Barchi; The Humiliating Exception

 A reference to the unique nature and unconquerable identity of Dashtbarchi

Dedicated to: past, present, and future residents of Dashtbarchi

Revenue: West Kabul vs. Kabul

In 2013, I was a volunteer member of the commission that planned the celebration of the 80th anniversary of the death of Molafiz Mohammad Kateb Hazare. Habibullah Rafi, Abdullah Bakhtani Khemitgar, Haj Kazem Yazdani, and Hassan Rezaei were also permanent members of this commission and other people also came and went from time to time. Its meetings, except for one time when it was held in the National Radio and Television building under the chairmanship of Seyed Makhdoom Rahin, who was the Minister of Information and Culture at that time, were often held in the office of the head of the National Archives. The head of the National Archives at that time was Sakhi Munir. In the office of the head of archives, there was talk about the crowding and heavy traffic in Kabul. I said that the center of gravity of traffic in Kabul is between Kute Sangi and the bridge, and for us who come from the "West of Kabul", reaching the National Archives has more difficulties and problems. Mr. Munir said: Where is the west of Kabul? You, the new generation, made this term. We didn't have anything called West Kabul before. We had Dehmzang, Kote Sangi, Khushal Khan, Afshar, Dar Alaman, Chahar Qala (castle), Gulkhane, Dashtbarchi and Ghazi Qala. Now you have given all these areas a new name: "West of Kabul". Mr. Munir had a high opinion of me and Professor Hassan Rezaei Hassan, and his behavior was always polite, respectful, and cooperative. His daughter Sadaf Munir used to be our student at Katib University and she had a sense of happiness and even a sense of privilege in this regard, and she was openly and secretly proud of it. But in the position of a bureaucrat serving the official authority, probably in the term "West Kabul", he felt the resonance of a kind of confrontation between Kabul and West Kabul, which, whether he liked it or not, was considered a kind of damage to the authority of the city as the center of official authority. He was not against the West of Kabul, but his reference to the newness of the term "West of Kabul" was both true and, whether he wanted it or not, it pointed to a kind of difference and opposition.

The fact is that the term "West of Kabul" has been at the heart of the political literature of the last three decades, and its political connotation has been a kind of confrontation with Kabul itself and a reminder of a distinct identity next to Kabul, which is forced by the nature and temperament of authority. I don't like formality. But this opposition is not only true but since each has two types of positions and looks at the reality of the political matter, it has gained a dimension of dignity and identity. The identity and political burden of the term "West of Kabul" has caused this term to acquire an emotional and emotional dimension, and any positive or negative reference to it will be a tribute or insult to the residents of this region and fuel intense identity conflicts. For this very reason, when recently one of the opponents of the hunger strike on Zhazhkha and Yavesara west of Kabul, as a duty and to pay the obligatory thanks to the obligatory lord, opened his greedy mouth and turned his tongue in praise of evil and violence, and as in the black record of the wicked The terrorist did nothing except killing and exploding and killing innocent people, he sent a lot of slanders and insults to the people of West Kabul, the divide between Kabul and West Kabul was activated once again and the identity strings of "West Kabul" began to vibrate. Considering that "Dasht Barchi" is located in the heart of the geography of west Kabul, the addressee of this slander and slander is, in the first step, specifically, Dasht Barchi. It is Dasht Barchi that, by creating and producing a kind of identity, has pushed the west of Kabul into conflict with Kabul, and therefore, the root of these insults goes back to the unique, exceptional, and unconquerable identity of Dasht Barchi, which, although it was produced in Barchi, was never limited in Barchi. It includes all areas that are politically considered non-Kabul and defined outside the official power structure.

I, as a resident of Dasht Barchi, in this writing, try to express my experiences of the invincibility and exceptionality of Barchi, as the main reason for hatred and hatred against Dasht Barchi. The experimental nature of this article may not allow general theoretical conclusions, but I hope that as a report of a lived experience, it will not only shed light on the nature of the debates that have been incited in various ways around Barchi, and Zhazhkhayan's recent insults are only a small example of it. To clarify the root of any kind of hysterical attack against Dasht Barchi, which has always existed during these two decades of relative peace and has gained more opportunities after the Taliban took over. The slanders and slanders of that mercenary slanderer were a handful of empty words that had absolutely no value in themselves, but they sufficiently showed the contradiction and opposition between Barchi and Kabul, and the hatred and hatred resulting from this opposition. In most of these debates, only the hatred of Barchi shows itself on a large scale and it becomes a matter of surprise, but the controversial and humiliating nature of Barchi, from which grudges and hatreds against Barchi flow, has not been paid attention to. It is not easy to show this nature and identity, because it requires passing the lived experiences through the filter of analysis and packaging and presenting it in the form of appropriate and universal concepts. In other words, the nature of a barchi is not separate from a barchi and it can be understood by living inside a barchi and experiencing life in a barchi, and it can be expressed by keeping a mental distance from it. Of course, this is a wish that we hope will be fulfilled one day, but in the current situation, it is not possible to pass the experience through the filter of analysis and present it in the form of universal concepts, and we can only make do with some broken references. The author is aware of the fact that Barchi, despite his rich experience, has not yet found a suitable language to express his experiences, and wrote about Barchi. In the last twenty years, Barchi has tried to express himself in different ways and has tried different types of art forms to achieve his own special language. These efforts are relatively successful, but the special language that has been formed from this passage has many complications due to its experimental and innovative nature and is not easy to understand and use due to technical reasons. Anyway, it is because of these complications that any kind of talk about the nature and exceptional nature of Barchi will always be accompanied by brevity and ambiguity.

The slanderers and slanderers are actually lamenting the pain that Barchi planted in their hearts during these years, and therefore it is not reasonable to expect them to explain the reason for their lamentation. However, it is surprising that in the defense of the defenders, there was no mention of Barchi's exceptional nature and the origin and roots of hatred against it. This means that Barchi's unique and exceptional gem is not sufficiently clear and visible to most observers, residents, fans, and even Barchi's defenders. The hatred against Barchi is not completely caused by the malice of the secret and the deceit of the slanderers and the naszag fasting people, but in this hatred and hatred against the Barchi plain, the demeaning nature of Barchi is the main factor, and therefore, we must somehow find the root of the slander and hatred in the special existence and identity. Barchi should also be searched. If one side of it is malice, malice, malice and failure, which erupts against Barchi here and there and sometimes, like old-time complexes and hatred, then on the other side is the unique and exceptional nature of the Barchi plain, which has been scarred during these years. and has planted regrets but has never been conquered. Barchi was a mysterious and illegible margin of a vulgar text; He exposed the vulgarity of the text, but the code itself remained unsolved, he did not confirm the text with explanation and interpretation, but by exposing its vulgarity, he challenged the text to replace it. Therefore, if we consider Barchi as the border of Kabul, this border was not an explanatory and confirming border, but a challenging and destructive border. Barchi humiliated Kabul, dismembered it, and exposed its insides to everyone. Kabul wounds Barchi with a dagger and Barchi cleans the festering boils of Kabul with words. In this brutal fight, blood flowed from Barchi's body and infection rose from Kabul's body.

Many claimants went to Barchi with colorful goods, but their goods found few buyers in the Barchi market, because Barchi had a special identity and unique nature and rejected any pattern that was imposed from the outside, and every idea, model, and style that came with All kinds of stylish and trendy packages were offered, he melted in the furnace of his experiences, tested and after disintegration and dissolution, he gave his color and sign to it and transformed it according to the requirements of his nature and temperament before absorbing it.

It was often thought that someone badmouthed Barchi and its residents out of stupidity, malice, and racial hatred, and some tried to defend Barchi by exposing the lies and inaccuracies hidden in those slanders or the violent consequences of religious and moral slander. The fact is that the root of the attack on the Barchi Plain goes back to the impregnability of the gem and the unique and exceptional identity of this region. Barchi was neither irreligious nor a center of moral corruption, but in the age when everything was exchangeable and bought and sold, Barchi was unconquerable and as an exception, he had found a special and unpossessable identity. Barchi was an exception, but not a constructive or rule-supporting exception, but a humiliating exception; During the entire twenty years of the so-called Republic, Barchi resisted the plans of conquest, the blackness of the army did not become the political ritual of foreigners, he did not call for the victory of "pure Islam" in the whole world, and the council of project takers did not darken the Day of Quds and Palestine. Therefore, Barchi became a thorn in the side and must be accused and challenged in order to be avenged and paid back. In all simplicity, in terms of identity and in his nature, Barchi was stubborn, resistant, unconquerable, and far from the logic of exchange, so he remained a thorn in the eye and a bone in the throat, and he was also the thorn in the eye and the bone of the throat of others that he tried to digest with all kinds of projects. And they conquered Barchi, but they could not pass through the hard rock of its impregnable identity. As far as my findings and experience go, the points that I will briefly mention below play a fundamental role in the development of Barchi's unique and exceptional identity and its invincibility.

First: separation and otherness

The basis of Burchi is separation and being alone. Kabul was the capital, but Barchi was outside of Kabul, and from the very beginning, it stood beside the capital, but not as an outgrowth of it, but as an alternative to it. Barchi was not a cheap labor force for Kabul, whose umbilical cord is connected to Kabul and fed by it whether he likes it or not, but the work in Kabul was Barchi's own initiative, and Barchi created his own jobs, which if from the point of view of the political-racial aristocracy living in The capital was the epitome of lowliness and helplessness, in Burchi's view, it was considered a struggle for survival and stability. Therefore, Barchi endured the calamities of Kabul, but like many other marginal areas in other parts of the world, it did not become the center of crime, violence, and hatred against the city, in order to confirm the city's culture and civility with its lack of culture and violence; Barchi made his special and exceptional identity in this marginalization. Barchi grew without a map, was poor and deprived, and development in it had no meaning other than the development of poverty and deprivation. However, he did not reject the order and prosperity of the capital that he saw in front of his eyes, nor did he turn it into the center of his hopes and dreams; Rather, he ignored it. The order and prosperity of Kabul did not become Barchi's ideal because Barchi always remained an outsider politically.

