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Walls were adorned with photographs depicting the religious ceremonies —  jashan and yasna, interiors of the Meherjirana Library and its manuscripts, scenes of people and palatial houses from field trips to Gujarat and the Deccan, the unique Tanka system of water harvesting and medical Hadvaid tradition, Parsi arts and crafts, as well as archival pictures from Parzor’s collection. Mannequins draped in majestic garas of every color and motif were artistically placed across the gallery in groupings, with captions explaining their cultural significance. Also on display were a kusti (sacred girdle) weaving loom, a glorious embroidered toran or door frame hanging, tanchoi work and Parsi furniture. 

United Nations Educational, Cultural and Scientific Organization (UNESCO) Parzor, in collaboration with the Craft Revival Trust and the India International Centre (IIC), organized the cultural program "Parsi Panorama” in New Delhi from March 12 to 16, 2011. The event comprised an exhibition, a seminar, a three-day workshop on Parsi embroidery and a gala evening with renowned ghazal artiste Penaz Masani. Tea and Parsi snacks were served on all the days and the event ended with an extravagant lagan nu bhonu (wedding repast).

The exhibition was inaugurated by the chief minister of Delhi, Sheila Dikshit. The Central Bank of India, being the platinum sponsor of the event, was represented by its chairman S. Sridhar, who ended his witty speech with a request to every Parsi still living to hold an account with the bank. The highlight of the opening ceremony, which was attended by UNESCO director for South Asia A. Parsuramen, scholar of classical Indian dance, art and architecture Dr Kapila Vatsyayan, herbal cosmetologist Shahnaz Husain, Delhi Parsi Anjuman president Dadi Mistry and others, was the introduction in Delhi of the Tapi publication Peonies and Pagodas, the first study of Parsi embroidery, edited by Shilpa Shah and Dr Tulsi Vatsal, who presented their book to the dignitaries and spoke about it. Parzor also released a souvenir commemorating the occasion and providing an overview of its journey over the past decade. Dixit praised the Parsi community’s commitment, charm, charity and achievements in every sphere that have made it so noticeable and respected, ending with an emphatic, "May your tribe grow.” Tirlochan Singh, president of the Parzor Foundation, proposed a vote of thanks, following which the exhibition was formally inaugurated. 

Many aspects of this rich heritage, amongst which are the khakho or "forbidden” stitch, and the material which the garas were made from, the light floaty sali gaaj (water silk) are today lost arts. There were also Spanish shawls adorned with bright, lavish vines and florals, and a modern twist was added by dresses inspired by the unique embroidery. A small area was devoted to the revival work that Parzor has been carrying out in its attempts to create a modern market for the declining art of Parsi embroidery.

Curated by designer Ashdeen Lilao­wala, the exhibition was an embodiment of living tradition: all the textiles and crafts on display were borrowed from the personal treasure troves of families across Delhi, Bombay, Ahmedabad and Jamshedpur, and would be returned after the exhibition. 

Keeping with the theme of living traditions, a seminar was organized on March 13, titled "Living Parsi Traditions: Origins, Fusions, Influences.” UNESCO program officer for culture, Moe Chiba gave the opening address while Ritu Sethi, chairperson, Craft Revival Trust, introduced the five speakers who shared and discussed various aspects from Parsi crafts and their religious and ecological significance to Parsi textiles in India and Iran, the practise of kusti weaving and the challenges faced while attempting to revive the art and spread it amongst craftspersons. The response to the seminar was good with an interested audience having come during the cricket World Cup. A number of questions and discussions ensued.

UNESCO Parzor director Dr Shernaz Cama’s presentation, "Spenta: bountiful creations,” provided an overview of Parsi tradition, particularly the link between reverence for nature and craft traditions. She illustrated how religious ceremonies like the jashan and special occasions like Jamshedi Navroz essentially connect and represent all forms of life as a gesture of respect to Spenta Armaity, the bountiful earth. She also explained how culturally this later led to the use of animal motifs in craft, like the dog, revered in the tradition, the sun-spider motif now known as the karolia, the ariz or fish for fertility, the mythical simurgh (bird) as well as the imbibing of symbols from other cultures like peacocks, butterflies, European bows and scallops.

Prof Jasleen Dhamija, one of India’s greatest textile historians, who has been closely involved with the development of textiles, folk arts and crafts across the world, spoke specifically about her years of research in Iran. She threw light on Iranian-Zoroastrian textile traditions, for instance, the attire of young brides who wore voluminous pants made from strips of colored cloth, a simple blouse and headscarf, and the chadar or wedding veil. She used slides to show the variety of colors and patterns used.

