What happens when a familiar melody crosses borders and brings an entire generation back to a shared memory? In Tehran, Japan’s beloved Oshin became more than a song when Japan’s Ambassador, H.E. Tamaki Tsukada, exchanged his diplomatic role for that of a flute soloist.
Conceived and directed by Mahdi Norouzi of the Istgah Cultural & Art Institute, the collaboration transformed music into an unexpected act of cultural diplomacy—connecting Iran and Japan through a story that millions of Iranians never forgot. A remarkable encounter where memory, music and diplomacy met in the same room.
Some of the most enduring chapters in the relationship between two nations begin not in negotiation rooms, but with the very first notes of a melody.
As part of the ongoing international initiatives of the Istgah Cultural & Art Institute, a collaborative project was realized in partnership with the Embassy of Japan, bringing together H.E. Mr. Tamaki Tsukada, Ambassador of Japan, who appeared not as a diplomat but as a flute soloist, and Mahdi Norouzi, Founder and CEO of the Istgah Cultural & Art Institute, serving as the concept designer, strategist, and project director. Together, they created a cultural narrative that went far beyond a musical performance, reviving one of the most cherished shared memories between the people of Iran and Japan.
The project featured three iconic themes from Japanese television history—Oshin, Hanako and Anne, and Kita no Kuni kara (From the Northern Country). Yet the selection of these works, particularly Oshin, was far more than a musical choice.
Oshin remains one of Japan’s most influential examples of cultural soft power. Following its original broadcast, the series reached audiences in more than sixty countries, becoming part of the cultural memory of societies across China, Thailand, Singapore, Brazil, Poland, Egypt, Vietnam, Iran, and many others. In Vietnam, the word Oshin is still used in everyday language, while throughout Asia the story has come to symbolize resilience, dignity, perseverance, and hope.
Perhaps nowhere outside Japan did Oshin resonate as deeply as it did in Iran.
During the difficult years of the 1980s, the story of a young girl overcoming hardship through patience and determination became part of everyday family life for millions of Iranians. Even today, the opening melody instantly evokes memories of home, family, and a shared generation for many people across the country.
That shared memory became the starting point of this project.
Designed under the strategic vision of Mahdi Norouzi, the project was built on the belief that the strongest connections between nations are often rooted in shared cultural memories—and that music has the power to bring those memories back to life. Through the collaboration between the Istgah Cultural & Art Institute and the Embassy of Japan, music became a language of dialogue, reflecting Istgah’s long-term commitment to cultural diplomacy and international artistic exchange.
The participation of H.E. Mr. Tamaki Tsukada as a performing musician gave the collaboration a meaning far beyond a concert. When an ambassador performs alongside artists from the host country, music ceases to be merely a performance; it becomes a language of trust, mutual respect, and dialogue.
As Iran and Japan approach the centennial of their diplomatic relations, this collaboration represents far more than a music video. It stands as a symbol of a friendship shaped over nearly a century through mutual respect, cultural understanding, and people-to-people connection.
For the Istgah Cultural & Art Institute, the project continues a long-standing mission of using music as a platform for international cultural dialogue. For Mahdi Norouzi, it reflects an approach in which concept design, cultural strategy, and artistic direction come together to create experiences that endure beyond the moment and contribute to the cultural legacy shared by both nations.
The active partnership of the Embassy of Japan and the participation of the Ambassador of Japan also present a compelling example of contemporary cultural diplomacy—one that expresses friendship not merely through words, but through shared artistic experience.
Years from now, as Iran and Japan enter the second century of their diplomatic relationship, this collaboration may be remembered not simply as a musical performance, but as a lasting example of how Japan’s soft power, Iran’s cultural affinity, Istgah’s strategic vision, and the universal language of music came together to build a bridge between two nations.
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And the story does not end with Oshin.