Barchi was not included in the urban development plan of Kabul from the very beginning, or if it was, it was hidden. One of the confidential documents of the Afghan government was the urban development plan. Officials of different governments always refused to provide municipal services to the residents of west Kabul under the pretext that west Kabul and especially Barchi are not among the mapped areas and therefore are not included in municipal services. In 2012 and 2013, Ali Karimi completed his master's thesis at the University of Ottawa in Canada about Barchi, and I held a meeting at Ibn Sina University in the fall of 2011 for him to share his findings with students. Karimi said that the government is protecting the urban development plan of Kabul, which was approved during Dawood's era, like a snake entrapped in a treasure. He excitedly said that he had obtained a copy of this map, which includes Barchi and the areas of the foothills of Ghorigh Mountain, and even the name of the main road of Barchi, which should extend from Burnt Bridge to Ghazi Castle, was named after Rahman Baba, which is now It is called Shahid Mazari. Whatever the story was, whether Barchi was part of the plan or not, he was a stranger, he remained a stranger and built his identity in this alienation.

Barchi was not integrated into Kabul so that the poor suburb would be a stylish and rich city, but from the very beginning, this marginalization and the lack of order and plan was understood as political, and this caused the formation of a kind of self-awareness and identity in the Barchi plain, which confirmed the city. He didn't do it, but he saw it as a rival and finally went to the stage of challenging and humiliating it. This alienation made Barchi despair of Kabul, but he did not despair of life. Barchi saw the education, prosperity, order, and wealth of Kabul, but he did not hope for it but understood it as a kind of political position and alienation. Thus, this despair was not the only barrier that separated Barchi from Kabul, but it was also the beginning of the development of Barchi's new identity. Barchi hoped for himself and grew in line with Kabul, but differently from it. Kabul, with the concentration of power and facilities, corruption and monopoly, became fat day by day and gradually, and Barchi, with its poverty and deprivation, lack of order, planning, urban services, and cleanliness, even though its back was bent under the burden of poverty and discrimination, gained new awareness in He grew his womb and built his own identity in his own style. Thus, following the urban structure of Kabul, which had the citadel and political authority at its center, the Barchi structure also grew, whose poverty and deprivation were itself caused by the citadel. The identity of the city was made by the citadel, and the identity of Barchi by the lack of the citadel. The key to everything was in the hands of the citadel. The citadel was not present in Barchi, so denial and concealment became a part of Barchi's identity.

The dual function of the citadel itself was one of the main sources of new awareness and identity for Barchi. For Kabul, the citadel was order, prosperity, wealth, opportunity, education, and health, and for Barchi, deprivation of all these. Inevitably, in the heart of these two structures, two different types of self-awareness were developed: privileged and conservative consciousness and radical and incompetent consciousness. Kabul had a citadel, which was the center of privileges, and its grace and grace reached everywhere, and Barchi had mud houses, which were deprived of everything in the vicinity of the citadel. If poverty and lack were understood everywhere as a natural phenomenon caused by the lack of resources or a social phenomenon caused by human factors and weak planning, in Barchi it was understood as a political phenomenon. Therefore, poverty made all parts of the country connected and dependent on the citadel, except for Barchi, which moved away from the citadel and fueled the conflict between the palace and the cottage and the different consciousnesses resulting from it. This is how Barchi grew up both ignoring Kabul and paying attention to it as the cause of his deprivation. He was deprived of its benefits and benefits, but he considered the behavior of the citadel as the heart of Kabul towards him and understood it politically, and therefore, despite all the poverty and hardships and countless hardships, he rose as a political rival of the citadel. Poverty and deprivation, population density, dirty neighborhoods, and blind, narrow, dark, and smelly alleys became part of Barchi's identity, but Barchi did not try to be close to the city but as a competitor next to the city with its characteristics. Khas emerged.

The initial deprivations of the development of urban identity in Barchi are shocking. At the beginning of Barchi's development, the Hazaras endured a kind of apartheid system. Hazara did not have the right to sit in a seat in the city services until someone from other ethnic groups was there, but when Hazare imposed his presence in the city, in Barchi, and in public transportation with violence and resistance, and the right to sit in the seat in vehicles. He found public, he did not take a step closer to the city, but he gained a new self-awareness and evolved to a new stage in terms of identity. Barchi gained self-confidence but did not integrate into the structure. In this way, Barchi Man cultivated his own model alongside Man of the capital, and the duality of Kabul and Barchi gained more complex dimensions. In 1356, Barchi became the owner of the first public school in its history named "Dasht Barchi Primary School". Except for Asif Mayel School, which was built later during Karzai's time in Barchi, Barchi had only one school for many years, which gradually became the largest high school in the world under the names of "Burnt School" and "Abdul Rahim Shahid High School". Only its boys section had 23 thousand students at one time. This meant that the Barchi school did not connect to the city, but took on the identity of the Barchi plain itself: crowded, dense, and lacking facilities. But in spite of this school improvement, Reza Rifat, who won first place in the entrance exam in 2017, graduated from the same school, weaving carpets at night to provide for his family and studying during the day. Rifat was not a genius, but he got this energy to turn the wheel of the family's livelihood and to rise from the depths of poverty and crowding to the first place among two hundred thousand participants, from Dasht Barchi. Reza Rifat and Shamsieh Alizadeh (1st general grade of 2020/2019) and hundreds of students of Dasht Barchi understood that prosperity, comfort, and leisure are the guarantee of success and progress, but the exceptionality and uniqueness of Barchi inspired them that the way to success must be from high school. Habibiya, Ghazi, Suriya, Seyyed Jamaluddin and Rahman Baba will not pass. Barchi had created his own style of success. The awareness that will play a fundamental role in human success as an alternative to possibilities is one of Dasht Barchi's inventions. From the perspective of the phenomenology of consciousness development, the formation of Dasht Barchi identity is a gradual and time-consuming phenomenon, and its complex and challenging stages are late, and at least its open and clear manifestation belongs to the current era of Barchi Dasht. We should go back a little to the past and briefly mention the roots of the formation, occurrence, and emergence of the unique and exceptional identity of Barchi.

Later than the citadel was established in Kabul, Barchi was also established. But before Barchi was formed, a kind of deprived consciousness had developed here and there, but it had not become a kind of identity and indicator of a specific social group. Hazaras who had settled in Kabul as the rest of the Saifs during the era of Abdul Rahman or the descendants of the slaves during the era of this emir and later as soldiers and perhaps low-ranking employees and officials of the government were not to the extent of carrying a distinctive identity and special awareness of have been themselves With the establishment of Barchi, all those who were outside the structure, even if they were on a mission or in the military, but still inside the structure were strangers and non-mahram, found a kind of shelter. Barchi, whose name is more or less connected with Javaligari and Barkashi, became not only a shelter but also the identity, nature, and fate of the aliens and the outcasts of the political structure. Thus, Barchi was established from the very beginning with a kind of alienation and alienation and has remained alien until now. This string of otherness has extended until now, neither the city has digested Barchi nor has Barchi forgotten its alienation and difference from the city. Barchi has grown in this foreignness and alienation next to the capital to the point where it has caused humiliation and political challenges for it.

The day after the Mujahideen's victory, West Kabul led by Barchi invited the city center to a political challenge. Jihadist discourse was based on force and monopoly. The new rulers in the old citadel were also trying to renew and revive the same monophonic and traditional way of ruling, But Barchi was a harbinger of participation and pluralism. The resistance of millennials to create an adjustment in political power was not unique to Dasht Barchi; From Shahadeh Castle to Dehmazang, from Chandawal to Fethullah Castle, and Wazirabad, four castles played a role in this resistance. But history remembers this resistance under the name of "West Kabul Resistance".The three-year resistance of West Kabul did not only established Barchi's identity but also placed Barchi in a position of moral superiority. They carried the corpse from house to house and buried the young corpse, they were shot in the rain and gave energy and strength to the resistance force from their life force, but they found a sense of pride and dignity, and they decided about life and death and boldly played the game of fate. they entered The three-year resistance west of Kabul did not only give Barchi self-confidence but also a sense of pride and moral superiority and a sense of high human character. There is no day that the memory of this resistance is not repeated in Barchi. Against the three-year resistance west of Kabul, there is no shortage of slander and gossip, but this has not caused the memory of the resistance to become an eternal memory and a fundamental pillar of Barchi's identity. Because this resistance did not come from the outside, it came from Barchi's nature, and all those who were humiliated by Barchi's humiliation rose up to oppose it.

With the same political identity, Barchi entered his new era after the fall of the Taliban in 2002. For Kabul, democracy was a luxury and imported phenomenon, but for Barchi it was a familiar voice of pluralism and acceptance. Millions of dollars were spent on civil education, human rights, and democracy, but the geography of this dramatic and ridiculous civilization was from Karte Se to New City. For Barchi, it was an insult to the dignity of an Enjoi project to teach the residents of Barchi a lesson in democracy. Barchi had no share of the loot and the project. The project was implemented in places that could not overcome the "proxy vote" issue until the end of the Republic game. Barchi women with wrinkled hands from weaving carpets and grinding almonds, pistachios, and pistachios were the first to line up on voting days, and sometimes in the photos published by the media, it was clearly seen that the color of the Barchi women's fingers was overshadowed by the suffering of her hands. has taken. In the new era, this identity of Barchi, this uniqueness and historical specificity of Barchi also separated the way of Barchi from Kabul. Barchi instead of the office of institutions and holding projects and workshops, land courses, private schools, reinforcement classes, Concours preparation, foreign language training, TOEFL exam centers, libraries, literary and historical study associations, and art and painting studios, video art, music education And there were discussion circles. Barchi had grown, the unique and exceptional identity of Barchi had become deep and complex, but his problems had also grown. Barchi still had a road. Heavy traffic, overcrowding, conscious negative advertisements, lack of health services, lack of urban services, and cleaning, sometimes counted Barchi's breath.

