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‫ﺟﻤﻌﻪ ‪ 2‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 8‬ﺍﻛﺘﺒﺮ ‪2015‬‬

‫ﻣﺎ ﻫﻨﻮﺯ ﻫﻢ ﺍﻭ ﺭﺍ ﻧﻤﻰﺷﻨﺎﺳﻴﻢ‪ .‬ﻭ ﻣﻦ ﻛﻪ ﺳﻴﺮﻭﺱ‬         ‫ﺍﻳﻦ ﺳﻪ ﮔﻴﺘﺎﺭﻳﺴﺖ‪:‬‬                                                                                                                                ‫ﺁﺯﺍﺩﻩ ﺳﻠﻴﻤﺎﻧﻰ‪ -‬ﺍﻧﻘﻼﺏ ‪ 1357‬ﺍﻳﺮﺍﻥ‪ ،‬ﻧﻪ‬
‫ﻣﻠﻜﻮﺗﻰﺭﺍﺑﻪﻋﻨﻮﺍﻥﺷﺨﺼﻴﺖﺗﺒﻌﻴﺪ ِﻯﺳﻴﺎﺳﻰ‬               ‫ﺧﺎﺭﺍ‪ ،‬ﺑﻴﺮﻣﺎﻥ‪ ،‬ﻣﻠﻜﻮﺗﻰ‬                                                                                                                              ‫ﺗﻨﻬﺎ ﺳﺎﺧﺘﺎﺭ ﻗﺪﺭﺕ‪ ،‬ﻛﻪ ﻫﻤﻪ ﺷﺌﻮﻥ ﺯﻧﺪﮔﻰ‬
‫ﻭﺭﺳﺎﻧﻪﺍﻯﺷﻨﺎﺧﺘﻪﺑﻮﺩﻡ‪،‬ﺣﺎﻻﺩﺭﺍﻳﻨﺘﺮﻧﺖﺁﻟﻤﺎﻧﻰ‬                                                                                                                                                             ‫ﺧﺼﻮﺻﻰ ﻭ ﻋﻤﻮﻣﻰ‪ ،‬ﺣﻴﺎﺕ ﻓﺮﺩﻯ ﻭ ﺟﻤﻌﻰ ﻣﺎ‬
‫ﻭ ﻓﺎﺭﺳﻰ ﺯﺑﺎﻥ ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗ ِﻰ‬           ‫ﻭﻟﻒ ﺑﻴﺮﻣﺎﻥ ‪ Wolf Biermann‬ﻣﺘﻮﻟﺪ‬                                      ‫ﭘﻨﺞ ﻫﺰﺍﺭ ﺗﻦﺍﻳﻢ ﺍﻳﻨﺠﺎ‬        ‫ﺑﻮﺩﻳﻢ‪ .‬ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩ ﺍﻳﺮﺍﻧﻰ ﻣﺘﻮﺳﻂﺍﻟﺤﺎﻝ ﻭ ﺑﺪﻭﻥ‬         ‫ﺍﻳﺮﺍﻧﻴﺎﻥ ﺭﺍ ﺩﺭﻧﻮﺭﺩﻳﺪ ﻭ ﺑﻪ ﺩﮔﺮﮔﻮﻧﻰ ﺩﭼﺎﺭ ﻛﺮﺩ‪.‬‬
‫ﮔﻴﺘﺎﺭﻳﺴﺖ ﺑﺮﺁﻣﺪﻡ ﻭ ﺁﻧﭽﻪ ﺑﻪ ﻣﺮﻭﺭ ﻳﺎﻓﺘﻢ ﺗﺼﻮﻳﺮ‬      ‫‪ ،1936‬ﮔﻴﺘﺎﺭﻳﺴﺖ ﻭ ﺗﺮﺍﻧﻪﺳﺮﺍﻯ ﺑﺰﺭگ ﺁﻟﻤﺎﻥ‬                                                           ‫ﭘﻴﺸﻴﻨﻪ ﺭﻭﺷﻨﻔﻜﺮﻯ ﻳﺎ ﻣﺒﺎﺭﺯﺍﺗﻰ ﺍﻧﺘﻈﺎﺭﻯ ﻫﻢ‬            ‫ﺑﺎ ﺗﺎﺛﻴﺮﺍﺕ ﺍﻧﻘﻼﺏ ﻓﺮﻫﻨﮕﻰ ﻭ ﺳﺎﻧﺴﻮﺭ ﺑﺎ‬
‫ﻓﺎﺧﺮ ﻳﻚ ﻣﻮﺳﻴﻘﻴﺪﺍﻥ ﺟﻬﺎﻧﻰ ﻭ ﮔﻴﺘﺎﺭﻳﺴﺖ ﻭ‬            ‫ﺭﺍ ﭼﻨﺪ ﺳﺎﻟﻰﺳﺖ ﻣﻰﺷﻨﺎﺳﻢ‪ .‬ﺍﺯ ﻫﻤﺎﻥ ﺯﻣﺎﻥ‬                                   ‫ﺩﺭ ﺍﻳﻦ ﮔﻮﺷﻪ ﺷﻬﺮ‬           ‫ﺩﺭ ﺍﻧﺘﻘﺎﻝ ﺩﺍﺩﻩﻫﺎﻯ ﻣﻤﻨﻮﻋﻪ ﺗﺎﺭﻳﺨﻰ ﺑﻪ ﻓﺮﺯﻧﺪﺍﻥ‬        ‫ﮔﺬﺷﺖ ﺑﻴﺶ ﺍﺯ ﺳﻪ ﺩﻫﻪ ﻫﻤﭽﻨﺎﻥ ﻣﻮﺍﺟﻪ ﻭ‬
‫ﺁﻫﻨﮕﺴﺎﺯﻯ ﺑﺰﺭگ ﺑﻮﺩ ﻛﻪ ﺳﺎﻝﻫﺎ ﺷﺎﻧﻪ ﺑﻪ ﺷﺎﻧﻪ‬         ‫ﻛﻪ ﻣﺎﻧﻰ ﻣﺎﺗﺮ ‪ ،Mani Matter‬ﺗﺮﺍﻧﻪﺳﺮﺍ ﻭ‬                                                            ‫ﻧﻤﻰﺭﻓﺖ‪ .‬ﭘﺪﺭ ﻭ ﻣﺎﺩﺭﻫﺎﻯ ﻣﺎ ﺑﻪ ﺗﺮﺱ ﻭ ﺧﻔﻘﺎﻥ‬           ‫ﺩﺳﺖ ﺑﻪ ﮔﺮﻳﺒﺎﻧﻴﻢ‪ .‬ﺑﺎ ﻭﻗﻮﻉ ﺍﻧﻘﻼﺏ ﺑﺴﻴﺎﺭﻯ‬
‫ﺑﺰﺭﮔﺎﻥ ﻣﻮﺳﻴﻘﻰ ﻛﻼﺳﻴﻚ ﺟﻬﺎﻥ ﺑﻪ ﺧﻠﻖ ﺍﺛﺮ‬             ‫ﮔﻴﺘﺎﺭﻳﺴﺖ ﻓﻘﻴﺪ ﺳﻮﻳﻴﺴﻰ ﺭﺍ ﺷﻨﺎﺧﺘﻢ‪ .‬ﺑﻴﺮﻣﺎﻥ‬                 ‫ﭼﻪ ﺩﺷﻮﺍﺭ ﺍﺳﺖ ﺳﺮﻭﺩﻯ ﺳﺮ ﻛﺮﺩﻥ‬               ‫ﺩﭼﺎﺭ ﺑﻮﺩﻧﺪ‪ .‬ﺯﻣﺎﻧﻰ ﻛﻪ ﻣﺎ ﻫﻨﻮﺯ ﺑﺴﻴﺎﺭ ﻛﻮﺩﻙ‬           ‫ﺍﺯ ﻣﺮﺍﻛﺰ ﻓﺮﻫﻨﮕﻰ ﻭ ﻫﻨﺮﻯ ﺑﻪ ﺣﺎﻟﺖ ﺗﻌﻠﻴﻖ‬
‫ﭘﺮﺩﺍﺧﺘﻪ ﺑﻮﺩ‪ ،‬ﺁﺛﺎﺭﻯ ﻛﻪ ﺑﺪﻭﻥ ﺍﺳﺘﺜﻨﺎ ﻣﺎﻫﻴﺖ‬         ‫ﺗﺮﺍﻧﻪﺍﻯ ﺩﺭ ﻓﻘﺪﺍﻥ ﺍﻭ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﻭ ﻣﻦ ﺩﺭ ﺍﺟﺮﺍﻳﻰ‬                                                   ‫ﺑﻮﺩﻳﻢ‪ ،‬ﺁﻧﻬﺎ ﺍﻋﺪﺍﻡ ﻭ ﺍﺭﻋﺎﺏ ﺑﺴﻴﺎﺭ ﺩﻳﺪﻩ ﻭ ﺷﻨﻴﺪﻩ‬      ‫ﺩﺭﺁﻣﺪﻧﺪ‪ ،‬ﺍﺭﻛﺴﺘﺮ ﺍﭘﺮﺍﻯ ﺗﻬﺮﺍﻥ ﺑﺮﺍﻯ ﻫﻤﻴﺸﻪ‬
‫ﻣﺘﻌﻬﺪﺍﻧﻪ ﻭ ﺑﺸﺮﺩﻭﺳﺘﺎﻧﻪ ﺩﺍﺷﺘﻪﺍﻧﺪ‪ ،‬ﺁﻥ ﻫﻢ ﺩﺭ‬                                                                ‫ﺁﻧﮕﺎﻩ ﻛﻪ ﻭﺣﺸﺖ ﺭﺍ ﺁﻭﺍﺯ ﻣﻰﺧﻮﺍﻧﻴﻢ‬          ‫ﺑﻮﺩﻧﺪ‪ .‬ﺩﺧﺘﺮﺍﻥ ﻭ ﭘﺴﺮﺍﻥ ﻧﻮﺟﻮﺍﻥ ﺑﺴﻴﺎﺭﻯ ﺭﺍ ﭘﻴﺶ‬        ‫ﺗﻌﻄﻴﻞ ﺷﺪ‪ ،‬ﺍﺭﻛﺴﺘﺮ ﺳﻤﻔﻮﻧﻴﻚ ﻭ ﺍﺭﻛﺴﺘﺮ ﻣﻠﻰ‬
‫ﺩﻭ ﺩﻫﻪﺍﻯ ﻛﻪ ﺩﻭﺭﺍﻥ ﺍﺧﺘﻨﺎﻕ ﻭ ﻛﺸﺘﺎﺭ ﺯﻧﺪﺍﻧﻴﺎﻥ‬                 ‫ﺯﻧﺪﻩ ﺩﺭ ﺯﻭﺭﻳﺦ ﺷﻨﻴﺪﻡ ﺑﺎ ﺍﻳﻦ ﻣﺤﺘﻮﺍ‪:‬‬                                                     ‫ﭼﺸﻢ ﺁﻧﻬﺎ ﺑﺮﺩﻩ ﻭ ﻫﺮﮔﺰ ﺑﺎﺯ ﻧﻴﺎﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﭘﺪﺭﺍﻥ‬     ‫ﭘﺲ ﺍﺯ ﭼﻨﺪﻯ ﺑﺎ ﺗﻌﻮﻳﺾ ﻣﺪﻳﺮﻳﺖ ﺑﻪ ﻫﺪﻑ‬
‫ﺳﻴﺎﺳﻰ ﺩﺭ ﻏﻴﺎﺏ ﺍﻓﻜﺎﺭ ﻋﻤﻮﻣﻰﺩﺭ ﻛﺸﻮﺭﻣﺎﻥ ﺑﻮﺩ‪.‬‬                                                                         ‫ﻭﺣﺸﺖ ﺁﻧﻜﻪ ﻣﻦ ﺯﻧﺪﻩﺍﻡ‬            ‫ﻭ ﻣﺎﺩﺭﺍﻥ ﻣﺎ ﺗﺮﺟﻴﺢ ﻣﻰﺩﺍﺩﻧﺪ ﻛﻪ ﻣﺎ ﺩﺭ ﻧﺪﺍﻧﺴﺘﻦ‬        ‫ﺍﺟﺮﺍﻯ ﺳﺮﻭﺩﻫﺎﻯ ﺍﻧﻘﻼﺑﻰ ﻭ ﺧﺪﻣﺖ ﺑﻪ ﺍﻫﺪﺍﻑ‬
‫ﺩﺭﺳﺎﻝﻫﺎﻳﻰﻛﻪﻣﺎﻭﻳﻜﺘﻮﺭﺧﺎﺭﺍﻯﺁﻣﺮﻳﻜﺎﻯﻻﺗﻴﻦ‬                             ‫ﺷﺎﻋﺮﻯ ﻛﻪ ﺿﺪﺟﻨﮓ ﺑﻮﺩ‬                                                              ‫ﺧﻮﺩ ﺩﺭ ﺍﻣﻨﻴﺖ ﺑﺎﺷﻴﻢ‪ .‬ﺑﻰ ﺣﺎﺻﻠ ِﻰ ﻓﺪﺍ ﻛﺮﺩﻥ ﺟﺎﻥ‬       ‫ﺍﻧﻘﻼﺑﻴﻮﻥ ﻣﺼﻮﻥ ﻣﺎﻧﺪﻧﺪ ﺗﺎ ﺳﻪ ﺩﻫﻪ ﺑﻌﺪ ﺩﺭ ﺯﻣﺎﻥ‬
