music and performing Arts Graz\, where she studied music theory with Clemens Gadenstätter and Christian Utz & composition with Beat Furrer and Pierluigi Billone; while working closely with Georges Aperghis\, Franck Bedrossian\, and Philippe Leroux. Since 2014\, Abbasi is residing in San Diego\, USA\, and currently finishing her Ph.D. in composition under the supervision of Rand Steiger at the University of California San Diego. Anahita Abbasi’s music has been commissioned and performed by distinguished soloists and ensembles such as Mahan Esfahani\, Steven Schick\, Vimbayi Kaziboni\, Rebekah Heller\, Sergej Tchirkov\, Artyom kim\, Ensemble Modern\, International Contemporary Ensemble\, and many more. \nBorn in Tehran\, composer Farzia Fallah studied music\, composition\, music theory\, and piano before moving to Germany in 2007. She has been awarded several composer residencies and has worked with ensembles such as Ensemble Aventure\, Azione Improvvisa\, Garage\, Musikfabrik\, New Babylon\, oh-Ton\, S201\, Zafraan as well as Hypercube Quartet\, Sonar Quartet and Roche/Zöllner Duo. She is a member of Kollektiv3:6Koeln\, founder and artistic director of the project “Mind the gap – Music for horn & viola”\, member of tritonus e. V. and a member of Iranian Female Composer Association IFCA. \nBorn in 1938\,  Fozié Majd played the piano from a young age. She graduated from the University of Edinburgh\, then moved to Paris\, where she studied ethnomusicology at the Sorbonne. She then received a French government scholarship to study composition with Nadia Boulanger. During the 1970s\, Majd undertook a major research project\, classifying and recording the music from Iran’s provinces\, which was later published as 9 CDs. As programmer of the Shiraz Arts Festival between 1972 and 1978\, she had an international platform to introduce Iranian musicians to a wide international audience. Following the Iranian revolution\, she remained in Iran\, but stopped composing for nine years. Her film scores for Iranian director’s Fereydoun Rahnema’s Siavash in Persepolis (1965) and Iran’s Son is Unaware of His Mother (1973) received awards a the Locarno International Film Festival. Dialog 88 consists of three movements\, the third is in free form\, with bar lines dividing the different sections. The reverberations of the tone clusters divulge the intended harmonic combinations\, rewarding careful\, intent listening. \nBorn and raised in Tehran\, Iran\, Aida Shirazi is a Ph.D. student in composition at UC Davis\, and she works with Pablo Ortiz. Shirazi’s music is described as “well-made” and “affecting” by The New Yorker. She holds her B.A. in classical piano from Tehran University of Art (Iran)\, and her B.M. in music composition and theory from Bilkent University (Turkey). She studied santoor (traditional Iranian dulcimer) with Parissa Khosravi Samani.Shirazi is the winner of Diaphonia and XelmYa+\, ACIMC and Bilgi New Music Festival calls for scores. Her music has been featured in MATA\, Klasik Keyifler\, Sesin Yolculugu\, Young Composers\, Young Performers festivals in the United States and Europe\, and performed by Andrew McIntosh\, Lucy Fitz Gibbon\, Ryan McCullough\, Alexa Renger\, Ellen Jewett\, Empyrean Ensemble\, FOM (The Friends of MATA) and Bilkent Symphony Orchestra. She has attended workshops with Interface Ensemble (2013) and Yurodny Ensemble (2016).Her music for solo instruments\, voice\, ensemble\, orchestra and electronics is often influenced by literature\, language\, and Iranian classical music. \nSepehr Pirasteh (b. 1993) is a composer and conductor born and raised in Shiraz\, Iran. His compositions draw on Persian classical and folk as well as contemporary classical music vocabularies to express his concerns and fears about the political and social realities of the world we are living in. Sepehr’s works have been performed by ensembles such as Argus String Quartet\, PRISM saxophone quartet\, Pushback Ensemble\, Unheard-of Ensemble\, Orquestra Criança Cidadã\, Hole in the floor\, fivebyfive\, and members of the Fifth House Ensemble. Sepehr’s music has been performed in Argentina\, Brazil\, Iran\, and the United States. As a conductor\, he has been focusing on premiering new music written by young composers. Sepehr has served as the assistant conductor of the CMU Symphony Orchestra\, director of the CMU New Music Ensemble\, Pierrot Ensemble\, Concert Orchestra\, and Vintage community orchestra in Mount Pleasant\, Michigan. In 2020 he started serving as the director of Temple Composers’ Orchestra (TCO). Sepehr is currently based in Philadelphia and pursuing his Ph.D. in composition at Temple University. \nABOUT THE PERFORMERS \nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Composers featured in recent programs include Julius Eastman\, Morton Feldman\, Galina Ustvolskaya\, Pauline Oliveros\, Tom Johnson\, Moondog\, and James Tenney. Arcana has performed at the Philadelphia Museum of Art\, Fleisher Art Memorial\, The Rotunda\, The Kitchen (NYC)\, and collaborated with Variant Six\, Prometheus Chamber Orchestra\, and Pig Iron Theater Company. \nFor many years\, Iranian pianist Layla Ramezan has been searching for and creating links between her Persian heritage and the contemporary music that is a part of her daily life. As a concert pianist\, Layla performs regularly in France and Switzerland\, as well as in many places further afield. She has recently appeared in recitals at the Collège des Bernadins in Paris\, Carnegie-Mellon University in Pittsburgh\, Princeton University\, Piano Salon Christophori in Berlin\,Victoria Hall in Geneva\, Royal Irish Academy in Dublin\, Aga Kahn Museum in Toronto\, Roodaki Hall in Tehran\, Hafez Hall in Shiraz\, and at major festivals such as the Athénéennes in Geneva\, the Schubertiade in Sion\,Festival Crans-Montana in Switzerland et Bari Piano Festival and Alba Music Festival in Italy. Layla’s sound\, her phrasing\, her sensitivity to rhythm and a refined interpretation are the feature qualities of her piano playing. Her unique point of view has been formed by the intersection of two cultures\, in both of which she feels comfortable. Layla is continually searching for new ways to express herself by allowing the oriental and occidental influences to inspire and complement each other. \n\nThis event is part of  Beyond Borders: The Shiraz Festival \n\n\nMajor support for BEYOND BORDERS has been provided by The Pew Center for Arts & Heritage. Presented in collaboration with Slought.