Second: The role of the female element in the development of Barchi identity

Femininity played an essential role in the development of Barchi's identity. There was never a day in Barchi that one's eyes did not encounter a woman's handprint. When someone walks through the streets of Barchi as a passerby, it is impossible not to see a clean child with washed and neat clothes or a disheveled child with dirty clothes, reminding him of his mother. In this way, the woman simultaneously played the role of presence and absence in Barchi. Absent presence is based on visible absence and present absence is based on invisible presence. In 1394 and 1395, three families lived in a three-story house: the landlord, our family, and another neighbor. Another neighbor was a lady with three children. Her husband was ten years old when he was killed in an accident. His eldest daughter was engaged after graduating from the twelfth class and failed to participate in the competition. Mother and daughter came to me several times for consultation. The effort of that mother and daughter was not only enviable and worthy of admiration but also surprising. Later, I understood that they felt a kind of weakness and helplessness because the girl missed a year of education. After that, I have always seen Barchi's mother's sadness after every failure. Just as the clean clothes, washed face, and well-groomed hair of a child, to some extent, turn him into a work of art created by the suffering hands and the kind heart of a mother living in Barchi, disheveledness and pus, fasting and the deformed and limbless stature of children are also misfortunes and misfortunes. It remembers a mother and the total absence of a woman, which is as tangible and noticeable as her presence.

Without living long in Barchi, it is difficult to understand this presence based on the absence of the woman. Roland Barthes said in his famous article "Eiffel Tower" that the tower has been diluted and multiplied everywhere, and therefore every Parisian is bound to face it. Barchi does not have a specific material symbol that is diluted and we all have to face it, but femininity is the air that breathes in Barchi, it is a ghost that covers Barchi, it is a soul that lives in Barchi's body, artistic feeling and It is an aesthetic that decorates Barchi, it is a handkerchief that is hung with a dragonfly on the arm of a Barchi child, it is a hand embroidery that beautifully decorates the skirt of a Barchi girl's shirt; It is the misfortunes and misfortunes that make Barchi's breath count and it is the energy that keeps Barchi on his feet. Barchi is both a school and poverty itself, it is both life and misery, it is also a Mohammedan rabbi who holds a pen with his mouth and paints without hands, and in 2018, his art studio was attacked with a hand bomb. And Shamsieh Alizadeh, who the following year won first place in the entrance exam, and after all, Barchi is both deprivation and willpower, and all of these are mixed with the suffering, misery, unhappiness, and destitution of a woman.

A woman in Barchi is more busy working and making life warm with her hands than anywhere else, and the one who blesses life with work and sanctifies human life with suffering, everything is magnificent at the same time simple and at the same time majestic and sublime. And in Barchi, a woman is such a creature. Love and lust have a different color in Burchi, here life is a duty and living is a prayer in the temple of life. The femininity element of Barchi identity should not be seen only in the work of women, in the carpet weaving houses, in women and girls going to work and school, but in the identity of Barchi, it should be seen that its shift and mortar is prepared from the suffering and work of women and with Their will had come true. The woman was an object everywhere, but in Barchi, she was a subject, in other places, she was passive, but in Barchi, she was active, in the city, she was "training" but in Barchi, she was "working". Thus, the woman in Barchi was in her natural position and she compensated for the shortcomings and shortcomings with work and made life blessed with suffering and with suffering and work, not only the element of femininity, enthusiasm, emotions, and dreams of a woman in the fabric of life You don't, but you bless and elevate life with work. Cleaning, cleanliness, and beauty were a woman's matter, and therefore disorder and chaos also made us face a woman in a negative way. A woman found her identity through work and by femininity and infusing the spirit of beauty in her home and neighborhood, she softened the hardships of life. A woman is more than the mother of a child, she is the mother of life. Life is a child in the arms of a Barchi woman and this woman sings a lullaby of hope in his ears and nurtures it with love and good wishes. Behind all the activities, efforts, artistic works, studying day and night, getting first in the entrance exam, going to university, and dozens of small steps that were taken in life and woven the carpet of life in its entirety, the suffering hand of Barchi woman has always been at work.

Along with work, inspiration is another main feature of the Barchi woman. A Barchi woman does not only work hard, she also gives inspiration, she does not only weave carpets, she also weaves dreams, she does not only run away from painful pasts but also promises and hopes for happy and prosperous futures with her work. The passion for change in Barchi women was confusing. I didn't know any Burchi mother who wanted to raise her daughter on her own example, they often wanted their daughters to gain what they lost in life through work and education. Therefore, these women were risk-takers, risk-takers, and open to new experiences, and they allowed their daughters to swim in the ocean of life with more courage and hope and less boredom, and in this way, they both get to know life and prepare themselves for life. and make A woman is a divine being by nature, and her roots and descent go to the gods and, therefore, each of them acts as a guardian angel of the family and a goddess who protects the city and life. In Barchi, however, this feature was more common. From the three sides of woman, man, and child, the Barchi man was the luckiest of all. The hardships of life were such that the suffering of porters, jewelers, plasterers, and builders could not solve a small percentage of it. The Barchi man had stood up to the atrocities of the time, but he was always short-handed and bitter, and this made him bitter, worn out, and sad. The life of the Barchi man had many lessons and hardships, but it could hardly be an inspiration. The effort of the man kept the pillars of life up in the present, but neither the woman nor the child opened any horizon of hope and future. Barchi man was the epitome of pain and unhappiness. It is in the midst of this lack and despair that the woman of the house comes to help: she weaves carpets, grinds almonds, walnuts, and pistachios, washes clothes, cooks, sews, and embroiders, and thus not only drives the chariot of life but also You bless and sanctify life. The work of men and women is different. A man is a workaholic by nature, but when a woman starts working, she wants to save life from the evil of the times. This is how a woman's work is not the only work, but a prayer to the holy threshold of the goddess of hope and knocking on the door of tomorrow. Thus, Barchi was special and blessed because the gods suffered in it to prevent the domination of demons and save life. For this reason, the terrorist attack on the women's maternity hospital in Dasht Barchi, at least for me, was not just murder or murder of women and children, but a sinister attempt to stop life.

No goddess has been a source of inspiration as much as Barchi woman. These women never accepted suffering as their fate and destiny and always took the smallest opening to pass suffering seriously. If somewhere, under the sky of this cursed soil, the worker has realized the value of his work, There is a Barchi, and that worker is not a man but a Barchi woman. Barchi woman is illiterate and knows nothing about the long discussions about work and added value and production relations and worker-employer relations, but in all the carpet weaving, weaving, embroidering, nutting almonds, walnuts, and pistachios, going and searching the houses There are people, cooking and knowledge of the will to go through life and awareness of the liberating nature of work. He knows that his work affects his fate, his family, and his children and he knows that he can change his world with work. Therefore, work is sacred for him, it is a kind of divine duty with which he blesses his family, and by blessing life by enduring suffering and hardship and work, he repays his debt to the gift of life, and thus he both appreciates life and deserves to live.

Barchi women not only saved lives with work but also turned work into an aesthetic matter in the worst conditions. Carpet weaving in Barchi was not only an effort to earn a living but also an effort to reflect life and collective memories. It was only a nobleman who could make his suffering and misfortune a reason for self-reflection and the subject of artistic creation and aesthetic creations. If the calamities of the times do not bury everything in the depths of today's darkness, the historian of the future of art, dreams, memories, and the aesthetic taste and feeling of Barchi, together with its earthy and shapeless houses, in the deformed designs of rugs and carpets, embroideries of curtains and tablecloths, shawls He will find brides and dresses for girls and boys. Barchi is a desert full of color, and the bad taste in using color in Barchi does not attract the audience, but the deepest aesthetic feelings about color also show themselves in Barchi. Perpetuating the memories of war and depicting the tools of war such as cannons and thongs and armed soldiers is not a very new phenomenon and it shows itself here and there in hand-woven carpets, but in making a design of water and soil and the valley and desert of Hazarejat, the horizons are limited but The deep mountains, the golden rocks of Bamyan, the ruined Buddhas, the shapeless and dilapidated house, the struggle for livelihood, the misery of life, the violence of the environment, and the anger of nature, in a very professional way and with a deep and aesthetic view, have also remarkably shown themselves in the carpets and handicrafts of the millennium and Especially Zan Barchi have reflected. Today, Barchi is reproduced thousands of kilometers away from Barchi in houses, exhibitions, stores, and galleries through the handiwork of Barchi people, especially Barchi women. Barchi, when from the depths of poverty, poverty, and hunger, looks at rugs and carpets not only as a means of relieving hunger but also sees it as a source of memory and awareness and a manifestation of his aesthetic feelings, it shows to what extent the struggle of identity in Barchi It is serious and at the same time complex and deep. And it is the Barchi woman who stands at the center of this spiritual struggle and by weaving the carpet of Barchi's identity, she puts her stamp on it.

