{"id":8896,"date":"2022-09-23T09:36:12","date_gmt":"2022-09-23T09:36:12","guid":{"rendered":"https:\/\/heartefact.org\/?p=8896"},"modified":"2026-08-21T12:32:42","modified_gmt":"2026-08-21T12:32:42","slug":"leather-latex-and-hafez-four-weddings-and-an-iranian-funeral","status":"publish","type":"post","link":"https:\/\/heartefact.org\/en\/leather-latex-and-hafez-four-weddings-and-an-iranian-funeral\/","title":{"rendered":"Leather, Latex, and Hafez: Four Weddings and an Iranian Funeral"},"content":{"rendered":"\n

By: Ryan Prout<\/strong><\/em><\/p>\n\n\n\n

(Cultural Centre of Belgrade, Artget Gallery, 15 September 2022)<\/em><\/p>\n\n\n\n

<\/p>\n\n\n\n

On the way to the Artget Gallery in Belgrade Cultural Centre I crossed paths with a
small anti-Pride demonstration. Flanked by a man in priestly garb at one end, and, at
the other, by religious imagery, this small group of mostly young men were chanting
against EuroPride and carrying a banner that said, I think, \u2018No gays in public spaces in
Serbia.\u2019 This demonstration of an intolerance tacked on to sacred imagery made for
an unintentionally apposite prelude to a piece of theatre about the flight from an
intolerance in Iran that justifies itself in religious dogma.
After chanting about gays, the protestors started chanting about Kosovo. Of course,<\/p>\n\n\n\n

that makes perfect sense, since separatism, aspirations for self-determination, neo-
nationalism, and sectarianism are always and only a conspiracy led by the LGBTQI<\/p>\n\n\n\n

community. In case this is quoted out of context: this is irony. Doesn\u2019t it occur to the
protestors that there might be LGBTQI people in Kosovo, too, who are more concerned
with simply surviving as themselves than they are with what it says in their passports?
In one of the Artget Gallery spaces, an actor we can know only as Nasim, told his life
story in a narrative developed with the director, Sahand Sahebdivani. \u2018No photos\u2019, and
\u2018Switch off your phones\u2019, attendees were instructed as we went in to the performance.
Even in exile, an openly gay Iranian man must be discrete about his identity. This
performance of Four Weddings and an Iranian Funeral, in Belgrade, was the first
outside Holland, where it has been put on fifteen times before, sometimes leaving
even exiled Iranian spectators with mouths agape, surprised at what they didn\u2019t know
about the challenges of living as a gay man in the republic of the ayatollahs.<\/p>\n\n\n\n


The piece opened with a clip of Mahmoud Ahmadinejad telling an audience, with
enormous satisfaction in what he was saying, that there is no homosexuality in Iran.
Next to this projection stood Nasim, his back turned to the audience, and facing a wall.
Nasim\u2019s turn towards the audience also opened the book on his journey from
persecution and prejudice in Iran to self-discovery and self-fulfilment in Holland. The
audience laughed with him as he described Tehran\u2019s underground gay scene, one
which gives the lie to President Ahmadinejad\u2019s authoritative statement that Nasim and
men like him simply don\u2019t exist.<\/p>\n\n\n\n


With the bare minimum of props\u2014a chair, a lipstick, a small chain flogger\u2014Nasim
brought to life his journey through the very different gay cultures of Tehran, and
Isfahan, where he went to university. Exasperated by the policing of themselves by gay
men in Iran\u2014’soft sex\u2019 is OK, but anything deeper might warrant execution\u2014and
getting into trouble with the authorities, he leaves his native country. In Holland he<\/p>\n\n\n\n

learns to be free and chances upon an old school acquaintance and fellow exile who is
hitting Amsterdam\u2019s dark rooms hard, traumatised by the realisation that the person
he used to be was based on pretence. Nasim wonders if he will ever be able to visit his
grandfather\u2019s grave in Iran. Will he have to wait until he is in his 80s to visit a grave, as
his grandfather did, before visiting the tomb of Hafez in Shiraz?<\/p>\n\n\n\n


