Blood, from the Rostam in Wonderland series, is a collaboration between
[P]ART Collective and Sooriland Studios and is among the exhibition’s
innovative reflections on past and present Islamic culture. The series is based
on Rostam, the mythical hero of the Book of Kings (Shahnama),
a thousand-year-old work by the Iranian poet Ferdowsi. Sohrab’s
Blood takes place
just after Rostam unknowingly encounters and kills his son Sohrab in combat,
and in this video, Rostam encounters (and tries to reconcile with) the world of
spoke with Afshar to discover the origins and motivations behind his project.
Tell us how you and Soroush Rezaee worked together to create the Rostam
in Wonderland series.
my studies at CalArts and UCLA in animation, I started visiting Iran more
often. I became more and more interested in Persian mythology and storytelling
rituals. In a sense, nostalgia was carrying me toward those roots. I started
examining different scripts and visual works revolving around Persian
mythology, especially the Shahnama.
one of these trips to Iran, I met Soroush. At the time, he was creating these
short, simple, and fun animated videos. After I returned to U.S., I started
planning for the series and asked him to collaborate with [P]ART Collective. I
came up with the core of the project and several ideas for storylines as well
as some character design; Soroush then made those stories his and refined them
into what he does best with satire.
Did you have an audience in
mind when making this piece? Have you noticed different reactions between
audiences who are familiar with the Shahnama and those who aren’t?
target audience was young Iranian adults—the majority of people in Iran.
Although older generations in Iran are becoming more familiar with internet
technology, they are not as involved in social media movements.
the beginning, several viewers claimed that we were making fun of Rostam. They
were either people who were not familiar with Persian mythology and history, or
pan-Iranians outside of Iran who were disconnected from contemporary Iran. Both
groups complained about using Rostam in satire. After a few episodes aired,
these complaints toned down. When the last episode (which deals with racism
against Afghans in Iran) was aired, the majority [of our viewers] were in tune
with our version of Rostam being a tool for cause-related change.
There are thematic similarities between Sohrab’s Blood and Siamak Filizadeh's Rostam II returns at age of 30 having
been brought up abroad, which is also featured in Islamic
Art Now, Part 2. With tongue in cheek,
both pieces expose Rostam to the absurdity of contemporary culture. For you,
what was the inspiration to take this approach?
as we know, is not a real character. He is a man-made idol. Ferdowsi, the
author of the Shahnama,
chose Rostam as a vehicle to transport the readers from myth to epic. He uses
him as the main hero of the poem, but Rostam is not his invention. He was
created collectively by Iranian storytelling. Therefore, every Iranian can
relate to this character. We [Soroush and I] believed that Rostam had the
potential to be a personality people could correlate with, especially when
placed within their universe, dealing with their modern problems.
using the series as a whole to orchestrate our ideas, we were able to keep up
with the fast pace of social media and people’s short attention spans. You
might ask, why not TV? Because this way, people could watch, re-watch, comment,
re-comment, and start a dialogue about the issues mentioned in the
Your allusions to Rostam in
other bodies of work, particularly your Book
of Kings series, offer a starkly different tone—one that exposes the
darkness of his warrior lifestyle. Why was it important to you to address this
character in opposite ways?
had to examine him first. I needed to live with him, talk to him, and feel with
him as an imaginary friend, before making him believable to an audience that is
neither familiar with the Shahnama nor contemporary art.
take on Rostam has a very vulnerable sensation to it. He is a character
restricted by his physical capabilities. He is often involved in situations and
storylines that are rigged in resolution.
to my series Book
of Kings, I did another painting series called Pahlevan, which deals
with the heroes of the Shahnama.
The Rostam in that series is a warrior, and features those qualities more than
the qualities of a hero. But he is known as a hero because people like to be
warriors themselves, and to not give up—whether they are facing the army of
“Turan” and dealing with “The White Demon” [as the fictional Rostam does], or
facing sanctions on medicine and the economic hardships of 21st-century Iran.
Whenever Hollywood needs a “brown skinned” Middle Eastern looking villain, they have NO problem finding a slew of them to fill the role, YET when trying to cast someone to portray the great Persian poet Rumi who came from what is now Afghanistan, they pick a blue eyed fair haired Leonardo DiCaprio? What kind of bullshit is that? Rumi, much like Jesus, was NOT white!