Major Iranian Singers and Orchestras Perform in Various Cities Across Iran This Week

A theatrical reading of the play 'Arash' by the renowned Iranian playwright and film director Bahram Beizai is scheduled in Tehran. The event will take place at the Neauphle-le-Château theater hall on Saturday, October 31st.

The production is directed by Mortaza Sabahi and produced by Davoud Namvar. The organizing group is the Qalamro theater group. According to Mehr, the performance will feature actors accompanied by a live musical ensemble.

The work is based on Beizai's creative output, and its title is taken from Iranian mythology—Arash, the legendary archer whose sacrifice is linked to defending the homeland and the resolve of its people.

The cast of the reading includes Mohammad Hossein Navai, Kasra Farahnak, Soheil Semyari, Nastaran Zeynali, Kimia Akbari, Aida Berendji, Maryam Kamali, Shiva Bahrampour, Saba Jafari, Sogand Dadar, and Amir Farazi.

The musical collective will be led by Ehsan Samani-Manesh, who will also perform percussion and other musical instruments. The group will be joined by the kamancheh player Mehrapad Zahmatkesh, providing live musical accompaniment.

Arash, known in Persian mythology as Arash-e Kamangir, is one of the most revered heroic figures in Iranian cultural tradition. His story is preserved in various forms in Persian literature and mythology and has become a symbol of self-sacrifice, courage, and devotion to the homeland.

According to the most well-known version of the legend, Iran and Turan were engaged in a devastating war. After many years of conflict, both sides agreed to settle the dispute by defining a new border. The agreement stipulated that the Iranian archer must shoot an arrow, and where this arrow lands would become the border between the two lands. Arash was chosen to carry out this task.

The legend presents this challenge as something more than mere archery skill. Arash must pour all his strength into a single shot, knowing that this act will cost him his life. He climbs a high mountain and prepares to release the arrow. In one of the most famous depictions associated with this legend, it is said that all of Arash's strength and vital energy are channeled into the arrow as he releases it towards the horizon.

The arrow travels an extraordinary distance before finally landing, establishing the border and ending the conflict. However, Arash dies after fulfilling his mission, sacrificing himself for the survival and territorial integrity of his homeland.

This element of self-sacrifice lies at the heart of the legend. Arash fights not for personal glory or wealth. His heroism stems from accepting a responsibility that demands he give everything for others. As a result, the story has acquired symbolic meaning far beyond a simple arrow shot. Arash has become the embodiment of the idea that a nation's fate sometimes depends on the courage and sacrifice of one individual. His story also connects personal choice with collective responsibility, making the ancient legend relevant for subsequent generations.

The story of Arash has had a profound influence on Persian poetry and modern Iranian literature. Writers and poets have repeatedly referred to this character, interpreting his sacrifice in various historical and political contexts. The image of the arrow crossing the land has also become a powerful metaphor for hope, determination, and the possibility of shaping the future through individual actions.

Unlike some mythological heroes whose stories revolve around conquests, Arash's defining act is an act of giving. He wins not by defeating an enemy in battle, but by making the ultimate personal sacrifice to end the war and protect his people.

Beizai, widely recognized for incorporating Iranian mythology, history, and folklore into his dramatic works, often reinterprets traditional narratives to explore issues of identity, collective memory, and the connection between past and present. His work blends elements of ancient Iranian traditions with contemporary theatrical language, lending new dramatic and intellectual dimensions to familiar legends.

A number of art exhibitions are currently taking place in various galleries across Tehran. At the CAMA – Contemporary and Modern Art Gallery, an exhibition of paintings by a group of artists is being shown, running until November 2nd. This gallery is located at: No. 44, 10th Golestan, Pasdaran St.

Kavin Gallery is hosting an exhibition of Shahro Babaei's paintings. The exhibition, titled 'Nightfall,' will be available to visitors until November 6th. The gallery is located at: No.24, Pesian St. Zaferanieh Neighborhood.

Keiman Gallery features Farnaz Bagban's paintings under the title 'The Regression 2.' This exhibition concludes on November 2nd and is located at: 10 Akhgari St. in the Elahieh district.

Bashgah Gallery is hosting an exhibition of works by several artists, titled 'Someday, You’ll Remember.' This exhibition runs until November 6th and is located at: No.13, Hosseini St., Karim Khan Ave.