‫ﺭﺍ ﻣﻰﺷﻨﺎﺧﺘﻴﻢ ﻭ ﮔﻮﺵ ﻣﻰﻛﺮﺩﻳﻢ‪ .‬ﺁﻟﺒﻮﻡ »ﻣﺎﻫﻰ‬                                                                         ‫ﻭﺣﺸﺖ ﺁﻧﻜﻪ ﻣﻰﻣﻴﺮﻡ ﻣﻦ‬             ‫ﺩﺭ ﺭﺍﻩ ﺁﺭﻣﺎﻥ ﻭ ﺁﺯﺍﺩﻯ ﺭﺍ ﺑﻪ ﭼﺸﻢ ﺧﻮﺩ ﺩﻳﺪﻩ ﺑﻮﺩﻧﺪ‬     ‫ﺍﺣﻤﺪﻯ ﻧﮋﺍﺩ ﺑﻪ ﻣﺪﺕ ﺩﻭ ﺳﺎﻝ ﺗﻌﻄﻴﻞ ﻭ ﺑﻌﺪ ﺑﺎ‬
‫ﺳﻴﺎﻩ ﻛﻮﭼﻮﻟﻮ«ﻯ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﺭﺍ ﺧﻮﺩ ﺍﻭ‬                               ‫ﺧﻮﺩ ﻗﺮﺑﺎﻧﻰ ﺟﻨﮓ ﺷﺪ‬                                                            ‫ﻭ ﻫﺮﮔﻮﻧﻪ ﺑﺎﻭﺭ ﺑﻪ ﻣﺒﺎﺭﺯﻩ ﺩﺭ ﺭﺍﻩ ﻫﺪﻑﻫﺎﻯ ﻭﺍﻻ ﺭﺍ‬
‫ﻫﻔﺘﻪﻫﺎ ﭘﻴﺶ ﺑﺎ ﻣﻬﺮ ﻭ ﻟﻄﻒ ﺩﺭ ﺟﺮﻳﺎﻥ ﺳﻔﺮﻯ‬                                                                      ‫ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺍﻧﺒﻮﻩ ﺍﻳﻦ ﻫﻤﻪ ﺩﻳﺪﻥ‬         ‫ﺍﺯ ﺩﺳﺖ ﺩﺍﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﮔﺎﻫﻰ ﻛﺘﺎﺏ ﺭﻧﮓ ﻭ ﺭﻭ ﺭﻓﺘﻪ‬                     ‫ﻛﻠﻴﺪ ﺭﻭﺣﺎﻧﻰ ﺑﺎﺯﮔﺸﺎﻳﻰ ﺷﻮﻧﺪ‪.‬‬
‫ﺑﻪ ﻛﻠﻦ ﺑﻪ ﻣﻦ ﻫﺪﻳﻪ ﺩﺍﺩ‪ .‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺷﻨﻮﻧﺪﻩ ﻧﺎﺁﺷﻨﺎ‬            ‫ﻗﺮﺑﺎﻧﻰ ﺟﻨﮓ ﻣﺎﺷﻴﻦﻫﺎ ﺩﺭ ﺍﺗﻮﺑﺎﻥ!‬                                                          ‫ﻳﺎ ﻧﻮﺍﺭ ﻛﺎﺳﺘﻰ ﻫﺰﺍﺭ ﺑﺎﺭ ﺗﻜﺜﻴﺮ ﺷﺪﻩ ﻭ ﺧﺶﺩﺍﺭﻯ‬
‫ﺑﻪ ﺩﺍﻧﺶ ﻣﻮﺳﻴﻘﻰ‪ ،‬ﺑﻪ ﮔﻮﻧﻪﺍﻯ ﻏﺮﻳﺰﻯ ﻗﻄﻌﺎﺕ ﺁﻥ‬                                                           ‫ﻭ ﺩﺭ ﻣﻴﺎﻥ ﺍﻳﻦ ﻟﺤﻈﻪﻫﺎﻯ ﺑﻰﺷﻤﺎﺭ ﺍﺑﺪﻳﺖ‬           ‫ﺍﺯ ﺩﺧﺘﺮﻋﻤﻮﻫﺎ ﻭ ﭘﺴﺮﻋﻤﻮﻫﺎﻯ ﻣﺴﻦ ﺗﺮ ﺩﺭﻳﺎﻓﺖ‬                                        ‫ﻧﺴﻞﻣﺎ‬
‫ﺭﺍ ﻓﻮﻕﺍﻟﻌﺎﺩﻩ ﻗﺪﺭﺗﻤﻨﺪ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﻳﺎﻓﺘﻢ‪ .‬ﻓﺮﺍﺯ ﻭ‬  ‫ﻭﻟﻒﺑﻴﺮﻣﺎﻥﺗﺮﺍﻧﻪﺳﺮﺍﻳﻰﺟﻬﺎﻧﻰﺳﺖ‪،‬ﺑﺎﺯﻧﺪﮔﻴﻨﺎﻣﻪ‬                                                          ‫ﻣﻰﻛﺮﺩﻯ ﻛﻪ ﺩﺭﮔﻴﺮ ﻭ ﻣﺴﺤﻮﺭﺕ ﻣﻰﻛﺮﺩ‪ .‬ﻛﺘﺎﺏﻫﺎ‬            ‫ﻧﻈﺮﺁﻳﺖﺍﷲﺧﻤﻴﻨﻰﺩﺭﺑﺎﺭﻩﻣﻮﺳﻴﻘﻰﺭﻭﺷﻦﺑﻮﺩ‪:‬‬
‫ﻓﺮﻭﺩﻫﺎﻯ ﻣﻮﺳﻴﻘﻰ ﺍﻭ ﺗﻮ ﺭﺍ ﺑﻪ ﺍﺧﺘﻴﺎﺭ ﻣﻰﮔﻴﺮﺩ ﻭ ﺑﻪ‬   ‫ﭘﺮ ﻓﺮﺍﺯ ﻭ ﻧﺸﻴﺐ ﻭ ﭘﺮ ﻛﻨﺶ ﻭ ﺗﺄﺛﻴﺮ ﻳﻚ ﻫﻨﺮﻣﻨﺪ‬           ‫ﻛﻪ ﺩﺭ ﺁﻥ ﺳﻜﻮﺕ ﻫﺴﺖ ﻭ ﻓﺮﻳﺎﺩ ﻫﺴﺖ‬               ‫ﻭ ﻧﻮﺍﺭﻫﺎﻳﻰ ﻛﻪ ﺑﻌﺪﻫﺎ ﻣﻰﻓﻬﻤﻴﺪﻯ ﻣﻤﻨﻮﻋﻪﺍﻧﺪ‪،‬‬           ‫»ﺍﮔﺮﻣﻰﺧﻮﺍﻫﻴﺪﻣﻤﻠﻜﺖﺗﺎﻥﻳﻚﻣﻤﻠﻜﺖﺻﺤﻴﺢ‬
‫ﺟﻬﺎﻥﻫﺎﻯ ﺣﺴﻰ ﻋﻤﻴﻖ ﻭ ﻓﺸﺮﺩﻩ ﻣﻰﺑﺮﺩ‪ .‬ﺑﻌﺪﺗﺮ‬           ‫ﭼﭗ ﺍﺭﻭﭘﺎﻳﻰ‪ .‬ﻫﻨﺮﻣﻨﺪ ﻭ ﺍﻧﺴﺎﻧﻰ ﻣﺘﻌﻬﺪ‪ ،‬ﻳﻚ‬                                                           ‫ﻣﻤﻨﻮﻋﻪﺑﻮﺩﻩﺍﻧﺪ‪.‬ﺍﺯﻋﻤﻮﺯﺍﺩﻩﻫﺎﻳﻰﻛﻪﺑﻌﺪﻫﺎﺩﺍﻧﺴﺘﻰ‬          ‫ﺑﺎﺷﺪﻣﻮﺳﻴﻘﻰﺭﺍﺣﺬﻑﻛﻨﻴﺪ‪،‬ﻧﺘﺮﺳﻴﺪﻛﻪﺍﺯﺍﻳﻨﻜﻪ‬
‫ﺧﻮﺍﻧﺪﻡ ﻛﻪ »ﻣﺎﻫﻰ ﺳﻴﺎﻩ ﻛﻮﭼﻮﻟﻮ« ﺭﺍ ﺳﻴﺮﻭﺱ‬           ‫ﺳﻮﺳﻴﺎﻟﻴﺴﺖ ﻣﻌﺘﻘﺪ ﺍﻣﺎ ﻣﻨﺘﻘﺪ‪ .‬ﺍﻭ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩﺍﻯ‬               ‫ﻟﺤﻈﻪ ﭘﺎﻳﺎﻥ ﺁﻭﺍﺯﻡ ﺭﻗﻢ ﻣﻰﺧﻮﺭﺩ‪.‬‬                                                             ‫ﺑﻪ ﺷﻤﺎ ﺑﮕﻮﻳﻨﺪ ﻛﻬﻨﻪﭘﺮﺳﺖ ﺷﺪﻩﺍﻳﺪ‪ .‬ﺑﺎﺷﺪ ﻣﺎ‬
‫ﻣﻠﻜﻮﺗﻰ ﺑﻪ ﺩﻋﻮﺕ ﮔﺮﻭﻩ ﺗﺌﺎﺗﺮ ﺳﺎﻳﻪ ﺍﻯ ﻫﺎﻧﺲ‬          ‫ﻳﻬﻮﺩﻯ ﻭ ﻛﻤﻮﻧﻴﺴﺖ ﺩﺭﻫﺎﻣﺒﻮﺭگ ﺑﻮﺩ‪ ،‬ﭘﺪﺭﺵ‬             ‫ﺻﺪﺍﻯ ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ ﺍﺯ ﻭﺭﺍﻯ ﻗﺎﺭﻩﻫﺎ ﻭ ﺯﻣﺎﻥﻫﺎ‬            ‫ﺍﺯ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺟﺎﻥ ﺑﻪ ﺩﺭ ﺑﺮﺩﻩ ﺍﻧﻘﻼﺑﻰ ﺑﻮﺩﻩﺍﻧﺪ‪.‬‬    ‫ﻛﻬﻨﻪﭘﺮﺳﺘﻴﻢ‪،‬ﻫﻤﻪﺍﻳﻦﻛﻠﻤﺎﺕﻧﻘﺸﻪﺍﺳﺖﺑﺮﺍﻯ‬
‫ﻭﻭﻛﺲ‪ Hans Wuchs‬ﺳﺎﺧﺘﻪ ﺑﻮﺩ ﺑﺮ ﺭﻭﻯ ﺍﺛﺮ‬             ‫ﺩﺭ ‪ 1943‬ﺩﺭ ﺍﺭﺩﻭﮔﺎﻩ ﺁﺷﻮﻳﺘﺲ ﺑﻪ ﻗﺘﻞ ﺭﺳﻴﺪ ﻭ‬         ‫ﻭ ﺍﻧﻘﻼﺏﻫﺎ ﻭ ﺍﺳﺘﺒﺪﺍﺩﻫﺎ ﺑﻪ ﮔﻮﺵ ﻣﺎ ﺩﻫﻪ ‪50‬‬                                                            ‫ﺍﻳﻨﻜﻪ ﺷﻤﺎ ﺭﺍ ﺍﺯ ﻛﺎﺭ ﺟﺪﻯ ﻋﻘﺐ ﺑﻴﻨﺪﺍﺯﻧﺪ‪ .‬ﺍﻳﻨﻜﻪ‬
‫ﻣﻌﺮﻭﻑ ﺻﻤﺪ ﺑﻬﺮﻧﮕﻰ ﺑﺎ ﻫﻤﻴﻦ ﻧﺎﻡ ﻛﻪ ﺑﻪ ﺯﺑﺎﻥ‬         ‫ﺧﻮﺩﺵ ﺩﺭ ﺗﺎﺑﺴﺘﺎﻥ ﻫﻤﺎﻥ ﺳﺎﻝ ﺍﺯ ﺑﻤﺒﺎﺭﺍﻥ ﻫﻮﺍﻳﻰ‬       ‫ﻭ ‪60‬ﺍﻯﻫﺎ ﺭﺳﻴﺪ‪ .‬ﺻﺪﺍﻯ ﺑﺴﻴﺎﺭﻯ ﭼﻴﺰﻫﺎ ﺑﻪ‬                                      ‫ﻭﻳﻜﺘﻮﺭﺧﺎﺭﺍ‬               ‫ﻣﻰﮔﻮﻳﻨﺪ ﺍﮔﺮ ﭼﻨﺎﻧﭽﻪ ﻣﻮﺳﻴﻘﻰ ﺩﺭ ﺭﺍﺩﻳﻮ ﻧﺒﺎﺷﺪ‬
‫ﺁﻟﻤﺎﻧﻰ ﺑﺮﺍﻯ ﻛﻮﺩﻛﺎﻥ ﻣﺪﺍﺭﺱ ﺳﺮﺍﺳﺮ ﺁﻟﻤﺎﻥ ﺍﺟﺮﺍ‬       ‫ﺷﻬﺮ ﻫﺎﻣﺒﻮﺭگ ﺗﻨﻬﺎ ﺑﻪ ﺍﻳﻦ ﻭﺍﺳﻄﻪ ﺟﺎﻥ ﺳﺎﻟﻢ ﺑﻪ ﺩﺭ‬    ‫ﻣﺎ ﻧﺮﺳﻴﺪ‪ ،‬ﺍﻣﺎ ﺻﺪﺍﻯ ﮔﻴﺘﺎﺭ ﻭ »ﻛﺒﻮﺗﺮﺍﻥ ﺗﺮﺍﻧﻪ«‬      ‫ﻫﻨﻮﺯ ﺣﺲ ﻋﺠﻴﺐ ﭘﺮﺷﻮﺭﻯ ﻛﻪ ﺻﺪﺍﻯ ﮔﻴﺘﺎﺭ ﻭ‬               ‫ﺁﻧﻬﺎ ﻣﻰﺭﻭﻧﺪ ﺍﺯ ﺟﺎﻯ ﺩﻳﮕﺮ ﻣﻮﺳﻴﻘﻰ ﻣﻰﮔﻴﺮﻧﺪ‬
‫ﺷﺪ‪.‬ﻣﻮﺯﻳﻜﺎﻝﻣﻮﻓﻘﻰﻛﻪﺑﻴﻦﺳﺎﻝﻫﺎﻯ‪ 1984‬ﺗﺎ‬               ‫ﺑﺮﺩ ﻛﻪ ﻣﺎﺩﺭﺵ ﺍِﻣﺎ ﺍﻭ ﺭﺍ ﺑﻪ ﺑﻐﻞ ﮔﺮﻓﺖ ﻭ ﺑﻪ ﻛﺎﻧﺎﻝ‬                                                  ‫ﺗﺮﺍﻧﻪﻫﺎﻯ ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ ﺍﺯ ﻭﺭﺍﻯ ﺧﺶ ﺧﺶﻫﺎﻯ ﻧﻮﺍﺭ‬        ‫ﺑﮕﺬﺍﺭﻳﺪ ﺍﺯ ﺟﺎﻯ ﺩﻳﮕﺮ ﺑﮕﻴﺮﻧﺪ‪ .‬ﺷﻤﺎ ﻋﺠﺎﻟﺘﺎ ﺁﻟﻮﺩﻩ‬
