Two New courses for Fall 2018

Kaveh Farrokh is offering two new courses for the of Fall 2018 at the Paris-based Methodologica Universitas at the Départment de Méthodologie des Sciences Historiques.  See also the Institution’s Encyclopedic project:

Analytica Iranica: The Multidisciplinary Journal of Iranian Studies … Kaveh Farrokh is one of the Academic Advisors of this Encyclopedia project …

The first of these is the first course offered on the military history of ancient Iran or Persia:

Course HIS/CP/202: The Military History of Ancient Iran: 559 BCE-651 CE [Fall 2018, Methodologica Universitas, Départment de Méthodologie des Sciences Historiques]Click here for Registration Information

The course description for the above is as follows (HIS/SP/202):

This course examines Iran’s pre-Islamic military history with respect to political relations, wars, battles with Greece, Rome, Central Asia. These topics are examined in the Achaemenid (559-333 BCE), Parthian (250 BCE-224 CE) and Sassanian (224-651 CE) epochs. Methodology of the course utilizes scientific methodology in archival analysis (primary and secondary sources), numismatics (study of coins), archaeological analysis (analysis of equipment and technology), and statistical methodology (e.g. compiling data for analysis, factor analysis, etc.). The strengths and weaknesses (military, political and social) of each dynasty is examined up to the downfall of ancient Iran to the Arab conquests of Iran (637-651 CE). Detailed analysis is made of developments from the early Achaemenid era to the end of the Sassanian era with respect to equipment, technology, military architecture, military doctrine, and martial culture. Influences upon and from Greece, Rome, Central Asia and Eastern Europe are also examined. The course concludes with a survey of post-Islamic sources reporting of the extensive military literature pertaining to Sassanian weapons and tactics (battlefield tactics, siege craft, etc.) and its influence upon Islamic warfare.

Kaveh Farrokh meeting the late Professor Ehsan Yarshater (1920-2018) during the Honoring ceremony for the late Professor Emeritus Richard Nelson Frye (1920-2014) in the Greater San Francisco area in 2008.

The second is a comprehensive course on the History of ancient Iran or Persia, which will incorporate modern research and academic methodologies incorporating anthropology, archaeology, the study of sources, numismatics, etc:

Course HIS/CP/203: The History of Ancient Iran: 559 BCE-651 CE [Fall 2018, Methodologica Universitas, Départment de Méthodologie des Sciences Historiques]Click here for Registration Information

Three Books published in 2017-2018 on the military history of Ancient Iran or Persia (from left to right): The Armies of Ancient Persia: the Sassanians (2017; see book review by the Military History Journal in 2018); A Synopsis of Sassanian Military Organization and Combat Units (Kaveh Farrokh, Katarzyna Maksymiuk & Gholamreza Karamian, 2018); and The Siege of Amida (Kaveh Farrokh, Katarzyna Maksymiuk & Javier Sánchez-Gracia, 2018).

The course description for the above is as follows (HIS/CP/203):

Course begins with the pre Indo-European era of ancient Iran and the rise of proto-Iranian peoples and arrivals onto the Iranian plateau. Recent archaeological works and research of pre Indo-European Iran, such as the Burnt City and Elam are surveyed. This is followed by detailed historical surveys of the three epochs of ancient Iran: Achaemenids (559-333 BCE), Parthians (250 BCE-224 CE) and Sassanians (224-651 CE). Course material is integrated with methodology utilizing scientific methodology in archival analysis (primary and secondary sources), numismatics (study of coins), archaeological analysis (analysis of equipment and technology), and statistical methodology (e.g. compiling data for analysis, factor analysis, etc.). The political relations and cultural exchanges of the Achaemenid, Parthian and Sassanian dynasties with the Greco-Roman, Central Asian, Indian subcontinent, Caucasian, European and Chinese realms are examined. Each epoch is also examined with respect to developments in legal systems, societal development and the role of women, the arts, architecture, learning, medicine, technology, theology and religious philosophy, communications, shipping, commerce and the Silk Route.

