Interview with Nazila Ahmadi | A Journey of Resilience and Artistic Expression

Born in 1997 during the tumultuous period of the Taliban war, Nazila’s family was forced to leave their home in Afghanistan and migrate to Iran. Her birthplace remains a mystery, symbolizing the uncertainty and challenges that have characterized much of her life. Growing up in Tehran, Nazila’s early years were marked by the hardships of being a migrant family in a new land. Yet, even in those challenging circumstances, Nazila found solace and inspiration in the world around her.

As a young girl, Nazila’s passion for acting and storytelling emerged while selling chewing gum on the streets of Tehran. She imagined the bustling streets as her stage, where every interaction was a performance, and every customer was part of her audience. This early inclination toward performance art became a guiding force in her life, helping her transcend her difficulties and transform them into a source of creative energy.

Nazila’s formal introduction to theater came through her involvement with an NGO for child laborers and street children in Tehran. Here, she met Hamid Pourazari, a theater teacher who recognized her talent and passion. Under his mentorship, she began her journey into the world of theater, participating in plays and even securing a role in a short film. These early experiences laid the foundation for her future artistic endeavors, fueling her desire to pursue a career in acting and filmmaking.

One of Nazila’s significant acting achievements includes her role in the film Tara, directed by Mohammad Ali Talebi, which was broadcast on BBC Persian. This film, which deals with the issue of abortion in Iran, features Nazila in the lead role, portraying a young woman from the outskirts of the city who faces immense challenges after being assaulted. Nazila’s performance in Tara highlights her ability to bring complex social issues to life through her acting, and it marks an important aspect of her work in film.

Despite her numerous challenges, including societal expectations and family opposition, Nazila remained steadfast in her pursuit of education and art. After working in a hair salon to support her family, she boldly decided to return to school and immerse herself in the world of cinema and theater. Her determination to succeed led her to complete her education while working full-time and rejoin the theater community she had once been part of.

Nazila’s artistic journey is marked by a deep commitment to addressing social issues, particularly those affecting women and children. Her work often explores themes of identity, migration, and the struggles faced by Afghan women. In her performance piece Lullabies for Staying Awake, Nazila used contemporary dance and lullabies sung by mothers in various languages to highlight the strength and resilience of women. This performance, staged in Tehran to mark International Women’s Day, was a poignant reflection on the power of women’s voices in the face of adversity.

Her passion for storytelling and her desire to shed light on the challenges faced by marginalized communities led Nazila to create powerful narratives through her art. In her play Gudiparan (Kites), she tackled the sensitive issue of sexual violence against boys in Afghanistan, known as “bacha bazi.” This immersive performance, set in a gallery resembling an Afghan home, invited the audience to become part of the story, blending traditional Afghan culture with a critical social message.

Nazila’s work extends beyond the stage and screen. She has been actively involved in teaching theater to Afghan children in Iran, helping them find their voice and empowering them through the arts. Her commitment to social justice is evident in all her projects, including her short documentary Close, which addresses the lives of Iranian women in Hormoz. Nazila’s work on Close highlights the shared struggles between Iranian and Afghan women, reflecting her ongoing commitment to fight for freedom and equality for all.

In recent years, Nazila’s journey has taken her to Italy, where she pursued further studies in cinema, and then to the United States, where she continues to develop her craft and continues acting on the international stage. Her feature-length documentary Koochakshi is a deeply personal exploration of her life as a migrant, reflecting on the sense of belonging and identity that has been central to her experiences. The documentary, which received funding from the DMZ International Documentary Film Festival in South Korea, is a poetic narrative of Nazila’s emotional and physical journey through life.

Nazila’s work has been recognized and celebrated internationally, and she has become a powerful advocate for women’s rights and social justice. Her performances, such as The Comb, created in response to the Woman, Life, Freedom movement, have resonated with audiences around the world. In this performance, staged in Florence, Italy, Nazila invited the audience to join her in a symbolic act of resistance, highlighting the struggles faced by women in Iran.

Today, as she continues to build her life and career in the United States, Nazila remains committed to her artistic vision. Her work is a testament to the power of art to transcend borders, challenge societal norms, and inspire change. Through her creativity and resilience, Nazila Ahmadi has carved out a unique space in the art world, where she continues to share her stories and advocate for a better future for all.