                                                ‫ﺷﻤﺎﻟﻰ ﺷﻬﺮ ﭘﺮﻳﺪ ﺗﺎ ﺍﺯ ﺁﺗﺶ ﺑﻤﺒﺎﺭﺍﻥ ﻧﺠﺎﺕ ﻳﺎﻓﺘﻨﺪ‪.‬‬                           ‫ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ ﺭﺳﻴﺪ‪.‬‬       ‫ﻛﺎﺳﺖ ﺩﺭ ﺗﻮ ﺑﺮﻣﻰﺍﻧﮕﻴﺨﺖ ﺑﺎ ﮔﺬﺷﺖ ﺑﻴﺶ ﺍﺯ ﺩﻭ‬           ‫ﻣﺒﺎﺷﻴﺪ ﺁﻧﻬﺎ ﻛﻢ ﻛﻢ ﺑﺮﻣﻰﮔﺮﺩﻧﺪ ﺑﻪ ﺍﻳﻨﺠﺎ‪ «.‬ﻭ‬
   ‫‪ 1986‬ﺑﻴﺶ ﺍﺯ ﻫﺰﺍﺭ ﺑﺎﺭ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﺭﻓﺖ‪.‬‬        ‫ﺑﻴﺮﻣﺎﻥ‪ 16‬ﺳﺎﻟﻪ ﺩﺭ‪ 1953‬ﺗﺼﻤﻴﻢ ﺑﻪ ﻣﻬﺎﺟﺮﺕ ﺑﻪ‬         ‫ﻣﺎ ﺩﺭ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰﻣﺘﻮﻟﺪ ﺷﺪﻳﻢ‪ ،‬ﺩﺭ ﺟﻨﮓ‬            ‫ﺩﻫﻪ ﺯﻧﺪﻩ ﻭ ﺗﺎﺯﻩ ﺍﺳﺖ‪ .‬ﻧﺎﻡ ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ‪ ،‬ﺗﺮﺍﻧﻪﺳﺮﺍ ﻭ‬  ‫ﻣﻌﺘﻘﺪ ﺑﻮﺩ‪» :‬ﺍﺯ ﺟﻤﻠﻪ ﭼﻴﺰﻫﺎﻳﻰ ﻛﻪ ﻣﻐﺰﻫﺎﻯ ﺑﺎﺯ‬
‫ﺧﻮﺍﻧﺪﻡ ﻛﻪ ﭘﺮﻭﻓﺴﻮﺭﻫﺎﺭﺗﻤﻮﺕ ﻓﻼﺕ‬                    ‫ﺁﻟﻤﺎﻥﺷﺮﻗﻰﮔﺮﻓﺖ)ﺟﺎﻳﻰﻛﻪﺑﻪﻃﻮﺭﻣﻌﻤﻮﻝﺍﺯﺁﻥ‬              ‫ﻭ ﻛﻮﭘﻦ ﺍﺭﺯﺍﻕ ﻭ ﺣﺠﺎﺏ ﻭ ﮔﺸﺖ ﻛﻤﻴﺘﻪ ﻭ ﻧﻤﺎﺯ‬          ‫ﮔﻴﺘﺎﺭﻳﺴﺖﺷﻴﻠﻴﺎﻳﻰﺍﺯ‪ 11-10‬ﺳﺎﻟﮕﻰﺩﺭﺫﻫﻦﺍﺕ‬               ‫ﺟﻮﺍﻥﻫﺎﺭﺍﻣﺨﺪﺭﻭﺗﺨﺪﻳﺮﻣﻰﻛﻨﺪﻣﻮﺳﻴﻘﻰﺍﺳﺖ‪.‬‬
‫‪ Hartmut Fladt‬ﺍﺳﺘﺎﺩ ﻛﺮﺳﻰ ﺁﻫﻨﮕﺴﺎﺯﻯ‬               ‫ﺑﻪ ﻏﺮﺏ ﻣﻬﺎﺟﺮﺕ ﻣﻰﻛﺮﺩﻧﺪ( ﻭ ﺑﻪ ﻣﺪﺭﺳﻪﺍﻯ ﺷﺒﺎﻧﻪ‬       ‫ﺟﻤﺎﻋﺖﻫﺎﻯ ﺍﺟﺒﺎﺭﻯ ﻣﺪﺭﺳﻪ ﻭ ﻧﻮﺍﺭ ﻛﺎﺳﺖﻫﺎﻯ‬            ‫ﺣﻚ ﺷﺪ ﻭ ﺭﺳﻮﺏ ﻛﺮﺩ ﺗﺎ ﺳﺎﻝﻫﺎ ﺑﻌﺪ‪ ،‬ﺩﺭ ﺩﻭﺭﺍﻥ‬           ‫ﻣﻮﺳﻴﻘﻰﺍﺳﺒﺎﺏﺍﻳﻦﻣﻰﺷﻮﺩﻛﻪﻣﻐﺰﺍﻧﺴﺎﻥﻭﻗﺘﻰ‬
‫ﺩﺍﻧﺸﮕﺎﻩ ﻫﻨﺮ ﺑﺮﻟﻴﻦ ﻭ ﺍﺯ ﺁﻫﻨﮕﺴﺎﺯﺍﻥ ﺑﺮﺟﺴﺘﻪ‬         ‫ﺭﻭﺯﻯﺭﻓﺖ‪.‬ﺗﺤﺼﻴﻼﺗﺶﺭﺍﺩﺭﺍﻗﺘﺼﺎﺩﺳﻴﺎﺳﻰﻧﺎﺗﻤﺎﻡ‬            ‫ﻣﻤﻨﻮﻉ‪ .‬ﺩﺭ ﻣﻤﻨﻮﻋﻴﺖ ﻗﻬﻘﻬﻪ ﺧﻨﺪﻩ ﻭ ﺩﻭﭼﺮﺧﻪ‬           ‫ﺩﺍﻧﺸﺠﻮﻳﻰ ﺩﺭﺑﺎﺭﻩ ﺍﻭ ﻭ ﺩﺭﺑﺎﺭﻩ ﺟﻨﺒﺶﻫﺎﻯ ﭼﭗ‬            ‫ﭼﻨﺪﻭﻗﺖﺑﻪﻣﻮﺳﻴﻘﻰﮔﻮﺵﻛﺮﺩﺗﺒﺪﻳﻞﻣﻰﺷﻮﺩ‬
‫ﺍﺭﻭﭘﺎ ﺩﺭ ﺳﻤﻴﻨﺎﺭﻯ ﻛﻪ ﺩﺭ ﻣﻌﺮﻓﻰ ﺍﺛﺮ »ﻣﺎﻫﻰ‬          ‫ﺭﻫﺎ ﻛﺮﺩ ﺗﺎ ﺑﺘﻮﺍﻧﺪ ﺗﻤﺎﻡ ﻭﻗﺖ ﺩﺭ ﺍﺭﻛﺴﺘﺮ ﺑﺮﻟﻴﻦ ﺑﻪ‬   ‫ﺳﻮﺍﺭﻯ ﻭ ﺩﻭﻳﺪﻥ ﺩﺧﺘﺮ ﺩﺭ ﺍﻧﻈﺎﺭ ﺑﺎﻟﻴﺪﻳﻢ‪ .‬ﺗﻮﺍﻥ‬       ‫ﺁﻣﺮﻳﻜﺎﻯ ﻻﺗﻴﻦﻭﻛﻮﺩﺗﺎﻫﺎﻯﻧﻈﺎﻣﻰﺩﻫﻪﻫﺎﻯ‪ 60‬ﻭ‬              ‫ﺑﻪ ﻳﻚ ﻣﻐﺰ ﻏﻴﺮ ﺁﻥ ﻛﺴﻰ ﻛﻪ ﺟﺪﻯ ﺑﺎﺷﺪ ﺍﻧﺴﺎﻥ‬
‫ﺳﻴﺎﻩ ﻛﻮﭼﻮﻟﻮ« ﺩﺭ ﺍﻳﻦ ﺩﺍﻧﺸﮕﺎﻩ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ ﺩﺭ‬       ‫ﻋﻨﻮﺍﻥﺩﺳﺘﻴﺎﺭﻓﻌﺎﻟﻴﺖﻛﻨﺪ‪.‬ﺍﻭﺑﻴﻦ‪ 1959‬ﺗﺎ‪1963‬‬           ‫ﺧﻨﺪﻳﺪﻥ‪ ،‬ﺗﻮﺍﻥ ﺭﻗﺼﻴﺪﻥ‪ ،‬ﺗﻮﺍﻥ ﭘﺮﺳﻴﺪﻥ ﻭ ﺗﻮﺍﻥ‬         ‫‪ 70‬ﻣﻴﻼﺩﻯ ﺑﻴﺎﻣﻮﺯﻯ‪ .‬ﻭ ﺑﺪﺍﻧﻰ ﺷﺎﻋﺮﻯ ﻛﻪ ﻣﻰﺳﺮﻭﺩ‪:‬‬        ‫ﺭﺍ ﺍﺯ ﺟﺪﻳﺖ ﺑﻴﺮﻭﻥ ﻣﻰﻛﻨﺪ ﻭ ﻣﺘﻮﺟﻪ ﺟﻬﺎﺕ ﺩﻳﮕﺮ‬
                                                ‫ﻫﻤﺰﻣﺎﻥ ﺑﻪ ﺗﺤﺼﻴﻞ ﻓﻠﺴﻔﻪ ﻭ ﺭﻳﺎﺿﻴﺎﺕ ﭘﺮﺩﺍﺧﺖ ﻭ‬        ‫ﺯﻧﺪﮔﻰ ﺭﺍ ﭼﻮﻥ ﮔﻮﻫﺮ ﺷﺐ ﭼﺮﺍﻍ‪ ،‬ﭼﻮﻥ ﺁﺗﺶ‬                                                                ‫ﻣﻰﻛﻨﺪ« )ﺻﺤﻴﻔﻪ ﻧﻮﺭ ﺟﻠﺪ ‪ 8‬ﺻﻔﺤﻪ ‪ 197‬ﺗﺎ‬
      ‫ﻣﻮﺭﺩ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﭼﻨﻴﻦ ﮔﻔﺘﻪ ﺑﻮﺩ‪:‬‬          ‫ﺩﺭ ﻫﻤﺎﻥ ﺳﺎﻝﻫﺎ ﻧﺨﺴﺘﻴﻦ ﺗﺮﺍﻧﻪﻫﺎﻳﺶ ﺭﺍ ﺳﺎﺧﺖ‬          ‫ﻣﻘﺪﺱ ﺍﺯ ﻣﻴﺎﻥ ﻫﻤﻪ ﺁﻥ ﺳﺎﻝﻫﺎﻯ ﺧﺎﻛﺴﺘﺮﻯ‬                      ‫ﺷﻌﺮ ﻣﻦ ﺩﺭ ﻣﺪﺡ ﻫﻴﭽﻜﺲ ﻧﻴﺴﺖ‬                  ‫ﺻﻔﺤﻪ‪(201‬ﺍﻭﺑﺮﻣﺒﻨﺎﻯﻫﻤﻴﻦﺑﺎﻭﺭﻫﺎﻯﻋﺠﻴﺐ‬
‫» ﺁﺛﺎﺭ ﺁﻫﻨﮕﺴﺎﺯﻯ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﺑﻪ ﺩﻗﺖ‬             ‫ﻭ ﻣﻨﺘﺸﺮ ﻛﺮﺩ‪ .‬ﺑﺎ ﻭﺟﻮﺩ ﺩﻓﺎﻋﻴﻪﺍﻯ ﺗﺤﺴﻴﻦ ﺑﺮﺍﻧﮕﻴﺰ‪،‬‬    ‫ﺧﻔﻘﺎﻥﺑﺎﺭ ﺩﻫﻪ‪ 60‬ﻋﺒﻮﺭ ﺩﺍﺩﻳﻢ‪ ،‬ﺩﺭ ﺩﻫﻪ‪ 70‬ﻧﻔﺴﻰ‬                                    ‫ﻭ ﻣﻰﺳﺮﻭﺩ‪:‬‬             ‫ﺣﻮﺯﻭﻯ‪ -‬ﻓﻘﻬﻰ ﻣﻮﺳﻴﻘﻰ ﺭﺍ ﺍﺑﺘﺪﺍ ﺩﺭ ﻣﺮﺩﺍﺩ ﺳﺎﻝ‬
‫ﻭ ﻇﺮﺍﻓﺖ ﺍﻧﻌﻜﺎﺱ ﺩﻫﻨﺪﻩ ﻣﻮﻗﻌﻴﺖ ﻓﺮﺩﻯ ﺍﻭﻳﻨﺪ‪.‬‬         ‫ﭘﺎﻳﺎﻥ ﻧﺎﻣﻪﺍﺵ ﻣﻮﺭﺩ ﭘﺬﻳﺮﺵ ﻭﺍﻗﻊ ﻧﺸﺪ ﻭ ﺩﺍﻧﺸﮕﺎﻩ ﺭﺍ‬   ‫ﻛﺸﻴﺪﻳﻢ‪ ،‬ﻛﻤﺮ ﺭﺍﺳﺖ ﻛﺮﺩﻳﻢ ﻭ ﺧﻮﺩ ﺭﺍ ﺩﻳﺪﻳﻢ‪،‬‬                                                            ‫‪ 58‬ﻃﻰ ﻓﺘﻮﺍﻳﻰ ﺍﺯ ﺍﺳﺎﺱ ﺣﺮﺍﻡ ﺍﻋﻼﻡ ﻛﺮﺩ‪ ،‬ﻭﻟﻰ‬
‫ﺍﺯ ﺳﻮﻳﻰ ﺩﺭ ﺗﻘﺎﻃﻊ ﻓﺮﻫﻨﮕﻰ‪ -‬ﻣﻮﺳﻴﻘﺎﻳﻰ ﻣﻴﺎﻥ‬          ‫ﺑﺪﻭﻥﻣﺪﺭﻙﺑﻪﭘﺎﻳﺎﻥﺭﺳﺎﻧﺪ)‪ 45‬ﺳﺎﻝﺑﻌﺪﺩﺍﻧﺸﮕﺎﻩ‬           ‫ﺍﻭﺿﺎﻉ ﻧﺎﺧﻮﺷﺎﻳﻨﺪ ﭘﻴﺮﺍﻣﻮﻥﻣﺎﻥ ﺭﺍ ﺩﺭﻙ ﻛﺮﺩﻳﻢ‪ ،‬ﺩﺭ‬                          ‫ﻛﺒﻮﺗﺮﻯﺳﺖﻛﻠﻤﺎﺗﻢ‬               ‫ﺩﺭ ﺳﺎﻝ ‪ 60‬ﺑﺎ ﺍﻧﺪﻛﻰ ﺗﻌﺪﻳﻞ‪ ،‬ﻃﻰ ﻓﺘﻮﺍﻯ ﺗﺎﺯﻩﺍﻯ‬