[Above] Kaveh Farrokh’s second textShadows in the Desert: Ancient Persia at War-Персы: Армия великих царей-سایه‌های صحرا-” cited by the BBC-Persian service as theBest History Book of 2007(November 5, 2008), as well as the by Kayhan News Service of London (November 12, 2008). The text was nominated by the Independent Book Publishers’ Association (Benjamin Franklin Award) among the top finalists for the Best textbooks of 2008. The book has been recognized by world-class scholars such as the late Professor Emeritus Richard Nelson Frye (1920-2014), Harvard University, Dr. Geoffrey Greatrex, Department of Classics and Religious Studies, University of Ottawa, Dr. Lloyd Llewellyn-Jones, School of HistoryUniversity of Edinburgh and Dr. Patrick Hunt. The book was reviewed in the world-class academic (peer-reviewed by top Iranian Studies scholars) Iranshenasi journal in 2010: Shadows in the Desert: Ancient Persia at War, by Dr. Kaveh Farrokh. Iranshenasi, Volume XXII, No.1, Spring 2010, pp.1-5 (see document in pdf). [Below] Translations of Shadows in the Desert [A] Persian translation by Taghe Bostan Publishers (2009) [B] Persian translation by Qoqnoos Publishers (2009) [C] the original textbook (2008) and [D] Russian translation by EXMO Publishers.

An Iranian Icon: the Paykan Automobile

The interview below by Nazli Ghassemi on the Paykan automobile was published in the Reorient Magazine. As noted in Reorient this article discusses:

A new documentary tells the story of a much-loved – and loathed – iconic Iranian automobile

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Made against all odds in a tiny studio in the heart of Tehran, Iran’s Arrow – a 75-minute documentary written, directed, produced, and edited by Shahin Armin and Sohrab Daryabandari – is the story of a car called the ‘Paykan’. Meaning ‘arrow’ in Persian, the film chronicles the social impact of the car during its lifespan on Iranians and Iran itself, both before and after the Revolution. Through a collection of interviews, recovered archival footage, film clips, photographs, and data collected from various sources, Iran’s Arrow follows the Paykan’s tumultuous path in the hands of its Iranian consumers during the four decades in which it was produced.

1-PaykanA 1971 advertisement for a lottery involving various Paykan models (Source: courtesy Tarlan Rafiee for Reorient).

The Paykan – a seemingly unremarkable car – became a key figure in propelling a nation into modernity upon its production in 1967, and was later radically transformed into a symbol of resistance and endurance following the 1979 Revolution. Afterwards, it was seen as a breadwinner in times of war and distress, and ultimately became a national relic when production came to a halt in 2005. A noble and humble servant, the Paykan is an emblem hacked in Iran’s collective memory; and, to find out more about both the car and the new documentary, I chatted with Shahin and Sohrab in their Tehran studio.

Tell us a bit about the documentary. Aside from the obvious, what’s behind the choice of the title?

Sohrab – The reason we chose the title is because we thought it would point towards the trajectory of Iran in terms of how it was aiming to

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from a developing country to a developed [one]. [The film] also has a subtitle: The Rise and Fall of the Paykan.

For the Persian version [of the film], we called it This Paykan. I arrived at this by thinking about two things: one was the phrase, ecce homo – you know, ‘behold the man!’ I wanted to say, ‘behold the car!’ I was [also looking at] Magritte’s ‘this is not a pipe’ (The Treachery of Images), thinking, ‘this is not a car’. I mean, the movie isn’t really about a car, but it really is. [Later], I told Shahin about it, and he accepted without hesitation; this happened towards the end of the project.

2-Paykan 1960s adA 1960s advertisement for the Paykan (Source: Reorient).

What was the history of the Paykan in Iran?

