Peter J. Chelkowski: A Life of Scholarship And Cultural Exchange

Milad Azarm in conversation with Mohammadreza Khaki

Peter J. Chelkowski, an esteemed scholar and professor emeritus at New York University, devoted his life to enriching the understanding of Middle Eastern culture, art, and Islamic studies, particularly Shi’i traditions and Persian literature. Born in Poland in 1933, Chelkowski’s academic journey led him from Jagiellonian University to the School of Oriental and African Studies in London and ultimately to the University of Tehran, where he earned his Ph.D. in Persian Literature in 1968. His tenure at NYU began that same year, establishing him as a pillar of Islamic and Middle Eastern studies, known especially for his work on Shi’i passion plays (Ta’ziyeh) and Islamic mysticism. Chelkowski’s seminal publications, including Ta’ziyeh: Ritual and Drama in Iran and Staging A Revolution: The Art of Persuasion in the Islamic Republic of Iran, co-authored with Hamid Dabashi, have become cornerstones for understanding cultural expressions within the Islamic world. In addition, his article “Ta’ziyeh: Indigenous Avant-Garde Theatre of Iran,” published in Performing Arts Journal in 1977, was groundbreaking in presenting Ta’ziyeh not merely as a traditional practice but as a performative phenomenon with avant-garde features. Sadly, Peter Chelkowski passed away on October 21, 2024, in Turin, Italy, leaving behind a legacy celebrated by colleagues, students, and the broader field of Middle Eastern studies. His contributions continue to inspire an appreciation for the rich tapestry of Islamic cultural practices and art. In memory of Peter Chelkowski’s life and work, I invite you to explore this exclusive interview with Mohammadreza Khaki, a retired professor of Theatre and Performance Studies at Tarbiat Modares University in Tehran, Iran and holder of a Ph.D. in Theatre from the Sorbonne University in France. Together, we delve into the significance of Chelkowski’s contributions and the lasting impact of his research on Islamic and Middle Eastern studies.

Milad Azarm: Dr. Khaki, could you tell us about how you first became acquainted with Peter Chelkowski and his work?

Mohammadreza Khaki: If I remember correctly, I first met Peter Chelkowski in 1976. At that time, Farrokh Ghafari introduced me—then a student at the Faculty of Fine Arts at the University of Tehran—as a collaborator and researcher at the Research Center for Traditional Performing Arts, which was associated with the Shiraz Arts Festival. There, I became acquainted with William Beeman, traveling to various cities and villages in Iran, documenting Iranian traditions through photos, film, and notes. It was at this center that I had the honor of meeting and forming a friendship with Prof. Chelkowski. Just a few months before we met, in the summer of 1976, Chelkowski had organized the first international symposium on Ta’ziyeh at the Shiraz Arts Festival, which significantly introduced Ta’ziyeh to the world. He invited numerous scholars from across the globe to this symposium, and the book Ta’ziyeh: Ritual and Drama in Iran, published by New York University Press in 1979, was the result of his dedicated efforts.

Soon after, the 1979 Revolution occurred in Iran, and I, having graduated, went to France to pursue a Ph.D. Peter and I stayed in touch by phone, and I saw him twice more during his trips to Paris, at Farrokh Ghafari’s home. Since my dissertation was also on Ta’ziyeh, our meetings were filled with discussions and exchanges about Iranian theatre and rituals. Later, when I returned to Iran, Peter attended a Ta’ziyeh performance and a related symposium as an honorary guest at the Moaven-ol-Molk Tekyeh in Kermanshah in 2002. That visit was quite memorable; he shared stories about his previous trips to Iran and even recounted his encounter with Grotowski. He mentioned that Grotowski, now recognized as a major theorist and artist, had been quite different from the man he would later become. Peter shared memories of meeting Grotowski before his fame and before his travels to India, discussing how India’s rituals and traditions influenced Grotowski, and reflecting on how art can guide us toward positive change.

Later, our conversations mostly continued through email, and he invited me to contribute an article to the book Eternal Performance: Ta’ziyeh and Other Shiite Rituals, a collection of works on the subject. I sent him an article titled Identification and Analysis of the Scenic Space in Traditional Iranian Theater, which was translated into English by Iraj Anvar and published in that book in 2010. From then on, I mostly heard about him through my students in the USA, as staying in touch had become a bit more challenging for him as he aged.

