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What if you could rewrite a part of history? What would you change, and where would you start? For multidisciplinary artist Nazanin Moradi, who was brought up in the Islamic Republic of Iran where women are, “second-class citizens in every sense,” the answer is easy; she would start at the very beginning of “time” to reverse the “unfair” gender roles. In her new project, the multidisciplinary artist challenges male domination and toxic masculinity, within a fragmented historical context where fantasy meets rebellion. She does this by changing the narrative of ancient Mesopotamian mythology, fixating on the legendary battle where the supremely powerful dragon goddess of oceans Tiamat, was killed by the storm god Marduk. Over a period of six months, reporter Sahar Zand spends time with Nazanin at various locations in London to find out how she embarks on the ambitious project, and how it’s affected by the protests in Iran, which take place as she nears the end of her work. Through the mediums of textile design, interpretive dance, digital editing, collage, painting and sculpture, Nazanin rebels against social conventions by using her own body through the creative process.
By BBC World Service4.5
3232 ratings
What if you could rewrite a part of history? What would you change, and where would you start? For multidisciplinary artist Nazanin Moradi, who was brought up in the Islamic Republic of Iran where women are, “second-class citizens in every sense,” the answer is easy; she would start at the very beginning of “time” to reverse the “unfair” gender roles. In her new project, the multidisciplinary artist challenges male domination and toxic masculinity, within a fragmented historical context where fantasy meets rebellion. She does this by changing the narrative of ancient Mesopotamian mythology, fixating on the legendary battle where the supremely powerful dragon goddess of oceans Tiamat, was killed by the storm god Marduk. Over a period of six months, reporter Sahar Zand spends time with Nazanin at various locations in London to find out how she embarks on the ambitious project, and how it’s affected by the protests in Iran, which take place as she nears the end of her work. Through the mediums of textile design, interpretive dance, digital editing, collage, painting and sculpture, Nazanin rebels against social conventions by using her own body through the creative process.

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