In the late 1360s and early 1370s in Yazd, I began playing the tar as an amateur. Although I was just starting to learn, I was fortunate enough to join a group of highly talented musicians. The person who I believe was instrumental in forming this group and played a pivotal role was the late Mrs. Homayoun Homafard.
As far as I remember, we practiced weekly in the building that now houses the office of the Zoroastrian Association of Yazd. As a beginner, I was in awe of the artistry and skill of several members of the group and relished the hours spent listening to their performances. The most prominent figure was the late Ardeshir Bazadeh, who played the “Arbuneh” with remarkable power and precision. He had even prepared a self-study guide for teaching the “Arbuneh (dayereh).” Although nearly 30 years have passed, the memories of those rehearsals remain vivid.
There were other talented musicians and singers in the group, but unfortunately, I can no longer recall all their names. We honor the memory of those who have passed, and I wish health and happiness to those who are still with us.
What stands out most is the role that individuals like Mrs. Homafard, Mr. Bazadeh, and others played in bringing young people together, creating lasting memories that fostered a sense of “social connection.” Many of these individuals (unlike myself!) went on to pursue music professionally, and the group was a significant stepping stone in their journey.
A large part of this group’s success was due to Mrs. Homafard’s unique contributions, particularly her “songs.” Her special talent lay in singing poetry based on familiar tunes that the group’s singers and musicians already knew, with sheet music readily available. This allowed the group to quickly prepare for performances, often singing joyous and well-known songs for Zoroastrian celebrations. With sheet music in hand, the band could accompany these performances with ease. As far as I recall, the group had several performances, including one in Ahrestan.
Mrs. Homafard played a key role in both the formation and continuation of the group. Although the group’s meetings and performances did not last long, its memory remains vivid for all of us. Whenever I meet friends who were part of the group, we still fondly recall those times. Years later, every time I visited Yazd, I would inquire about her well-being through mutual acquaintances, and I was fortunate to meet her in person a few times. In recent years, we even spoke over the phone, bringing back memories of the group and those cherished days.
Sadly, Mrs. Homafard belongs to a group of individuals whose artistic and social contributions were not fully recognized during their lifetime. However, those of us who sang and played in that group remember her influence, dedication, and the artistic brilliance she shared as a poet. Her memory will always be cherished.
Bahman Moradian – Mehr 1403
