UNE SOIRÉE AVEC LES CONTEURS PICARD AU MANOIR VILLE MARIE

Happy birthday dear Melanie

With the best wishes to you my exceptional friend who bring grace and peace at each one of your breath ...
So, you existence is of the freshest source ofLove and Grace of the Universe...
Dear Mélanie watching your amazing grace and beauty at our ballet workshops, walking through the park, sharing the tea or coffee at your charming house so tastfuly decorated, you as a devoted wife, mother, wise human being, musicien...had always been the source of great admiration for  me...I am so proud and thankful to be able to share some short but rich moments of Grace with you,

HAPPY BIRTHDAY TO YOU & ALL THOSE WHO HAVE THE PRIVELEGE OF HAVING THE CHANCE OF BEING CONNECTED TO YOUR HEART DEAR MELANIE

A real rose from the Father mountain, N.C.Photo: Shahrzad Ghaffari Sept.2011

Happy birthday/Bonne fête dear Cécile- chez Ira 19 mars 2011Le

Les premières fleures du Printemps pour toi Cécile, Photo: Shahrzad Ghaffari, mars 2012

Un délicieux gâteau fait spécialement fait pour toi par Ayleen, Photo:: Shahrzad

Cécile tu es unique et j'espère célebrer beaucoup de tes têtes ensemble!

Bon voeux Cécile!

L'équipe de corale- Sionging is fun - chez Ira- 19 mars 2012
Iman tu nous nmanque beaucoup!

Merci Ayleen pour ton super bon gâteau!

Printemps...Dis-moi la petite fleure...2

Petite Fleure de Printemps, Photos:Shahrzad Ghaffari, 22 mars 2012 

Petite Fleure de Printemps, Photos:Shahrzad Ghaffari, 22 mars 2012 

Petite Fleure de Printemps, Photos:Shahrzad Ghaffari, 22 mars 2012

Dis-moi la petite flleure du Printemps,
Ce que tu resens par la caresse de mon regard émerveillé
Y-t-il une autre personne qui a voyagé avec tant d'admiration à travers de la fraicheur de
l'ncroyable beauté de tes couleurs,
Se mettant à ses genoux,
Bloquant sa respiration,
Pour traverser avec son regard,
À travers de ta peau si délicate et transparente?

Tu m'as attiré, tu m'as séduit,
 Rendant nous deux, toi et de moi folles de joi,
Et, si amoureuses...


Shahrzad en passant devant le jardin devant le parc de Westmount

NOROUZETAN PIROUZ BAD- HAPPY NEW YEAR - BONNE ANNÉE

IRAN HERITAGE FOUNDATION
NOROUZ | Background
The festival of Norouz represents a major part of the Iranian peoples’ rich culture and is one of the cornerstones of the eastern civilisations.
The origins of Norouz (New Day) are unknown, but references to it can be traced back to several thousand years predating the Achaemenid Dynasty (ca. 700 to 330 BC).
The ancient Iranians marked the last ten days of the solar year in a solemn ceremony of mourning (‘Farvardgan’) to signify the end of life. This was followed by the festival of Norouz that in contrast celebrated the rebirth of nature, signifying the rebirth of life and this was a great occasion for celebration and joy.
The details of Norouz ceremonies during the reign of the Achaemenid kings are not known, possibly because until the time of Alexander the Great foreigners were barred from attending these occasions. However, there is no shortage of references to the rituals of celebrating the Norouz during and after the reign of the Sasanian Dynasty (226 – 652 AD).
One of the rock reliefs of the staircases in Persepolis depicts a procession of Median dignitaries on their way to the festival of Norouz, carrying ceremonial and symbolic offerings.
The basis of the rituals have remained remarkably intact for several thousand years, observed by vast populations living in Iran, Turkey, Iraq, Afghanistan and Central Asia, as well as ex-pat communities living through out the world.
The significant moment that starts the celebrations is when the earth goes through the spring equinox i.e. the exact moment when the earth has completed one revolution of the Sun, which is calculated with split second accuracy.
The Zoroastrians of ancient Persia celebrated the creation of life by offering their god, Ahura Mazda, seven trays filled with symbolic objects representing truth, justice, good thoughts, good deeds, virtue, prosperity, generosity and immortality.
Today, the tradition is continued through the setting of a special table or spread with an arrangement of specific symbolic items, seven of which have names that start with the Persian letter Seen (s). These are:






Sabzeh - Wheat or lentils grown in a tray or dish prior to Norouz to
represent rebirth.
Samanu - A sweet pudding made from wheat germ, symbolising affluence.
Senjed - The dried fruit of the lotus tree which represents love.
Seer - Meaning garlic in Persian, and represents medicine.
Seeb - Meaning apple in Persian, and represents beauty and health.
Somaq - Sumac berries, which represent the colour of the sun rise.
Serkeh - Meaning vinegar in Persian, and represents age and
patience.
Sonbol - The hyacinth flower with its strong fragrance heralding the coming
of spring.
Sekkeh - Coins representing prosperity and wealth.http://www.parstimes.com/library/norouz_back.htm

JULES VERNE-LES CONTEURS PICARDS

Les conteurs Picards ont passé presque un mois au Manoir Ville Marie....ont eu un grand succès à  Montréal en racontant les histoires de  Jules Vernes au théatre Denise Pellerier...et aussi une soirée de contes au Manoir Ville Marie,,,,Merci !!!

l ConteursLes 3 Picards racontent… les histoires extraordinaires de Jules Verne Trois conteurs picards de Luktrop, la ville imaginaire de Fritt Flacc, se retrouvent selon une vieille habitude à la taverne du « Rat goutteux » et se racontent des histoires. Ce sont toutes des nouvelles fantastiques écrites par Jules Verne. Les 3 conteurs sont Olivier Cariat, Vincent Gougeat et Dominique Herbet.Dans ce numéro de littérature orale, les récits, les mots, les situations, les atmosphères de Jules Verne sont restitués dans un plaisir partagé par les trois hommes. Leur bonheur dans la vie semble être de raconter des histoires, et encore des histoires… Maître Zacharius Fritt Flacc John Playne (paroles de Jules Verne, musique de Vincent Gougeat) Un hivernage dans les glaces Chanson de Mandrin (chanson traditionnelle) Pierre-Jean Chanson des Rats (paroles de Vincent Gougeat et Dominique Herbet) Les Aventures de la famille Raton Les intentions du Centre International Jules VerneAvec le projet des « Voyages extraordinaires contés », le Centre International Jules Verne souhaite aider à la relance de l’oralité littéraire. Il s’agit de favoriser l’accès au contenu symbolique et littéral des 62 romans et 18 nouvelles des Voyages extraordinaires, en faisant conter par un regroupement d’artistes cette épopée de la géographie humaine, mythologie de la modernité et des idéaux de progrès. Les différents conteurs investis dans le projet des « Voyages Extraordinaires contés » élaborent des spectacles thématiques à partir de l’oeuvre de Jules Verne. Chaque conteur choisit dans cette oeuvre, au terme d’un travail individuel et collectif, un ensemble d’une vingtaine de titres, romans et nouvelles. Ce choix regroupe différents aspects de l’oeuvre autour d’un thème que chaque conteur s’est approprié selon sa personnalité. L’ensemble de ces spectacles se présente comme un voyage complet raconté par des personnalités et des voix différentes. Des pistes sont ouvertes, des titres évoqués, des portes entrouvertes vers d’autres univers, des personnages entr’aperçus qui n’apparaîtront que le lendemain, ou plus tard. Cette forme théâtrale garde ainsi la mobilité, la spontanéité et l’appropriation des textes propres à l’univers du conte. Les conteursOlivier CariatOlivier aime les mots bruts, les dévoiler et les partager avec simplicité : il en dit peu pour nous laisser imaginer ce qu’on n’entend pas. Homme de la terre, amoureux des villages, il y trouve ses histoires ; il tire ses mots du quotidien, se plait à les servir dans la rue pour que sa parole surgisse impromptue au milieu des hommes. En 1997, il fonde la compagnie Conte là-d’ssus, qui organise notamment le festival de conte des « Quand dira-t-on » à Salency, dans l’Oise. Interventions dans les écoles, les bibliothèques, les cafés, animations, organisation de stages et de formations, ateliers de création d’histoires, collecte d’histoires de Picardie et d’ailleurs, Olivier a tâté de nombreuses formes d’intervention artistique. Avec