‫ﺧﺎﺳﺘﮕﺎﻩ ﻭ ﻣﻴﻬﻦ ﺍﻭ ﺑﺎ ﻣﻮﺳﻴﻘﻰ ﻛﻼﺳﻴﻚ‬               ‫ﻫﻮﻣﺒﻮﻟﺖ ‪ Humboldt-Universität‬ﺑﺮﻟﻴﻦ‬              ‫ﺍﻭﺍﻳﻞ ﺩﻫﻪ ‪ 80‬ﺑﺎ ﺍﻧﺪﻙ ﮔﺸﺎﻳﺸﻰ ﺑﻪ ﺍﻣﻴﺪ ﺣﺼﻮﻝ‬                                                          ‫ﺍﻋﻼﻡ ﻛﺮﺩ ﻛﻪ »ﻣﻮﺳﻴﻘﻰ ﻣﻄﺮﺏ ﺣﺮﺍﻡ ﺍﺳﺖ ﻭ‬
‫ﺍﺭﻭﭘﺎﻯﻣﺮﻛﺰﻯﺳﺖ‪،‬ﺁﻣﻴﺨﺘﮕﻰﺍﻯﻛﻪﺩﺭﺍﻛﻨﻮﻧ ِﻰ‬             ‫ﺩﺭ ﻧﻮﺍﻣﺒﺮ‪ 2008‬ﺑﻪ ﺍﻭ ﺩﻛﺘﺮﺍﻯ ﺍﻓﺘﺨﺎﺭﻯ ﺍﻫﺪﺍ ﻛﺮﺩ(‪.‬‬   ‫ﮔﺸﺎﻳﺶ ﺑﻴﺸﺘﺮ ﺑﻪ ﻣﻴﺪﺍﻥ ﺁﻣﺪﻳﻢ‪ ،‬ﻣﺒﺎﺭﺯﻩ ﻛﺮﺩﻳﻢ ﻭ‬      ‫ﺑﻪﺟﺴﺘﺠﻮﻯﻣﻜﺎﻧﻰﺗﺎﻣﮕﺮﺁﺷﻴﺎﻧﻰﺑﻬﺮﺧﻮﺩ‬                    ‫ﺻﺪﺍﻫﺎﻯﻣﺸﻜﻮﻙﻣﺎﻧﻊﻧﺪﺍﺭﺩﻭﺗﺸﺨﻴﺺﺑﺎﻋﺮﻑ‬
‫ﺣﻴﺎﺕ ﻫﻨﺮﻯ ﺍﻭ‪ ،‬ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩﺵ ﻭﺯﻥ ﺑﻴﺸﺘﺮ ﺁﻥ‬         ‫ﺑﻪ ﺯﻭﺩﻯ ﻭ ﺩﺭ ﺳﺎﻝ ‪ 1965‬ﺩﻭﻟﺖ ﺁﻟﻤﺎﻥ ﺷﺮﻗﻰ‬           ‫ﺩﺭ ﺑﺮﺍﺑﺮ ﻗﺪﺭﺕ ﻏﻴﺮﻗﺎﺑﻞ ﺍﺻﻼﺡ ﺷﻜﺴﺖ ﺧﻮﺭﺩﻳﻢ‪.‬‬                                                           ‫ﺍﺳﺖ« )ﺍﺳﺘﻔﺘﺎﺋﺎﺕ‪ ،‬ﺝ ‪ ،2‬ﺹ ‪ ،14‬ﺱ ‪ .(31‬ﺍﻣﺎ‬
‫ﺍﺯ ﺁ ِﻥ ﻣﻮﺳﻴﻘﻰ ﺍﺭﻭﭘﺎﺳﺖ‪ .‬ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ ﺍﻣﺎ‪ ،‬ﺩﺭ‬     ‫ﺍﻭ ﺭﺍ ﺑﻪ ﺩﻟﻴﻞ ﺍﻧﺘﻘﺎﺩﻫﺎﻯ ﺗﻨﺪﺵ ﻋﻠﻴﻪ ﺳﺎﻧﺴﻮﺭ ﺑﻪ‬     ‫ﺑﺎ ﺷﻜﺴﺖ ﻋﻘﺐ ﻧﺸﺴﺘﻴﻢ‪ ،‬ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺎ ﭼﻮﻥ‬                                             ‫ﺑﺮﭘﺎﻛﻨﺪ‬          ‫ﺗﻌﺮﻳﻒ ﻭ ﺣﺪﻭ ِﺩ ﻣﻮﺳﻴﻘﻰ ﻣﻄﺮﺏ ﺍﺯ ﻧﻈﺮ ﺁﻗﺎﻳﺎﻥ‬
‫ﻣﺤﺘﻮﺍﻯﻣﻮﺳﻴﻘﻰﺍﻭ‪،‬ﺗﺼﺎﻭﻳﺮﻯﻛﻪﺧﻠﻖﻣﻰﻛﻨﺪ‪،‬‬               ‫ﻣﻤﻨﻮﻋﻴﺖ ﻛﺎﻣﻞ ﺍﺯ ﻫﺮﮔﻮﻧﻪ ﺍﺟﺮﺍ ﻭ ﺍﻧﺘﺸﺎﺭ ﺁﺛﺎﺭﺵ‬      ‫َﮔﺮﺩﻩﻫﺎﻯ ﺑﺎﺭﻭﺭ ﮔﻴﺎﻩ ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﻣﻮﻓﻘﻴ ِﺖ ﻓﺮﺩﻯ‬                                                       ‫ﻓﻘﻬﺎ ﭼﻴﺴﺖ؟ ﺩﺭ ﺳﺎﻳﺖ ﺳﻴﺪ ﻋﻠﻰ ﺧﺎﻣﻨﻪﺍﻯ‪،‬‬
‫ﺩﺭ ﻋﻮﺍﻃﻔﻰ ﻛﻪ ﺑﺮ ﻣﻰﺍﻧﮕﻴﺰﺩ‪ ،‬ﺗﺎﺛﻴﺮ ﻭ ﺍﻟﻬﺎﻡﭘﺬﻳﺮﻯ‬    ‫ﻣﺤﻜﻮﻡﻛﺮﺩﻭﺩﺭ‪ 1976‬ﭘﺲﺍﺯﺗﻮﺭﻛﻨﺴﺮﺕﺑﺴﻴﺎﺭ‬               ‫ﺑﻪ ﭼﻬﺎﺭ ﺟﻬﺖ ﺟﻐﺮﺍﻓﻴﺎﻯ ﺟﻬﺎﻥ ﭘﺮﺍﻛﻨﺪﻩ ﺷﺪﻳﻢ‪.‬‬                                ‫ﺗﺮﺍﻧﻪﻛﺒﻮﺗﺮﻯﺳﺖ‬              ‫ﺑﺨﺶ ﺍﺳﺘﻔﺘﺎﺋﺎﺕ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ ﻛﻪ »ﻫﺮ‬
‫ﻣﺴﺘﻘﻴﻢ ﺍﻭ ﺍﺯ ﺭﻧﺞ ﺍﻧﺴﺎﻥﻫﺎ ﺩﺭ ﻣﻴﻬﻦﺍﺵ ﻗﺎﺑﻞ‬         ‫ﻣﻮﻓﻖﺍﺵ ﺩﺭ ﺁﻟﻤﺎﻥ ﻏﺮﺑﻰ )ﻣﻌﺮﻭﻑﺗﺮﻳ ِﻦ ﺁﻥ ﺍﺟﺮﺍﻯ‬      ‫ﺑﺴﻴﺎﺭﻯ ﺩﻳﮕﺮ ﺩﺭ ﻳﺎﺱ ﺗﺎﺭﻳﺨﻰ ﻭ ﻓﺮﺩﻯ ﺧﻮﺩ ﺑﻪ‬                                                           ‫ﻣﻮﺳﻴﻘﻰ ]…[ ﻛﻪ ﻣﻨﺎﺳﺐ ﺑﺎ ﻣﺠﺎﻟﺲ ﻋﻴﺶ ﻭ‬
‫ﻟﻤﺲ ﻭ ﺩﺭﻳﺎﻓﺖ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺗﻌﻬﺪ ﻭ ﻛﻨﺶﮔﺮﻯ‬             ‫ﺍﺳﺘﺎﺩﻳﻮﻡ ﻛﻠﻦ( ﺭژﻳﻢ ﻛﻤﻮﻧﻴﺴﺖ ﺁﻟﻤﺎﻥ ﺩﻣﻜﺮﺍﺗﻴﻚ‬       ‫ﺧﻮﻳﺶ ﺑﺎﺯ ﮔﺸﺘﻴﻢ‪ ،‬ﺑﻪ ﺟﺴﺘﺠﻮﻯ ﮔﺬﺷﺘﻪ ﺗﺎﺭﻳﺨﻰ‬                     ‫ﻛﻪ ﭘﺮﻭﺍﺯ ﻣﻰﻛﻨﺪ ﻭ ﺍﻭﺝ ﻣﻰﮔﻴﺮﺩ‬            ‫ﻧﻮﺵ ﺍﺳﺖ‪ ،‬ﻣﻮﺳﻴﻘﻰ ﺣﺮﺍﻡ ﻣﺤﺴﻮﺏ ﻣﻰﺷﻮﺩ‬
‫ﺍﻧﺴﺎﻧﻰ ﺍﻣﺎ ﻫﻤﺰﻣﺎﻥ ﺩﺭﺁﻣﻴﺨﺘﻪ ﺑﺎ ﺯﻳﺒﺎﻳﻰ ﻭ ﻛﻤﺎﻝ‬     ‫ﻣﺎﻧﻊ ﺍﺯ ﻭﺭﻭﺩ ﺩﻭﺑﺎﺭﻩ ﺍﻭ ﺑﻪ ﺧﺎﻙ ﺁﻟﻤﺎﻥ ﺷﺮﻗﻰ ﺷﺪ ﻭ‬   ‫ﻣﻔﻘﻮﺩ ﺷﺪﻩ ﺧﻮﺩ ﺑﺮ ﺁﻣﺪﻳﻢ‪ ،‬ﺍﻳﻨﺘﺮﻧﺖ ﺑﻪ ﻳﺎﺭﻯﻣﺎﻥ‬                                                        ‫ﻭ ﻓﺮﻗﻰ ﻧﻤﻰﻛﻨﺪ ﻛﻪ ﻣﻮﺳﻴﻘﻰ ﻛﻼﺳﻴﻚ ﺑﺎﺷﺪ‬
‫ﺍﺳﺘﺎﺩﺍﻧﻪ ﻣﻮﺳﻴﻘﻰ ﺍﻭ ﻧﻴﺰ ﻫﺴﺖ‪ .‬ﺗﻜﻨﻴﻚﻫﺎﻯ‬            ‫ﺗﺎﺑﻌﻴﺖ ﺍﻭ ﺭﺍ ﺑﺎﻃﻞ ﻛﺮﺩ! ﺍﻳﻦ ﻟﻐﻮ ﺗﺎﺑﻌﻴﺖ ﻣﺴﺘﺒﺪﺍﻧﻪ‬  ‫ﺁﻣﺪ‪ ،‬ﭘﺪﻳﺪﻩﺍﻯ ﻛﻪ ﺣﻜﻮﻣﺖ ﭘﻴﺶﺑﻴﻨﻰ ﻧﻜﺮﺩﻩ ﺑﻮﺩ‪.‬‬                  ‫ﺑﺎﻝ ﻣﻰﮔﺸﺎﻳﺪ ﻭ ﺑﺎﻝ ﻣﻰﮔﺴﺘﺮﺍﻧﺪ‬             ‫ﻳﺎ ﻏﻴﺮ ﻛﻼﺳﻴﻚ‪ .‬ﺗﺸﺨﻴﺺ ﻣﻮﺿﻮﻉ ﻫﻢ ﻣﻮﻛﻮﻝ‬
‫ﻧﻮﻳﻦ ﺑﺴﻴﺎﺭﻯ ﺩﺭ ﻧﻮﺍﺧﺘﻦ ﮔﻴﺘﺎﺭ )ﺑﻪ ﻭﻳﮋﻩ ﺩﺭ‬         ‫ﻣﻮﺟﻰ ﺍﺯ ﺍﻋﺘﺮﺍﺿﺎﺕ ﺭﺍ ﺩﺭ ﻫﺮ ﺩﻭ ﭘﺎﺭﻩ ﺁﻟﻤﺎﻥ ﺑﻪ ﺭﺍﻩ‬  ‫ﺳﻴﺐ ﺁﮔﺎﻫﻰ ﺑﻪ ﺩﺍﻣﺎﻥﻣﺎﻥ ﺍﻓﺘﺎﺩ ﻭ ﺑﻪ ﺁﻥ ﮔﺎﺯ ﺯﺩﻳﻢ‬    ‫ﻫﻤﺎﻥ ﮔﻴﺘﺎﺭﻳﺴﺘﻰﺳﺖ ﻛﻪ ﺑﻪ ﺟﺮﻡ ﭘﺮﻭﺍﺯ ﺩﺍﺩﻥ‬             ‫ﺑﻪ ﻧﻈﺮ ﻋﺮﻓﻰ ﻣﻜ ّﻠﻒ ﺍﺳﺖ ﻭ ﺍﮔﺮ ﻣﻮﺳﻴﻘﻰ ﺍﻳﻦ‬
‫ﺯﻣﻴﻨﻪ ﺗﺮﻣﻠﻮ( ﻛﻪ ﺍﻭ ﺍﺑﺪﺍﻉ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﮔﺬﺷﺘﻪ‬        ‫ﺍﻧﺪﺍﺧﺖ‪ .‬ﺍﻭ ﺭﺍ ﻳﻜﻰ ﺍﺯ ﺑﺮﺟﺴﺘﻪﺗﺮﻳﻦ ﭼﻬﺮﻩﻫﺎﻯ ﺍﺩﺑﻰ‬    ‫)ﻫﻨﻮﺯﺑﻪﺁﻥﮔﺎﺯﻣﻰﺯﻧﻴﻢ(ﻳﺎﺭﺍﻥﻭﺭﻓﻘﺎﻯﻧﺎﺩﻳﺪﻩﺧﻮﺩ‬         ‫ﻛﺒﻮﺗﺮﻫﺎﻯ ﺗﺮﺍﻧﻪ ﻭ ﻧﻐﻤﻪ ﺑﻪ »ﺩﻭﺭﺩﺳﺖ ﺗﺮﻳﻦ ﻣﻨﺎﻃﻖ‬       ‫ﮔﻮﻧﻪ ﻧﺒﺎﺷﺪ ﺑﺨﻮﺩﻯ ﺧﻮﺩ ﺍﺷﻜﺎﻝ ﻧﺪﺍﺭﺩ«‪ .‬ﺍﻟﺒﺘﻪ‬
‫ﺍﺯ ﺟﻨﺒﻪ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ ﺍﺟﺮﺍ‪ ،‬ﺍﻣﻜﺎﻧﺎﺕ ﮔﺴﺘﺮﺩﻩﺗﺮﻯ‬       ‫ﻭ ﻫﻨﺮﻯ ﺁﻟﻤﺎ ِﻥ ﭘﺲ ﺍﺯ ﺟﻨﮓ ﻣﻰﺩﺍﻧﻨﺪ ﻭ ﻣﺠﻤﻮﻋﻪ‬       ‫ﺭﺍ ﺩﺭ ﺍﺑﺘﺪﺍﻯ ﺩﻫﻪ‪ 30‬ﻭ ﺍﻭﺍﺧﺮ ﺩﻫﻪ‪ 40‬ﻭ‪ 50‬ﻭ ﺁﻩ‪ ..‬ﺩﺭ‬  ‫ﻛﻮﭼﻚ ﺳﺮﺯﻣﻴﻨﺶ« ﻭ ﺣﻤﺎﻳﺖﻫﺎﻯ ﭘﺮﺷﻮﺭ ﻭ‬                  ‫ﺷﻴﻮﻩ ﮔﺰﻳﻨﺶ ﻭ ﺳﻠﻴﻘﻪ ﺍﻧﻘﻼﺑﻴﻮﻥ ﺩﺭ ﻗﻠﻊ ﻭ ﻗﻤﻊ‬
