The function of photography in defining the diaspora identity: Analyzing a collection of works by Prasto Forohar"

Document Type : Original Article

Author

Assistant professor, Department of Television and Digital Arts, Faculty of Arts, Damghan University, Damghan, Iran

10.22034/scart.2023.140042.1404

Abstract

The issue of immigration has become one of the most important topics for sociological critics and commentators, in which art and artists play a very important and sensitive position in the formation of concepts and values. This article tries to draw critical attention to the concept of diasporic aesthetics and answer the question why the strategy of "belonging" is important in different cultural and geographical borders. For this purpose, based on the hypothesis that artistic photography is a social act and has the potential to create solidarity relations with other immigrant groups, by analyzing the works of Prosto Foroharmand, the artist argued that this social activity, in addition to being able to provide mental and objective communication about the homeland As one of the diaspora formations among immigrants, in terms of creativity in aesthetics, it has the ability to influence non-immigrant and native groups and play a major role in their perspective in the long term. In the end, it will reach the conclusion that diasporic groups have a similar aesthetic, that the art of photography with the subject of migration and narration can produce a suitable platform with creative cultural differences and boundaries, which on the one hand creates a common feeling and nostalgia that It is competitive and beyond national and ethnic identities, and on the other hand, it provides opportunities for transcultural critical interaction and dealing with post-immigration societies.

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