In 2022, after the infernal Taliban regime closed girls' schools and forced women to stay at home, some women who used to be police officers and the national army turned to a secret and underground life and started weaving carpets and sewing. Hazargi hand embroidery, especially the patterns and designs that are done on curtains, tablecloths, bed sheets, pillow covers, and cushions, although they do not have deep aesthetics like handwoven carpets, they always have a kind of dream and wish. The same basic and simple aesthetic sense woven into the work makes the work full of intimacy and carries feminine and maternal feelings. The return of police officers to hand embroidery, didn't it mean that those who were swept from the public arena thanks to America and the violent rule of a terrorist group, now wanted to memorialize their dreams with thread and needle? Sewing has been a refuge for millennial women; It is as if this woman is doing some kind of walking in sewing, she comes back to herself, she drips the juice of her life into the fabric and in the depths of her being, she meets the Simorgh of her soul to overcome the darkness in order to find the strength to face the dragon of hatred and evil. Returning to embroidery from the field of public services and administration and the police office and getting lost in the depths of the houses of Glen and Pichapich at first glance is a return to darkness and defeat against evil, but as far as the woman of Hazara is concerned, it is a kind of self-reflection and It is a meeting with oneself, which according to the myth of Simorgh, has a long tradition in the culture of the millennium. In the age of darkness and the domination of evil, looking for oneself and meeting oneself is never a passive reaction out of despair, but an active political action, and its message is that the game continues and the world has not yet come to an end. Is.

I don't want to translate all the sufferings and hardships of Barchi women into political action, but it cannot be denied that in the foundation of this sad but hopeful effort to turn the wheel of life, there is despair from the official institution of politics and hope to work for change, and this Self-awareness forcibly transforms the work of the Barchi woman from a painful struggle for survival into a kind of liberating struggle for change. A woman who pays for her children's school by visiting people's houses, by washing the clothes of travelers, and by selling eggs, has a dream that deserves respect and a child who studies and becomes a doctor in this way is not the only doctor among hundreds of other doctors. Rather, it is a sign of Barchi's identity and the work of a woman who, if she herself is deprived of literacy due to the misfortune of life, knows the value of knowledge well. Indeed, a woman is a divine being and this element of godliness has been manifested in Barchi's woman more than any other case because she is the only illiterate who understood the value of literacy and accepted suffering and hardship in order to realize it in another.

Third: happy experience (Placet experiri = Placet experiri)

Barchi's motto can be seen as an adaptation of the Latin poet Petrarca's saying "Blessed to try". Although Barchi's identity was special and unique, it was a completely human phenomenon born of historical and social developments, and therefore, it is an experimental matter. Barchi has acquired its uniqueness bit by bit and by experimenting. Like any other human phenomenon, this identity is not alien to human issues such as poverty and wealth, competition and show-off, instincts such as love and lust, passion and drunkenness, and human weaknesses such as selfishness, hatred, hatred, and even violence. But all these elements have been transformed in the furnace of Barchi's experiences and found a special feature. Barchi has achieved excellence and perfection from the heart of weakness and imperfection. Therefore, human phenomena, as they come to mind in Badi Nazar, are not the builders of Barchi's identity; Rather, each of them has gone through stages of metamorphosis and transformation until they are compatible with Barchi's nature and temperament. Of course, this is not unique to Burchi, any form of life that is open to experience is like this. Barchi, because he didn't or couldn't be the partner of Khan Yaghma that was widespread in Kabul in these twenty years, raised himself by trying. This experimental nature of Barchi's identity had turned human behavior and lifestyle, including display and showmanship, into an experimental matter in Barchi.

The passion for experience, more than all human emotions, and the love of man for man had given color and song in Barchi. The love of the Barchi girl was connected to the earth and was human and real, but the instinctive desire and lust also had to pass through the experience, and therefore, the displays of the girls in love with the Barchi profession are of the same type of "happy trying" and not a show. Barchi's daughter was a person of discovery and revelation, and she discovered and built herself. He was a walker, he tried to achieve maturity and spiritual prosperity in the process of life. Through this discovery and construction, he would have a privileged and distinguished identity. Like any other behavior, experimental behavior also had its own wastes and spills, but one thing was certain for Barchi girl: there is no pre-made model and she had to create herself. This millennial wisdom that "you saw and saw" was the recipe for life in Barchi and it was fully implemented. In this wisdom, the importance of the status of "meeting" is briefly mentioned, which is the result of the experience and the path of intuition and revelation. Barchi's daughter was a fan of watching, but watching her own beauty, so she had more desire to see and less appetite to be seen. Fashion and make-up in Barchi was not an imitation, but an experiment of a new form of life. The girlish action in Barchi was due to the passion of blossoming and experimenting, so it was seductive, but it was not contaminating and combined with debauchery; Since this seduction was the external face of the experience, it seemed stable, attractive, gentle, and natural. It was mesmerizing but not provocative or tempting.

The dominant pattern of experience in the life of Barchi girls had the most obvious effect on female students. Although some of the female clerics who were students of Ayatollah Mohseni, who were Zob in the province of the sheik and their mentor, had no art except hatred and malice, lewdness and swearing, the female students in Barchi surrendered to the experience and part of this process was "experimenting happily = platelets of experience". " They were. The female students, who first appeared with the intention of imposing a certain model on Barchi, were eventually forced to follow Barchi's logic. These girls were as seductive as the girls of artists, painters, model designers, tattoo artists, tattoo artists, and makeup artists. Anyone who has lived in Barchi knows well that Talabeh girls were trying to prove the superiority of their lifestyle rather than feeling a religious mission. They never had the appearance of nuns engaged in spiritual matters, who are always engaged in asceticism, whispering, and prayer, but they clearly tried to show that they have spiritual perfection and strength of character, and therefore not only morally, but also aesthetically superior. have. The attempt to present religious goods in aesthetic packaging and according to the feelings and tastes of everyone is a unique event in Barchi and it is a story of the inevitability of following the logic of identity, which is being built with bold experiences combined with determination and caution. It was coming up. That is, Barchi's special and exceptional identity made them prefer aesthetics over theology and be more concerned about their lifestyle than faith and try to impress others with their lifestyle instead of piety and faith. Instead of faith, they presented another style of aesthetics and instead of "correcting the beliefs" of believers, they tried to change their taste and lifestyle. It cannot be said that they did not make any changes in Barchi's taste, but these black angels came to the field with experimental logic and entered into the lifestyle debate and made changes in form such as clothes and makeup the face of their efforts. In this way, those who had come to the air of conquest, themselves became mesmerized and mesmerized by Barchi's hidden magic. They wanted to hunt, but they themselves were hunted and gave a positive response to the experimental nature of life in Barchi.

Since the Barchi girl was less interested in presenting and more in learning and experiencing, she mixed everything up and always behaved in a confusing manner. In Barchi, different lines met and a complex multi-line intersection was formed. In the beginning, this situation is confusing, but the eager and patient viewer gradually realizes that in the depth of human relationships, some kind of strong and clear boundary lines can be identified. The border between experience and representation is always narrow and often invisible, but the experimental nature of Barchi's identity has always stood and Barchi never lost its unique and exceptional identity in any storm. The experience was the backbone of life in Dasht Barchi, which kept it away from promiscuity, sex, and violence to a great extent. If there were anomalies, they were like many other projects that were proposed from outside by the project takers to the tune of imposition on Barchi, which was not very successful.

One more time, and of course, on occasion, we should also remind that the same institutions that were trying to impose political rituals of others in Dasht Barchi under various pretexts were also promoters of mass marriage and temporary marriage (promotion of concubine culture) and often in the guise of religion. And the Sharia law promoted a kind of legal and justified prostitution, and under its shadow, they also committed hundreds of abuses and illegitimate works, and they tried to wash away all these immoralities, sexual pollution, and moral depravities with the water of the Sharia, and eradicate the abuse of women with the dirt of religion. In the offices of Ayat-e-Azam and high authorities of taqlid authority, temporary marriage and concubinage of officials is not only a common story and a familiar story, but it has also been the source of many rivalries and eye-to-eyes, whose stories sometimes extended from Kabul to Mecca during the Hajj season. Their stories could be heard. The nascent seminary of Kabul also has a share and participation in the legitimate and illegitimate sex trade of Kabul and Qahra Barchi, and for more details, we have to wait for one of the conscientious scholars from within these institutions to narrate the story to everyone. In the story of Martyr Mazari and Alam Imam Hussain and Khatam al-Anbiya Mosque, after the tomb of the late Ayatollah Fazel's son was removed from there by the efforts of the people of Barchi, according to traditions, there was no shortage of sexual instruments and instruments of lust in that office. But these are not all the things that put Gardi on Barchi's skirt.

The mainstream of lifestyle in Barchi categorically rejected any kind of Sharia prostitution and justifiable and pure but actually stinking pollution. The same pattern of excesses and rottenness and presenting promiscuity, lust, and sexual abuse in Sharia packaging, was not compatible even with the taste of the few sex and lust companions in Barchi. Barchi was pure, full of experience, and engaged in the real affairs of life, but if sometimes, the desire for sin and the desire to enjoy the carnal pleasures of "Nafs Amara" provoked some of the residents of Barchi, and boys and girls from Barchi wanted to sit in the sex and lust of the capital. And to avoid the wind of corruption, they became "Shahri" or "New City" and went out of Barchi. The sexy zone of the city was somewhere else, just as the project, fund, workshop, and finally, comfort and money were somewhere else. Of course, the identity of the rest of the city was not made up of sex and lust, but the desire for corruption was the basic element of the identity of the new era of Kabul, and there were not a few people who wanted to be partners with this predatory singer and wanted to pour lust into the cup of debauchery and make it more lip-smacking. But the soul that governs Barchi was the "certain soul", not the "Ammareh soul" or even the "Lovame soul". The strength of spirit and self-assurance, peace of mind, and stability of Barchi's personality should be seen in the faces of men and women, old and young, who with patience and caution and tolerance and tolerance of hardships and misfortunes, which sometimes reminds of the position of submission and satisfaction in the Sufi tradition, They endured the hardships of the times and the evils of life, and when all the openings and channels of hope and cooperation were blocked, they relied on themselves, and with patience and steadfastness, they looked forward to the improvement of the situation and the opening of new horizons. Barchi's soul was raised in suffering, but it did not fall into ruin, because it was only in Barchi that suffering and poverty had a political meaning, and falling into ruin and darkness was the end of conflict and confrontation, and in fact, the end of everything and the absolute loss of Barchi.