toujours l’idée de développer une réflexion sur ce qu’est le conte, la richesse de cette technique et surtout comment présenter les contes de façons différentes. Vincent GougeatVincent se dit conteur tout terrain. Diseux et comédien, il sait trouver sa place et poser une parole conteuse quel que soit l’endroit, de la rue à la salle en passant par les cafés : rien ne l’effraie. Formé à l’école Lecoq - école internationale de théâtre gestuel -, sa formation s’est aussi orientée vers l’improvisation avec le théâtre de l’Unité au théâtre de Chaillot, les masques de Bali, de Java et de la commedia dell’arte, le texte (Théâtre du Réel à Grenoble) et le conte avec Fiona Mac Leod et Joël Smet. De sa voix si particulière, parfois chantée ou accompagnée d’un instrument, il joue dans des adaptations de textes classiques (Aristophane, Molière, Ruzzante) et contemporains (Y. Abdelatif, V. Kathemo, J. Soufflet, B. Chartreux). Lectures à une ou plusieurs voix, contes, chansons, interventions « poésie-minute », il aime explorer sans cesse de nouvelles formes de jeu avec les mots. Dominique HerbetComédien et conteur, Dominique partage la destinée des Ben’Arts, compagnie de théâtre de rue, caves, parcs et autres jardins d'agrément, réunie depuis 10 ans autour de la volonté d'emmener le théâtre là où il ne va pas (ou plus), d'aller raconter des histoires. Des spectacles en musique. En résidence à Corbie dans la Somme, la compagnie propose ateliers de théâtre, lectures et répétitions publiques, collaborations avec des troupes amateurs pour créer et entretenir sur la durée une relation privilégiée avec le territoire. Dominique a mis en bouche des auteurs classiques (Bertolt Brecht, Eugène Sue) et contemporains (Jacques Brel, Eugène Durif, Henri Michaux, François Cavanna, Henri Salvador, Roland Dubillard et Philippe Leroy). Il a aussi écrit et interprété le spectacle « L’Epousseteur ». Jean-Paul Dekiss / Directeur littéraire et artistiqueJean-Paul Dekiss a d’abord été cinéaste (producteur, réalisateur et scénariste) avant de venir à la littérature et à l’écriture en 1989. Passionné par la défense du livre et par le rôle qu’il peut jouer dans la société d’aujourd’hui, il a présidé et dirige actuellement le Centre International Jules Verne à Amiens. Auteur de plusieurs ouvrages sur Jules Verne « l’enchanteur », Jean-Paul Dekiss travaille à diffuser son oeuvre sous les formes les plus diverses. Il fonde la Revue Jules Verne en 1996, prépare la rénovation de la Maison de Jules Verne pour en faire un lieu dédié à l’imaginaire et à l’écriture, et encourage le développement du rôle des maisons d’écrivain dans la société. Depuis plusieurs années, Jean-Paul Dekiss explore de nouvelles pistes : mise en place de grandes expositions littéraires (« Le monde fabuleux de Jules Verne » en Norvège à Bergen, « Michel Strogoff » à Amiens), projets littéraires et artistiques en milieu scolaire difficile («XL A 2R» avec le photographe Xavier Lambours), travail sur la diffusion des oeuvres littéraires sous forme contée.

Clo, Fidel and babies Nini, Nana & Noumou-March 2011

Clo, Photo: Shahrzad Ghaffari, March 2012

Fidel & one of the babies, Photo: Shahrzad Ghaffari, March 2012

I became a father but I am not allowed to touch my babies...Clo shouts on me when I go for a visit, I do not even dare looking at my baby...I am scared of Clo! Such a confusing life, I do not know how to react! Am I a father or what!!!!!

Clo feeding her babies, Photo: Shahrzad Ghaffari, March 2012 

I became a full time mother before even passing by the teen's age, Fidel's fault! Good for him, AS I have to feed these little ones who are growing so fast, I am going to scream on Fidel any time he tries to come close to us!!! No way, don't even think about it, Fidel!

Bruce's vernissage at Victoria Hall Westmount , http://www.westmountindependent.com/WIv4.1.c.pdf

Hello Anna and Bruce,

 We are back from Iran...how was your trip in Europe?