Shahin – ‘Paykan’ means ‘arrow’ in Persian. [The car] was manufactured in Iran, but it was originally British, designed by the now-defunct Rootes Group. Rootes were in a bad financial position in the early 60s, and decided to design a simple car under the ‘Arrow’ name. Although the car was not a huge success in [neither] the UK nor the rest of the world, the Paykan became Iran’s most popular car for almost four decades. The production of the Paykan began in 1967, and continued until 2005.

It is quite unusual for such a car to become the subject of a documentary, especially one which, in the eyes of many (according to your film), is both famous and infamous; yet, you took it upon yourselves to go ahead with the concept. Why the Paykan?

Shahin – I had worked for 13 years in the US auto industry as a design engineer for Chrysler in Detroit, and as a product engineer at Honda. [During] all those years, I couldn’t get this freaking Paykan out of my head, and wondered what this car meant to my identity as an Iranian-American. In 2009 I decided to created a blog, and called it PaykanHunter.com. My first post on the blog was [titled] Let there be Paykan. When I uploaded that first blog post, I knew it was the beginning of something I wouldn’t be able to stop. A lot of people started to make fun of me for writing a blog about a ridiculous-looking, [little-known] car; [but], as an Iranian, I wanted to find out why we had been destined to drive it. I also believe that through cars, we can resolve a lot of misunderstandings that exist about Iran. Loving cars is a universal language, and knowing that Iranians have so much passion for them [can] paint a different picture of Iran.

3-Paykan-2The good life … (a photograph of the uncle of one of Shahin’s friends taken sometime in the early 70s) (Source: courtesy PaykanHunter.com for Reorient).

The more I delved into the Paykan’s history, the more interested I became in its social impact on Iran’s history and Iranians throughout its long years of production. I had this dream [about] how cool it would be to see a comprehensive documentary about the Paykan, [and] had a feeling that nobody would make [such a] film except me. Now, I’ve made the film I wanted to be seen.

Why did you two decide to team up?

Sohrab – Well, I really liked how enthusiastic Shahin was about the car. The image of this car engineer sitting in his apartment in Detroit and writing a blog about this car caught my attention; I am interested in [issues of] displacement, mobility, and migration. Writing about the Paykan from Detroit in English had a special meaning for me; I thought [Shahin] had something. He used to visit me every once in a while to discuss what he was doing, and told me that he thought there should be a documentary about this car. I thought he should have made it himself and wanted to [only] help him make it, but soon after we started to work, I realised I was playing the role of a director, too.

4-Paykan-3What car does Miss Iran drive? A Paykan, of course! (a Miss Iran contestant on the cover of a 1977 edition of Iran’s Zan-e Rooz (Modern Woman) magazine) (Source: Reorient).

Shahin – It was not until I started talking seriously with Sohrab that I became confident enough that I had collected enough material to tell a story. He was amongst the people who didn’t make fun of me; he took my research and project very seriously. He told me something that stuck in my head: ‘when there is a change, there is a story’. The Paykan changed Iran, and our film is about the story of that transformation.

In your film, you show how the Paykan was celebrated as Iran’s national car upon its production in 1967. Can you tell us why this car was seemingly chosen as the ‘national’ one to begin with?

Sohrab – As far as I know, the Paykan was never officially regarded as a ‘national’ car by any authorities; the Iranian people gave it this title. I like to think this happened after many years, and not during the first few ones. The Shah’s government did a lot of manoeuvring, but they never called it that. Technically, our national car is now Iran Khodro’s Samand (introduced in 2000), [according to] government officials; but then again, it seems the people have not accepted the Samand as their national car.

5-Paykan-4A 1971 advertisement for the Paykan Kar (‘Work’ model) (Source: courtesy PaykanHunter.com for Reorient).

Shahin – There were government backings for the Paykan, but the most important thing is that it came out at the right time with the right price – so it became popular. Its simple mechanics and the wide dealership network that Iran National created through Iran really formed a foundation for creating and training mechanics and [producing] body shop careers. People learned the basics of car repair work with the Paykan, and now, Iran is the biggest car producer in the Middle East. It all really started with the Paykan.