URL:https://www.bowerbird.org/event/after-shiraz-music-from-exile/
LOCATION:Streaming Online
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2022/01/Shiraz-Arcana.jpg
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DTSTART;TZID=America/New_York:20220313T140000
DTEND;TZID=America/New_York:20220313T170000
DTSTAMP:20260728T024146
CREATED:20220128T140530Z
LAST-MODIFIED:20220318T032231Z
UID:10001144-1647180000-1647190800@www.bowerbird.org
SUMMARY:Xenakis: Persepolis
DESCRIPTION:In 1971 composer Iannis Xenakis (1922-2001) was commissioned to create a piece for the opening day of the fifth edition of the Shiraz Festival. This edition commemorated the 2500th anniversary of the founding of the Persian Empire. The opening event took place at the ruins of Persepolis\, the ceremonial capital of the Achaemenid Empire (~550 – 330 BCE)\, situated about 45 miles northeast of the modern city of Shiraz. Specifically for this site\, Xenakis created an open-air spectacle called “Polytope de Persepolis”. The performance included a 55-minute long 8-track electroacoustic composition distributed over 59 speakers\, two laser beams\, army searchlights\, a choreography of 150 children carrying torches and several large bonfires on the surrounding hills facing the ruins. \nResearcher and Xenakis expert Daniel Teige will give a presentation into his recent research about the “Polytopes” and “Persepolis” and will include many unpublished archival documents. Following his talk will be a screening of “Iannis Xenakis\, Persépolis” (1971\, dir Pierre Andrégui)\, a fascinating and rare documentary that focuses particularly on the premiere of “Persepolis” in 1971 at the Shiraz-Persepolis Arts Festival. \n\nThis event is part of  Beyond Borders: The Shiraz Festival \nPictured above: Iannis Xenakis in preparations for the premiere of “Persepolis” music and light spectacle\, at the ancient ruins of Persepolis\, 1971. (World Premiere\, festival commission for the opening event); Courtesy Les Amis de Xenakis / Archaeology of the Final Decade Archives \n \n\nPROGRAM \n2:00pm: Talk: “Dead or alive. Aspects concerning the performance and interpretation of Xenakis’ polytopes today” with Daniel Teige\n3:30pm: Screening: “Iannis Xenakis\, Persépolis” (1971\, dir Pierre Andrégui)\n*All times are Eastern Standard Time (EST)\, UTC -5* \nAdmission to this online event is Free / Pay What You Wish. REGISTRATION IS REQUIRED. (Use ticket link). A link will be sent to you the day of the event. \n\nABOUT THE SPEAKER \nDaniel Teige works as a researcher and audio scenographer on large-scale projects in contemporary music\, and sound art. He studied communication science and electronic music at the Technical University in Berlin with David Behrman\, Gerhard Eckel\, Gottfried Michael König und Hans Tutschku\, as well as musicology with Helga de la Motte-Haber. He is a renowned expert and performer of the electronic music of the composer and architect Iannis Xenakis. He has staged and directed numerous Xenakis concert performances in collaboration with ZKM\, EMPAC\, MASS MoCA\, Akademie der Künste Berlin and others. He has worked with contemporary music ensembles like Klangforum Wien\, Asko Schönberg Ensemble\, Kammerensemble Neue Musik Berlin and others. His research on Xenakis Polytope de Persepolis and Polytope de Cluny has been published in “Xenakis Matters” @ Pendragon Press. Over the last decade Daniel has been invited to teach at numerous Universities around the globe. As an audio scenographer and creative director at his company POLYTOPE Agency\, he has designed innumerable multichannel audio diffusion and interactive audio systems across Europe and the Middle East for EXPO 2010 & 2021\, Qatar Museums\, Dubai Future Foundation\, MASS MoCA\, and others. \n\nThis event is part of  Beyond Borders: The Shiraz Festival \n\n\nMajor support for BEYOND BORDERS has been provided by The Pew Center for Arts & Heritage. Presented in collaboration with Slought.
