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DEEVAN*
Narrators of the Identity boundaries
By Hooyar Asadian
Herausgegeben von Kunstraum Memphis
im Rahmen der Ausstellung „DEEVAN“ von 8.10.–1.11.24 © 2024
Kunstraum Memphis, Untere Donaulände 12, 4020 Linz, www.memphismemph.is
This text is written in Persian and translated into English
Diaspora refers to the dispersion or voluntary and forced migration of ethnic, religious, or national groups from their homeland, and represents more than just geographical displacement. It involves the transmission of identity and culture, as well as a sense of belonging to one’s homeland in the new and unfamiliar place. Migrants, who leave their homeland due to war, poverty, social and political discrimination, economic challenges or colonial pressures, not only relocate physically but also face complex experiences of alienation. This journey, filled with numerous challenges, becomes a quest for the recreation of identity and the reconstruction of the self. Throughout this process, the migrant’s corporeality and psyche become a battleground, where the old and new collide and engage in a complex, often conflicting, struggle for coexistence.
Identity Challenges
Living in diaspora places individuals amid identity dualities. On one side, migrants are confronted with the ingrained culture of their homeland, while on the other, they face the pressures of adapting to a new norm, straddling two vastly different worlds. This often leads to inner crises, as migrants find themselves torn between these two distinct cultures. They grapple with questions such as how to preserve their past identity while integrating into a new environment, how to connect with the invisible and intuitive aspects of daily experiences, and how to personalize these changes in areas such as language, clothing, and behavior.
The phrase “Being-in-the-world” in Heidegger’s philosophy refers to the fundamental and existential connection between humans (or Dasein) and the world. Heidegger uses this term to illustrate that humans not only live in the world but are continuously engaged with it through practical and experiential interactions. In the context of diaspora, the cultural differences between the old and new worlds become stark, triggering transformations and shifts in identity. Migrants embark on both an external and internal journey during which their relationship with their corporeality and psyche, evolves as they confront and try to recreate themselves.1
Surveillance and Control Over corporeality and Identity
Michel Foucault’s theories of biopower help us understand how the identity and corporeality of a migrant are monitored and controlled by institutions of power. Foucault argues that states and social institutions control individual behavior and the corporeality by enforcing norms and laws. In the diaspora, this control is especially visible in how the values and social rules of the new country are imposed on migrants. They may be forced to change their appearance, behavior, and even thoughts to adapt to these expectations, leading to psychological alienation where individuals feel they have lost control over their identity and corporeality, caught between their old and new selves.2
Indirect forms of surveillance also deeply affect migrants, as they constantly feel observed and judged by others. This sensation can result in psychological estrangement and pressure; migrants may be unable to fully coincide to the norms of the host society, nor can they entirely preserve their earliest identity.
The Role of the Shadow and Unconscious in the Diaspora Experience
Carl Jung, the Swiss psychologist, used the term “shadow” to describe the parts of the psyche that individuals suppress or refuse to confront, including fears and weaknesses. In the diaspora, migrants face elements of their identity and desires that have been repressed due to societal pressures or the effort to adapt to a new society. The cultural shadow includes linguistic, behavioral, and traditional elements that cannot be expressed in the new environment, leading to internal conflict.3
Migrants are compelled to confront and integrate the parts of their known self that have remained in their unconscious during the identity reconstruction process. In the diaspora, this process is particularly complex and fraught with crises, as individuals must also face the shadows of collective and cultural norms.
