146:
of restrictions, albeit accompanied by a continued resistance to
Western influences, and in turn this led to a greater interest in learning traditional Iranian music. Traditional music ensembles were allowed, but women were still forbidden from solo singing for mixed audiences. In addition, the performance of more popular music was permitted; and the 1997 presidential election of reformist Muhammed Khatami restored music concerts and broadcasts. Women however continued to face performance restrictions, including the prohibition from singing on national TV. Performers, nevertheless, devised ways to circumvent some restrictions. These included the practice of “co-singing,” i.e. solo singing until government officials appear and then immediately switching to choral singing, as well as the tactic known as “peek-a-boo solos,” which consisting of performances of co- and choral singing with interjections of solo singing. Often “co and choral” singing with a soloist was so soft that it became no more than an accompaniment.
126:
imposing religious (Islamic) values on many aspects of life, and introducing significant restrictions on music and women musicians. During the years between 1979-1989? popular music was banned entirely, allowing neither performing nor listening. In 1979 women were banned at first from singing altogether, then from singing or dancing solo before mixed-gender audience (no “unrelated men”). Female vocalists could perform for male audiences only as a part of a chorus. In the 1980’s some loosening of restrictions occurred; patriotic and religious hymns were allowed along with the use of western musical instruments. In 1981 however, women were once again required to wear a veil in public, and in 1983 the
Islamic Punishment Law (Morality Police) was established. By 1988 and the end of the Iran/Iraq War; the ban on the sale/use of instruments was lifted.
134:, the classical trained singer from Tehran, started working with other Iranian musicians in exile. She founded Ensemble Barbad, a group of traditional Iranian art musicians and in 2000 created the all-female a cappella group Banu as a kind of musical expedition to the different regions and cultures of Iran. For this project the singer over several years, collected old folk songs which would have been sung only in private atmosphere. She strove to bring traditional women’s songs into public performance. The diaspora of Iranian musicians (both male and female) resulted in development of communities of expatriates. One such community in southern California is called Tehrangeles, known for the strength of its music industry of and for expatriate Iranian musicians.
95:). A distinction is made however between traditional and classical (regardless of whether Iranian or Persian) musical genres. Classical music is distinct from traditional in that it is based on dastgāh, defined as the standard musical system, consisting of a collection of musical melodies or figures (gushehs) based in seven modes. The repertoire developed from this system in the 19th century is called the Radif. Persian classical music (that which is composed based on the Radif) is associated with the following terms: sonnati (traditional), asil (authentic), honari (art), elmi (learned), and dastgahi. Persian/Iranian traditional or folk music therefore is associated with the term mahalli (that which is passed on through the oral tradition).
122:
influences. Western and western-inspired popular music was encouraged, including more activity by women performers. In 1936 the Shah forced women to stop wearing the veil. and
Iranian women were allowed greater involvement in society, along with improvements in education and the workplace. Eventually female motrebs became more important and plentiful than male motrebs, ultimately replacing them altogether.
153:-the state-issued authorization for release or performance of music—has severely curtailed music recording and live performances. The development of the Internet however, has made virtual performances possible and established an “underground” dissemination of Iranian music, resulting in international recognition of these performers. To this end new terms have evolved for pop music, distinguishing
22:
99:
addition, there are
Iranian musicians who have trained in Western European music and in some cases incorporate Persian traditional music into their associated musical genre. The category of Persian symphonic music might also be identified as Iranian musicians who specialize in Western European music.