I just found the pictures of Bruce's vernissage at Victoria Hall in 2010, there is one of me with Ilana Shamir taken by Robert J. Galbraith at Bruce's Vernissage, I love it!

I could only copy the texts, and take a picture of the page (to see the pictures you need to check page 8 at: http://www.westmountindependent.com/WIv4.1.c.pdf):


8 – WESTMOUNT INDEPENDENT – January 19-20, 2010
Bruce Roberts’ vernissage at The Gallery at Victoria Hall, January 13
Photos by Robert J. Galbraith
Front row, from left, Patrycia Walton (artist and friend from the Plateau), Allan Gedalof (brother-inlaw visiting from Paris), Anna Gedalof (wife of the artist), John Hill (artist, photographer and friend).
Back row, The Gallery curator, Victoria LeBlanc and artist Bruce Roberts.
Lakefield College School cordially invites you to attend an Admissions
presentation and reception on the evening of Tuesday, January 26.
Please join us in Westmount to learn more about experiential education at one of Canada’s
premiere independent boarding high schools.
For more information, directions, and to RSVP
contact Valerie Marlow at vmarlow@lcs.on.ca or 705.652.3324 ext. 319
The LCS boarding experience offers ...

unparalleled academic opportunities
an environment that builds confi dence
enduring friendships
the gift of independence
greater university and career success
www.lcs.on.ca
Ilana Shamir of St. Henri, from left, with Shahrzad Ghaffari of Westmount at the vernissage.

I

I love these photos, thanks! 

http://www.westmountindependent.com/WIv4.1.c.pdf

L'ESPRIT INTUITIF & L'ESPRIT RATIONNEL...Rassel Brand

L'ESPRIT INTUITIF & L'ESPRIT RATIONNEL...Rassel Brand

En rangeant mes papiers, je viens de trouver le but de journal que Francis ma chère amie m'avait coupé d'un journal...
'L'esprit intuitif est un cadeau, et l'esprit rationnel, un serviteur. Nous avons créé une société qui honore le serviteur et a oublié le cadeau.......

Our 32ed Anniversary in a Lovely traditional Iranian restaurent

Beautiful gift of Love from Ghazaleh and Mehdi who anticipated by offering us the lunch at this beautiful traditional restaurent...while my brother and wife, and my mother also wanted to do so (this is the way it works in Iran, everybody wants to invite you at the same time but Mehdi was faster and had already taken care of everything!) ...

We ended up at Ghazaleh and Mehdi's warm nest that night and shared lovely moments with them, my brother and wife and their lovely dogs (Clo & Fidel) and 3 babies (Nini, Nana, Noonoo)...

Many thanks to both of you and all our wonderful family who are full of life and love and of course gourmandises...

Esfandier, photo:Shahrzad Ghaffari Mars 2012

At the front door of the restaurent, there was an old Esfandier (esfand is an incent which is used againt the bad luck and bad enenrgies)...

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

photo:Shahrzad Ghaffari Mars 2012 

OUR 32ed ANNIVERSARY

Photo: Shahrzad Ghaffari March 2012

A simple rose....

Photo: Shahrzad Ghaffari March 2012 

A simple rose and its red petals, a few candels creating two hearts...

A simple rose with its red petals, a few candels making two hearts, a few hands, a few hearts, a few minds full of love, a few matches bringing Light...

Both of us...our Love story as simple as a simple rose with red petals, a few candels making two hearts......the Light which is always there in our hearts, in our Minds, in our Acts, in our Eyes to share...

With many thanks to Zari joon and all Bahram's family for the amazing sincere loving moments which made our first anniversary of marriage in Iran so memorable...full of simple joys made of sincerety, attention and Love...

We love you and are so proud of having such good families...

Happy Noorouz to all...