Fourth: resistance to the ritualization of everything

Barchi was a religious land, but this religiosity was also unique to Barchi, and over time it had regained its final form based on Barchi's taste. For Barchi, historical experiences and human position were the basic pillars of identity, and therefore religiosity in Barchi, even though it had a strong emotional flavor, could never be contrary to Barchi's historical experiences and human position. Therefore, religiosity in Barchi was never "worship-political" in its nature, but only "worship" and therefore, instead of showing power, the intention of closeness was in that principle. Religiosity was rituals, but it was not combined with politics, slogans and noise. However, Barchi was one of the main centers where the project takers tried to transform its ancient and traditional religious rites into an imported "religious-political" form. Barchi's hidden resistance against this imposition made Barchi witness two opposite phenomena at the same time: the intensification of ritualism and the emptying of mosques. A curious resident who has visited Barchi mosques during prayer times has seen the amazing silence of these mosques.

At the same time, Barchi witnessed the mushrooming growth of mosques. The function of the mosques for Fatiha and the last meeting was excellent, but for worship, it was very weak and its educational function was zero. No Barchi mosque had a library, there were no lessons on interpretation and knowledge of Sharia in any mosque, most of the mosque imams were illiterate and none of them had the ability to teach such lessons. The mosques were empty inside and full of commotion from the outside, the loudspeakers were often active and broadcast from the call to prayer to all kinds of prayers and announcements. The mosque was a social center, funerals, obituaries, social decisions, selection of local representative and transit lawyer, distribution of possible aid, notification of missing persons, holding religious rituals and religious occasions were performed in the mosque, and all in all, it can be said that the social function of the mosque was excellent. But its educational and devotional side suffered from a regrettable decline. This religious and educational degeneration of the mosque had put both the religion in a transitional phase and Barchi in a difficult situation. Religion in Barchi clearly passed from prayer to rituals and took the place of submission, supplication, and worship with display, commotion, and slogans, and resistance to this situation had given Barchi's religiosity a private and individual character, except for certain rituals. Barchi's difficult position was due to the fact that he was heavily exposed to the pressure and pumping of advertisements and indoctrinations to give in to this transition from prayer to rituals. Barchi should have become a ritual as soon as possible. Barchi, with the intention of turning the prayer into a ritual and turning the usual ceremonies into a "political-worship" ritual, endured many attacks and assaults and was under the most intense emotional pressures, but overall he was exceptional and digestible. He showed his invincibility. The Imam Hussain flag riot, in which the religious impostors brutally robbed the poorest people of Barchi by emotionally abusing it, was finally dismantled by the people of Barchi.

The predominance of the ritualistic approach to religion empirically causes alienation and promotes violence and religious fanaticism. There were many governments and organizations that wanted to take advantage of Barchi's poverty and feelings and lead them in this direction, but poverty did not lead Barchi to violence and fanaticism, it led him to work. But Barchi paid the price for this resistance with the heinous slander of apostasy and the establishment of hundreds of churches and brothels. Barchi always remained loyal to rituals such as Ashura, Arbaeen, and Syrian Wednesday in their traditional form, but they showed amazing disregard for new rituals. Many visible and hidden agents were trying to turn the Quds Day and the royal death of the leader of any other country into new religious rituals in Barchi with religious packaging and political intentions and use Barchi as a ready army to realize their political goals. But they did not succeed. Barchi was conflicted and confused, but the imposed rituals did not become their new rituals. Demonstrations and protests in Barchi were calculated more than anywhere else and were combined with determination and caution. Therefore, despite the large investments, Barchi kept his exceptional and unique nature and was not captured by fanaticism and ritualism. Barchi rejected politics in the packaging of religion, but did not reject religion and still maintained their political position.

Barchi's annual conference on the anniversary of Martyr Mazari in Mosli was a declaration of Barchi's political position, not a religious-political ritual. And it was precisely because of this political nature that it had become a big headache for Barchi.Barchi was always involved in an issue called "Masli" in the twenty years of Azgar, and he was never able to solve it. As much as Mosli was the place where Barchi displayed his power against the citadel, it was also a tool for the citadel's confrontation with Barchi. With the help of his agents, Arg tried to control the mosque tribune on the anniversaries of Abdul Ali Mazari and direct it in line with the justification of the official authority, and since control was not possible, it led to division and separation of various groups and in the end with armed attacks. which was undoubtedly not without the coordination of the citadel, this Barchi political conference was closed. The first justification of this separation, which was done at the initiative of a government figure, was to prevent the criticism of senior government officials from the pulpit, while people did not expect criticism, let alone pay attention to the boring expressions of official icons. For people, gathering was the main goal. They did not get any political message, they only gave a message, they emphasized the dualities that the citadel tried to hide or cover in a false way, and through this way, they once again showed their unique and unconquerable identity and their exceptional and humiliating nature. They were showing off. The political trials that have taken place through this simple and unstructured piece of land between Barchi and Arg, if one day, with the efforts of the far-sighted and patient historian Bina, will be detailed and documented, not only the terrible depth of the confrontation between the palace and the cottage, and the hatred and cruelty hidden in it. exposes, but also gives the key to understanding the political deadlocks, oppressions, repressions, and long delays of this unfortunate country. In short, Barchi was based on his political position and was resistant to the ritualization of other people's political goals and plans among himself. This was both a pillar of Barchi's identity and a result of Barchi's exceptional nature.

Fifth: cultural and political demands

Burchi's cultural and political situation is more specific. Barchi remained separated from Kabul, but thanks to the exceptional identity that was matured and nurtured over time, it did not try to be a margin on the text of the city or an exception that affirms the rule through protest, anger, and violence. To prove his marginalization and parasitic position in relation to the city. On the contrary, Barchi separated his way from the city and sought to conquer and conquer by producing his own model. Very soon, in terms of politics and culture, the contrast between Barchi and the main city of Kabul changed from the contrast between poverty and wealth, or the margin and text, to the contrast between new and old. Of course, Barchi was poor, but he did not put his poverty in opposition to the wealth of the city, but challenged the city with an active petition.

During the three-year resistance in west Kabul, Barchi's voice was the voice of diversity and participation. In the new era, Barchi was a pioneer and avant-garde. Thus, the confrontation between Barchi and Kabul was an old and new confrontation, while Barchi had turned itself into the future of Kabul, Kabul was never Barchi's past. Kabul, only as the protector of the past autocratic tradition which was fundamentally anti-Barchi and as the center of monopoly of wealth and power, could torture Barchi by deducting all kinds of facilities from Barchi. Kabul could never shape the confrontation according to his wish. The conflict between Kabul and Barchi was formulated according to Barchi literature. In the center, fraud was the principle, and in Barchi, participation, in the center, corruption was the principle, and in Barchi, work. In the last twenty years, Barchi had the highest participation rate, the widespread presence of women, clean and impeccable voting, professional supervision, and comprehensive cooperation with the police, while outside Barchi, with the phenomenon of proxy voting, widespread and clumsy fraud, accumulation of funds with Kicking, contaminating all processes and doing brazen deals, corruption and shamelessness was faced.

In all elections, corruption was the main element caused by the will of the statesmen, and the success of the presidents depended on their skill in managing corruption. If Barchi did not go to the path of corruption, it was not because he was unaware of it or even incapable, but because Barchi disregarded the government and corruption management centers, and behaved according to his nature and identity. Thus, Kabul was looking to the past with corruption and monopoly and was trying to preserve the tyranny and the tradition of one voice of the past, but Barchi was looking to the future and by presenting healthy political behavior, he was trying to overcome the past and move towards the future. Wajdan Barchi was sure of his victory in the future, but Kabul was clearly unable to maintain the monotony of the past and seemed lacking in self-confidence. During the twenty years of the republic, while Barchi always actively challenged the Citadel politically and represented it in different ways according to his taste, the Citadel tried to restrain it by imposing deprivation and involving Barchi within itself. slow down The government did not pay the development budget for Barchi, but it bore the control and control budget very heavily.

The millennials, who were stuck like ticks in the rotten body of the centralized and corruption-based politics, never had the chance to reflect Barchi's voice, taste, taste, and perspective in the power structure, but they were all the language of power to reflect the official narrative for Barchi, and everyone For their part and to the extent of their ability, they tried to reproduce authoritarianism and unanimity. An official legal adviser who had a dream of the emergence of another Abd al-Rahman extends the history of the Loya Jirga to the reign of Ahmad Shah Abdali to justify the monopoly of power by making the history of the ruling authority fat and rich. He spoke the truth, and he who considered realism as a legitimate profession in politics, never knew where the border between secretarial chair and realism is. In this way, Magsan used to stigmatize Barchi as a sentimentalist in order to reduce the duality of Barchi-Kabul to the duality of reason and emotions or wealth and deprivation and consider Barchi as a center of emotions deserving of deprivation and their own role in intensifying the suffering of Barchi. Pay for the benefit of power based on corruption and monopoly.