168:
The 2005-2013 presidential term of conservative
Mahmoud Ahmadīnijād resulted once again in movement toward more restrictions, including a ban on Western music. It was followed by a loosening of restrictions under moderate Pres. Hassan Rouhani (2013–21). Over time musicians have become more successful
78:
Iranian women musicians and performers since the early 20th century have experienced a rollercoaster of restrictions interspersed with small advances depending on the political and religious figures in power. So much so that during certain periods of
Iranian history, women have found it necessary to
145:
The year 1989 brought the death of
Supreme Leader Ayatullah Khumeni, who was replaced by Supreme Leader Ali Khameni. This coincided with the election of Pres. Akbar Hashemi Rafsanjāni, who was considered a “pragmatic conservative”. With this change in leadership, Iran experienced a loosening
137:
Female musicians, especially those performing traditional
Persian/Iranian music, have used (and continue to use) materiality (gestures, dance, costumes, types of performances/genres) as mnemonic devices in their performances. This materiality serves as a link to their homeland and culture. Within
121:
The
Constitutional Era (1905–11) is considered a time of greater feminist activism. During the Pahlavi era (1925-1979) under Riza Shah Pahlavi and his son Muhammad Riza-Pahlavi efforts were made to modernize Iran, (corresponding with the discovery of oil) especially through introduction of Western
105:
Before the Qajar Period (1785-1925) Iranian musicians were known as motrebs, but this term began to refer to musicians who performed in a variety of styles predominantly for “joyful” occasions, such as weddings and other festivities. Throughout this period various performing groups with criteria
98:
The titular reference to “Persian” music might suggest the exclusion of
Iranian pop, rock and hip-hop music from the article, but several of the musicians included in the lists below have either begun as classical Persian musicians and later switched or expanded to other non-classical genres. In
125:
The 1960s and 1970s, however, brought a backlash to the westernization of Iran, largely related to a fear of losing Iranian national culture and identity. With the Iranian (or Islamic) Revolution (1978–79), led by Ayatullah Khumeni (who overthrew the Shah), Sharia law “reform” was instituted,
804:
Asadollahi, Atieh (2023) How Female Singers in Iran Challenge Restriction by Retrieving Collective Memory: Their Genre, Visual Representation, and Different Implications for the National and International Audience, Women's Studies, 52:4, 440-457, DOI: 10.1080/00497878.2023.2194023
114:(dancers, musicians, jugglers, all-around entertainers), also without the involvement of women. Within the royal residences, where there were separate living quarters for males and females, performing groups of instrumentalists, singers, and dancers known as
142:, who is also a visual artist, performs in traditional Iranian attire. She has been permitted to give concerts for women in Iran and has performed widely abroad. Additionally, she has taught many female students how to sing.
79:
leave the country in order to pursue a professional career in music. These conditions have also resulted in a skewed impression of Iranian musicians as a whole, including the related Knowledge (XXG) article entitled
129:
With restrictions placed on women musicians after the 1979 Islamic Revolution, female musicians went "underground" or immigrated to other countries where they could perform freely. For example, after 1986
118:
lived among the royalty. Under the rule of Naser al-Din Shah (r. 1848-1896) Iran experienced an increased interest in art or classical music and the introduction of Western music influences.
684:"How Female Singers in Iran Challenge Restriction by Retrieving Collective Memory: Their Genre, Visual Representation, and Different Implications for the National and International Audience"
102:
Given the effect of political upheaval and religious restrictions on Iranian women musicians throughout the country’s history, a brief outline of Iranian history follows below.
175:, the lone female musician in the family musical group The Kamkars, teaches both male and female students. Both Ghashang and Fātemeh Vā'ezi (better known as
900:
582:
91:
The term Persian music has been equated with Persian traditional, Iranian traditional, Persian classical and Iranian classical music (
65:
32:
792:
Fereshteh Javaheri, 'With These Problems of Life, There Is No Time for Art,' trans. Maryam Habibian, Zanan, No. 36 (1997), p. 23.
138:
Iran, these costumes also served to avert suspicion from Islamic Cultural authorities. The well-known classical and folk singer.
722:
650:
92:
194:
to introduce a new style of music and receive a positive reputation among masters of Persian music during her own lifetime.
533:
197:
Several years later, Mahmoud Karimi trained several female students who later became masters of Persian traditional music.
83:. This article seeks to bring greater recognition to and understanding of Iranian women musicians present and past.
829:
DeBano, S. W. (2005). Enveloping music in gender, nation, and Islam: Women’s music festivals in post-revolutionary Iran.
