Lecture on “India and Iran: Money, Networks and Exchanges through Two Millenia” by Dr Shailendra Bhandare on Thursday, 16 November 2023 at 5:30 pm
With a Foreword by S. Radhakrishnan, former President of India
Paperback and Kindle Edition available on:
WFP Store: https://store.whitefalconpublishing.com/collections/latest-books/products/redesigning-education-5-steps-to-becoming-enablers-for-change
JOIN ON ZOOM THIS SATURDAY
For full details visit FIRES website: https://fires-fezana.org/24th-
Friday, Nov. 10, 2023
6:30 pm – Wine & Cheese
Saturday, Nov. 11, 2023
Saturday’s program shall be available on ZOOM. See Details below
10:30 am – 12:30 pm – Presentation by Dr. Jenny Rose
12:30 pm – 1:30 pm – Lunch
1:30 pm – 2:30 pm – Presentation by Meheryar Rivetna – Politics and Power: The birth of the Younger Avesta.
To REGISTER FOR IN-PERSON ATTENDANCE PLEASE VISIT ZAH.ORG
To Join on ZOOM For Saturday’s Session ONLY
Meeting ID: 870 3782 2697
Sheer-e-Shireen: Zoroastrians adding Sugar to the Milk
A Talk and Discussion by Dr. Jenny Rose
The story of “Sugar in the Milk” is well known as part of the story of the arrival of Zoroastrians in India. Jenny Rose’s talk will explore this perspective of significant contributions Zoroastrians made to society with some examples of the ethos of “good deeds” carried out by 21st century Zoroastrians in Iran, India, North America and the UK. Her experience indicates that such action can bring immediate benefit to an individual or a wider group, providing access to basic necessities – water, food, education, healthcare, and justice – which improve (“sweeten”) their live
Dr. Jenny Rose has been producing educational materials relating to the Zoroastrian religion for several decades, beginning with her time as an advisory teacher in London, then as a postgraduate at Columbia University, and later as lecturer (professor) in the UK and the USA. Jenny’s most recent book is Between Boston and Bombay: Cultural and Commercial Encounters of Yankees and Parsis, 1771–1865 (Palgrave Macmillan, 2019). Currently a Research Fellow of Claremont Graduate University, she is co-editing a volume for Routledge titled The Zoroastrian World, which will include contributions from across the Zoroastrian world as well from the non-Zoroastrian academics.
Politics and Power: The Birth of the Younger Avesta
A Talk by Meheryar Rivetna
Meheryar’s talk Politics and Power: The Birth of the Younger Avesta will deal with the evolution of Zarathustra’s Gathic teachings to contemporary practices and beliefs. He will take us on a historical journey from ancient times to Zarathustra’s sojourn on earth to modern times based on scholarly research and evidence.
Meheryar Rivetna was employed by Merck & Co. where he held positions in scientific research, sales and marketing. After retiring in 2016, he immersed himself in an intense study of the Zoroastrian religion. Meheryar is the author of Zarathustra: The Man and the Message. It is an in-depth study of the Zoroastrian religion with an aim to dispel the myths contradicting Zarathustra’s teachings. Meheryar has also published articles on the Zoro-astrian faith in the FEZANA Journal, Chehreh-Namah and Parsiana. He is on the library committee of the Zoroastrian Association of Houston as well as the FIRES committee, the education and research arm of FEZANA.
We all know these are called GODHAS. But not many know the left and the right have a separate name. Anyone ?
The one on the left is known as SAROSH and on the right is called BURGIS.
The Story of Shreeji Pak Iranshah
Ashdeen’s latest collection is called ‘The Birth of Venus’
Designer Ashdeen Lilaowala recently celebrated a milestone of 10 years as a Parsi Gara revivalist. We talk to Ashdeen about his journey in the fashion industry, his tribute to his decade’s work in the form of a picture exhibition called Threads: A Decade Of Ashdeen, his latest collection, the future of fashion in India and more…
Tell us more about ‘Threads: A Decade Of Ashdeen’.