In the film, the Paykan appears as a silent and humble servant, adapting to the conflicting conditions of its times from 1967 – 2005. Can you talk about how the Paykan’s character developed and transformed throughout this time?

Sohrab – The story of the Paykan can be divided into three sections: the first is when it was brought to Iran in 1967; at that point, it was like a new bride. It was a new car with up-to-date technology, and it became very popular very fast. After a while, it turned into a hard-working mule. It was abused, while [serving as] as source of income and a reliable walking stick; but, at the end of that period, people started to get tired of it. The situation had lingered for too long, and people wondered when they would see the end of [the Paykan].

6-PaykanAlways buy Kodacolor, and always drive … a Paykan (Source: courtesy PaykanHunter.com for Reorient).

‘Salar’ is another title that Iranians gave to the Paykan; it’s difficult to find a proper translation for it. If you look in the dictionary, ‘salar’ means ‘lord’ or ‘king’, as in ‘king of the road’. I think this title was [bestowed upon] it towards the end of its journey. A few years after production stopped, many Iranians looked back and started to develop nostalgic feelings towards it. I think, in the end, most people decided to [regard it] as the walking stick rather than the never-ending nightmare. Later, it found its way to the worlds of art, design, and fashion.

The relationship [Iranians have had] with this car reminds me of a very severe form of addiction … It seems this car and its industry acted like a very potent drug for our economy and culture

Shahin – The Paykan was a symbol of consumerism, the middle class, and the ‘good life’ before the Revolution. Then, the Iran-Iraq War happened, and this car became the breadwinner of many families. A lot of people turned towards ‘mosafer-keshi’ (unofficial taxi driving) with their Paykans. There is this irony in calling it ‘salar’: it doesn’t look or perform anything like a ‘king of the road’, but this relatively unknown British sedan played such an important role in Iran [nonetheless].

7-PaykanA 1967 Paykan advertisement (courtesy PaykanHunter.com for Reorient).

Your investigation of what the Paykan has meant to different people in the film is interesting. Some have gone as far as personifying the car, giving it a name as if part of their family, while others have wished the car never existed. What’s going on here? Why is there this love-hate relationship towards the Paykan amongst Iranians?

Shahin – Any object that can survive for 48 years will create [such a] love-hate relationship. It was important to not only show the love and nostalgia, but also that the Paykan really had some negative [thoughts surrounding it] – e.g., the lingering feeling that it would be with us forever with its outdated technology. This was a 1960s British sedan: it wasn’t the most comfortable car out there, nor was it easy to drive; and, after being in Iran for almost four decades, Iranians started to get tired of it.

Sohrab – The relationship with this car reminds me of a very severe form of addiction. To me, it seems this car and its industry acted like a very potent drug for our economy and culture.

8-Tarlan-RafieeIranian icons: the Shahyad (post-Revolution: Azadi) Tower, the poet Hafez, Mount Damavand, pop singer Dariush, the rose, and … the Paykan! (from Tarlan Rafiee’s Once Upon a Time series) (Source: courtesy the artist for Reorient).

Can you tell me a bit about the Paykan’s role in relation to the roots of the Happy Birthday song (Tavalodet Mobarak) becoming the standard one in Iran?

Shahin – This is one of the most important stories about this car, [yet] very few people know about it. Iran’s national birthday song was created for the Paykan. This was originally the idea of a very prominent filmmaker, Mr. Kamran Shirdel, who asked the famous [composer] Anoushiravan Rohani to make the song for a Paykan advertisement. We are very proud to have [Mr. Shirdel] explain the story in our film.

Sohrab – I just want to add that unlike in many other cases, the Khayyami brothers – and probably their advertising agency, Fakopa (managed by Farhad Hormozi) – were very smart and brave to choose Mr. Shirdel for that job. I think whoever made those choices was very clever; they made an unusual choice, and it paid off. Anoushiravan Rohani was a great choice, too. He was probably the one person who should have done this.

