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2011

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

2011

​In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

2011

​In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran

2011

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

​In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

​In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011

In a performance inspired by Adrian Piper’s “Funk Lessons” called “Baba Karam Lessons”, I taught an audience in Santa Monica, California how to do a dance, mythologicaly from the south side of a Tehran, considered a “slum”. The dance is a caricature of something danced by street tough men called “jahel”. Throughout the years, the dance has often been performed by women, in drag to fit the image of the jahel. The dance has gone on the be complex and layered resisting gender and class constrictions. The installation for the dance included all of the costume items and two mirrors with directions for the dance written on them. At the performance, I taught my predominantly American audience to dance the Baba Karam like the jahels of south Tehran.

2011
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2011