‫ﺩﺭ ﺑﻴﺎﻥ ﺑﻪ ﺍﻭ ﻣﻰﺩﻫﺪ‪ .‬ﺍﮔﺮ ﭼﻪ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ‬        ‫ﺗﺮﺍﻧﻪﻫﺎﻳﺶﺍﺯﭘﺮﺗﻴﺮﺍژﺗﺮﻳﻦﺁﺛﺎﺭﺍﺩﺑﻰﺁﻟﻤﺎﻧﻰﺯﺑﺎﻥﺍﻧﺪ‪.‬‬    ‫ﺧﺎﻭﺭﺍﻥﻫﺎﻯﺩﻫﻪ‪ 60‬ﻳﺎﻓﺘﻴﻢ‪،‬ﻧﺎﻡﻫﺎﻭﺳﺮﻭﺩﻫﺎﻳﻰﻛﻪ‬          ‫ﻣﻮﺛﺮﺵ ﺍﺯ ﺳﺎﻟﻮﺍﺩﻭﺭ ﺁﻟﻨﺪﻩ‪ ،‬ﺭﻳﻴﺲ ﺟﻤﻬﻮﺭ ﻣﺮﺩﻣﻰ‬         ‫ﻣﻮﺳﻴﻘﻰ ﻭ ﺍﻫﺎﻟﻰ ﺁﻥ ﺩﺭ ﺳﺎﻝﻫﺎﻯ ﻧﺨﺴﺘﻴﻦ ﭘﺲ‬
‫ﻫﺮﮔﺰﺑﺮﺩﺍﺷﺖﻣﺴﺘﻘﻴﻢﺍﺯﻣﻮﺳﻴﻘﻰﺳﻨﺘﻰﺍﻳﺮﺍﻧﻰ‬              ‫ﺍﻟﻘﺼﻪ‪،‬ﭼﻨﺪﺭﻭﺯﭘﻴﺶﻛﻪﺑﻪﺑﻬﺎﻧﻪﺗﺮﺟﻤﻪﺗﺮﺍﻧﻪﺍﻯ‬            ‫ﺑﺮﺍﻯﻧﺨﺴﺘﻴﻦﺑﺎﺭﻣﻰﺷﻨﻴﺪﻳﻢ‪.‬ﮔﻮﻳﻰﻗﺒﻴﻠﻪﻣﻔﻘﻮﺩﻩ‬           ‫ﺷﻴﻠﻰ‪ ،‬ﺑﻪ ﻓﺎﺻﻠﻪ ‪ 5‬ﺭﻭﺯ ﺍﺯ ﻛﻮﺩﺗﺎﻯ ‪ 11‬ﺳﭙﺘﺎﻣﺒﺮ‬         ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻳﻦ ﮔﻤﺎﻥ ﺭﺍ ﺗﻘﻮﻳﺖ ﻣﻰﻛﻨﺪ ﻛﻪ ﻣﻼﻙ‬
‫ﺭﺍ ﺩﺭ ﻛﺎﺭ ﺧﻮﺩ ﻣﻮﺭﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻗﺮﺍﺭ ﻧﻤﻰﺩﻫﺪ‪ ،‬ﺑﺎﺯ‬     ‫ﺍﺯ ﺑﻴﺮﻣﺎﻥ ﺩﺭ ﺍﻳﻨﺘﺮﻧﺖ ﺩﺭﺑﺎﺭﻩ ﺍﺵ ﻣﻄﺎﻟﻌﻪ ﻣﻰﻛﺮﺩﻡ‪،‬‬   ‫ﺧﻮﺩﺭﺍﻳﺎﻓﺘﻪﺑﺎﺷﻴﻢ‪.‬ﻳﺎﻓﺘﻦﭘﺎﺭﻩﻫﺎﻳﻰﺍﺯﺍﻳﻦﺳﺮﺯﻣﻴﻦ‬        ‫‪ 1973‬ﺷﻴﻠﻰ ﺗﻴﺮﺑﺎﺭﺍﻥ ﺷﺪ‪ .‬ﻧﻈﺎﻣﻴﺎﻥ ﻛﻮﺩﺗﺎﭼﻰ ﺍﻭ‬         ‫ﺁﻧﻬﺎﺩﺭﺑﺮﭼﺴ ِﺐ»ﻣﻮﺳﻴﻘﻰﻣﻄﺮﺏﻭﻟﻬﻮﻭﻟﻌﺐ«‬
‫ﻋﻨﺎﺻﺮﻯ ﺍﺯ ﺍﻳﻦ ﻣﻮﺳﻴﻘﻰ ﺭﺍ ﺩﺭ ﺁﺛﺎﺭ ﺍﻭ ﻣﻰﺗﻮﺍﻥ‬       ‫ﺑﻪ ﻳﺎﺩﺩﺍﺷﺘﻰ ﻣﻔﺼﻞ ﺍﺯ ﺍﻭ ﺩﺭ ﺁﺭﺷﻴﻮ ﺭﻭﺯﻧﺎﻣﻪ‬                                                         ‫ﺭﺍ ﻛﻪ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ﻓﻨﻰ ﺩﻭﻟﺘﻰ ﺷﺎﻏﻞ‬        ‫ﺯﺩﻥ‪ ،‬ﺑﺮﺧﻮﺭﺩﺍﺭﻯ ﺍﺯ ﻣﺎﻫﻴﺖ ﺷﺎﺩﻯ ﻭ ﺳﺮﻓﺮﺍﺯﻯ ﻭ‬
‫ﻳﺎﻓﺖ‪ :‬ﻣﺪﻝﻫﺎﻳﻰ ﺍﺯ ﺭﻳﺘﻢ )ﺍﺯ ﺳﻤﺎﻉ ﺩﺭﻭﻳﺸﺎﻥ ﻳﺎ‬       ‫»ﺩﻳﺘﺴﺎﻳﺖ« ﺍﺯ‪ 7‬ﺁﻭﺭﻳﻞ‪ 1989‬ﺑﺮﺧﻮﺭﺩﻡ ﺑﺎ ﻋﻨﻮﺍﻥ‬               ‫ﮔﻤﺸﺪﻩ ﺗﺎ ﺑﻪ ﺍﻣﺮﻭﺯ ﺑﻪ ﺩﺭﺍﺯﺍ ﻛﺸﻴﺪﻩ ﺍﺳﺖ‪:‬‬    ‫ﺑﻮﺩ ﺑﻪ ﻫﻤﺮﺍﻩ ﺑﺴﻴﺎﺭﻯ ﺩﻳﮕﺮ ﺍﺯ ﺩﺍﻧﺸﺠﻮﻳﺎﻥ ﻭ ﺍﺳﺎﺗﻴﺪ‬    ‫ﺟﻬﺎﻥﺷﻤﻮﻟﻰﺁﻥﺑﻮﺩﻩﺍﺳﺖ‪.‬ﺍﺯﺳﺮﻭﺩﻫﺎﻯﺍﻧﻘﻼﺑﻰ‬
                                                ‫»ﻣﺎ ﭼﭗﻫﺎ! ﻫﻤﻴﺸﻪ ﺑﺎ ﺩﻏﺪﻏﻪ ﻣﺮﺩﻡ‪ ،‬ﻭﻟﻰ ﭼﻪ ﺩﻭﺭ‬       ‫ﻧﺎﻡ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﺩﻭ ﺳﺎﻟﻰ ﻣﻰﺷﺪ ﻛﻪ‬                ‫ﺩﺳﺘﮕﻴﺮﻭﺑﻪﺍﺳﺘﺎﺩﻳﻮﻡﺳﺎﻧﺘﻴﺎﮔﻮ‪EstadioChile‬‬             ‫ﻭ ﻓﻮﻟﻜﻠﻮﺭ ﺍﻗﻮﺍﻡ ﺍﻳﺮﺍﻧﻰ ﻛﻪ ﺑﮕﺬﺭﻳﻢ‪ ،‬ﻣﻮﺳﻴﻘﻰ‬
                       ‫ﻓﻮﻟﻜﻠﻮﺭ( ﻭ ﻣﻘﺎﻡ‪«.‬‬        ‫ﺍﺯ ﻣﺮﺩﻡ!« ﺑﺮ ﺧﻮﺭﺩﻡ ﻛﻪ ﺑﻪ ﻧﻮﺷﺘﻪ ﺍﻳﻦ ﺭﻭﺯﻧﺎﻣﻪ »ﻳﻚ‬  ‫ﺑﺮﺍﻳﻢ ﺁﺷﻨﺎ ﺑﻮﺩ‪ ،‬ﺑﻪ ﻋﻨﻮﺍﻥ ﺑﺮﻧﺎﻣﻪﺳﺎﺯ ﻭ ﺷﺨﺼﻴﺖ‬      ‫ﻣﻨﺘﻘﻞﻛﺮﺩﻩﺑﻮﺩﻧﺪ‪.‬ﺑﻪﺯﻭﺩﻯﻳﻜﻰﺍﺯﺍﻓﺴﺮﺍﻥﻭﻳﻜﺘﻮﺭ‬            ‫ﺳﻨﺘﻰ ﺍﻳﺮﺍﻧﻰ »ﺟﺎﻳﺰ« ﺑﻮﺩ ﻭ ﻣﺎﻧﺪ ﭼﻮﻥ ﺩﺭ ﺟﻠﻮﻩ‬
                                                ‫ﺍﻋﻼﻡﺧﺸﻢﻋﻠﻴﻪﺍﺳﺘﺎﻟﻴﻨﻴﺴﺖﻫﺎﻯﺩﺳﺖﺩﻭ«ﺑﻮﺩ‪.‬‬              ‫ﺭﺳﺎﻧﻪﺍﻯ ﻛﻪ ﭘﻴﺶﺗﺮ ﻣﺼﺎﺣﺒﻪﻫﺎﻳﺶ ﺭﺍ ﺑﺎ ﻳﻜﻰ ﺩﻭ‬        ‫ﺧﺎﺭﺍ ﺭﺍ ﺷﻨﺎﺳﺎﻳﻰ ﻛﺮﺩ‪ .‬ﺷﻜﻨﺠﻪ ﻭ ﺁﺯﺍﺭﺵ ﺁﻏﺎﺯ ﺷﺪﻩ‬       ‫ﻏﺎﻟﺐ ﻋﻤﻮﻣﻰ ﺁﻥ ﻧﻮﺍﺯﻧﺪﮔﺎﻥ ﺑﺎ ﻟﺒﺎﺩﻩ ﻭ ﺣﺎﻟﺖ‬
                   ‫ﺳﻴﺮﻭﺱﻣﻠﻜﻮﺗﻰ‬                  ‫ﺑﻴﺮﻣﺎﻥ ﺩﺭ ﻣﻘﺪﻣﻪ ﺍﻳﻦ ﻧﻮﺷﺘﻪ ﻭ ﭘﻴﺶ ﺍﺯ ﮔﺰﺍﺭﺵ‬        ‫ﺗﻦ ﺍﺯ ﺩﻭﺳﺘﺎﻧﻢ ﺩﻳﺪﻩ ﺑﻮﺩﻡ‪ .‬ﮔﻴﺮﺍ ﻭ ﻣﺴﻠﻂ ﻭ ﺁﺭﺍﺳﺘﻪ‪.‬‬  ‫ﺑﻮﺩ‪ .‬ﺍﻧﮕﺸﺖﻫﺎ ﻭ ﺩﺳﺖﻫﺎﻳﺶ ﺭﺍ ﺷﻜﺴﺘﻨﺪ ﻭ ﺳﭙﺲ‬            ‫ﻓﺮﻭﺗﻦ ﻭ ﻣﻐﻤﻮﻡ‪ ،‬ﻧﺸﺴﺘﻪ ﺑﺮ ﺯﻣﻴﻦ ﺍﺟﺮﺍ ﻣﻰﻛﻨﻨﺪ‪.‬‬
‫ﺷﺮﺡ ﺣﺎﻝ ﺩﻭﺳﺖ ﺍﺭﺟﻤﻨﺪ ﻭ ﻧﺎﻣﺪﺍﺭﻣﺎﻥ ﺭﺍ ﻧﻪ ﺩﺭ‬        ‫ﺑﺮﻧﺎﻣﻪﻫﺎﻯ ﺩﻳﮕﺮ ﻭ ﺑﺮﺧﻮﺭﺩﻫﺎﻳﺶ ﺑﺎ ﺳﺮﺥﻫﺎﻯ‬           ‫ﺑﺮﺍﻯ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺭﻭژﻫﻼﺕ ﺩﻭ ﺑﺮﻧﺎﻣﻪ »ﭘﻮﻳﺶ« ﻭ‬         ‫ﺑﻪ ﻃﻌﻨﻪ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺘﻨﺪ ﻛﻪ ﺣﺎﻻ ﺑﺮﺍﻯ ﻳﺎﺭﺍﻧﺶ‬          ‫ﻣﻮﺳﻴﻘﻰ ﻛﻼﺳﻴﻚ ﺟﻬﺎﻧﻰ ﺧﺎﺭﻯ ﺩﺭ ﭼﺸﻢ ﻓﻘﻬﺎ‬
‫ﻭﻳﻜﻰﭘﺪﻳﺎ‪ ،‬ﺑﻠﻜﻪ ﺩﺭ ﺩﻭ ﺳﻪ ﺗﺎﺭﻧﻤﺎﻯ ﻓﺎﺭﺳﻰ ﺯﺑﺎﻥ‬      ‫ﺁﺗﺸﻴﻦ‪ ،‬ﺑﺎ ﺷﻮﺭ ﺑﺴﻴﺎﺭ ﮔﺰﺍﺭﺷﻰ ﻣﻰﺩﻫﺪ ﺍﺯ ﺍﺟﺮﺍﻯ‬       ‫»ﭼﻬﺮﻩﻫﺎ« ﺭﺍﻣﻰﺳﺎﺯﺩﻭﺍﺟﺮﺍﻣﻰﻛﻨﺪ‪.‬ﺍﻭﻟﻰﻣﻴﺰﮔﺮﺩ‬          ‫ﺩﺭ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺑﻨﻮﺍﺯﺩ ﻭ ﺑﺨﻮﺍﻧﺪ‪ .‬ﻭ ﺍﻭ ﺑﺎﺯﻭﺍﻥ ﺧﺮﺩ ﻭ‬    ‫ﻭ ﺍﻧﻘﻼﺑﻴﻮﻥ ﺑﻮﺩ ﻭ ﻣﺎﻧﺪ ﭼﻮﻥ ﺻﺤﻨﻪ ﺍﺟﺮﺍﻯ ﺁﻥ‪،‬‬
‫ﭼﻨﻴﻦ ﻳﺎﻓﺘﻢ‪ :‬ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﺍﺯ ﺩﻩ ﺳﺎﻟﮕﻰ ﺑﻪ‬         ‫ﻳﻚ ﻣﺎﻩ ﭘﻴﺶﺍﺵ ﺩﺭ ﺑﺮﻧﺎﻣﻪﺍﻯ ﻛﻪ ﺩﺭ ﻛﺮﻭﻳﺘﺰﺑﺮگ‬        ‫ﻣﻮﺿﻮﻋﻰﺳﺖ ﻭ ﺩﻭﻣﻰ ﻣﺼﺎﺣﺒﻪ ﺑﺎ ﺷﺨﺼﻴﺖﻫﺎﻯ‬              ‫ﺧﻮﻧﻴﻦﺍﺵ ﺭﺍ ﺑﻪ ﺳﻮﻯ ﭘﻨﺞ ﻫﺰﺍﺭ ﺗﻦ ﻫﻢ ﺑﻨﺪﺵ ﺭﻭ‬          ‫ﺟﻠﻮﻩ ﺷﻜﻮﻩ ﻭ ﻏﺮﻭﺭ ﺍﻧﺴﺎﻥ ﻣﺘﻤﺪﻥ ﺍﺳﺖ‪ .‬ﻫﻴﭻ‬
‫ﻃﻮﺭ ﺧﻮﺩﺁﻣﻮﺧﺘﻪ ﻧﻮﺍﺯﻧﺪﮔﻰ ﮔﻴﺘﺎﺭ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ‪.‬‬       ‫‪ Kreuzberg‬ﺩﺭ ﺍﻋﺘﺮﺍﺽ ﺑﻪ ﻗﺘﻞ ﻋﺎﻡ ﺯﻧﺪﺍﻧﻴﺎﻥ‬         ‫ﺳﻴﺎﺳﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﺩﺭ ﻣﻮﺭﺩ ﺯﻧﺪﮔﻰ ﻭ ﺑﻴﻮﮔﺮﺍﻓﻰ‬         ‫ﺑﻪ ﺁﺳﻤﺎﻥ ﮔﺸﻮﺩﻩ ﺑﻮﺩ ﻭ ﺳﺮﻭﺩ ﻭﺣﺪ ِﺕ ﺣﺰﺏ ﺍﺗﺤﺎﺩ‬        ‫ﺁﻳﺖﺍﷲﻭﻣﻘﻠّﺪﺁﻳﺖﺍﻟﻠﻬﻰﺗﺤﻤﻞﺩﻳﺪﻥﭘﻴﺎﻧﻴﺴﺖ‪،‬‬