In celebrating Nazila’s journey, ZH Magazine honors her as an artist who embodies the courage and determination to rise above challenges and make her voice heard on the global stage. Her work is not only a reflection of her personal experiences but also a powerful commentary on the universal themes of identity, freedom, and the human spirit.

ZH: 1. Your journey from Afghanistan to Iran, even before you were born, reads like the opening scene of a film, and your early interactions with people while working on the streets of Tehran seem like your first steps onto a theatrical stage. Did these formative experiences shape your artistic vision and your desire to express yourself through acting and filmmaking?

First and foremost, these experiences gave me a different perspective and a deeper understanding of life. I realized that through art, I could creatively express these unique experiences. Since my life circumstances differ greatly from those of most people, one of my goals is to invite the audience to view these experiences from a fresh perspective and to gain a better understanding of me as someone from a different part of society. Through this journey, I hope that the audience can walk with me and see things differently, particularly in terms of how they view child laborers or migrant families. I want them to look at individuals living under different circumstances with a more humane and empathetic eye.

ZH: 2. Meeting Hamid Pourazari and starting your theater journey at a young age was pivotal. How did this early mentorship affect your development as an artist, and what lessons from that time continue to guide your work today?

My first real encounter with the theater stage was with Hamid Pourazari. During rehearsals, we started with body movements, then focused on breathing, and eventually moved in sync with the music. The combination of music and movement gave us the space to improvise and create new actions based on our inner emotions. These exercises gave me a sense of freedom and equality, showing me that there were no differences between us. This experience instilled in me the confidence to strive for freedom and equality in life outside the theater and to dream beyond my current circumstances. I continue to create art with the same values I learned back then, still driven by the spirit of that young girl chasing her dreams.

ZH: 3. Your work often addresses sensitive social issues, such as in your performance piece Gudiparan. How do you approach the process of translating complex social issues into artistic expression without losing their impact?

In some media and films with a nationalist and centralist focus, unfortunately, there’s often a dehumanizing and top-down perspective on the struggles and characters of minorities, portraying them only in the societal mainstream. I strive to create characters with real stories and delve deep into their lives, placing the audience on an equal footing with these characters, and allowing them to experience their struggles with all their ugliness and beauty. This approach provides a more realistic and humane view of social issues.

Given the sensitivity of these topics, directly confronting the audience can sometimes cause unintended harm. Therefore, I use storytelling and subtext to subtly draw the audience into the narrative. This method allows me to express my core concerns in theater, performance, or film in a way that avoids direct confrontation but has a deeper impact on the viewer.

ZH: 4. In Lullabies for Staying Awake, you used contemporary dance and lullabies to explore the theme of women’s resilience. What inspired this piece, and how do you see the role of women in your art?

ZH: 5. Teaching theater to Afghan children in Iran has been an important part of your journey. How has this experience influenced your perspective on art as a tool for empowerment and social change?

As a former child laborer myself, I deeply understood the needs of these children. This understanding shaped one of my most important social responsibilities: working to empower child laborers. From my experience, art and theater can restore the humanity that society often strips away from these children. Through the courage and confidence they gain, they become aware of their rights and are motivated to fight for them.

At the Society for the Protection of Child Laborers and Street Children, where literacy classes were held on Fridays, I worked with a team led by Shahrouz Sharifi, my mentor, to nurture these children. They not only needed to learn how to read and write, but they also required social skills to improve their lives.

Theater became a powerful tool in teaching them communication skills, self-advocacy, confidence, and a sense of equality. My goal was to share the freedom that theater and acting had given me, helping them believe that they could pursue their dreams, no matter their circumstances.

ZH: 6. Your short documentary Close tackles the taboo topic of virginity in Afghan society. What challenges did you face in creating this work, and what do you hope audiences take away from it?

One of the major challenges was the travel restrictions imposed by my family and the fact that, as an Afghan, I wasn’t permitted to travel to other cities. However, knowing how important this documentary was to me, I took the risk and traveled illegally, managing to complete the entire filming in just one day.

Another challenge was addressing such a sensitive topic. I was concerned that no one would be willing to speak openly about it on camera. Moreover, I couldn’t ask these questions within my own family. After finding participants, I encouraged them to share their views, and each had a unique perspective.