You’ve also showed the Paykan as being the subject of contemporary art exhibitions in Tehran. What is the significance of this? 

Sohrab – The Paykan has become a point of interest amongst Iranian artists for different reasons. The term ‘Paykan art’ kept popping up in our conversations. We interviewed some artists about the aesthetics of the Paykan; I expected they would be able to draw a picture of the philosophy and implications of the car’s design, but no one came up with a good analysis.

What do you mean by ‘Paykan art’?

Sohrab – Have you heard of the [term] ‘chador art’? The way I see it, that term is an insult. It means the artist has viewed the chador as a sign of backwardness, misery, and oppression, and implies the artist is trying to profit from selling this idea to western markets. The chador is just a garment; it makes no sense to depict the women who wear it as miserable or backwards. It’s twisting the chador into an offensive concept.

9-Iman-SafaeiIman Safaei – Elahi Chap Konam (Oh God, May I Roll Over) (Source: courtesy the artist and Shirin Art Gallery for Reorient).

I think ‘Paykan art’ is a little different, even though it resembles chador art; maybe it’s not as offensive. I also believe Iran’s Arrow somehow falls in that category itself. The difference to me is that I don’t see a sense of betrayal to our cultural atmosphere in Paykan art. For me, it’s a more organic reaction to life in Iran.

Shahin – I think it’s too early to call it ‘Pakyan art’; we shouldn’t rush to call it that. We have to wait and see if it really stays in the art scene for a longer period of time. I doubt it, but let’s see what happens. I believe our film doesn’t fall under the label, as it’s not trying to tap into a trend; it’s simply trying to fill the gap. We both thought that this film was [needed]. Hopefully, it will create a foundation for this subject that others can use or get inspired by.

What were some of the challenges you faced while shooting the film?

Sohrab – The first problem was that we were single-handed, so to say. Two people had to do the job of maybe five or six. A lot of stuff tended to slip through our fingers because of this. Shahin did a great job with the production, and really worked like a tireless machine! As well, it was hard to convince people that a film about a modest car could be interesting. Most of the time, people told me I was crazy to take on this project. Even some of our own friends didn’t feel very enthusiastic about it during the first stages of our work, and we struggled to push forward. But I was happy to see that most of these people changed their minds at some point.

10-Adel-Hosseini-NikAdel Hosseini-Nik – Untitled (Source: courtesy the artist and Shirin Art Gallery for Reorient).

We also predicted some materials would be easy to obtain. We thought there would be loads of images and resources for research and use in the film, but this was not so. We could both go on for hours about how hard it was to make this film. Very small things turned into huge problems.

Shahin – Finding archival material inside Iran was difficult; archiving is vital. This is something that hasn’t been taken seriously enough in Iran – not until recently, at least. Logistics was also a major headache. Arranging interviews, convincing some people to appear in front of our cameras, and finding good locations were really a nightmare in Tehran. Tehran’s traffic and unreliable Internet [also] added lots of complications.

Where do you plan to show your film?

Shahin – We are applying to as many festivals as we can. I am really hoping that a lot of people get a chance to see this film. Hopefully Iranians will be able to dive back into their memories, future generations will learn about the past, and foreign audiences will learn a great deal about Iran and Iranians … and the Paykan, of course!

UNESCO: Recognition of Polo (Chogan) as a Sport Originating In Iran

The report “UNESCO lists polo as Iran’s intangible cultural heritage” was announced in the Mehr News Agency (December, 7, 2017) and has been also reported on Iranian.com (December 7, 2017) and PressTV (December 11, 2017).

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As noted on December 7, 2017 in Mehr News: UNESCO has recognized the team sport of polo, played on horseback, as Iran’s intangible cultural heritage during a session held in South Korea on December 7.