‫ﺩﺭ ﺩﻭﺍﺯﺩﻩ ﺳﺎﻟﮕﻰ ﺁﻣﻮﺯﺷﻰ ﺩﻭ ﻣﺎﻫﻪ ﻧﺰﺩ ﺳﻌﻴﺪ‬         ‫ﺳﻴﺎﺳﻰ ﺩﺭ ﺍﻳﺮﺍﻥ ﺑﺮﮔﺰﺍﺭ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺑﻬﻤﻦ ﻧﻴﺮﻭﻣﻨﺪ‬     ‫ﺁﻧﺎﻥ ﻛﻪ ﺑﺮﻧﺎﻣﻪ ﺟﺬﺍﺑﻰﺳﺖ‪ .‬ﺑﻪ ﻭﻳﮋﻩ ﺍﺯ ﺍﻳﻦ ﺑﺎﺑﺖ ﻛﻪ‬                                                    ‫ﻭﻳﻮﻟﻮﻧﻴﺴﺖﻳﺎﮔﻴﺘﺎﺭﻳﺴﺖﭼﻴﺮﻩﺩﺳﺘﻰﺭﺍﻧﺪﺍﺭﺩﻛﻪ‬
‫ﺭﺳﺎ ﺩﺭ ﻣﺒﺎﻧﻰ ﻧﻮﺍﺯﻧﺪﮔﻰ ﺩﻳﺪ‪ .‬ﺩﺭ ﭘﺎﻧﺰﺩﻩ ﺳﺎﻟﮕﻰ‬      ‫ﺗﺮﺟﻤﻪ ﺍﺷﻌﺎﺭﻯ ﺍﺯ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ ﺭﺍ ﺧﻮﺍﻧﺪﻩ ﺑﻮﺩ ﻛﻪ‬     ‫ﺑﺮ ﻣﺒﻨﺎﻯ ﺭﻭﺍﺑﻂ ﮔﺴﺘﺮﺩﻩ ﻭ ﻭﺟﻬﻪ ﻣﻌﺘﺒﺮ ﺳﻴﺮﻭﺱ‬                   ‫ﻣﺮﺩﻣﻰ )ﺣﺰﺏ ﺁﻟﻨﺪﻩ(ﺭﺍﺧﻮﺍﻧﺪﻩﺑﻮﺩ‪:‬‬          ‫ﺑﺎ ﻓﺮﺍگ ﻳﺎ ﺍﺳﻤﻮﻛﻴﻨﮓ‪ ،‬ﺑﺮ ﺻﺤﻨﻪ ﺗﺎﻻﺭﻯ ﺑﺰﺭگ‪،‬‬
‫ﺩﻭﺭﻩﺍﻯ ﺷﺶ ﻣﺎﻫﻪ ﻧﺰﺩ ﺩﺍﺭﻳﻮﺵ ﺍﻓﺮﺍﺳﻴﺎﺑﻰ‬             ‫ﺍﺯ ﺁﻥ ﻣﻴﺎﻥ ﺑﻴﺮﻣﺎﻥ ﺷﻌﺮﻯ ﺭﺍ ﻛﻪ ﺩﺭ ﺳﻮگ ﻣﺮﺗﻀﻰ‬       ‫ﻣﻠﻜﻮﺗﻰﺑﺎﺟﺎﻣﻌﻪﺗﺒﻌﻴﺪﻯﻓﺮﻫﻴﺨﺘﻪﺍﻳﺮﺍﻧﻴﺎﻥ‪،‬ﭼﻨﻴﻦ‬                             ‫ﻣﺎ ﭘﻴﺮﻭﺯ ﺧﻮﺍﻫﻴﻢ ﺷﺪ‬            ‫ﺯﻳﺮ ﻭ ﺑﻢﻫﺎ ﻭ ﻓﺮﺍﺳﻮﻫﺎﻯ ﺣﺴﻰ ﺍﻧﺴﺎ ِﻥ ﺧﺪﺍﮔﻮﻧﻪ‬
‫ﮔﺬﺭﺍﻧﺪ ﻛﻪ ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﭘﺎﻳﺎﻥ ﺁﻥ ﺑﺎ ﻣﻮﻓﻘﻴﺖ‬      ‫ﻛﻴﻮﺍﻥ ﺳﺮﻭﺩﻩ ﺷﺪﻩ ﺑﻮﺩ ﺭﺍ ﺑﺴﻴﺎﺭ ﭘﺴﻨﺪﻳﺪﻩ ﻭ ﺩﺭ‬       ‫ﺣﺲ ﻣﻰﺷﻮﺩ ﻛﻪ ﻣﺼﺎﺣﺒﻪ ﺷﻮﻧﺪﮔﺎﻥ ﺑﺎ ﺭﺍﺣﺘﻰ ﻭ‬                                                             ‫ﺭﺍ‪ ،‬ﺑﺎ ﺣﺎﻟﺘﻰ ﺍﺯ ﺷﻜﻮﻩ ﻭ ﺗﻤﺮﻛﺰ ﻭ ﻏﺮﻭﺭ ﺑﻪ ﺯﺑﺎﻥ‬
‫ﺩﺭ ﻣﺴﺎﺑﻘﻪ ﺳﺮﺍﺳﺮﻯ ﺁﻣﻮﺯﺵ ﻭ ﭘﺮﻭﺭﺵ ﺩﺭ ﺭﺷﺘﻪ‬          ‫ﻧﺴﺨﻪ ﻛﺎﻣﻞ ﺁﻟﻤﺎﻧﻰ ﺩﺭ ﻣﻘﺎﻟﻪﺍﺵ ﺁﻭﺭﺩﻩ ﻭ ﭘﺲ ﺍﺯ‬       ‫ﺍﻋﺘﻤﺎﺩﺍﺯﺯﻧﺪﮔﻰﺧﻮﺩﻣﻰﮔﻮﻳﻨﺪ‪.‬ﭼﻨﺪﻣﺎﻩﭘﻴﺶﺍﻭﺭﺍ‬           ‫ﻣﺮﺩﻣﻰ ﻳﻚﺩﻝ ﻭ ﻳﻚﺻﺪﺍ ﻫﺮﮔﺰ ﺷﻜﺴﺖ‬                      ‫ﺟﻬﺎﻥﺷﻤﻮ ِﻝ ﻧﺖﻫﺎ ﻣﻰﺁﻓﺮﻳﻨﺪ‪ .‬ﺍﻧﺴﺎﻥ ﺩﺭ ﺟﻠﻮﻩ‬
‫ﮔﻴﺘﺎﺭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻌﻠﻢ ﮔﻴﺘﺎﺭ ﺑﻪ ﺍﺳﺘﺨﺪﺍﻡ ﺧﺎﻧﻪ‬                                                       ‫ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ ﺷﺨﺼﻴﺖ ﻣﻮﺭﺩ ﺭﺟﻮﻉ ﺩﺭ ﺭﺳﺎﻧﻪﻫﺎﻯ‬                                                           ‫ﺧﺪﺍﮔﻮﻧﻪ ﻭ ﺑﺎﺷﻜﻮﻩ ﺧﻮﺩ‪ ،‬ﻫﻤﻮﺍﺭﻩ ﺧﺎﺭﻯﺳﺖ ﺑﻪ‬
‫ﺷﻴﺮ ﻭ ﺧﻮﺭﺷﻴﺪ ﺳﺮﺥ ﺩﺭ ﺷﻤﻴﺮﺍﻥ ﺩﺭ ﺁﻣﺪ ﻭ ﺗﺎ‬                           ‫ﺁﻥ ﺍﻳﻦ ﭘﺎﺭﺍﮔﺮﺍﻑ ﺁﻣﺪﻩ ﺍﺳﺖ‪:‬‬      ‫ﺍﺟﺘﻤﺎﻋﻰﻳﺎﻓﺘﻢ‪،‬ﺗﺤﻠﻴﻞﻫﺎﻯﺳﻴﺎﺳﻰﺍﺵﻛﻪﻫﻤﻴﺸﻪ‬                                        ‫ﻧﺨﻮﺍﻫﻨﺪﺧﻮﺭﺩ‬            ‫ﭼﺸﻢ ﺩﻛﺎﻧﺪﺍﺭﺍﻥ ﻣﺬﻫﺐ ﻭ ﺧﺪﺍﻯ ﻋﺒﻮﺱ ﻭ ﻛﻴﻨﻪ‬
‫ﺳﺎﻝ ‪ 1357‬ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻌﻠﻢ ﻳﺎ ﻣﺸﺎﻭﺭ ﻣﻮﺳﻴﻘﻰ‬          ‫»ﺑﻠﻪ… ﻭ ﺁﻧﮕﺎﻩ ﻳﻚ ﮔﻴﺘﺎﺭﻳﺴﺖ ﺍﻳﺮﺍﻧﻰ‪ ،‬ﺳﻴﺮﻭﺱ‬         ‫ﺑﺎﺍﺩﺑﻴﺎﺕ ﻭﻧﺜﺮﺳﻨﮕﻴﻦ ﻭ ﻓﺎﺧﺮ ﻭﺍﻧﺪﻛﻰ ﺧﺎﺭﺝ ﺍﺯ ُﻣﺪ‬    ‫ﭘﻨﺞ ﻫﺰﺍﺭ ﺣﻨﺠﺮﻩ ﺧﺸﻚ ﻭ ﺗﺸﻨﻪ ﺑﺎ ﺍﻭ ﻫﻢﺻﺪﺍ‬             ‫ﺗﻮﺯ ﻭ ﺗﻨﮓ ﻧﻈﺮﺷﺎﻥ‪ .‬ﮔﺮ ﻋﺪﻭﻯ ﺍﻭ ﻧﻴﺴﺖ‪ ،‬ﺍﻧﻜﺎﺭ ﺍﻭ‬
‫ﺩﺭ ﻧﻬﺎﺩﻫﺎﻯ ﮔﻮﻧﺎﮔﻮﻥ ﺍﺯ ﺟﻤﻠﻪ ﺧﺎﻧﻪ ﻣﺮﻛﺰﻯ‬           ‫ﻣﻠﻜﻮﺗﻰﮔﻴﺘﺎﺭﻯﻓﻮﻕﺑﺸﺮﻯﻧﻮﺍﺧﺖ‪.‬ﺗﺠﺴﻢﺷﻴﻄﺎ ِﻥ‬            ‫ﺯﺑﺎﻧﻰﺳﺖ‪ ،‬ﺩﺭ ﻣﺤﺘﻮﺍﻯ ﺧﻮﺩ ﺑﺪﻭﻥ ﺍﺳﺘﺜﻨﺎ ﺑﺴﻴﺎﺭ‬        ‫ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻓﺮﻣﺎﻧﺪﻩ ﻧﻈﺎﻣﻰ ﺩﺳﺘﻮﺭ ﺁﺗﺶ ﺩﺍﺩﻩ ﺑﻮﺩ‪.‬‬
‫ﺟﻮﺍﻧﺎﻥ ﻭ ﺧﺎﻧﻪ ﻓﺮﻫﻨﮓ ﻭ ﻫﻨﺮ ﻓﻌﺎﻟﻴﺖ ﻣﻰﻛﺮﺩ‪ .‬ﺩﺭ‬      ‫ﮔﻴﺘﺎﺭﺑﻪﺩﺳﺖﺩﺭﺑﺮﺍﺑﺮﺧﻤﻴﻨﻰﻭﺟﻨﺎﻳﺎﺕﺣﻜﻮﻣﺖ‬              ‫ﻫﻮﺷﻤﻨﺪﺍﻧﻪ‪ ،‬ﻓﺸﺮﺩﻩ‪ ،‬ﺭﻭﺷﻦ ﻭ ﺁﮔﺎﻫﻰﺑﺨﺶ ﺍﺳﺖ‪.‬‬          ‫ﭘﻴﻜﺮ ﺷﻜﻨﺠﻪ ﻭ ﺗﻴﺮﺑﺎﺭﺍﻥ ﺷﺪﻩ ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ ﺭﺍ ﺭﻭﺯ‬                        ‫ﻫﺴﺖ! )ﺍﺯﺍﺣﻤﺪﺷﺎﻣﻠﻮ(‬
‫ﻫﻤﻴﻦ ﺳﺎﻝﻫﺎ ﺩﺭ ﺑﺮﮔﺰﺍﺭﻯ ﻛﻨﺴﺮﺕﻫﺎﻯ ﻣﺘﻌﺪﺩ‬            ‫ﺍﷲ‪ .‬ﻭﺍﻯ ﻛﻪ ﭼﻪ ﺗﺠﺮﺑﻪﻯ ﻣﺤﺸﺮﻯ‪ .‬ﺷﺒﻰ ﺑﺎﺷﻜﻮﻩ ﻭ‬        ‫ﺁﻧﭽﻨﺎﻥﻛﻪﺑﻪﺯﻭﺩﻯﻣﻦﻫﻢﻣﺎﻧﻨﺪﺑﺴﻴﺎﺭﺍﻧﻰﺩﻳﮕﺮﺩﺭ‬           ‫‪ 16‬ﺳﭙﺘﺎﻣﺒﺮﺩﺭﻛﻨﺎﺭﺧﻴﺎﺑﺎﻧﻰﻳﺎﻓﺘﻨﺪﻭﺑﻪﻫﻤﺴﺮﺵ‬             ‫ﻭ ﺍﻳﻦﭼﻨﻴﻦ ﺷﺪ ﻛﻪ ﮔﺮﻭﻫﻰ ﻣﺎﻧﺪﻧﺪ ﻭ ﮔﺮﻭﻫﻰ‬
‫ﺩﺭ ﺷﻬﺮﺳﺘﺎﻥﻫﺎﻯ ﺍﻳﺮﺍﻥ ﻧﻘﺶ ﺩﺍﺷﺖ‪ ،‬ﺷﻬﺮﻫﺎﻳﻰ‬           ‫ﺍﻟﻬﺎﻡﺑﺨﺶ‪.‬ﺩﻭﺭﺑﻴﻦﻫﻴﭻﺷﺒﻜﻪﺗﻠﻮﻳﺰﻳﻮﻧﻰﺍﻳﻦﺷﺐ‬            ‫ﭘﺮﺳﺶﻫﺎﺳﻴﺎﺳﻰﻭﺑﺤﺮﺍﻥﻫﺎﻯﺑﻰﺷﻤﺎﺭﻣﻨﻄﻘﻪﺍﻯ‬               ‫ﺭﺳﺎﻧﺪﻧﺪﺗﺎﻣﺨﻔﻴﺎﻧﻪﺩﻓﻦﺷﻮﺩ‪ 31.‬ﺳﺎﻝﭘﺲﺍﺯﺍﻳﻦ‬              ‫ﺩﻳﮕﺮ ﭼﻨﺎﻧﭽﻪ ﺍﺳﻤﺎﻋﻴﻞ ﺧﻮﻳﻰ ﺳﺮﻭﺩ »ﺁﻧﭽﻪ‬
‫ﻛﻪ ﺩﺭ ﺍﻏﻠﺐ ﺁﻧﺎﻥ ﻫﺮﮔﺰ ﻛﻨﺴﺮﺕ ﮔﻴﺘﺎﺭ ﺗﺎ ﺑﻪ‬          ‫ﺑﺰﺭگ ﺭﺍ ﺛﺒﺖ ﻧﻜﺮﺩ‪ .‬ﻧﻤﺎﻳﻨﺪﻩ ﻫﻴﭻ ﺭﺳﺎﻧﻪﻯ ﻣﻬﻤﻰ‬       ‫ﺑﻪ ﻧﻈﺮﺍﺕ ﻭ ﺗﺤﻠﻴﻞﻫﺎﻯ ﺍﻭ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺮﺟﻊ ﻗﺎﺑﻞ‬       ‫ﺟﻨﺎﻳﺖ‪ ،‬ﺩﺭ ﺩﺳﺎﻣﺒﺮ ‪ 2004‬ﻗﺎﺿﻰﺍﻯ ﺩﺭ ﺳﺎﻧﺘﻴﺎﮔﻮ‬          ‫ﺍﺯ ﻣﻴﻬﻦ ﺩﺭ ﭼﻤﺪﺍﻥ ﺩﺍﺷﺘﻨﺪ« ﺭﺍ ﺑﺮﺩﺍﺷﺘﻨﺪ ﻭ‬