Barchi had feelings, but he was not the center of feelings, and with feelings, no one spends hours on old miniatures, taskers, and historical documents, dealing with manuscripts and hours of continuous work in studios with brushes, paint, music, and singing. But the rationality of Barchi was radical and forward-thinking, which challenged the center's neutral, passive, corrupt, and past-oriented rationality, and therefore, through its agents, the center stigmatized Barchi emotionally to cover its weakness. It was interesting that in the confrontation between the old and the new, in the confrontation between the citadel and Barchi, the citadel was still in the hands of Barchi to solve the challenge of Barchi.We often heard that some of the followers of the political power and those involved in the Arg's propaganda apparatus admitted that Barchi Arg's agents are very skilled in packaging and presenting the Arg's message to Barchi. They formed a think tank, voted, and planned for hours, not to appoint the world's second thinker to the seat of authority that others had already appointed, but to increase Barchi's approval share in this appointment in advance. Therefore, they sat for hours under the speech of this "second thinker" as the next possible master to record it and then be the bearer of the verses of authority and the angel of the revelation of power in Barchi. But these false charms and cold spells had no effect on the hard iron of Barchi's identity. Barchi went his own way, created surprises, and made some people excited, and some people angry, but all of them were confused and amazed. All the centers of authority that somehow dealt with Barchi, while stigmatizing Barchi as sentimentality, were trying to make Barchi fall into fanaticism and sentimentality with all kinds of complex projects. But thanks to his unique and exceptional identity, thanks to his bold radical, and future-oriented rationality, Barchi prevented himself from falling into this abyss. At many times, the criterion of rationality was participation in the Quds Day march and the anniversary of the death of a certain foreign leader and voting for the Arg candidate, and Barchi's rejection of it exposed Barchi's autograph to being sentimental. The charge of emotionalism was not the only label that was exchanged against Barchi in opposition to passive rationality and active rationality. I personally heard many elders who considered Barchi's deprivation of development and urban services due to their emotionality and persisted in their claim with honesty and persistence.

The contrast between old and new is more obvious in the field of culture. Anis, Hayvad, and Islah were published in the center, and the biggest book printing event in the Ministry of Information and Culture was the publication of the Qur'an translated by Abdul Salam Azimi (former Qazi al-Qadat) and the reprint of Rumi's Masnavi edited by Abdul Karim Soroush under the name Halim Tanveer. and in the circles connected to the center, books such as "Duties of Body Organs" and "Majam Al-Ahadith" and "Saqavi II" and the like were published, but the publications and books that came from Dasht Barchi had a different color and tone and were looking to the future. were: open society, participation, national unity, republic, election, new covenant, democracy, unity charter, sound, observation, daily information, tomorrow's Afghanistan and... Q in Hazara history) was written, but the greatest historical work that was published during the twenty years of the republic from the Ministry of Information and Culture of Afghanistan was the book "Tatmeh al-Bayan fi Tarikh al-Afghan" (Persian translation) written by Seyyed Jamaluddin Afghani. This senior member of several English Masonic Lodges in the nineteenth century insulted the millennials to make their removal and exclusion appear more legitimate and justified.When the circles connected to the center of authority were religiously masturbating by reprinting "Duties of Body Organs", Barchi's son wrote "The Wonders of Bamyan" and "Bamyan in the Mirror of History" and talked about urban killing and expressed his character with more complex forms of poetry and novels. He tried and edited and corrected the works of Ibn Sina, Faiz Muhammad Katab, and Muhammad Ismail the preacher in Barchi. This comparison can be expanded and give more examples. The purpose of the report and investigation is not to the complete and complete cultural performance of Barchi, but the purpose is to point out the different nature of literature and cultural priorities of Dasht Barchi. Barchi set a priority for himself and boldly implemented it; While he himself was becoming more complex every day, he represented, explained, and humiliated the old frayed and frozen Kabul in different ways.

Obviously, Barchi was not free from superficiality and vulgarity, but it was only in Barchi that vulgarity was tied to creativity. We are not in the position of judging and evaluating, and the goal is not to confirm the absolute value of Barchi cultural products. Considering the breadth and scope of the work, which includes poems and novels to paintings and music, from correcting texts to writing history, and from establishing libraries and publications to creating stores, exhibitions, and street arts, it is not possible to evaluate even a glimpse of it. The purpose is only to indicate general trends and trends. In macro orientations, Barchi is creative and forward-looking, and Shahr is imitative and forward-looking. The juxtaposition of "Tatmeh Al-Bayan" and "Turanian's Letter" (the first is 120 pages of abuse and insults and the second is more than three thousand pages of research and investigation into life's bottlenecks) shows two approaches: going back to the past and crossing the past.

These dualities can be seen in many places. The paintings of Baqer Ahmadi (known as the Kafka of Dasht Barchi), the playful treatment of the citadel and Kabul in the paintings of Amin Tashe and Mohsen Tashe, the designs, and sculptures of Hamed Hassanzadeh in contrast with the boring repetition of the art professors of the Faculty of Fine Arts of Kabul University, other aspects of this distinction and contrast. reveals in a deep and fundamental way. It is enough to put Eshraq Art School under Latif Eshraq in front of the official government art centers to show us the different priorities of Barchi and Kabul. In November 2013, the Pakistani newspaper "Dan" wrote a report about the painting works of some members of Ashraq School (Arif Bahadri, Ornakazmi, and Baqir Ahmadi): While most of the citizens of Afghanistan are focused on the war, this small group of artists creates works. that collectors in New York, London, and Tokyo keep similar to it. The paintings of Reza Hazare, Kobra Khademi, and Rababe Mohammadi are also included in this category, and all of them are an attempt to find a language and express new experiences and at the same time struggle to achieve new experiences, which is a reflection of Barchi's nature and a telling example of "the joy of trying". The first specialized cartoonist publication was also published by one of Barchi's children, Khaliq Alizadeh, and the works of Mehdi Amini, whose cartoons were exhibited in the French Cultural Center in Kabul in 2014, and Mohammad Zulikha (Darmsal), who is a weekly cartoonist. The election was in the first round of the presidential election and the graphic designs of Seyed Mohsen Hosseini, Hamid Fidel, and Musa Atbin are among the few memorable designs of the last twenty years in Kabul.

It is not necessary to always follow the confrontation between Barchi and Kabul at the level of elite culture in fields such as poetry, painting, caricature, and music. This duality sometimes shows itself in very unexpected places. For example, the official statements of Hamid Karzai, Ashraf Ghani, and Sarwar Danesh were all struggles to expand official authority and justify and represent it in the public arena, but they differed greatly in presentation and packaging. The neater and more stylish packaging of these recent statements is nothing but a dim reflection of Barchi's taste. Even in very formal and mundane cases like this one can see this duality. The goal was not to expand the topic, it was only to point out and show one of the characteristics that make up the identity of Barchi, and this is enough to show that much.

Sixth: the bloody borders of identity

Finally, we should also talk about the role of blood in the development of Barchi's identity. It is true that in the past half a century, in this cursed land, the blood of the people living there has had an unbreakable bond with the soil where they live, and the scope of killing has been so wide that it can be boldly said that no stratum has been spared. However, except for Barchi, the identity border of no ethnic group has been drawn with blood. Barchi's blood has not only flowed but he has been identified with the blood of existence. how about Human blood has always been flowing in Afghanistan for nearly half a century. Daud, Turki, and Amin were three presidents whose blood was shed in the citadel of Kabul in less than two years, and it is hard to find a piece of this soil that has not been watered with blood. But these killings and bloodshed were the fight over the monopoly of power. Daoud made all the parties underground in his royal republic and the only official party was his personal party called "Melli Ghorzang". He shed his blood because he had to pay the price of political autocracy and dictatorship. His killers also followed his way and character in terms of political methods. Everyone eliminated each other and the only way to eliminate was to kill. But Barchi was an outsider and was not involved in power relations. Another was receptive to being rejected, but not rejecting. Barchi did not give up, he stood, but he did not reject. But this acceptance did not only give Barchi a distinct identity but also exposed Barchi to threat and removal of identity. Barchi was not only a partner in the game, he also changed the rules of the game. And this sounded the alarm for everyone because it carried a dangerous idea and danger is related to blood. Thus, Barchi was connected with blood and danger in terms of nature and identity. Therefore, Barchi, before it shed blood or its blood was spilled, carried a kind of dangerous and politically destructive message of the traditional tradition of politics, which made its identity shrouded and wrapped in blood and danger.

Thus, the border of Barchi's identity was drawn in blood even before blood was shed.The same being alone had pushed Barchi out of the position of being a competitor and placed him in the position of an enemy. If the rest was a competitor, Barchi was an enemy. If the rest were supposed to be inferior and marginalized, Barchi should be removed. Therefore, even in the periods when human blood did not flow in Barchi, the killing of humanity was going on in Barchi with all its might. Hazara was not only "Jwali", "Mushkhor", "Ghali", "Navel of the dog" and later "Qalfaq Chapat", but also moving corpses and subjects of suffering and toil whose death and non-existence are due to heat and cold or accidents in the atmosphere and The road, in the human mind of the capital, was not reminiscent of a human event. The goal of the "hundred years of psychological warfare" with Hazara was to kill Hazara in two places: in the mind of society and in Hazara's own mind. Hazare's humanity was killed in the society's mind, but it remained alive in the depths of its being. Thanks to the same humanity whose pulse still beats in Hazara's body, Hazara met with hateful and racially charged insults with the message of humanity, participation, and hospitality, but this humanity connected Hazara with blood. For the political-racial aristocracy, what a higher insult to honor than this that "Ghali" "Naf Seg" and "Mushkhor" invite them to justice and participation. The blood of Hazare should have been shed to remove this stigma from the lap of the racial-political aristocracy and the parasites attached to it.

