"Ya' Telab Blues "Another wondrous musico-visual adaptation by Arden Zahedi-Bogucka & Massod Vadiee based on Marziyeh Meshkini's "Roozi Ke Zan Shodam/The Day I Became A Woman (2000)--Music: Christphe Rezai "
Hamid Dabashi, Iranian-American Professor of Iranian Studies and Comparative Literature at Columbia University in New York City.
" Ya' Telab Blues "
Created / Arden Zahedi-Bogucka & Massod Vadiee
A musico-visual adaptation / Roozi Ke Zan Shodam "The Day I Became A Woman by Marzieh Meshkini(2000)
Music / Christophe Rezai " Ya Telab Blues " and Kitka Kanarite
sound kolage and mixage/aSoho Music People and Heriknaz Sibirian
A Dokumuzik Projekt
Az kolexion e London
2012 London UK
Marziyeh Meshkini. Iran. 2000. 78min. 35mm.
Three loosely-connected short stories portray women in three stages of life'a young girl who is about to turn nine, the age of womanhood, when she will have to wear the chador and stop playing with boys; a young woman who enters a cycling race against the objections of all the men in her clan; an elderly woman who takes the biggest shopping trip in her life to buy all she has ever wanted. Written by internationally acclaimed filmmaker Mohsen Makhmalbaf, husband of the filmmaker.
In the second part of THE DAY I BECAME A WOMAN Ahoo – married woman who is taking part in a cycling race. Ahead of the rest, Ahoo is pursued by her husband on horseback. He tries to persuade her to stop cycling and come home, and then threatens her with divorce. When Ahoo defiantly continues cycling, her husband brings a mullah who divorces them. Later, tribal superiors and male family members come to stop Ahoo as she tries to escape the social constraints of being a woman.
“One is not born, but rather becomes a woman.” – Simone De Beauvoir
Simone De Beauvoir’s exquisite pronouncement on the social construction of gender in her Second Sex (1949) spoke to generations of women, and of a universal truth beyond countries and cultures. As an example of astonishing visual poignancy, The Day I became a Woman is the globally celebrated debut of Marziyeh Meshkini in a new crescendo of memorable subtlety and grace. The memorial registers of childhood, adolescence, and old age—three stages of “becoming” a woman is culturally manufactured and socially registered. Between Simone De Beauvoir and Marziyeh Meshkini, generations of women (and men), from all cultures around the world, will have much to learn and even more to achieve. –Olive Films
French-Iranian born in 1966 in Toulouse - France. He studied singing and composition both in Toulouse and in Paris. He has been living in Tehran since 1994, where he composes music for the movies, theater plays and TV shows. He records his work in his own recording studio based in Tehran: Dohol Studio. He has founded both the NOUR Ensemble and the Aria Musica ensemble which is dedicated to baroque music.
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