‫ﺁﻥ ﺭﻭﺯ ﺑﺮﮔﺰﺍﺭ ﻧﺸﺪﻩ ﺑﻮﺩ‪ .‬ﺩﺭ ﺑﺤﺒﻮﺣﻪ ﺍﻧﻘﻼﺏ ﺑﺎ‬                                                      ‫ﻭﺛﻮﻕ ﻣﺮﺍﺟﻌﻪ ﻣﻰﻛﻨﻢ ﻭ ﻫﺮ ﺑﺎﺭ ﺑﺴﻴﺎﺭ ﻣﻰﺁﻣﻮﺯﻡ‪.‬‬       ‫ﺩﺍﺩﺧﻮﺍﺳﺘﻰﻋﻠﻴﻪﺳﺮﻫﻨﮓﺑﺎﺯﻧﺸﺴﺘﻪ‪،‬ﻣﺎﺭﻳﻮﻣﺎﻧﺮﻳﻜﺰ‬           ‫ﺭﻭﺍﻧﻪ ﺗﺒﻌﻴﺪ ﺷﺪﻧﺪ‪ .‬ﺍﺯ ﺁﻥ ﺟﻤﻌﻰ ﻛﻪ ﻣﺎﻧﺪﻧﺪ‪،‬‬
‫ﺳﺎﺯﻣﺎﻥﭼﺮﻳﻚﻫﺎﻯﻓﺪﺍﻳﻰﺧﻠﻖﻫﻤﻜﺎﺭﻯﺩﺍﺷﺖ‪.‬‬                 ‫ﺣﺎﺿﺮ ﻧﺒﻮﺩ‪ .‬ﺣﻴﻒ‪ .‬ﻭﻟﻰ ﺩﺭ ﻋﻴﻦ ﺣﺎﻝ‪ ،‬ﭼﻪ ﺑﻬﺘﺮ!«‬      ‫ﺷﻨﻴﺪﻩ ﺑﻮﺩﻡ ﻛﻪ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﮔﻴﺘﺎﺭﻳﺴﺖ‬             ‫ﺑﺮﺍﻭﻭ ‪ ،Mario Manriquez Bravo‬ﺍﻓﺴﺮﻯ‬                ‫ﺗﻌﺪﺍﺩﻯ ﻫﻤﺮﻧﮓ ﻭ ﻫﻤﻜﺎﺭ ﻗﺪﺭﺕ ﺷﺪﻧﺪ‪،‬‬
‫ﻫﻤﻜﺎﺭﻯ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﺍﻭ ﺑﺎ ﺳﺎﺯﻣﺎﻥ ﭘﻴﺸﮕﺎﻡ‬          ‫ﺗﺮﺍﻧﻪﺳﺮﺍ ﻭ ﮔﻴﺘﺎﺭﻳﺴﺖ ﻣﻠﻰ ﺁﻟﻤﺎﻥ ﺍﺯ ﺳﻴﺮﻭﺱ‬          ‫»ﻫﻢ« ﻫﺴﺖ‪ .‬ﺩﺭ ﺻﻔﺤﻪ ﺷﺨﺼﻰ ﻓﻴﺲﺑﻮﻙﺍﺵ‬                 ‫ﻛﻪ ﺩﺭ ﺯﻣﺎﻥ ﻛﻮﺩﺗﺎ ﻓﺮﻣﺎﻧﺪﻫﻰ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺳﺎﻧﺘﻴﺎﮔﻮ ﺭﺍ‬    ‫ﻛﺴﺎﻧﻰ ﺑﺎ ﻭﺟﻮﺩ ﺑﺎﺩﻫﺎﻯ ﻧﺎﻣﻮﺍﻓﻖ ﺩﺭ ﻣﺴﻴﺮ ﻫﻨﺮ‬
‫ﻣﺤﺼﻮﻟﻰ ﺩﺍﺷﺖ‪ ،‬ﺁﻟﺒﻮﻣﻰ ﺑﻪ ﻧﺎﻡ »ﺳﺮﻭﺩﻫﺎﻯ‬             ‫ﻣﻠﻜﻮﺗﻰ ﻣﺎ ﺑﻪ ﻫﻤﻮﻃﻨﺎﻧﺶ ﺍﻳﻦﭼﻨﻴﻦ ﻣﻰﮔﻔﺖ‪ ،‬ﺩﺭ‬         ‫ﻗﻄﻌﻪﺍﻯ ﺍﺯ ﺗﻚﻧﻮﺍﺯﻯ ﮔﻴﺘﺎﺭ ﺍﻭ ﺩﺭ ﺩﺳﺘﺮﺱ ﺍﺳﺖ‬         ‫ﻋﻬﺪﻩﺩﺍﺭ ﺑﻮﺩ ﮔﺸﻮﺩ‪ .‬ﺑﺎ ﻧﺒﺶ ﻗﺒﺮ ﻭ ﺗﺸﺮﻳﺢ ﺑﻘﺎﻳﺎﻯ‬       ‫ﻣﺴﺘﻘﻞ ﻭ ﻣﺮﺩﻣﻰﺣﺮﻛﺖ ﻛﺮﺩﻧﺪ‪ .‬ﻭ ﻛﻢ ﻧﺒﻮﺩﻩ ﻭ‬
‫ﺳﺮﺥ« ﻛﻪ ﻧﺨﺴﺘﻴﻦ ﺍﺛﺮ ﻣﻮﺳﻴﻘﺎﻳﻰ ﺿﺪ ﺭژﻳﻢ ﺩﺭ‬          ‫ﺳﺎﻝﻫﺎﻳﻰ ﻛﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺎ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺣﺘﻰ ﻧﺎﻣﻰ ﺍﺯ‬    ‫ﻛﻪﺑﻪﮔﻮﺵﻧﺎﺁﻣﻮﺧﺘﻪﻧﻴﺰﺑﻪﺣﺪﺍﻋﻼﺯﻳﺒﺎﻭﺍﺳﺘﺎﺩﺍﻧﻪ‬          ‫ﭘﻴﻜﺮ ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ ﺑﻪ ﺳﺎﻝ ‪ ،2009‬ﭘﺰﺷﻜﻰ ﻗﺎﻧﻮﻧﻰ‬        ‫ﻧﻴﺴﺘﻨﺪ ﺁﻧﻬﺎ ﻛﻪ ﺯﻳﺮ ﻓﺸﺎﺭ ﻭ ﻣﺤﺪﻭﺩﻳﺖ ﻛﺎﺭﻯ‬
‫ﺩﻭﺭﺍﻥ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ ﻭ ﺣﺎﻭﻯ‬             ‫ﮔﻴﺘﺎﺭﻳﺴﺖﺑﺰﺭگﻣﺎﻥﻧﺸﻨﻴﺪﻩﺑﻮﺩﻳﻢ‪،‬ﻛﻪﺑﺴﻴﺎﺭﻯﺍﺯ‬           ‫ﻣﻰﺁﻳﺪ‪.‬ﺷﻨﻴﺪﻩﺑﻮﺩﻡﻛﻪﺗﻨﻬﺎﺩﺭﻣﺮﺍﺳﻢﺑﺸﺮﺩﻭﺳﺘﺎﻧﻪ‬          ‫ﻭﺟﻮﺩ »ﺷﻜﺴﺘﮕﻰﻫﺎﻯ ﺑﻰﺷﻤﺎﺭ« ﻭ ﺍﺛﺮ »ﺩﺳﺖ ﻛﻢ‬             ‫ﺩﻕ ﻛﺮﺩﻧﺪ ﻳﺎ ﻣﺎﻧﻨﺪ ﺣﺴﻴﻦ ﺳﺮﺷﺎﺭ ﺧﻮﺍﻧﻨﺪﻩ‬
‫ﻗﻄﻌﺎﺗﻰ ﻣﺎﻧﻨﺪ »ﺳﺮﻭﺩ ﺧﻠﻖ ﺗﺮﻛﻤﻦ« ﺑﻮﺩ‪ .‬ﺍﻭ‬                                                           ‫ﻭ ﻭ ﺑﻪ ﺍﻫﺪﺍﻑ ﺧﻴﺮﺧﻮﺍﻫﺎﻧﻪ ﮔﻴﺘﺎﺭﺵ ﺭﺍ ﺑﻪ ﺩﺳﺖ‬        ‫‪ 44‬ﮔﻠﻮﻟﻪ« ﺭﺍ ﺗﺎﻳﻴﺪ ﻛﺮﺩ‪ .‬ﺁﺧﺮﻳﻦ ﺷﻌﺮ ﻭﻳﻜﺘﻮﺭ ﺧﺎﺭﺍ‬     ‫ﺳﺮﺷﻨﺎﺱ ﺍﭘﺮﺍ‪ ،‬ﺩﺭ ﮔﺮﻳﺴﺘﻦﻫﺎﻯ ﻫﺮ ﺭﻭﺯﻩ ﻣﻘﺎﺑﻞ‬
‫ﻧﺨﺴﺘﻴﻦ ﺳﺎﺧﺘﻪﻫﺎﻯ ﺳﻠﻮﻯ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻫﻤﺎﻥ‬                                                                                                             ‫ﺭﺍ‪ ،‬ﻧﻮﺷﺘﻪ ﺑﺮ ﺗﻜﻪ ﻛﺎﻏﺬﻯ ﻣﭽﺎﻟﻪ‪ ،‬ﻳﻜﻰ ﺍﺯ ﺟﺎﻥ ﺑﻪ‬       ‫ﺗﺎﻻﺭ ﺭﻭﺩﻛﻰ ﺑﻪ ﻃﻮﺭ ﺗﺪﺭﻳﺠﻰ ﻭ ﻫﺮ ﺭﻭﺯﻩ ﺩﻕ‬
‫ﺁﻟﺒﻮﻡﺍﺟﺮﺍﻛﺮﺩﻩﺑﻮﺩ‪.‬ﭘﺲﺍﺯﺍﻧﻘﻼﺏﺑﻪﻫﻤﺮﺍﻩﺧﻴﻞ‬                                                                       ‫ﻣﻰﮔﻴﺮﺩ‪.‬ﺑﻪﺍﻳﻦﻧﻘﻄﻪﺑﺎﺯﻣﻰﮔﺮﺩﻳﻢ‪.‬‬          ‫ﺩﺭ ﺑﺮﺩﮔﺎﻥ ﺍﺳﺘﺎﺩﻳﻮﻡ ﺳﺎﻧﺘﻴﺎﮔﻮ ﺑﻪ ﺩﺳﺖ ﻫﻤﺴﺮﺵ‬          ‫ﻛﺮﺩﻧﺪ ﻭ ﺳﭙﺲ ﺩﺭ ﭘﺮﻳﺸﺎﻥ ﺍﺣﻮﺍﻟﻰ ﺑﺎ ﻣﺎﺷﻴﻦ‬
‫ﻋﻈﻴﻤﻰﺍﺯﻫﻨﺮﻣﻨﺪﺍﻥﻭﺁﺯﺍﺩﻯﺧﻮﺍﻫﺎﻥﺍﻳﺮﺍﻧﻰﻧﺎﭼﺎﺭ‬                                                                                                                                                            ‫ﺯﻳﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻧﺪ ﺗﺎ ﮔﻮﺍﻩ ﺯﻧﺪﻩ ﻭﻳﺮﺍﻧﻰ ﻳﻚ ﻧﺴﻞ‬
‫ﺍﺯ ﺗﺮﻙ ﻭﻃﻦ ﺷﺪ‪ .‬ﺩﺭ ﺗﺒﻌﻴ ِﺪ ﺁﻟﻤﺎﻥ ﺧﻮﻳﺶ‪ ،‬ﺍﺯ‬                                                            ‫ﺍﺯ ﻭﻟﻒ ﺑﻴﺮﻣﺎﻥ ﺑﻪ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ‬                                          ‫»ﺟﻮﻥ«ﺭﺳﺎﻧﺪ‪:‬‬
‫ﻓﺮﺻﺖ ﺗﺤﺼﻴﻞ ﺩﺭ ﺭﺷﺘﻪ ﻣﻮﺳﻴﻘﻰ ﺑﻬﺮﻩ ﺑﺮﺩ‪ .‬ﺩﺭ‬                                                                                                                                                                ‫ﻧﺒﺎﺷﻨﺪ‪ ،‬ﺗﺎ ﺟﻠﻮﻯ ﭼﺸﻢ ﻣﻦ ﻭ ﺗﻮ ﻧﺒﺎﺷﻨﺪ‪.‬‬