URL:https://www.bowerbird.org/event/xenakis-persepolis/
LOCATION:Streaming Online
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2022/01/Shiraz-Xenakis-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20220306T140000
DTEND;TZID=America/New_York:20220306T170000
DTSTAMP:20260728T024146
CREATED:20220128T131429Z
LAST-MODIFIED:20220505T144107Z
UID:10001143-1646575200-1646586000@www.bowerbird.org
SUMMARY:Shiraz: A HISTORY (keynote)
DESCRIPTION:The artistic territory of the annual Shiraz Arts Festival remains\, despite the passage of almost half a century\, a remarkably contested space. It represents possibly the most controversial trajectory of cultural attitude\, policy\, and intercultural contact in modern Iranian history. Paradoxically\, and apart from Iranian political and cultural sensitivities\, the Festival is recognized as one of the most uniquely transformative inter-cultural experiences\, perhaps the most radical multi-disciplinary crucible of any commissioning festival in history. Its contested space represents one of the last unresolved artistic complexes of the pre-revolutionary period. \nFor this presentation\, curator and researcher Vali Mahlouji discusses how the Shiraz Festival introduced distant voices from Asia and Africa into the international cultural discourse and juxtaposed them alongside western neo-avant-garde to challenge a hegemonic Eurogenetic view of culture. Following this talk\, and a conversation with Bowerbird director Dustin Hurt\, there will be an online screening of rare archival footage from the Shiraz Festival of the Arts. \n\nThis event is part of  Beyond Borders: Conversations Around The Festival of Arts\, Shiraz-Persepolis \nPictured above: Orghast Part II\, Ted Hughes and Mahin Tadjadod (playwrights) Peter Brook (co-director with Arby Ovanessian\, Geoffrey Reeves\, Andrei Serban)\, International Centre for Theatre Research\, commissioned by the Festival and the French Ministry of Culture\, Naqsh-e Rostam\, Ka’be Zartosht\, 1971. Courtesy of Archaeology of the Final Decade Archives. \n\nPROGRAM \n2:00pm: “Excavating A Utopian Stage: Restaging the Festival of Arts\, Shiraz-Persepolis.” Lecture by Vali Mahlouji\n3:30pm: Vali Mahlouji and Dustin Hurt in conversation\n4:00pm: Online Screening of archival footage from the Shiraz Festival\n*All times are Eastern Standard Time (EST)\, UTC -5* \nAdmission to this online event is Free / Pay What You Wish. REGISTRATION IS REQUIRED. (Use ticket link). A link will be sent to you the day of the event. \n\nABOUT THE SPEAKER \nVali Mahlouji is a curator\, founder of Archaeology of the Final Decade (AOTFD)\, advisor to the British Museum\, Bahman Mohassess Estate and director of Kaveh Golestan Estate. Since 2010\, the curatorial platform AOTFD has excavated erased and obscured histories. It recovers cultural artefacts that have been subjected to censorship\, banned\, endangered or deliberately destroyed\, and has placed artworks in international collections\, including: Tate Modern\, Musée d’Art Moderne de la Ville de Paris\, The British Museum\, Smithsonian Institute and Los Angeles County Museum of Art (LACMA). Mahlouji’s Recreating the Citadel project produced the first room dedicated to an Iranian artist at Tate Modern (Kaveh Golestan) in 2017-18. His A Utopian Stage exhibition at Whitechapel Gallery (2015) was nominated for Best Exhibition by the Global Fine Arts Awards. His research-artworks have been exhibited by Tate Modern\, Garage Museum of Contemporary Art and Arnolfini. Mahlouji’s has curated extensively including at Asia Culture Centre\, SAVVY Contemporary\, Sursock Museum\, Dhaka Art Summit 2018\, Whitechapel Gallery\, Musée d’Art Moderne de la Ville de Paris\, MAXXI Museum\, Foam Fotografiemuseum\, Bergen Triennial\, Photo London\, Prince Claus Fund\, Art Dubai Modern. Mahlouji’s upcoming title A Utopian Stage will be published by Whitechapel Gallery and Afterall in 2022. \n\nThis event is part of  Beyond Borders: Conversations Around The Festival of Arts\, Shiraz-Persepolis \n\n\nMajor support for BEYOND BORDERS has been provided by The Pew Center for Arts & Heritage. Presented in collaboration with Slought.
URL:https://www.bowerbird.org/event/shiraz-an-introduction/
LOCATION:Streaming Online
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2022/01/Shiraz-Vali-Talk.png
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