S-052 Kamyaran, Iran

 1 Bełê fermo:
Well, go ahead please.
 2 [Bizanim] basî huner bikem. Ee, “hunermend û jiyanî xoș meḥał e, hunermed rencero ye-w jînî tał e”. Ewe mamosta Hêmin gutûyetî.
I [shall] talk about art. “The artist and good life are incompatible, the artist is weary and has a bitter life.” Master Hemin has said this.
 3 Be daxewe le Kurdistan, nek le Kurdistan, le hemû dinya, be șêweyekî profeșinał xełik çaw le huner naka.
Unfortunately in Kurdistan, not only in Kurdistan but in the whole world, people don’t look at art in a professional manner.
 4 Huner bes, wekû Ełmaniyekan ełên, wekû hobiyek wa ye, wekû sergermiyek wa ye.
Art is only, as the Germans say, a hobby, like a pastime.
 5 Yanê, bes layenî serqalkirdinî huner le ber çaw egrin.
That is, people only consider the entertainment side of art.
 6 Her weha, ew șite-j le Kurdistan, wekû komelgayekî cîhanî sêyem, zor tebîʕî ye ke, ew xełke wokû/ wokû/ wokû jok û wokû șitêk, wokû çemkêk e etwanin biṙon we b-ew pakijbûnewey derûnîye bigen çawî lê nakin.
Likewise, it is very common that in Kurdistan, as a third world society, people look at this thing like a joke, they do not look at it as a concept to strive for internal purification.
 7 Eme d/ le Kurdistan zor zeq e, bełam le șönekanî tir, bo nimûne le/ le/ le șare/, êste bo nimûne le rojhelatî Kurdistan, le Êran her we/ be tebʕ ke karîgerî le nawendî Îran weregrê, ew șite zor zeq e-w berbiław e.
This is very obvious in Kurdistan, but in other places, for instance, in the east of Kurdistan, in Iran, which is impacted by the centre of Iran, this is very obvious and widespread.
 8 Le parçikanî di-j/ dîkey Kurdistan-îș her b-ew șêwe ye, bełam minî hunermend bîr l-ewe ekimewe, aya min sereṙayî hemû ew astenganey ke le k/ le komelga berew rû min ebêtewe, aya min etwanim dîsan kar bikem.
It’s the same in other parts of Kurdistan, but as an artist, I think of how, despite all these obstacles that I am faced with in society, I am still able to do my work.
 9 Aya ewe bes x/ wekû hîn ełêt bes eh istimnayêkî fikrî niye ke min eykem ke huner min dirê/ bo ewey ke dirêje, yanî be şêwey dro le gel xom-a bikem ke dirêje be huner bidem we b-ew şêwey ke ełêm “hunermend û jiyanî xoş meḥał e, hunermend rencero ye-w jînî tał e”.
It is not, as you say, just an intellectual game that I am doing so that by lying to myself I continue with my art and in that way I say, “The artist and good life are irreconcilable, the artist is weary and has a bitter life.”
 10 Ew şite bo xom tewcîh bikemewe. Bo ax/ bo ebê min, çû zanim wokû wokû hunermendêkî profişinałî ke le Ûrûpa heye, min, yan le Emrîka heye, min/ ya li wiłatekî pêşkewtû heye min netwanim karî hunerî bikem.
I should explain this to myself. Why should I, just like a professional artist in Europe or in America or in a developed country, not be able to work for my art.
 11 Eme, eme layekî qeziyeke ye, layekîş ewe ye ke huner hemûman ezanîn ke berhemî modêṙnîte ye, berhemî şaristaniyet e, êste.
This is one side of the story, the other side is that, as we all know, art is the product of modernity, the product of civilization.
 12 Be şêweyekî tir biłên, wekû Birişt ełêt, Bertol Birişt [Bertolt Brecht] ełêt: “Her wiłatêk, eger to bitewê ẋenîbûnî kulturî timaşa key, biro çaw lê ke, bizane f/, bizane çon awiṙ le huner, be taybet le şano edatewe.” Tê egey?