Vatsal, traced the Parsi connection with China, stating that the opium trade used to be the major source of income for Parsis and paid for many new schools, hospitals and institutions. The "Chinese” gara was devised through trial and error, since the Chinese tradition had no concept of an unstitched garment, and the earliest garas were probably variations of table cloths and wall hangings. Vatsal went on to discuss the influence of Europeanization on motifs and embroidery in a fascinating presentation that revealed many links and posed many questions.

Lilaowala, who has conducted an in-depth study of kusti weaving, explained the process and creation of the sacred girdle worn by every Zoroastrian. Later, during the workshops, Navaz Bamji of Navsari demonstrated the process, setting up the portable loom, weaving the 72 threads, and finally the difficult process of turning it inside out (uthlavanu), much to the fascination and appreciation of the largely non-Parsi audience which included Vatsyayan, Gulshan Nanda of the Crafts Council as well as Iranian textile experts.

Ava Khullar, who has been the consultant for the textile and embroidery module at Parzor for several years, discussed various stitches and styles, uncovering the very core of this beautiful art form and the effort that goes into creating it. She talked about the now-forgotten "forbidden” stitch khakho (seed pearl), which acquired this nomenclature owing to the fact that girls using it used to go blind because of the fineness of work involved, leading to a national ban in China. Khullar has conducted workshops for Parzor across India and spoke about the challenges faced by local craftspersons, used to the ari style of embroidery and how they adapted it to create similar results. This prompted a debate about the importance of retaining the original art form and style of varieties of satin stitch.

The three-day embroidery workshop, from March 14 to 16, was supervised by Lilaowala and Khullar, assisted by skilled Parzor-trained workers who were there to aid and teach the participants. On the first day, the embroidery frames or addas were set up by stretching the cloth appropriately and stitching it down. The technique of tracing or obtaining the design on the cloth was shown, with a few participants trying their hand at it. Some chose to try the ari style of embroidery, widely proclaimed by the beginners to be extremely difficult, while others tried zardosi to create the design in the simple satin stitch which nonetheless requires immense precision for a neat output.

The three demonstrations, one on each day, provided ample opportunities for discussion and admiration. In addition to the embroidery, Priyanka and Ashi Jijina, demonstrated the technique of draping a gara in the traditional Parsi style on the first day. On day two there was the demonstration of kusti weaving and on the final day, Arna Tamboli of Navsari showed how a toran is made using glass beads stitched together. 

It proved to be a friendly, interesting gathering where all the participants worked diligently for nearly four hours, often having to force themselves away from their labors when it was time to pack up. Two Iranian teachers of textile design, who having flown in to India the same morning, came to participate in the workshops, an opportunity they considered too valuable to pass up. The tea breaks, with special Parsi snacks like ravo, patrel and biscuits from the famed Dotivala bakery in Surat, usually found people in deep conversation, just as they bonded around the adda while embroidering.

The final day’s gala evening brought together a large crowd, riveted by the mellifluous music of classical singer Masani who has a complete mastery over Hindi and Urdu. Born into a Parsi Zoroastrian family of Baroda that had roots in classical music, she perfected the art of ghazal gayaki (singing) under the tutelage of Ustad Amanat Hussein Khan and her current guru Madhurani. She sang not only ghazals but also some Persian songs, Parsi monajats, a Sufi number and even a Punjabi song on popular demand! This music showcased another aspect of Parsi intercultural diversity. Parzor executive council member and Padma Vibhushan awardee Vatsyayan, was honored at the ceremony by Gursharan Kaur, wife of Prime Minister Manmohan Singh, who was the chief guest at this occasion. 

For the gala dinner, organized for special guests and IIC members, the special menu was planned by Cordon Bleu chef, recipe books author and restaurateur Bhicoo Manekshaw, and included the traditional patra-ni-machhi, eeda na patice, sali margi, and vegetarian variations like patra nu paneer, bhaji dana and palav with dhansak dal, with ravo and Parsi Dairy Farm kulfi as desserts. A Navroz table was also recreated with its seven symbolic items, and each guest was asked to make a wish while looking in the mirror. 

The event thus encompassed a multitude of cultures and people, displaying the syncretic nature of Parsi culture which contributes to the tapestry of India. Cama said that "the program highlighted how the Parsi Zoroastrians across history have adapted socially to fit into their community and country of adoption while keeping their core culture intact, based on a confidence in their own cultural and religious traditions which have contributed so much to history.” The Parzor Foundation has worked and will continue to work to show cultural experts this unusual amalgam and the need for it to be maintained.