In recent years, thanks to Mrs. Masoumeh Nazari, the former director of the National Archives, I studied the "Jebar the Killer Case" at the National Archives. The victims of this chain killer were the most innocent and naive stratum of the Hazara society, but I did not find any sign that the killing in this terrible, blind, and cruel manner threw a stone into the swamp of the depressed mentality of the society of that day and caused at least a slight vibration in it. Hazare was killed in the mentality of the society, and the serial and consecutive murder of the voiceless people of Hazare could not be a humane event in this society, let alone shocking. The curses and curses that were made for Hazara were also all Persian and it indicated that outside the domain of official authority and citadel, the project of massacre of humanity of Hazara was successfully implemented.Unfortunately, the Persian speakers of Kabul not only ran away from Hazara in the most extreme way, but by making the most inhuman insults to Hazara, they tried to emphasize their distinction from Hazara so as not to become the prey of the government's anger, or that the project of murdering Hazara's humanity had become so natural in their mentality that For them, Hazara was nothing more than a "gull" and a "dog's navel". Whatever it was, in the mind of the society, for thousands of years, human beings were not second-rate, but they were never human, and death and life, poverty, wealth, existence, and non-existence were not considered an issue at all. But Hazara's killing project was not successful in Hazara's mind. Hazara, in the depth of his personality and institution, preserved his humanity and did not give up, and this made the boundaries of Hazara's identity bloody. Fate and history have placed Hazara at a bloody intersection, he must prove his honesty to justice with his blood, and the root of all hatred, grudges, and slander against Barchi lies here.

In the age of Hazara Mojahedin, along with the rest of Al-Seef, his human nature stood up and with the three-year resistance west of Kabul, he rose in front of consciousness and exaltation and responded to the human call within him and turned Barchi into the voice of participation and pluralism. Barchi's call for participation and the resulting moral superiority was simultaneously considered an insult to the dignity of the three rotten aristocracies: racial, religious, and political. The reaction of these three nobles was accompanied by confusion, hatred, and surprise. One of them hammered the difference with the cheap fatwa of market and court religion, the other wrote a memorial of Hazara's blood on the wall of his ruined house, and the third smeared Hazara's justice-seeking resistance with the "nail myth" to show his loyalty to the autocratic tradition as well as the shedding of blood. make millennials cheap. Hazara's identity borders became bloody, but his bloodshed was not cheap. In order to participate, the war gave the unique and exceptional identity of Barchi an objective and historical manifestation. It was Barchi who introduced participation into Kabul's political literature. In these twenty years, the opponents of the Barchi identity have never stopped slandering these wars and describing them as "wars without reason and fruitless", but it is not necessary to be very educated if one is not a mercenary or a mentally disabled person, he knows that war and bloodshed are not without reason and in Behind the bloodshed of Barchi's children was the desire for change and participation and the value of this desire. Spilling the blood of a poor man in the Barchi plain was the response of the racial-religious vulgar aristocracy to his human self-awareness.

It was in this confrontation between awareness and hatred of awareness that the disaster reached its climax. Hazare was killed in the society's mind, and therefore his death and life were not considered an accident, but he was alive in his own mind and wanted to face the brutality and monopoly of his time as required by the understanding of his human nature. On the one hand, due to Hazara's death, in his own mentality, he considered human catastrophe against Hazara as a normal thing, and Hazara, due to the fact that humanity is alive in his existence, in order to protect his dignity and human values, he stood and stood firm against this rotten aristocracy. The result of this conflict was blood; The blood that splashes on the fabric of the millennial identity. The political-racial aristocracy thought that it had killed Hazara in its own mind, and it was against their expectation that a moving corpse would call for political participation. The resident of Arg was loyal to the tradition of Arg and it didn't matter who he was, so he started working as soon as possible and with incredible violence to remove the call of Hazara's participation as a discordant bang from the orchestra of politics. But Hazara stood up and proved that what is dead is the same hole, rat, and dog navel that was created in the mind of the society and now another and different Hazara is knocking on the door of Kabul with the message of participation, justice, and humanity and demanding dignity and dignity for everyone. This is how the confrontations became bloody and gradually that unique and exceptional face of Barchi revealed itself. Thanks to his unique and exceptional identity, Barchi provided the support of ideals and awareness to the shedding of blood and turned his voice into an audible voice in the sphere of politics, history, and our time. Blood is an inseparable element of Barchi's identity because it is shed on the ground with the support of consciousness.

Mujahideen war in Kabul was one of the most inevitable wars. The citadel's loyalty to the tradition of political monopoly was unshakable, and in the end, he thought of moving into power, but the human being had found a will directed to the highest and when he had achieved his human nature, which could neither be tolerated nor integrated within the framework of this political tradition. liquidation It was that the war was inevitable. War is madness and stupidity, and if it is done with the intention of suppression and monopoly, it is considered the most obvious manifestation of brutality and the reflection of the animal dimension of man. But Barchi had not entered the battle with the intention of domination and monopoly, but had entered the field with the demand of participation and the development of the rule of politics, and more than Barchi's war, it was Barchi's demand that had crushed everyone's nerves. Therefore, during the war, Barchi was attacked with fatwa arrows, with insults, and with refugees. Barchi was sitting in a position of moral superiority with this claim, and the moral failure of other parties involved in the war made them nervous and committed atrocities and crimes against Barchi. The vulgar and scandalous fatwas and the killings of Afshar and Chandavel were rooted in such anger and moral failures.

In short, blood was spilled in Kabul, but the blood of a human being was different because his blood was poured at the feet of his consciousness, and his consciousness supported his blood. The same difference was transferred to the republican era. None of Barchi's deadly explosions were aimed at military bases, police stations, or government offices. The targets of the attack are educational centers (Kaj courses, Mououd, Kausar Danesh, Seyed al-Shohada High School, Abdul Rahim Shahid High School), mosques (Imam Zaman Mosque, Al-Zahra) and civil and health services (women's maternity hospital in Dasht Barchi and Tadzire Center) and sports centers (club Mivand) and public transportation (buses and crowded buses and full of poor and jovial people). The burden of tragedy and tragedy of the martyrs of knowledge and enlightenment and the Tabsem movement had also fallen on Barchi's shoulders. In Barchi, the target was absolutely civilians. No lawyer, minister, or senior government official was assassinated in Barchi. The natural result is that Barchi had given blood for his identity, and Barchi's opponents shed Barchi's blood to erase this identity, and thus, Barchi's identity was linked with blood. Barchi, desired and liked by everyone, was the same dead Barchi, whose serial murder of the most innocent people living in it did not disturb the peace of conscience of any resident of the capital, but that other face of Barchi was bound to prove itself in a bloody intersection. Man of Barchi established himself with blood and sprinkled the red of his blood in the evening of a tyrannical history, as a sign of his presence on the horizon, and this is how the borders of Barchi's identity became bloody.

Where is Barchi?

Barchi, in the modern era, as much as it was surrounded and compressed and submerged like an island in the sea of ​​poverty, hunger, and unemployment, was paradoxically diluted and permeated everywhere. Therefore, it is difficult to say where Barchi is. Star radiation was sometimes observed at the farthest point of the world. Barchi's artistic products were exhibited from Lahore to Singapore and from Sydney to New York, so it can be said that Barchi was diluted and its traces can be seen in different places. But the fact is that Barchi, as the generator of a certain kind of culture, identity, and lifestyle, and having the aforementioned characteristics, should be a more specific and concrete place. For this purpose, Barchi is, first of all, the Barchi plain, but when we talk about Barchi as a kind of identity in opposition to Kabul, it also includes a series of satellite areas, from Omid Sabz town and Shahadeh Castle to more distant areas such as Karte Sakhi, Chandaval It includes Wazirabad and Fethullah Castle. In this identity, the mentioned areas are integrated in Barchi and each of these areas carries aspects of Barchi culture in its entirety.

Connected to Barchi, the town of Omid Sabz in the south and Sangchal in the west of Barchi, with the emergence of an economy based on services or foreign labor investment, gradually emerged as a different form of Barchi and tried to have a different experience from Barchi. These two areas clearly resembled the city and emphasized their distinction from the mainstream lifestyle in Barchi, but never succeeded in creating a kind of identity and lifestyle. The aforementioned areas were born of a new and non-political aristocracy, and they tried to reproduce the culture of the so-called middle class of the city in Barchi by participating in widespread corruption, and by hiding the identity distinction of Barchi, they promoted a kind of neutral and conservative rationality. This stratum, which mostly included petty bureaucrats and economic elites, did not have material interests to defend it but wanted to achieve interests through a kind of calculating and conservative rationality. Therefore, without actually being separated from Barchi, he tried to show himself as separate.

Such neighborhoods and suburbs that gradually appeared around Barchi, if they maintain stability and in the long run, they might have their own effect, but in the short term, they did not find a stable position in politics and economy, nor did they produce an attractive style of culture and behavior. They succeeded socially. The bearers and perpetrators of these rituals did not have any culture or identity.In the beginning, showmanship and novelty prevailed in their character, but gradually they became the fringes of Barchi, and most of the time, they announced their presence by holding parties of bazaar and arab, revelry and extravagance, or luxurious and showy parties. Therefore, apart from Barchi and Arg, there was no other independent identity for the audience. Therefore, Kabul was inevitably divided into two parts: Arg and Barchi. Where there was opportunity and economic gifts and corruption, it was a citadel, and where there was alienation and efforts to maintain deprivation and deliberate deprivation of facilities, it was Barchi. In the past twenty years, when corruption and opportunism and vulgar and imitative aristocracy were the common currency of the behavior of political elites, Barchi remained the only focus of political resistance against the citadel, and as far as this resistance existed or was supported, it was the border of Barchi. Barchi was not an army, it was a fortress; It was not only the land, it was also a political stance; It was not only poverty and deprivation, it was also conscience and awareness, and therefore, before it was a social base for this and that, it was a political shelter for the outcasts and the disaffected from the court of the lordship of power based on rent and corruption and dependence. Every politician whose work in dealing with the citadel and the center of power ended in failure, returned to Barchi's position, every petty bureaucrat who did not find himself completely covered in government corruption after many struggles and flattery, broke bread or broken bones, spoke of Barchi's deprivation. . But despite the taunts of the detractors, Barchi was patient and steadfast, not sentimental and hot-blooded, because Barchi's nature was cooked and nurtured in the oven of bitter experiences of alienation, deprivation, control, and repression. Wherever, in every corner of the city of Kabul, there was a trace of this stability and stability and bitter and painful self-awareness, there is the territory of Barchi.