More than a designer, I see myself as a keeper of stories. To celebrate the important milestone of completing 10 years, I wanted to do it in my own distinct style. That’s how the idea of Threads: A Decade Of Ashdeen came about. I wanted it to be a celebration of the intricate web of relationships that have defined my work, mirroring the intricate Parsi Gara embroidery tradition which is at the heart of this brand. It’s also an ode to my team of skilled craftspeople without whom we couldn’t have completed this milestone successfully.
How do you think this industry has evolved over the past 10 years?
I have always maintained that I am a textile designer, researcher and storyteller. As a result of that, I have been at the periphery of the fashion industry and that positioning has helped me always march to the beat of my own drum, as cliched as that sounds. We’ve been blessed to receive patronage from people not just from the community but across the country and the world. The industry has become quite saturated but there’s surprisingly still space for people who are doing different things and doing them differently.
Tell us more about your latest collection, The Birth of Venus. What’s the story behind the name and how does it translate to the pieces?
Our latest collection was named after the classic painting The Birth of Venus by Renaissance master Sandro Botticelli. One interpretation is that it casts the central figure Venus as the parallel to the earliest woman ‘Eve.’ It’s our nod to Zoroastrian cosmogony as well, according to which Mashya and Mashyana were the first man and woman to have walked the earth. In a similar vein, we’re going back to the Gara’s origins and examining it against a blank canvas. We’ve revisited original embroidery designs from the Parsi Gara lexicon. It’s a sari collection featuring lush floral tapestries and borders. All hand-embroidered in rich colour palettes our clients have always loved — emerald greens, muted greys, blacks, mango yellows and other gorgeous shades that are perfect for the festive and wedding season.
What made you stay connected with your work and the age-old but exquisite Parsi-style embroidery?
I enjoy the challenge of pushing the Parsi Gara tradition in new directions while making sure we stick to the basic framework. This has taken years of research into how the Gara has evolved over the years with the myriad geographical and cultural influences it has imbibed. I find it thrilling to be part of the next frontier of the Gara incorporating new nuances every season, telling new stories and sparking new conversations.
Are you planning to expand your label’s demography?
We’re already quite fortunate that younger people are increasingly interested in the brand. To get younger generations of sari wearers and textile enthusiasts interested in the craft, our brand has been experimenting with newer colour palettes, lighter fabric and motifs adapted to suit contemporary tastes. In addition, we have also opened out the embroidery applications placing them on lehengas, blouses, jackets, scarves and accessories to enhance the wearability factor. We also do this through styling explored through campaign imagery, shoots and collaborations with style makers and influencers.
Why and how did you enter the world of fashion?
As mentioned earlier, I see myself as a textile designer staying only in the periphery of the Indian fashion industry. Sure, overlaps exist and I enjoy them immensely. We even showcased at some seasons of Lakme Fashion Week. But I love staying true to my path and pushing the boundaries of the Parsi gara craft. I graduated in textile design from the National Institute of Design, Ahmedabad. After graduating, I travelled across India, China and Iran with the UNESCO Parzor Foundation documenting the Gara. I got a chance to interact with people’s personal collections in these geographies. The exercise has helped me understand the core essence of the Gara and as much as I innovate with the craft, I don’t waver from its core essence.
Surbhi Shah | Published : | 01st November 2023 05:36 PM
A dig in northern Iraq has unearthed a 2,700-year-old alabaster sculpture of the winged Assyrian deity Lamassu, which was found largely intact despite its large dimensions. Only the head was missing, which was already in the collection of the Iraq Museum in Baghdad after being confiscated by customs officers from smugglers in the 1990s. The sculpture escaped destruction by Islamic State jihadists which overran the area in 2014, thanks to the city’s residents who hid it before fleeing to government-held areas.
Click Here to watch this video on YouTube – https://youtu.be/Eusg8407yhY?si=KOi8ipzrF8pgkdRL