My goal with this documentary is to raise awareness of the challenges girls face in Afghan society. I hope that this increased understanding will help families better appreciate the role and status of girls within the community.

ZH: 7. You’ve lived and worked in several countries, including Iran, Italy, and now the United States. How have these diverse cultural experiences influenced your approach to storytelling and artistic expression?

Living and working in different countries like Iran, Italy, and the United States has given me a rich tapestry of perspectives that significantly influence my storytelling and artistic expression. Each country has left its unique cultural imprint on me. In Iran, I confronted specific social and cultural challenges that have deeply shaped the themes in my work. Italy inspired me to focus more on visual aesthetics and fine arts, while in the United States, I’ve embraced the freedom of expression and been exposed to new cinematic techniques. These experiences have not only molded my artistic style but have also equipped me to craft stories that resonate with international audiences. Ultimately, these journeys have shaped me into an artist who is constantly learning and adapting to the world around her.

ZH: 8. In your feature-length documentary Koochakshi, you explore your personal experiences as a migrant. What was the most challenging aspect of telling such a personal story, and what message do you hope to convey through this work?

Given that Koochakshi is a personal documentary, one of the initial challenges was ensuring that my family members could be their true selves in front of the camera. Capturing genuine moments was crucial because I wanted the story to unfold through our real-life experiences. That’s why I took on the role of the camerawoman, carefully positioning the camera to ensure that sensitive scenes weren’t compromised. In a way, the camera became an additional family member during this project.

In documentary work, certain scenes are highly sensitive, and deciding whether to capture them in the moment can be difficult and emotionally taxing. However, I recognize that those very moments are often the most impactful in the documentary. I hope that this film, by showcasing the challenges faced by Afghan migrants in Iran, will help bridge the deep divide between the Afghan migrant community and Iranian society, ultimately improving the living conditions for migrants. In the end, I aspire for this documentary to foster greater empathy and mutual understanding between the two communities, contributing to a better future for us all.

ZH: 9. Your performance The Comb, created in response to the Woman, Life, Freedom movement, is a powerful act of protest. How do you see the role of performance art in activism, and what impact do you hope this work has?

In the performance The Comb, I invite the audience to experience reality alongside a free-spirited woman who challenges the common perceptions of women in certain regions. Combing one’s hair is a simple, daily act for most people, yet in some conservative areas, performing such an act in public could be seen as controversial, and in extreme cases, even dangerous. Through this performance, I ask the audience to engage with me in exploring the duality faced by women—between those who live under strict societal norms and those who enjoy the freedom to choose their appearance in more liberal environments. My goal is to use the simple act of combining to break down societal and governmental views that oppress women and to invite the audience to join me in this form of protest.

ZH: 10. Your work often involves audience participation, such as in Gudiparan and The Comb. What do you believe this interactive element adds to your performances, and how does it influence the audience’s experience?

In my artistic works like Gudiparan and The Comb, audience participation plays a crucial role. This interactive element adds depth and complexity to the performance. When the audience actively participates in the process, they are not merely observers but become part of the creation of the piece. This interactive experience challenges the audience to engage directly with the themes and emotions of the work.

Active audience participation elevates the artistic experience beyond mere observation. It allows the audience to connect personally and emotionally with the content, leading to a deeper understanding of the artistic message and themes. Additionally, this closeness and participation can make the audience feel that they are part of a broader conversation, rather than just having a visual or auditory experience.

As a result, this interactive element makes the artistic performance not only something to be watched but also an experiential and introspective journey, allowing the audience to directly engage in the artistic process and establish a more personal connection with the work.

ZH: 11. Looking back on your journey, from selling gum on the streets to performing and directing on an international stage, what do you consider your most significant achievement?

For me, one of the most significant achievements in my journey has been the changes I’ve been able to inspire in the girls within my family and close circle. They have seen that a girl in circumstances similar to theirs can break all the traditional, misogynistic frameworks pursue her goals and dreams, and succeed in them. Additionally, by showcasing an identity that transcends stereotypical views of the Afghan migrant community, I have been able to bring about changes in the Iranian society’s perspective towards the Afghan community.

 

 

In collaboration with ZH media

Interview by Ali Shahrokhi
Cover photo by Nick Naraghi