I recently spent with Bahram a few days in Iran. So much traffic because of the preparations for Norooz. Lots of sweets..., dry fruits and nuts...! Tradition, tradition, Norooz and renewal...
Our flight was very late, the night of Charchanbeh souri. I expected to share wonderful moments in Iran celebrating this tradition that I taught to my sons and we did it every single year out of Iran (sometimes  late at night, I brought my family in a park full of snow and made fire in a small metalic food cane with the dried leaves and paper...trying not to be seen by people who might have thought we would have been the witches!!!) ...With a big surprise, we realized that this interesting tradition is going to disappear because of the dangerous attitude and actions of ignorants who wanted to have fun using s someexplosives and fire works in the small streets, so dangerous for people, houses and cars...that evening we were supposed to leave my brother's house and go to Bahram's sister's house...we started calling all private and local cab companies but non of them were avalable! We were finally told that all the cabs would stopp their shifts at 4 p.m because it was too dangerous to drive and non of them were available eventhough we started to call after 2 p.m! It was impossible to ask someone of the family to drive us to the destination or ask someone from Bahram's family to come and pick-us up because of the traffic and the danger!
We had a hard time to find a cab but by mircle and thanks to my brother, we could finally catch one in the street who accepted to do it for 3 times the price of a normal journey knowing that no other cars would be available after!

Upset about being blocked at home and being scared of the terrible noises of the explosives outside, not being able to do Charchanbehsouri where it should be celebrated, I thought that it was not question of missing this symbolic tradition after 55 years of doing it (jumping on the small  light of a candel or a real fire), I suggested to do what we did last year inside of our hotel : use candels...My sister in Law brought a few candels and we all jumped on the candels singing: zardi-ye man az to, sorkhi-ye to az man.(read the meaning below).


I love nature and spring is so important to me...and I like our Norooz tradition which prepares us for the renewal....It was hard to do all about Norooz out of Iran, in France and in Canada...but from the moment I got married and had our small family, I decided to do it eventhough sometimes I had to run out of my job and do it with so much stress, fighting against the time and screaming on Bahram and boys to get ready and be around Haft-seen before winter changed for spring, hands in hands even for a short time..I had prepared the 7 seens, including the red fish, Sabzeh and Sonbol (sometimes very hard to find). I had always made my own Sabzeh eventhough sometimes I had just the beginning of the sprouts coming up, I did it...As it says in the famous song 'Yes, I did it my way!'.

I did it because it has always represented my attachment to our Persian heritage, my roots, Bahram's roots and our sons blood roots...so, I wish that we can keep this tradition which is so meaningful to all of us remembering all its symbolic aspects...renewal through cleansing (body, mind...) and preparation for the new year..like the other elements of Nature...

Happy Noorouz to all...

Here some information about this beautiful tradition:

http://en.wikipedia.org/wiki/Chaharshanbe_Suri

Chaharshanbe Suri

From Wikipedia, the free encyclopedia 

 

This article is about the festival. For the film, see Chaharshanbe Suri (film). 

Chahārshanbe-Sūri (Persian: چهارشنبه ‌سوری‎, pronounced Chārshambe-Sūri) meaning Wednesday Feast, from the word sour which means feast inPersian ^[1] ,or more plausibly, consider sūr to be a variant of sorkh (red) and take it to refer either to the fire itself or to the ruddiness(sorkhī), meaning good health or ripeness, supposedly obtained by jumping over it ^[1], is an ancient Iranian festival dating back to at least 1700 BCE of the earlyZoroastrian era.^[2] Also called the Festival of Fire, it is a prelude to Nowruz, which marks the arrival of spring. The words Chahar Shanbeh meanWednesday and Suri means red. Bonfires are lit to "keep the sun alive" until early morning.^[3] The celebration usually starts in the evening, with people making bonfires in the streets and jumping over them singing zardi-ye man az to, sorkhi-ye to az man. The literal translation is, my sickly yellow paleness is yours, your fiery red color is mine. This is a purification rite.^[4] Loosely translated, this means you want the fire to take your paleness, sickness, and problems and in turn give you redness, warmth, and energy. There are Zoroastrian religious significance attached to Chaharshanbeh Soori and it serves as a cultural festival for Iranian people: Persian Jews, Persian Muslims, Persian Armenians, Kurds, and Zoroastrians.

Another tradition of this day is to make special ajeel, or mixed nuts and berries. People wear disguises and go door to door knocking on doors as similar to Trick-or-treating. Receiving of the Ajeel is customary, as is receiving of a bucket of water.