Shokuh Gallery is featuring Farrokhht Kiaiemehr's paintings, which will end on November 2nd. The gallery is located at: 19 Amir Nuri Alley, North Salimi St. off Andarzgu Blvd.

Atbin Gallery currently displays Fatemeh Kasraian's paintings under the title 'Voyage to Nowhere.' The exhibition will continue until November 3rd and is located at: 42 Khakzad Alley, Vali-e Asr Ave. near the Parkway Intersection.

Hoor Gallery is holding an exhibition of Samila Amir-Ebrahimi's paintings, which will run until November 13th. The gallery is located at: 12 Naeimi Alley, North Mirza Shirazi St., off Motahhari Ave.

Maria Beygi's collection of paintings is exhibited at 009821 Projects Gallery under the title 'The Nest of Fire.' This exhibition concludes on November 3rd and is located at: No. 25, 18th Alley, Kheradmand St., Karim Khan Ave.

Mohammad Nouriyan's paintings are presented at Negar Gallery. The exhibition will run until November 6th and is located at: No. 5, Bahrami alley, Mashahir Street, Qaem Maqam Farahani Avenue.

Aria Gallery is also hosting an exhibition of Panteh Bayat Mohtari's paintings. This exhibition will conclude on November 2nd and is located at: No. 10 Zarrin Alley, near Beheshti St., Vali-e Asr Ave.

The oud, a stringed instrument with a characteristic pear-shaped body and resonant melodies, has long been part of the musical traditions of Iran and the wider West Asian region. The mastery of its creation and performance, passed down through generations of masters and musicians, received international recognition in 2022. Iran and Syria jointly inscribed this tradition into the UNESCO List of Intangible Cultural Heritage of Humanity.

This inscription was adopted at the 17th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, held in Rabat, Morocco, from November 28 to December 3, 2022. Thanks to this addition, the number of elements of Iran's intangible cultural heritage increased to eighteen.

The oud is a stringed instrument resembling a lute, known for its warm and expressive sound. Musicians play it by resting the instrument on their leg, using one hand for fingerpicking and the other for plucking the strings. The instrument's ability to create rich melodic and harmonic tones makes it suitable for both solo performances and ensembles accompanying folk songs and dances.

Creating an oud requires patience and specialized woodworking skills. The most distinctive part is the pear-shaped resonator box, which is usually made of walnut wood and plays a key role in shaping the instrument's resonance. According to traditional methods described in Iran's nomination, making an oud can take about 25 days, including stages of wood preparation and processing. Water and steam are used to increase the durability and ease of wood processing.

A typical oud has five pairs of strings, although some variations may include a sixth string. Differences in construction and string tension allow musicians to produce a wide range of timbres and adapt the instrument to various musical styles.

Beyond its physical form, the oud embodies a body of knowledge encompassing material selection, woodworking, instrument construction, and musical performance. Its historical presence is reflected in artistic depictions, literary works, and miniature painting, serving as a testament to its place in the region's cultural memory.

In the southern regions of Iran, this instrument and its associated musical traditions hold particular significance among certain Arab and Bakhtiari communities, especially in the provinces of Khuzestan, Bushehr, and Hormozgan. Oud music is also practiced and valued in other parts of the country, including Tehran, Kurdistan, Shiraz, Isfahan, and Khorasan.

The tradition is maintained through formal education and apprenticeship. Music schools, art centers, colleges, and universities teach oud playing, while experienced performers pass on their knowledge through direct instruction. The making of the oud, traditionally performed mainly by men, is also attracting more women, expanding participation in this craft.

Iran included this tradition in its National Heritage List as early as 2018, before submitting a multinational application with Syria for UNESCO recognition.

The inclusion of the oud in the UNESCO list complements Iran's extensive registry of intangible cultural heritage, which includes Radif Iranian music, Bakshi music from Khorasan, the art of making and playing the kamancheh, the traditional craft of the dotar, carpet weaving, Ta'zieh, Nakkali storytelling, and miniature painting.

The joint recognition of oud craftsmanship and performance underscores the importance of preserving living traditions that transcend national borders. Their continuity depends not only on preserving techniques and instruments but also on ensuring that the associated knowledge, music, and cultural practices remain part of the daily life of future generations.