The Changing Meaning of Symbols
Ferdinand de Saussure, the Swiss linguist and semiotician, divided signs into the signifier (the physical aspect of the sign) and the signified (the concept it refers to). In the diaspora, the relationship between the signifier and the signified changes; cultural symbols that had specific meanings in the homeland take on different implications in the host society.4
Roland Barthes, the French semiotician, expanded on the concept of signs, demonstrating that they carry not only a primary, but also secondary meanings related to cultural and social contexts. In the diaspora, signs refer not only to their direct connotation but also to the migrant’s cultural history and identity. This shift forces migrants to redefine their cultural symbols, intensifying identity tensions.5
Hybrid Identity
The migrant’s identity journey in the diaspora parallels the pattern of ancient myths, as described in Joseph Campbell’s theory of the hero’s journey. Campbell outlines three stages: separation, facing challenges, and return. This model aptly describes the migrant experience in the diaspora. Like mythic heroes, migrants first separate from their familiar world and enter an unknown and challenging environment. They face alienation, and psychological pressures. Ultimately, this journey leads to the reconstruction of identity. The migrant’s identity is no longer a fixed and static concept but becomes dynamic and evolving, blending elements of both old and new cultures.6
As Homi Bhabha, the Indian cultural theorist, discusses in his concept of the “third space,” migrants in the diaspora find themselves between two worlds, creating a hybrid identity, which draws from both cultures. It becomes something new and unique, contributing to the cultural and social enrichment of both the host and migrant communities. It’s also important to consider the varied experiences of different generations of migrants. The first generation often has direct memories of their homeland and the challenges of adapting to a new culture. They try to pass these concerns on to their children, while subsequent generations (born or raised in the new country) face different identity challenges. They grow up caught between the cultural expectations of the host society and the values and norms of their parents, challenging or redefining their cultural identity in new ways.7
The Role of Diaspora Artists
Ultimately, diaspora is not just a social and cultural phenomenon but a human experience that has always involved identity transformations. With the rise of globalization, this concept is redefined, as the number of migrants and displaced groups continues to increase. Under these circumstances, diaspora may no longer be considered an exceptional state but rather a frequent occurrence. However, new challenges, including extreme nationalism, cultural prejudices, and restrictive immigration policies, emerge in a globalized world.
Despite these challenges, migrants can experience this occasion for self-recreation and the formation of a more dynamic identity. This experience can foster growth for both the migrant and the host society, expanding cultural and social perspectives and building bridges between different cultures.
As we encounter a new generation of diaspora artists, we move beyond cliché and seek a fresh and dynamic perspective. In this journey, we must create spaces that embrace the unknown and the rethink boundaries of identity. This is where diaspora artists, come together and continuously recreate themselves. Through art and culture, migrants and diaspora communities find a primary means of expressing and rebuilding their complex and diverse identities.
Diaspora artists, whose nationality often precedes their names, are often refereed based on the culture of their homeland and the circumstances of their migration. At the same time, they create a new identity in a different land that oscillates between past and present, at the border of two worlds, marked by hybridism and evolving influences.
Ancient Iranian stories, such as those in the Shahnameh, are filled with characters affected by external forces, symbolizing the loss of control over identity and corporeality in the face of foreign pressures. Like the mythical “Div” (demon), diaspora artists live in a world between two realities, filled with transformation and ambiguity. They are rooted in their homeland but strive to find their place in a new society. This confrontation is filled with fear stemming from unfamiliarity—beings accessible yet whose minds and identities remain concealed and mysterious.
The comparison of these artists to “Divs” is not based on a simplistic resemblance but as a metaphor for the challenges they face. In ancient cultures, the “Div” symbolized chaos and ambiguity, a creature that drew power from darkness and represented what was misunderstood. Similarly, diaspora artists searching for a new identity, an exploration that affected by stereotypes and misinterpretation.
The challenge that emerges with migration is how migrants can prevent certain crises by embracing the reality of their constantly evolving identities. Contrary to popular belief, human identity is neither fixed nor does it reach a final form at any specific point. People are always evolving, and resisting this truth can lead to uncertainty and inner conflict.
Coming to terms with this fact can lead diaspora artists to create works that transcend national boundaries and are understood and analyzed as integral parts of the global community.
The Deevan exhibition reflects these complexities and contradictions, exploring how migrants navigate two worlds and the challenges they face in redefining themselves. This exhibition embodies the conflicts, ambiguities, and ongoing struggles to construct a hybrid identity—one that acknowledges its roots while embracing the uncertainties of the future.
References:
1. Martin Heidegger. Being and Time. Translated by Abdolkarim Rashidian. Tehran: Nashr-e-Ney, 2018, 23-24.
2. Hamidreza Mahboubi Arani and Abbas Jamali. “Agamben and Foucault: Sovereignty or Power?” Shenakht 82 (2020): 195-210.
3. Debbie Ford, Deepak Chopra, and Marianne Williamson. The Shadow Effect (Jungian Analysis). Translated by Sareh Sargolzaei. Tehran: Bonyad Farhang Zendegi Digital, 2018, 95-96.
4. Ferdinand de Saussure. Course in General Linguistics. Translated by Kourosh Safavi. Tehran: Hermes Publishing, 2005, 45-46.
5. Roland Barthes. Mythologies. Translated by Shirin-Dokht Daghighian. Tehran: Nashr-e-Markaz, 2015, 130-131.
6. Joseph Campbell. The Hero with a Thousand Faces. Translated by Shadi Khosro Panah. Tehran: Gol-Aftab Publishing, 2006, 155-156.
7. Homi K. Bhabha. The Location of Culture. London: Routledge, 1994, 38-39.