After three years of extensive efforts, international negotiations, and close cooperation between Iran’s sports ministry and Cultural Heritage Organization, the team sport of polo (known as ‘chogan’ in Persian) has been added as Iran’s intangible cultural heritage to UNESCO list during the 12th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, taking place from December 4 to December 8 in the South Korean capital of Seoul.

Iran submitted a proposal for the inclusion of polo in the list of Intangible Cultural Heritage to UNESCO on 30 March 2016. The dossier was reviewed and shortlisted for inclusion under the 2003 Convention on Nov. 7, 2017.

The polo dossier is the second of thirteen documented Iranian intangible cultural heritages that is related to the country’s traditional sports and ritual games.

The dossier was recognized as a masterpiece of heritage of humanity and inscribed in UNESCO’s list without any objections or provisions.

A Persian miniature made in 1546, during the reign of the Safavid dynasty of Iran (1501-1722). This artwork is of the Persian poem Guy-o Chawgân (“Ball and Polo-mallet”) depicting Iranian nobles engaged in the game of polo, which has been played in Iran for thousands of years (Picture Source: Public Domain).

The first recorded game of polo, in which players on horseback score by driving a small ball into the opposing team’s goal using a long-handled wooden mallet, reportedly took place in 600 BC in ancient Persia.

As noted further in Iranian.com (December 7, 2017):

Farhad Nazari who is the head of the Iranian Office for Registration of Historical Monuments confirmed the approval, which will officially be registered next month at the 12th meeting of the UNESCO committee in South Korea. Nazari added that the case titled “The art of making and playing the kamancheh” will also be reviewed and registered by UNESCO at next month’s meeting. Four days after the Mehr News report on December 11, 2017, PressTV announced the following:

“The Kamancheh and Polo and have been officially registered as an Iranian sport and a traditional Persian musical instrument on UNESCO’s list of intangible cultural heritage.”

Polo was invented and reportedly first played in 600 BC in ancient Persia. The original name of polo is “Chogan” and in Iran the game is still referred to as “Chogan”. Throughout history, the game has been popular among warriors, generals, princes, and kings as a means of training cavalry for warfare. As noted by Hossein Jafari, head of Isfahan’s Chogan Office:

Chogan is our national sport and has its roots in ancient Iranian traditions…”

Sportsmen in Iran engage in a game of polo (Source: Iranian.com).

 

Ancient Zoroastrian Temple discovered in Northern Turkey

The News report Ancient Persian temple discovered in northern Turkey could rewrite Religious History” was originally provided on November 6, 2017 by the Daily Sabah News outlet based in Istanbul, Turkey. The text of the Daily Sabah report has been reproduced below with a number of edits. Included in the text below are also translated portions of the Turkish language Ana Haber Gazete News outlet. Kindly note that excepting one photo, all other images and captions do not appear in the original Daily Sabah report.

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Archaeologists have uncovered an ancient Persian temple from the fifth century B.C. in Turkey’s northern Amasya province that could rewrite the history of the region. Istanbul University Archaeology Professor Şevket Dönmez has noted that the discoveries at the ancient Persian Oluz Höyük settlement in Toklucak village have the potential to change long-held notions of religion and culture in Anatolia.

Artifacts uncovered at the ancient Persian Oluz Höyük settlement in Toklucak village, Amasya province, Turkey (Daily Sabah & AA Photo).

As noted by Dönmez during a press conference regarding his excavations at Amasya (as cited/translated from the Turkish language Ana Haber News outlet):

“The excavations proceeded to explore the Persian (Achaemenid) time period (c. 425-300 BCE) at Asmaya… Oluz tumulus, where cella with sacred fire burned, living quarters, stone pavilions, and potholes where unusable temple goods were buried were discovered … the history of Anatolian religion now has to be revised … Portable fire burning vessels (fire) and skulls used in the temples were destroyed in the course of Alexander the Great’s Asian campaign (300 BCE). Shovels and pots pointing to Haoma (holy drink) were discovered. It is the first time that the ruins of Oluz mound, which reflects the formation and development periods of the Zoroastrian religion which are understood to have come to Anatolia with the Medes and the Persians. these finds are notably unique as he richness of these finds have yet to be found in Iran itself which is the Zoroastrian religion‘s  geographical source.”