Ancient Iranians celebrated the last 5 days of the year in their annual obligation feast of all souls, Hamaspathmaedaya (Farvardigan or popularly Forodigan). They believed Faravahar, the guardian angels for humans and also the spirits of dead would come back for reunion. There are the sevenAmesha Spenta, that are represented as Haftseen or literally the seven S. These spirits were entertained as honored guests in their old homes, and were bidden a formal ritual farewell at the dawn of the New Year. The festival also coincided with festivals celebrating the creation of fire and humans. In Sassanid period the festival was divided into two distinct pentads, known as the lesser and the greater Pentad, or Panji as it is called today. Gradually the belief developed that the 'Lesser Panji' belonged to the souls of children and those who died without sin, whereas 'Greater Panji' was truly for all souls.

Local names

Variant local names include Gūl Chārshamba (Ardabīl) and Gūla-gūla Chārshamba (Gīlān), Kola Chowārshamba (Kurdistan), Chowārshama-kolī (Qorveh, near Sanandaj), and Chārshamba-sorkhī (Isfahan)^[1]. In Iranian Azerbaijan sometimes it is called Azerbaijani: آخیر چارشنبه (last Wednesday), and in Azerbaijan Republic it is called Azerbaijani: Od çərşənbəsi (Fire Wednesday).

[edit]

Last Wednesday of the year

The last Wednesday of the Iranian year known as Chahar Shanbeh Suri (Chahār shanbé Sūrī - usually pronounced Chārshambé-sūrī), the eve of which is marked by special customs and rituals, most notably jumping over fire. On the eve of last Wednesday of the year (Tuesday night, Wednesday morning), literally the eve of 'Red Wednesday' or the eve of celebration, bonfires are lit in public places with the help of fire and light, it is hoped for enlightenment and happiness throughout the coming year. People leap over the flames, shouting: Sorkhi-ye to az man; Zardi-ye man az to (Give me your beautiful red colour; And take back my sickly pallor)

[edit]

Astrology

Much of the symbolism of this act links to astrological connotations associated with sign of Pisces or Esfand, or the 12th House related to the subconscious mind, hidden resources, hidden problems, social responsibility. The human has to face his ultimate fears and does so by jumping over the fire. That cleansing act is necessary before the advent of the Spring at the Vernal Equinox. Wednesday is chosen because of its ancient association with being the fourth day of Mercury or Kherad, and Mercury being the messenger of Gods.

[edit]

Fal-Gûsh

Iranians believe that certain days are especially good for divination. During the Chaharshanbe Suri, divination, especially by listening to the conversations of the passers by and interpreting that which is heard (fālgūsh) as a sign is quite common . Fortunetellers, (fālgīr), who are mostly gypsies, are still active in some parts of Iran^[5].

[edit]

The Pearl Cannon (Toop e Morvarid)

A custom once in vogue in Tehran was to seek the intercession of the so-called Pearl Cannon on Chaharshanbe Suri. This heavy gun, which was cast by the Persian foundryman Ismāīl Isfahānī in 1800, during the reign of Fath Ali Shah, became the focus of many popular myths . Until the 1920s it stood in the Meydān-e Arg, to which Tehranis used to flock on the eve of Chaharshanbe Suri; spinsters and childless or unhappy wives climbed up and sat on the barrel or crawled under it, and mothers even made ill-behaved and troublesome children pass under it in the belief that doing so would cure their naughti­ness. These customs died out when the Pearl Cannon was moved to the Army's Officer’s Club sometime in the 1300s . Apparently there was another Pearl Cannon in Tabriz; girls and women used to fasten their dakhils (pieces of paper or cloth inscribed with wishes and prayers) to its barrel on the eve of Chaharshanbe Suri ^[1]. In times the cannon has been used as aSanctuary for political or non-political fugitives to be immune to arrest or to protest from family problems ^[6].

Sadegh Hedayat ,Iranian modern writer of prose fiction and short stories , has a book with the name of this cannon , Tūp-e morvari , that criticize the old beliefs of Iranian folk and in the book points to the origin of the Tūp-e morvari.

Today the Pearl Cannon is placed in the opening of the building number 7 of the Iranian foreign ministry in the 30 Tir avenue , and the Cultural Heritage Organization of Iran still is in argue with foreign ministry to displace the gun to a museum ^[7][8].