Milad Azarm: Peter Chelkowski’s work on Shi’i traditions, Persian literature, and performing arts has had a profound impact on Middle Eastern studies. How do you view his contributions, and in what ways have they influenced the field and your own research?

Mohammadreza Khaki: Much of what we know about Ta’ziyeh comes from observations by Western Orientalists who, particularly during the Qajar period (late 18th to early 20th centuries), traveled to Iran. They mostly described what they saw, playing the role of observers. However, Chelkowski’s work went beyond mere field observation. He once joked about having participated in a Ta’ziyeh performance as a ‘foreigner’—I’m not sure if he was serious or not! But what’s certain is that he approached Islamic and Iranian rituals with a scholarly, analytical, and anthropological lens. His approach was not only unique for a non-Iranian audience but also impactful for Iranians, as he interpreted Iranian culture and people through ritualistic lenses, employing symbols and elements that offered fresh insights and a new way of understanding.

In addition to his research, Chelkowski joined New York University as a cultural history scholar in 1968 and taught there for 50 years. He was one of the founders of the Hagop Kevorkian Center for Near Eastern Studies, serving as its director for many years and collaborating with distinguished scholars like Richard Ettinghausen, Annemarie Schimmel, Hamid Dabashi, and Ehsan Yarshater. His profound impact on transforming research methods related to rituals cannot be overstated, as his strong academic foundation enabled him to identify connections across various traditions.

For example, his article From the Sun-Scorched Desert of Iran to the Beaches of Trinidad: Taʿziyeh’s Journey from Asia to the Caribbean, published in TDR: The Drama Review in 2005, is a masterpiece of research. In this article, Peter traces the migration of the Shi’i ritual of Taʿziyeh from Iran to the Caribbean, particularly to Trinidad, where it evolved into ”Hosay” as Indian indentured laborers adapted it to their new cultural environment. The study explores how this tradition transformed through interactions with local customs, becoming a unique form of expression that symbolizes both cultural unity and historical resistance among Trinidadian Indian communities.

Milad Azarm: In your opinion, what was Peter Chelkowski’s impact on introducing Ta’ziyeh to international audiences? How did his work help shape global understanding of this unique ritual and art form?

Mohammadreza Khaki: Without a doubt, Peter Chelkowski was one of the most significant figures in introducing Ta’ziyeh to the global theatre community, collaborating with luminaries like Jerzy Grotowski, Eugenio Barba, Peter Brook, Richard Schechner, and many others. The pinnacle of these collaborations came in 2002 when Mohammad Ghafari, together with Chelkowski, Beeman, and a group of artists and scholars, took Ta’ziyeh to Lincoln Center in New York, where it received an exceptional reception.

What’s important to note is that, starting from the 1970s, Iranian theatre studies gained traction internationally. Yet, Chelkowski’s work placed a special emphasis on the significance of these traditions, and his contributions opened doors for Ta’ziyeh to become a subject in academic and curricular materials. For instance, the book Theatre Histories: An Introduction by Phillip B. Zarrilli, Bruce McConachie, and Gary Jay Williams includes a section titled Islamic Commemorative Mourning Dramas: The Ta’ziyeh of Iran and Beyond, which reflects years of Chelkowski’s research. And in France, the book Dictionnaire encyclopédique du Théâtre by Michel Corvin includes a chapter on Ta’ziyeh. However, Chelkowski did not contribute to this book; scholars such as Prof. Jean Calmard and Mr. Farrokh Ghafari wrote the entries. What I mean is that if it weren’t for earlier writings and the works of people like Peter Chelkowski, these authors likely wouldn’t have focused on Ta’ziyeh either. His influence in introducing Ta’ziyeh to the world is undeniable.

He was a genuinely honorable and witty person, and his passion for Iranian and Islamic culture came from the heart. When I shared with him my findings on Ta’ziyeh versions in Europe and their secular elements, he encouraged me with enthusiasm to pursue this work further. In the end, we all move on, but what remains are our contributions and memories; and Chelkowski is undoubtedly one of the most enduring figures in Middle Eastern and Iranian studies.