Haji Firuz; The Black Face of Timeless Judges مقاله

خلاصه ماشینی:

Baghouli-zadeh, in an article titled "The Legends of Haji Firoz: Signs of Iranian Period Racism," which has also drawn the attention of the proponents of the section, after presenting facts to prove the racism of "Haji Firoz" (from the perspective of an individual living in a country embroiled in a deep racial crisis), proceeds to recount the memory of performing Nowruz rituals in Southern California and the conflicts that accompanied them, and finally writes: "The question 'Who is Haji Firoz and where did he come from?' leads us toward countless complex explanations. Mahtab Dehqan, in a note titled "Haji Firoz; 'The other side of Africa is Nowruz every day'", has tried to catch the young Bahram Beyzai - who was about 24 or 25 years old at the time of writing the book "Theater in Iran" - red-handed, but the details of the text show that the author probably had another source or reference available instead, because without considering Bahram Beyzai's historical references regarding the formation of the "Takht-e Havzi" play and the character "Siah" (Black), he reaches a conclusion. Opponents of the Tehran Deputy Mayor's directive regarding the background of "Haji Firoz" refer to the works of researchers of theater and myth such as Mehrdad Bahar, Bahram Beyzai, and Soudabeh Fazayli; to "Siavash-khani" and the history of the formation of Iranian "joyous plays," Mitra and Mithraic rituals, and more importantly, the deep-rooted experience of racism and slavery that has never existed in Iran in a manner similar to what has been and is experienced in America and 17th and 18th-century Europe until today.