In other words, as Brecht says, Bertolt Brecht, “If you want to see how wealthy a country is in culture, go and look at how it values the arts, in particular the theatre.” Do you understand?
 13 Ême wekû mene tûşî hînêk bûyn, tûşî tenaquzêk bûyîn, le/ le/ be taybet le çemkêk/ ruwanînî bo çemkêk be naw huner-a.
We are in a, in contradiction, especially [when it comes to the way we look at the concept of art.]
 14 Çunkû ême, ême îddiʕay eweman heye, bangeșey ewe ken ke komełgayî Kurdistan komełgaye ke ke çû zanim, beșeriyet yanî destpêkî beșeriyet le/ le/ le/ le/ çû zanim, be pêy têoriyekanî hendek le feylesûfekan, ewan ełên ke çû zanim, destpêkî șaristaniyet l-em nawçeyey ême-we bûwe.
Because we claim, we use propaganda that the Kurdish society is a society which, humanity/ the beginning of humanity/ that is according to the theories of some philosophers, they say that the beginning of civilization was in this region.
 15 Ê șaristaniyetek ke to îddeʕa dekey ke min ḥewt ḥezar sał, baș e, pêșînem heye we, eh, çû zanim, sereṙayî tewawî ew, ew șikestaney ke be dirêjayî mêjû wekû netewey Kurd, wekû takî Kurd berew rûyî ême bûwetewe, sereṙayî ewane ême bas le ẋenîbûnî ferhengî xoman [ekeyn].
Well the civilization that you are claiming has seven thousand years of history, despite all the defeats that throughout the Kurdish history the Kurdish nation and the Kurdish individual has been exposed to, despite all these we talk about the richness of our culture.
 16 Baș e, bas le ẋenîbûnî ferhengî xoman ekeyn, bełam ferhengêk ke, bełam ferhengêk ke, çû zanim, a bew șêwe awiṙ le hunerekey bidatewe, ferhengêk ke le/ bew șêwe [xxx bûbêt] le naw, le naw hînekan-ya, ferhengêk ke takî xoy wekû wekû ferdî komełga/ wekû ferdêkî komelga-w b-ew șêwe bar hanî bêt ke hîç girîngayetîyek nedat be çemkêk be nawî huner, eme beșek, yanî beșêk e l-ew tenaquzbûyîyey ke wutim.
Well, we talk about our cultural richness, but a culture which looks at art in this way, a culture which (…) [promotes] its individuals, the individuals of the society, in this way that it doesn’t attribute any value to the concept of art, this is then part of that contradiction I mentioned.
 17 Le layekî tirîșewe ême ebînîn, ełên ke huner berhemî komełgayêkî modêṙn e. We yane be șêweyekî tir etwanîn biłêyn, mindałî be komełgayêkî modêṙn e. Yane berhemî șaristaniyet e.
On the other hand we see that it’s said that the art is the product of modern society. That is, we can say in another way that it is the child of modern society. That is it is the product of the civilization.
 18 Bełam eger ew șaristaniyetey ke ême le wehma basî lê ekeyn, ew șaristaniyetey ke ême le wehma basî lê ekeyn, ke xoman bo rewayî-bexșîn be șunas û be nasnamey xoman niyeyn, ke, eh, çû zanim, pêșîneyêkî ḥewt ḥezar sałe bo xoman terîf ekeyn, bełam l-em lawe-we ew layene hoviyetiyaney ke le kultûra reng edatewe hîç hînekî pê nakeyn, hîç tewecuhekî pê nakeyn.
However, we gratuitiously talk about that civilization, we mention it in order to legitimize our identity, well, that we have attributed a seven thousand year old history to ourselves, but on the other hand we do not attribute anything, any value, to those aspects of identity that appear in the culture.
 19 Zor calib e, yanî eslen serinc nadeyne ew şitane.
It is interesting, that is we don’t pay any attention to such things at all.
 20 Hunermend bo xoy berhem ehêne, xo-ş-î pê/ berdengî hunerekey xoy-etî.
The artist himself/herself produces and he/she represents his/her art.