Conclusion: The Hidden Cup of Identity in the Sleeve of the Marqa Barchi

An observer of Barechi affairs may see Barechi as having some kind of patchy identity, calluses, and patches that are awkward and unsightly and against taste. On the surface, we are faced with such a strange patchwork: different forms of clothing, different accents, places that separate the physical geography of Barchi, local and tribal divisions, ethnic and family cemeteries, and different ways of performing rituals. These different levels of local identities of the millennium collide in Barchi and sometimes it produces a new concoction and some streaks that are unique to Barchi. Returned immigrants from Iran and Pakistan also have their own taste and contribution to this salad dish. Brachi's physical structure more than reflects this uneven and unbalanced nature. Expensive and elegant high-rises with dirt alleys and flowing sewage in the alley, the mass of clay houses that dramatically surround a stylish new-build house, sufficiently emphasize the patchworked and calloused appearance of Barchi. Some houses in Barchi alone are a combination of new and old. The courtyard of the house is traditional and has a garden, the rooms are thatched, but it is a stylish and modern guest house, with PVC doors and windows, hanging and tasseled curtains, a carpet made of carpets and cushions in a row, and sometimes a complete set of couches and furniture, which are also colored The curtains and the room are set. It is obvious that the combination of such elements makes a house a real reality. As much as these unbalanced realities make up the physical structure of a house in Dasht Barchi, the inhabitants of the house are caught up in colorful and contradictory tasks, but most of these contradictions are wonderfully managed as a passing experience. Houses renew themselves from time to time and people move towards perfection with experience.

From the Burnt Bridge in the east to Mount Chihl Dukhtar and Surkh Abad in the west, from the slopes of Mount Quraygh and Jabarkhan in the south to Regression and Company in the north, Barchi is a combination of lack of order, imbalance, chaos, and disorder. Struggle for a living, all-round poverty, heavy traffic, narrow and narrow alleys and often dead-ends and no maps, urban pollution and lack of cleaning services, jewelry, and porters, the multitude of lies and Karachiites who decorate the face of Barchi with poverty and suffering, mud houses and Often off and without electricity and clean drinking water, carpets that are an inseparable part of every house, almonds and four nuts that make up the winter fuel for most of the residents of Barchi, dark winters, and smoke, cold and pollution, creaky and itinerant snow plows that In winters, revelers wander in the alleys, and then the multitude of educational centers, and students who gathered in Barchi from all over the provinces, and alley after alley of reinforcement courses and Concours preparation, libraries, cultural associations, art studios, painting, embroidery, and half-faced sewing. From the appearance, they draw a barchi and display a kind of patchwork. But these are all appearances. Behind this confusion and chaos, the above-mentioned constructive elements have created a unique and exceptional identity in which all these patchwork, inconsistencies, and irregularities are resolved. Barchi was all of these and much more. A keen eye should see the hidden cup of its identity in the sleeve of the brachi. Barchi has always been judged by its appearance, and its hidden nature is often not seen. In the 70s, the power centers went to the Barchi war with this cognitive error and left memories of blood and violence, today's typical intellectual also reduces Barchi to the patchwork of its appearance, and by hiding its revolutionary nature and radical awareness, water in the atmosphere of vulgarity and hypocrisy. pours. The fact is that the colorful appearance of Barchi is a reflection of the complex, multi-layered, and even contradictory nature of Barchi, which is the combination of high and low, and the combination of self-reflection and material misery. The nature of Barchi is the opposite, but it is not Marqa. Barchi both accepts and rejects; It welcomes and transforms, but it is not capricious, playful, or imitative. The contradiction of Barchi comes from its depth and complexity, and its apparent patchiness is the product of the outpouring of passion for experience and the inequality of possibilities, and at the same time, Barchi's receptiveness.

Barchi still inspires its inhabitants with this depth and complexity along with the apparent patchwork. Barchi's physical structure, at least in my opinion, is related to this identity. In these dualities and contradictions, Barchi's identity was both born and grew with these contradictions, and acquired the unique and exceptional nature that we briefly mentioned in this note. This is how Barchi while drowning in the sea of ​​poverty, was culturally avant-garde and politically challenging. In these twenty years, Barchi was deprived, but a book worth reading was written only in Barchi, a poem worth remembering was written in Barchi, a film festival was held in Barchi, and it was Barchi that created Kabul in the form of He portrayed films such as "Shahri Kabel left in the wind".Kabul hid the poverty of Barchi, but Barchi exposed the vulgarity and corruption and the style, show, imitation, and watery nature of Kabul and actually represented and depicted Kabul in different forms according to his taste and perception. In Mehtab Sahel's poem, there is a cable woman with shaved breasts and an acid-sprayed face; In the poems of Mustafa Hazare, Kabul appears to be both superficial and light and full of corruption and cruelty, which is both seductive and repulsive; In the paintings of Khadim Ali Barchi, he ignores Kabul and separates his account from Kabul. In Khadim's miniatures and divination, Barchi sinks into himself and weaves a mysterious cloak for himself from the fabric of past culture and history and wraps himself in it and never talks about his secrets to anyone; In the photos of Nasir Turkmani, Najibullah Masafir, Reza Yamek and Reza Sahel, Kabul is a pale and pale man with a wrinkled face and calloused hands. "Third Eye" was an attempt to see Kabul from the perspective of Burchi's camera. The eager researcher can see other images of Barchi and Kabul in the embroideries of dozens of unknown artists, video arts and paintings by Aziz Hazare, Hadi Rahnavard, and Shir Ali, and the calligraphy of Salman Ali Uruzgani and Ali Baba Aurang. This self-representation and submission and self-wrapping is a trick in which only Barchi has reached perfection.

What has been mentioned are only examples, and the contradictions, multiplicity, and complexities of Brachi are much more than it is possible to refer to all its aspects in this field. It should only be briefly recalled that Barchi produced "Crazy" when he was infected with the madness of war, and at a time when neutral and castrating rationality cloaked itself in the form of tyranny and purified corruption with the water of expediency, Barchi was deprived of reason. And he spoke about the necessity of returning to wisdom, and this standing beyond reason and madness has made Barchi a Barchi: alien, angry and suffering but mysterious, unconquerable, and standing on his own feet.

In summary, based on what we have said so far, Barchi is unique, exceptional, contradictory, and unconquerable. Barchi is a thorn in the side, but he is also a thorn in the eye, he is deprived, but he is also proud. This is why there is so much hatred against Barchi because Barchi's identity does not allow Barchi to participate in any kind of political rituals with religious packaging. The most ridiculous ceremony of the last twenty years was the political rituals that were performed by the fraudulent and mercenary project takers in a comical and vulgar way, and now the scandal and scandal resulting from it is the complicated and painful howls of the devils slapped and imprisoned in the depths of hell and failed to The ominous mission of misleading brings similarity. Barchi was accused of owning hundreds of churches and brothels in an effort to relieve the pain and wounds that Barchi had caused. Barchi should have been avenged, Barchi should have been exposed to takfir and slander in order to provide suicide bombers with an excuse to let blood flow in Barchi and make the residents of Shurbakht Dasht Barchi pay the price for not participating in the political anniversaries and religious days and once again Do not make such mistakes.

However, the designers of these brazen and shameless scenarios have not realized the unique and exceptional nature of Barchi. It is true that they are hurt and have a grudge against Barchi, but they have at least taken Barchi. They want to paint the wall of Barchi with their filth. The vicious stance against Barchi is a sign of the vice of slanderers, slanderers, and scenario makers, but at the same time, it is also a sign of neglect of Barchi's historical identity. Barchi, who persevered with hateful taunts such as "Ghul", "Ghali" and "Dog's navel" and knocked on the door of Kabul with slogans of justice and humanity after a hundred years, is definitely afraid of the slanderers and slanders of a bunch of mercenaries of the pure and slanderous museum. It doesn't have flatterers and charmers, but despite the vileness and ignominy hidden in it, these idioms are a sign of Barchi's misfortunes and the hatred of the times against it. Barchi is in danger of survival, but its conquest is not so easy. The Taliban has conquered everywhere except Barchi, the mysterious fear of Barchi shakes the Taliban's body, and that's why the terrorists have sent a group of hateful mobs to kill Barchi in silence and secretly. The intensification of pressure and violence against Barchi, especially against Barchi women, is a sign of the invincibility of Barchi's identity. Barchi is in a dangerous situation and a difficult test. Will Barchi still remain unconquerable? Will the fiery phoenix of Brachi rise from its ashes once again and return the glory of life to life with vigor and youth? Once again, the aged Simorgh of Barchi will open its wings and feathers from the old cedar of history and remove the ominous shadow of the dragon of hatred and evil from the sphere of life. I don't know what is the answer of others. But Barchi's answer is positive with complete certainty. Barchi stands, perseveres, and endures the misfortunes, misfortunes, and evils of the times, perseveres, and finally overcomes them.

In Barchi, nothing has blossomed like hope, in the soil of Barchi, the roots of hope are in the water. The poisons of evil that the wild winds spread on a branch, make its leaves and burden depressed and withered, but the roots are deeper and more powerful than to be cut off by the scythe of evil. Barchi has memories of the wolf of Kashmir, famine, death and cholera, mass graves, serial murders, and many sufferings and bitterness in his memory, and Barchi's memories are full of fear and danger, anger and violence. But according to the path taken, the pillar will remain firm forever. Let's pray for something. I will end this note, which is a prayer in front of Barchi, with a prayer for Barchi:

Be strong, my glorious and proud and ruined pillar! May the name and memory of Barchi be eternal and blessed! Amen!

Writer: Ali Ameri

Translator: Najeeb Farzad

Ark Work: Kaihan