Acclaimed tar and setar virtuoso and composer Hossein Alizadeh loves breaking the taboo when it comes to bringing music instruments in the open.
In an interview with ISNA, Alizadeh expressed his views about issues and events regarding music in the country.
Street musicians were the first on the agenda of the interviewer. “I think, it’s good for a city to have them playing, irrespective of their motive and which genre they play…I believe people need to raise their spirits in some form.”
The legal status of buskers, though, is tentative. There have been numerous occasions where their performances were stopped by law enforcement officers or by municipal agents.
In most cases the musicians’ instruments were seized. To get back their instruments, artists would be forced to make a pledge in writing that they will not perform in the street again.
On whether the buskers should get a permit or not, Alizadeh said, “All metro buskers in Paris have permits. But that has nothing to do with “guidance” (referring to the permits issued in Ministry of Culture and Islamic Guidance in Iran). They (in Paris) are eligible for a permit if the quality of their music is over and above a certain degree.”
“I favor breaking the taboo against bringing musical instruments in the street. Especially when the TV (state-owned Islamic Republic of Iran Broadcasting) refuses to show music instruments,” he added.
Removing the Trust Deficit
The popular musician says, “I hope officials will someday trust the people. Those in charge think that as soon as they ease restrictions the people will be tempted towards bad things. This trust deficit, though, can be bilateral with destructive effects. I personally shake hands with everyone who sings or plays music in the street.”
Asked whether or not municipalities and/or the Culture Ministry should manage street music? Alizadeh said, “These organizations should do their job, that is, serve people. This too is one of their duties.”
Alizadeh is among the jurors of the 12th National Festival of Youth Music underway at Niavaran Cultural Center and Roudaki Hall in Tehran.
Since the 7th edition of the festival, musician, theoretician and researcher Hooman As’adi has been the secretary of the annual event.
Alizadeh commended As’adi for his efforts and said “He invests a lot of time and energy into the festival. He can be a good example for state officials and teach them how devotion and expertise can accomplish goals.”
“The Festival of Youth Music is anxious about losing valuable talent,” Alizadeh said, referring to talents that could be tempted to shift only towards the kind of music that has a larger audience and can make them rich. He pointed out that there is a critical line in artistic success, which can be ignored by an artist when fame and money come around, changing everything in their wake.
“One who can play an instrument is not necessarily a real artist. Performance skill is not the only criterion of the festival (Youth Music). It is the culture that makes the art genuine.”