 Professor Şevket Dönmez of Istanbul University presents his findings at Asmaya, Turkey in a news conference followed by questions by Turkish academics and reporters (Source: Ana Haber). Note the Zoroastrian artifacts also on display at the lower right of the photo.

In 11 seasons of excavations, the team uncovered thousands of artifacts, as well as temple structure. In respone to questions by the Anadolu news agency Dönmez noted:

“In this settlement from the fifth century B.C., we discovered a temple complex which is related to a fire culture, more precisely to the early Zoroastrian religion, or to the very original religious life of Anatolian people … They built a massive religion system here [Asmaya]… No 2,500-year-old artifacts have been found in Iran, yet they appeared in Anatolia. [With this discovery] Anatolia has entered the sacred geography of today’s Zoroastrians” 

Zoroastrianism, one of the world’s oldest extant religions, is believed to have originated from the prophet Zoroaster in present-day Iran. The discovery of a temple for fire worship suggests the religion may also have had roots in Anatolia, as well.

Professor Şevket Dönmez of Istanbul University provides the architectural layout of the Zoroastrian temple that he and his archaeological team have excavated at Asmaya (Source: Ana Haber),

Describing the temple, Dönmez said it includes a holy room for burning fires and other stone-paved areas with many goods used in worship practices. Dönmez also said Oluz Höyük is the only known Persian settlement in the region.

Excavations at Oluz Höyük started in 2007, after the site was first discovered during surface research near Tokluca village in 1999.

Dönmez and his team plan to continue research work at the site, possibly working on restoring the temple area in the future.

Remains of ancient Zoroastrian urns at Gonnur Tappeh which were once filled with the sacred drink known as “Soma/Haoma” (Source: Balkh and Shambhala). Gonnur Tappeh is situated  at approximately  sixty kilometers north of Mary in modern-day Turkmenistan.

The Tenth Annual ASMEA Conference October 19-21

ASMEA (Association for the Study of the Middle East and Africa) held its Tenth Annual Conference entitled “The Middle East and Africa: Assessing the Regions Ten Years On” on October 19-21, 2017 in Washington, D.C. at the Key Bridge Marriott Hotel… for more information see here … or click on icon below …

Official flyer from the 10th ASMEA Conference of 2017 (see pdf version here …)

The Library of Social Science (LSS) Book Exhibits was also  present during the ASMEA Conference. The LSS presented the latest academic textbooks for the purpose of promoting these to academic researchers and experts as well as for university coursework, diplomatic delegations, etc.

Photo of the Library of Social Sciences Book Exhibit during the 9th ASMEA Conference in 2016 (Photo: Mei Ha Chan, Associate Director, Library of Social Science Book Exhibits).

Elliott Abrams, senior fellow for Middle Eastern studies at the Council on Foreign Relations, delivered the keynote address at the Tenth Annual ASMEA Conference … for more information see here…

For a full list of the academics and experts at this conference see here … or click on icon below …

Kaveh Farrokh’s presentation at the Conference was: A Synopsis of Sassanian Military Organization and Combat Units which will be within the panel of “Strategies and Armies of Sasanian Persia and Rome“, with Dr. Ilkka Syvanne (Affiliated Professor of the University of Haifa; Finnish Society for Byzantine Studies) as the Discussant. Kaveh Farrokh’s article provided an overview of the organizational structure and military units of the Sassanian army (Spah) of 224-651 CE.

The  Library of Social Sciences Book Exhibit displayed Kaveh Farrokh’s latest comprehensive textbook on the Sassanian army (Spah) to be released on November 14, 2017, during the Tenth Annual ASMEA Conference in October 2017.