After emigrating from Iran to Sweden, my life took on a completely different trajectory. The first four or five years were pivotal in laying the groundwork for a new chapter. My primary goal during this period was to reunite with other Iranian artists who had also left Iran, such as Susan Taslimi, Mohammad Moti, Saeed Oveisi, Dariush Farhang, and others. With the occasional presence of Mr. Beizaei, we aspired to create and showcase authentic Iranian artistic works abroad. Our mission was to offer a more nuanced and dignified representation of Iranian art, particularly as a counter to the inferior works being presented globally as “Iranian theater” or “Iranian films.” Unfortunately, the circumstances in Sweden made it difficult for us to form a cohesive group. This geographical and personal dispersion among us had its challenges and, to some extent, its destructive effects.
Looking back, I sometimes wonder if we had focused less on working exclusively in our mother tongue from the start and instead integrated more into Swedish cultural circles, we might have found success in Swedish artistic frameworks much sooner. However, our desire to preserve and promote our cultural heritage felt like an obligation—a responsibility to our identity and our homeland.
Continuing My Acting Career in Sweden
One of the questions I am often asked is whether I managed to continue my acting career after leaving Iran. The answer is yes. Over the years, I have been active in both film and theater, though my journey required patience and perseverance. After spending the first few years learning the Swedish language and adjusting to the culture, I began collaborating with Swedish artistic communities in 1993. Since then, I have worked with various Swedish theater organizations and cultural institutions.