Asadollah Yekta: Opportunity for Work, Not Pity

Supporting an artist does not necessarily mean paying money or raising financial aid. Sometimes introducing a job opportunity, commissioning an advertising project, or connecting an experienced person to an economic enterprise is more effective and lasting.

Ambassador Arjan; Amir Sadra Siam- Among the multitude of daily news, sometimes a simple request, beyond a person's life, becomes a mirror to see the state of society. The request of Asadullah Yekta, an old actor of Iranian cinema, to hand over advertisements to him is of the same kind. A request that behind the simplicity of its words is years of memory, experience, effort and of course concern about the livelihood and future of an artist.

Yekta, in a clear message, asked people and activists in the field of advertising to remember him if they have something to do in this field. He talked about the problems in his life, but the more important point in his message is that he does not want to be just the subject of a ceremonial visit or a subject to attract sympathy.

He wants to work, earn and solve part of his life's problems by relying on his ability. This is a fundamental difference that should not be lost in the frenzy of publishing news. In a time when the livelihood problems of famous people sometimes become a topic for short-wave news, one should pay attention to the main message of Asadullah Yekta.

He did not ask the authorities for help and preferred to use the communication capacity and people's interest to find a job opportunity. Even when he talks about the burning of the refrigerator in his house, he finally emphasizes that his goal is not to get money or household appliances, but he wants people to entrust their advertisements to him. This look deserves attention and respect.

Supporting an artist does not necessarily mean paying money or fundraising. Sometimes introducing a job opportunity, entrusting an advertising project or connecting an experienced person to an economic complex is a more effective and lasting support; Support that maintains a person's self-esteem and allows him to continue his professional activity.

Asadollah Yekta is not only an actor for many Iranian cinema audiences, he is part of the memories of several generations. Artists who have worked in cinema and television for many years have made a part of the cultural memory of the society with their roles. It is natural that the professional path of all of them is not always smooth, but being away from work should not mean forgetting their human capital and experience. Of course, past fame alone does not guarantee a job opportunity, and no artist should expect special privileges simply because of their history or popularity.

The issue is providing equal opportunity to use experience, skill and professional credit. If Yekta can work in advertising, introducing him to clients can be a practical way to get him back into the flow of work.

The unique message is an opportunity to redefine the meaning of popular support. True support is not limited to messages of sympathy, retweets or expressions of regret. If a business needs advertising, it can check the capabilities and terms of cooperation with him. Instead of focusing only on the difficulties of the artists' lives, the media can introduce their professional capacities and the possibility of working with them.

At the same time, it should not be forgotten that the responsibility of preserving the dignity of artists is not only on the shoulders of the people. Stable employment mechanisms, diverse activity opportunities and attention to the professional status of experienced artists are also important. A society that values ​​its culture and art should be able to establish a link between symbolic respect for artists and practical support for the possibility of their work.

Perhaps Asadollah Yekta's request on the surface is about a few advertising orders and providing living expenses, but its message is broader: no one should be deprived of the possibility of work and economic participation because of his diminutive presence in the public arena.

The best response to this request is not fleeting sympathy or turning his private life into a subject for public curiosity, but creating a real opportunity for professional activity. If people and economic activists respond to this call, they can show that interest in past artists is not limited to reminiscing and rewatching their works.

Asadullah wants to work alone. This simple request deserves to be heard. Sometimes an advertising order is worth more than a thousand messages of sympathy; Because instead of reminding of the difficulties of a life, it opens a way to continue it. Supporting Yekta, in its deeper meaning, is supporting the right to work, preserving human dignity, and respecting artists who have worked for years to make people happy, entertained, and remembered.