OMÂ, an “auto-fiction” created and performed by Roxana Küwen Arsalan, was remounted at Chamäleon Berlin from 17–19 February 2026. The final performance also featured Paulina Güllü as a Deaf performer, who translated all spoken language to German Sign Language.
Grandma, today I saw a show about the performer’s two grandmas, one Iranian, one German, who never met. On stage, Roxana Küwen Arsalan imagined them finally sharing tea. I hoped to learn about these women, but they remained faint figures, reflections of Roxana’s own divided self. We learned only that the German grandma had diabetes but secretly ate sugar, and that the Iranian grandma watched a handsome football player on TV after her prayers.
Roxana recited Friedrich Schiller as the German grandma and Hafez as the Iranian one. After the curtain call, however, she shared that her Farsi wasn’t good enough for Hafez; instead, she had spoken a children’s rhyme. Grandma, how would you feel if I had done this on your behalf? Would you feel as if you were placed on a lower level than the German grandma? Or would you have rather given attention to Roxana’s longing for a heritage she couldn’t fully access?
Roxana compared a pomegranate (Granatapfel) and a potato (Erdapfel), using them, respectively, as a symbol for Iran and Germany. After designating the pomegranate an “exotic fruit” and the potato “privileged,” she shared that revealing her Iranian roots make people consider her “unimaginable” and “extraordinary.” Then, she danced with the pomegranate in a tender way to Iranian music. Grandma, these scenes gave me an uncomfortable feeling that the artist exoticized not only Iran, but also herself. How would you respond to my impression that the piece was directed primarily toward white audiences, for whom the pain of divided identity appears as an “interesting” eye-opener? Would you advise me to focus instead on Roxana’s sorrow over her inner conflict and her efforts to reconnect with the part of herself she feels is missing? What would you make of the fact that only Iranian songs were used throughout the show?
Roxana spoke constantly, mostly in “High German” (Hochdeutsch), peppered with “Low German” (Plattdeutsch) and Farsi. With her upbeat voice, she moved rapidly between topics: an experience in Tehran, Iranian politics, her passing as white and thus avoiding racism, and many more. Grandma, I must admit that these leaps were dizzying for me. I think you would have been impressed by Roxana’s juggling skills! However, I struggled trying to find a connection between all these different snippets.
Do you remember Paulina, whom you met last autumn in Seoul? She was part of the performance today, translating all spoken language into German Sign Language. Paulina’s presence was a delight! She even signed the Farsi song lyrics, which were inaccessible to most hearing audiences. It was a pity, though, to see that she wasn’t a thoughtfully and creatively integrated part of the work, but rather an add-on. After the show, Paulina signed to me that she had joined rehearsals only the day before.
Grandma, I am writing to you because before the piece began, I received a slip of paper with two questions I was invited to answer. One of the questions was: If you were telling your grandmother about the piece, what would you say? So naturally, I thought of you. You always say that you are a simple peasant, too stupid to understand complex matters. But I know of the wars, colonization, poverty, sorrow, and discrimination you’ve seen in your 92 years. I know of your wisdom.
So grandma, what do you think about OMÂ?
OMÂ, by Roxana Küwen Arsalan, was shown at Chamäleon Berlin from 17–19 February 2026.
