Parvaneh Farid
BA(Hons),
Dip, PGCE(Cantab), MA
Attended Institutions:
University of Winchester, University of
Cambridge, Kent Institute of Art and Design, Anglia University, Winchester
School of Art, King Alfred’s College, Totton College
Course/programme title:
Under graduate study in
Art & Music at Anglia University & Under graduate study in Music at
King Alfred’s College
BA in Sculpture at
Post Graduate
Certificate in Women’s Studies at
MA in Graphics Fine Art
at KIAD
PGCE in Creative Art
& Design at
Main subjects:
Singing, Performance
Music Theory, Music Technology, Music Composition,
Sculpture
Women’s Studies
Photography, Graphics Fine Art, IT packages
Creative Art & Design
Skills and Training:
Vocal techniques (private lessons,
academic training and 3 years studying Jo Still’s), Regular stage work (singing
and acting), writing and presenting “Morning Thoughts” for the BBC South.
BTEC Diploma in Computer Graphic Design
RGN (General Registered Nurse)
Digital and Darkroom Photography
IT programmes: Photoshop, Illustrator,
Quark, Music technology: digital recording, editing, mastering using Cubase and
Musicator software.
Social & Community Experience: Chair
of CDAGM (Cultural Diversity Advisory Group to the Media), Voluntary Work at
the Samaritans.
Publication: Featured in Bury Free Press, The
Hampshire Chronicle, Pukaar magazine, Meridian TV news, Bahá’í Journal and
Payam Bahá’í.
The Programme of Research
Title of the proposed investigation:
“Translating the lines - An
installation project”
Aims of the project/investigation:
To explore the common features of the way in which lines behave in
Persian arts through the medium of interdisciplinary installation
(e.g.
calligraphy, painting, architecture, artefacts, music, dance and poetry)
Primary
aims:
To investigate, identify and illustrate the common origin of the visible
and invisible lines in various Persian art formats.
To create a series of installations/performances that express the common
appearance and expression of the visible and invisible lines through such
techniques as stylisation, metaphor and analogy.
Major
Sub-aims to MPhil and PhD
To
MPhil:
1.
To investigate the organic nature, appearance, and the style of progression of
the lines across the axis of time and space in Persian artistic
formats.
2.
To investigate the contributing factors to these developments and
manifestations in the Persian culture particularly in the area of gender and
identity.
3. To compare this with
other cultures - Far, Middle and Near East and European.
4. To investigate the
possibility of using contemporary performance practice as a means of presenting
my findings .
To PhD:
5.
To explore the potential of contemporary installation techniques for the
expression of line.
6.
To bring all of these findings and methods of expressions together into a single installation, using multiple media
Proposed
plan of work, including its
relationship to previous work, with references.
Please set out your research to date with key references, how the stated
aims will be achieved, the methodology, and the expected outcomes. Please do not exceed 750 words, excluding any
lists of references.
In
completing this section, and in planning the progression of your work, you
should be aware of the distinction between the levels of study and achievement
required for the MPhil and PhD stages of your research programme. For a fuller explanation of the difference
between MPhil and PhD, please refer to Paragraphs 5, 6, and 7 of the Code of
Practice for Research Candidature and Supervision.
The context for
this work is the field of art installation that is evolving out of my previous
works (Farid 1995a&b, 1997). I am a multimedia artist, singer, dancer and
performer, producing art films (Farid 1994a&b, 1995a, 2003-07), music
albums & audio books (Farid 1998, 1999, 2000a, 2000-03b, 2003-06a, 2006b,
2006c). These have provided me with an interdisciplinary insight, confidence
and ability to choose the most suitable medium that could be the best to
express a given theme.
I have also
worked with a master of Persian traditional music, Dr Djalal Akhbari (2000-3b),
(Karimi 1973), (Davami 2000); I have worked and performed with Persian
composers whose style is regarded as a bridge between eastern and western music
(Omran 1993-96), (Bashari 2006a). I have studied Jo Still’s methods and vocal
techniques (Still 1996
&1997a-b) for a period of three years with Gillyanne Kayes (Kayes 2000).
Methodology
My thesis uses the methodology of Practice as Research (Trimingham 2000)
To address
sub-aim 1 I will consult texts and images and authorities. My work will examine
in an intimate way Persian poetry and literature particularly poetry about
women and by women (Hatcher & Hemmat 2002), (Forough Farokhzad 1989 & 1992),
and also the formats that are used to put poetry forward to audiences, such as
calligraphy and painting/drawing (Farid 2003-07, Mishkin-Qalam 1992, Rassouli
1990-92). This will provide me with a bank of Persian styles and idea about
movement and music from which I can develop my own repertoire of movements and
gestures. This chapter of my thesis will include representations of these art
forms with accompanying reflective text.
To address sub
aim 2, I will concentrate on the literature concerning the past, present and
future regarding identity /gender / social / political position of people who
regard their lives as a journey through which their identities are formed. In
particular I shall draw on my personal life experiences as a Persian woman who
has found herself living in the west and has experienced how her social
identity (Butler 1990) and economical position is manipulated and challenged by
cultural expectations (Boyce-Tillman 2005) and how her artwork is responding to
the internal and external demands and cultural identity (Bahá’u’lláh 1986, Ruth
1981). One chapter of my thesis will
situate my work in this context.
To address sub
aim 3, I shall examine Persian, middle eastern and the western European styles
of dancing e.g. Raqs Sharqi (Moshkin-Ghalam 2003-07), and Eurythmy
(Rosselle1980 & Steiner 1984), music, art and architecture (Droste 2006). This will provide me with a bank of styles
and ideas about movement and music across eastern and western culture from
which I can develop my own multimedia repertoire.
To address sub
aim 4 I will attend performance events. I see my research project as a way of
developing my own original product(s) in the light of contemporary practice of
such performers and artists as Julia Bardsley (2007a), Eve Bonneau (2007b),
Sheila Ghelani (2007c), Trimingham 2000) and as well as drawing on such
experimental musicians as John Cage. I
will create a number of smaller installations with associated written
reflections taken from my journal and sketchbooks.
At PhD level, to address
sub aim 5, I shall be developing my skills in the area of Information
Technology to explore the potential of contemporary installation techniques. This will be documented in my journal.
To
explore sub aim 6,
I
will bring together my findings in a single installation of a complex interdisciplinary nature with
accompanying supporting text.
Supervision of Research Programme (please
attach CVs):
Director
of Studies:
June Boyce-Tillman, MA, PhD, LRAM. Professor of Applied Music,
Second
supervisor:
David Ferry ARE, Head of
Print-making, Winchester School of Art (former Head of Fine Art, Winchester
School of Art, Visiting Associate professor of Fine Art, Long Island University
New York. British realist cinema from
the 1960’s, photo montage, contemporary video art and contemporary artists’
books.
Advisor:
Dr
Olu Taiwo, Senior Lecturer in Performing Arts,
Research
Interests: Performance as research particularly installation art
Academic Referees
Dr
Richard Hickman
Prof.
Richard Davies
erdc\forms\forms 2005 Form 1 (January 2006)