 21 Bełam to le komełgayekî modêṙn-a ke çaw lê ekey, hunermend, wekû tewawî hînek, pîşekanî tir, wekû tewawî pîşekanî tir, le ser pîşekey xoy jiyan ekat. Be şêweyekî ke biłên “profişinał”.        
But when you look at a modern society, the artist, like any other profession, like all other professions, lives on his/her art. In other words “professional”.
 22 Bełam be daxewe layî ême eslen ewe niye, tenanet to bo huner ebê le gîrfanî xo-ş-it maye dabinêy. Tê egey? Ewe zo/ zor/ zor hîn e.
But unfortunately for us there is no such thing at all, you are even supposed to put capital in from your own pocket. You follow? This is very much how it is.
 23 Ca bo ye, çû zanim, ewey ke eme ew/ ew istimna-fikriye ekeyn, baş e, we bo katekî zemenî zor piçûk yenî xoman b-ewe dilxoşî edeynewe, ke hunermend bo ewe durust kirawe ke rencero bê.
That is why, how shall I say, that intellectual play that we are going for, and we please ourselves for a very brief period of time, that the artist is made to suffer.
 24 Na, eslen wa niye. Pîşe, êste huner-îş wekû pîşeyek eger çaw lê bikeyn, bo ewe ye ke le xizmetî asayîşî tak-a bê, le xizmetî asayîşî takî hunermend da bê.
No, it is not so at all. The profession, now if we also see art as a profession, is made to be in the service of the security of the individual, in the service of the security of the individual artist.
 25 Bełam be daxewe, hîç le xizmet-ya niye to le xizmet-ya yî.
However unfortunately there is nothing in your service, you are in its service.
 26 Yanî to bote emane boy be koyleyek le/ le Kurdistan-a, boy be koyleyek, bo/ le/ le/ koyleyî berheme huneriyekey xot.    
That is you have become like, a slave in Kurdistan, you have become the slave of your own art work.
 27 Le ḥałe ke na, ebê/ ebê berheme huneriyeke le xizmet to-a bê.
But in reality the art work should be in your service.
 28 Eger berheme huneriyeket le xizmetî to-a ebêt, we to nebî be koyle, b-ew mana ke, b-ew mana ke to wekû kirêkarek berdewam neçewsêy to le hunereket-a. Tê egêy?
If your art work serves you, and that you do not become a slave, then you will not be continously exploited like a worker through your art. You follow?
 29 Yane eger/ eger be şêweyekî tir çawî lê ekeyn, huner le komełgay eme be şêweyekî dagîrkarane, narastewxo yêt hunermend dagîr ekat, we hîç şitek-îj, hîç destkewtekî bo hunermend niye. Ḥałî ebî?
So if we look at it in other ways, in our society art, just like invaders, indirectly invades the artist, and it does not have any profit for the artist. You follow?
 30 Ewe ye ke ême, çû zanim, e zortir naçar în beha be layenî pratîk bideyn layenî teorîk le bîr beynewe, tê egey?
So, how shall we say, we are more obliged to consider the practical sides and forget about the theoretical sides, you get it?
 31 Hîn ełêt Leonardo Dawinçi (Leonard de Vinci) pêm wa bê, ełê “way be ḥalî ew rojey ke hînekan, praktîk û têorî be yekewe neṙone pêşe, daneyêkyan le daneyêkîtiryan bikewête pêşewe”.
As Leonardo di Vinci says, I think, he says, “how unfortunate is the day that the practical and theoretical sides are separated from each other, that one goes ahead of the other.”
 32 Lewê ye ke tenaquz durist ebê, yanî ke çaw lê ekeyn, wekû çon ełê, tenaquz der tenaquz, tê egey, her ewe ye ke ême be dirêjayî em hemû sałe ke bas le ferheng û kultûrî ẋenîy xoman ekeyn, bełam be/ be/ be enazê qamkekanî dest ême le zemîney huner-a be her hemûyewe ełêm, ḥałî ebî, ême kitêbman niye.
The contradiction occurs at that point, that is when we look at it, we see that we have been talking about our cultural richness for so many years, but we do not have so many books on art, in all its subdomains, as they can be counted on the fingers of a hand.