My research explores aesthetic devices of film-poems, the open image and the moving painting to evoke empathy in a viewer, focusing on the case study of the Bahá'í community and the emotional impacts of displacement following the 1979 Revolution on the Iranian-Australian community in Boorloo, Perth. This dissertation seeks to uncover the history of my community, through my own lens as an Iranian, Australian, Bahá'í woman. My research questions the concept of home. Is home a birth right? Is home

more »

... a legal document? How is home ever evolving? Migration urges a reconsideration of roots, reformation of identity torn between a birthplace and the host country. At the same time, this identity "crisis" also provides ways towards a process of healing, through the push and pull of accepting and rejecting parts of heritage and auditing traditions. The second generation, of which I am part, encompasses the identity of entanglement, where we find ourselves in between two polarities that often repel each other. In this dissertation, these two polarities are reflected in the cultures of the Middle East and the West. The process of rejecting and accepting one's ancestral and cultural roots is critical to the hybrid formation of being Iranian-Australian. The second generation, in essence, act as a 'bridge' between first generation refugees and the host country. The process of identity formation (and reformation) of first and second generation refugees is a core theme in the creative component of this research; acting as a voice for those who are seldom heard. 'Selections from the Writings of 'Abdu'l-Bahá, This research was supported by an Australian Government Research Training Program (RTP) Scholarship. Thank you to the UWA School of Design staff and community. Where do I begin. The research, development of this project took a whole community to bring to life. First and foremost, I thank my supervisor, Dr. Ionat Zurr. Without her guidance and unyielding support, my practice would never be what it is today. As my role model, my guide, and my friend, navigating personal barriers that have been deeply challenging, and not once did her belief, faith, and support in me falter. I feel so lucky to have been taught by you and am eternally grateful for your wisdom, strength, and friendship. Not to mention the meetings with Cleopatra (click click), she is also utterly magnificent. For my mum, for being my rock, pillar and support during the highs and lows of navigating this project. This whole entity is dedicated to you and my mammy; strong, empowering women in my life. Your sacrifices, the challenges you have faced in life, will never be forgottenin hopes that humanity will learn, and we can create a better world. Your integrity and resilience are testament that we can be the change we want to see. To my dear mammy and babby, for your love, wisdom, and unyielding conviction for the Faith. To my dear daei, aunty Tazien, and Seina. You are dear to me, and this art is for each of you. Thank you for supporting me without a second thought, your patience and sharing your knowledge, stories and experience that are deeply vulnerable, and profoundly important. I thank Christian, my husband for patiently and always, without fail, supporting me through every facet of my being. Thank you for holding me when I felt overwhelmed and being there for me through some really hard times and also, the great. Seeing the work come to life, and you being such a huge part of bringing it to life will always hold a special place in my heart. You are what makes my art whole, and I am eternally grateful for you. Thank you to Jason for your supervision, and mentorship, especially in film, enriching my capacity and standard towards excellence, and giving me the necessary direction, critique, and consultation to creating this artwork and research. Your guidance has shaped the artist I am today, and I can't wait to continue our partnership and see what we make in the future in new digital media and beyond. Thank you for editing this thesis.