When I took my seat in the front row, I glared at the man sitting next to me, who was
taking photos. We had just been instructed, on the way in, to turn off mobile phones
and not to take pictures, under any circumstances. \u2018I\u2019m setting a bad example,\u2019 he told
me. \u2018But, as the director, I thought it would be OK to make a record of the play before
it begins.\u2019 It was one of those moments when you wish that the ground would open
up and swallow you.<\/p>\n\n\n\n


After the play, Sahand Sahebdivani, who overlooked this clumsiness, told me about
how he worked with Nasim to give the story a narrative shape. We talked about how,
since the 1970s and 1980s, when Holland was a reference point for progress and
liberalism with regard to LGBT rights and sexual freedom, it has become a place with
a marked backlash in the national political debate against LGBTQI. And Amsterdam
isn\u2019t what it was. There\u2019s still a gay scene, one that\u2019s large enough to make plausible
that someone, like Nasim\u2019s old school friend, could try to obliterate sorrow over
missing his life by spending five nights a week in dark rooms. As Sahebdivani told me,
what remains of the gay scene may be darker, perhaps seedier, than it once was.
The contraction of public spaces for LGBTQI people, partly as a result of the migration
of social groups to virtual spaces, was something that was not much discussed in the
panel on corporate responsibility at the Human Rights conference (which took place a
few hours before the play began). The panellist from IBM referred to the social
footprint of companies and corporations; the spokesperson from Grindr mentioned
the company\u2019s efforts to support LGBTQI physical spaces and performers during and
after the Covid episode. But nobody formulated as such the impact of information
technology, and of social media, on Real Life spaces for LGBTQI people, where we can
find each other, see each other, talk to each other. The protestors who were parading
outside the cultural centre might get what they want\u2014no gays in public space\u2014not as
a result of authoritarian legislation but because in a not too distant future, the gay
bars, clubs and other spaces that are ours may all be gone. Gentrification, waterfront
developments, and apps could see to that.<\/p>\n\n\n\n


In the beginning section of his drama Nasim talked about how his exile in Holland
allowed him to discover his kinks. He invited an audience member at the front of the
performance space to try an introduction to flagellation, gently flicking the chains of
the flogger over the back of her hand. \u2018What are your kinks?\u2019, he asked. \u2018Are you into
leather?\u2019 \u2018No, not leather\u2019, she said. \u2018I\u2019m a vegan\u2026 But latex could be a thing\u2019.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Four Weddings and an Iranian Funeral<\/em> was edifying as well as moving, and
entertaining. Nasim shared with the audience that in the build up to the Ashura
festival, one of the few occasions when men can go shirtless in public in Iran (if only to
scarify the flesh), gyms become busy and appointments at barbershops are hard to
get.<\/p>\n\n\n\n


Four Weddings and an Iranian Funeral<\/em> will be controversial, wherever it\u2019s performed.
One cannot look at this play, and at its documentary narrative about the flight from
murderous intolerance, without also thinking about the British author, Salman
Rushdie, currently recovering from an attempt to murder him.<\/p>\n\n\n\n


It says something good about EuroPride 2022, and about Belgrade, that the play\u2019s first
performance outside Holland was here. If I talked to the protestors in the march I saw
on the way to the Cultural Centre, I would want to ask them: \u2018Is this what you want for
Serbia? An intolerance that terrifies people, that drives them away? Is Iran your model
for a country where gays are gone from public view. Can you see yourselves chuckling
like Mr Ahmadinejad through the statement of a lie that \u201cthere are no gays here\u201d?\u2019<\/p>\n\n\n\n

With heartfelt thanks to Andrej Nosov at Heartefact for the opportunity to see the play.<\/em><\/p>\n\n\n\n

Ryan Prout
Volunteer
EuroPride in Belgrade
15-ix-2022<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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