‫ﺳﺎﻝ‪ 1980‬ﻛﻨﻜﻮﺭﺩﺷﻮﺍﺭﺩﺍﻧﺸﮕﺎﻩﻫﻨﺮﺑﺮﻟﻴﻦﺭﺍﺑﺎ‬                                                                                                                                                             ‫ﻭ ﻣﻦ ﻭ ﻣﺎﻳﻰ ﻛﻪ ﻧﺴﻞ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺑﻴﻢ‪ ،‬ﺩﺭﺩ‬
‫ﻣﻮﻓﻘﻴﺖ ﮔﺬﺭﺍﻧﺪ ﻭ ﺩﺭ‪ 1984‬ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪ‪،‬‬                                                                                                                                                            ‫ﻣﻀﺎﻋﻔﻰﺩﺍﺷﺘﻴﻢ‪.‬ﺣﺎﻓﻈﻪﺗﺎﺭﻳﺨﻰﻣﺎﺭﺍﻗﻄﻊﻧﺨﺎﻉ‬
‫ﭘﺲ ﺍﺯ ﺁﻥ ﻣﺪﺗﻰ ﺩﺭ ‪ rance ecole‬ﭘﺎﺭﻳﺲ‬                                                                                                                                                                ‫ﻛﺮﺩﻩ ﺑﻮﺩﻧﺪ‪ .‬ﻣﺎ ﺗﺎ ﮔﺬﺭ ﺍﺯ ﻧﻮﺟﻮﺍﻧﻰ ﻭ ﺣﺘﻰ ﺟﻮﺍﻧﻰ‬
‫ﺩﻭﺭﻩﺍﻯ ﺩﺭ ﺗﻔﺴﻴﺮ ﺗﺎﺭﻳﺦ ﻣﻮﺳﻴﻘﻰ ﮔﺬﺭﺍﻧﺪ‪ .‬ﺩﺭ‬                                                                                                                                                           ‫ﺩﺭ ﻭﺿﻌﻴﺖ ﺍﻧﻘﻄﺎﻉ ﺍﺯ ﻭﻗﺎﻳﻊ ﺗﺎﺭﻳﺨﻰ‪ -‬ﺍﺟﺘﻤﺎﻋﻰ‬
‫ﻓﺎﺻﻠﻪ ﺳﺎﻝﻫﺎﻯ ‪ 1984‬ﺗﺎ ‪ 1994‬ﺩﺭ ﻣﺪﺍﺭﺱ‬                                                                                                                                                                ‫ﻭ ﻓﺮﻫﻨﮕﻰ ﭘﻴﺶ ﺍﺯ ﺗﻮﻟﺪﻣﺎﻥ ﺑﻮﺩﻳﻢ‪ .‬ﺭﻭﺍﻳﺘﻰ ﻛﻪ‬
‫ﻣﺘﻌﺪﺩ ﺗﺪﺭﻳﺲ ﻣﻮﺳﻴﻘﻰ ﻛﺮﺩ ﻭ ﻛﻨﺴﺮﺕﻫﺎﻯ‬                                                                                                                                                                 ‫ﺍﺯ ﺍﻧﻘﻼﺏ ﻭ ﺗﺎﺭﻳﺦ ﻣﻌﺎﺻﺮ ﻭ ﺗﺎﺭﻳﺦ ﺍﻳﺮﺍﻥ ﺁﻣﻮﺧﺘﻪ‬
                                                                                                                                                                                                  ‫ﺑﻮﺩﻳﻢ‪ ،‬ﻫﻤﺎﻥ ﺭﻭﺍﻳﺖﻫﺎﻯ ﺳﺎﺧﺘﮕﻰ ﻛﺘﺎﺏﻫﺎﻯ‬
  ‫ﺑﻰﺷﻤﺎﺭﻯ ﺩﺭ ﺳﺮﺍﺳﺮ ﺍﺭﻭﭘﺎ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﺑﺮﺩ‪.‬‬                                                                                                                                                         ‫ﺩﺭﺳﻰ ﺑﻮﺩ‪ .‬ﺩﺭ ﺧﺎﻧﻮﺍﺩﻩ ﮔﺎﻫﻰ ﻳﻚ ﺁ ِﻩ ﭘﺮﺣﺴﺮ ِﺕ‬
                                                                                                                                                                                                  ‫ﻣﻌﻄﻮﻑ ﺑﻪ ﮔﺬﺷﺘﻪﻫﺎﻯ ﺑﻬﺘﺮ ﻣﻰﺷﻨﻴﺪﻳﻢ‪ ،‬ﻧﺎﻡ‬
‫ﺩﺭ ﺻﻔﺤﻪ ‪15‬‬                                                                                                                                                                                        ‫ﭼﭗ ﻭ ﭼﺮﻳﻚ ﺭﺍ ﻫﺮﮔﺰ ﻧﺸﻨﻴﺪﻳﻢ‪ ،‬ﻓﻮﻕﺍﺵ ﻣﻄﻠﻊ‬
                                                                                                                                                                                                  ‫ﺑﻮﺩﻳﻢﻛﻪﻣﺜﻼﻣﻨﺎﻓﻘﻴﻦﻫﻤﺎﻥﻣﺠﺎﻫﺪﻳﻦﺍﻧﺪﭼﻮﻥ‬
‫*ﻓﻴﻠﻢ ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺨﺸﻰ ﺍﺯ ﺍﺟﺮﺍﻯ ﺯﻧﺪﻩ‬                                                                                                                                                                 ‫ﺍﻏﻠﺐ ﺍﺯ ﺗﺮﻳﺒﻮﻥﻫﺎﻯ ﺭﺳﻤﻰ ﻧﺎﻡ ﺑﺮﺩﻩ ﻣﻰﺷﺪﻧﺪ‪.‬‬
                                                                                                                                                                                                  ‫ﺍﺯ ﺍﻋﺪﺍﻡﻫﺎﻯﺩﻫﻪ ﺷﺼﺖﻫﺮﮔﺰ ﻛﻠﻤﻪﺍﻯﻧﺸﻨﻴﺪﻩ‬
‫»ﻗﺼﻪﻫﺎﻯ ﺍﻭﻳﻦ« ﺭﺍ ﻛﻪ ﺳﻴﺮﻭﺱ ﻣﻠﻜﻮﺗﻰ ﺩﺭ ﺳﺎﻝ‬

‫‪ 1989‬ﺩﺭ ﻟﻨﺪﻥ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﻧﻮﺍﺧﺖ‪ ،‬ﺧﻮﺩ ﻭﻯ‬

‫ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﻧﻬﺎﺩ ﻭ ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﺩﺭ‬

                  ‫ﻫﻴﭻ ﺟﺎ ﻣﻨﺘﺸﺮ ﻧﺸﺪﻩ ﺍﺳﺖ‪.‬‬
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