106:
regarding participation of male and female musicians and appropriate performance spaces were established. These included
211:
40:
455:
372:
in particular trained many female students (e.g.Hayedeh) that later on shifted to popular music. Some pioneers are:
36:
191:
80:
840:. Retrieved from https://www.theguardian.com/world/iran-blog/2014/aug/29/women-singing-islamic-republic-iran
947:
881:
Mozafari, P. (2013). Carving a space for Female solo singing in post-revolution Iran. In K. Laachir (Ed.),
952:
942:
187:
914:“I Am the Brave Hero and This Land Is Mine”: Popular Music and Youth Identity in Post-Revolutionary Iran
871:
LSE Middle East Centre paper series (03). London School of Economics and Political Science, London, UK.
282:
149:
The establishment of the Ministry of Culture and Islamic Guidance (1979) and with it the institution of
47:
406:
233:
110:(mimics/actors) who often performed independent of any musical context and did not include women; and
822:
Chehabi, H. E. (2000). Voices unveiled: Women singers in Iran. In R. Matthee, & B. Baron (Eds.),
683:
352:
217:
909:
The McNair Scholars Journal of the University of Washington, Spring 2009, Vol. VIII, (pp. 273-296)
843:
Fatemi, S. (2005). Music, festivity and gender in Iran from the Qajar to the early Pahlavi period.
492:"Enveloping Music in Gender, Nation, and Islam: Women's Music Festivals in Post-Revolutionary Iran"
319:
239:
314:
401:
271:
179:) have criticized the patriarchal power structure for its primitive treatment of female artists.
850:
Nooshin, Laudan. “Whose Liberation? Iranian Popular Music and the Fetishization of Resistance.”
207:
755:
169:
in their attempts to get around restrictions, facilitated by less scrutiny by the authorities.
926:
Youssefzadeh, A. (2004). Singing in a theocracy: Female musicians in Iran. In M. Korpe (Ed.),
896:
775:
730:
703:
658:
631:
588:
578:
553:
511:
365:
767:
695:
623:
545:
503:
411:
276:
433:
396:
172:
756:"The situation of music in Iran since the Revolution: The role of official organizations"
857:
Female Voice of Iran. 2018, www.zeitgenoessische-oper.de/produktionen/female-voice-iran
808:
Auliffe, Sarah. “Popular Music and Memory Construction in Iranian Diasporic Contexts.”
438:
391:
267:
261:
201:
131:
936:
888:
450:
299:
860:
Ghazizadeh, S. (2011). Cultural changes of Iranian music after Islamic revolution.
334:
329:
324:
309:
287:
256:
699:
534:"Music, Festivity, and Gender in Iran from the Qajar to the Early Pahlavi Period"
883:
Resistance in contemporary Middle Eastern cultures: Literature, cinema and music
369:
346:
836:
Elmjouie, Y. (2014, August 29). Alone again, naturally: Women singing in Iran.
491:
771:
549:
507:
428:
779:
734:
707:
662:
635:
572:
557:
515:
592:
304:
139:
824:
Iran and beyond: Essays in Middle East history in honor of Nikki R. Keddie
611:
627:
423:
376:
907:
Contending with Censorship: The Underground Music Scene in Urban Iran.
854:, vol. 15, no. 3, 2017, pp. 163–91. doi:10.1080/15405702.2017.1328601.
386:
381:
251:
245:
227:
223:
176:
878:. Tehran, Iran: Ketab-e Khorshid. (Original work published 1380)
612:"Identity, Communities, and Technology: On the Cusp of Change"
15:
923:. www.tasvirezendegi.com/بیوگرافی-سیما-بینا-خواننده-ایرانی/.
204:, founder of Barbad Ensemble and former member of Tschakawak
368:
were initially trained in classical Persian music. Maestro
190:
is believed to have been the first female master of
847:, 38(3), 399–416. doi:10.1080/00210860500300796
869:Trends in contemporary conscious music in Iran.
723:"Alone again, naturally: women singing in Iran"
651:"Alone again, naturally: women singing in Iran"
8:
279:, founder of Nava Ensemble and Lian Ensemble
817:The Study of Folk Music in the Modern World
248:, singer, winner of Persian Academy Award.
66:Learn how and when to remove this message
928:Shoot the singer: Music censorship today
885:(pp. 262–278). New York, NY: Routledge.
46:Relevant discussion may be found on the
482:
930:(pp. 127–134). London, UK: Zed Books.
826:(pp. 151–166). Costa Mesa, CA: Mazda.
418:Iranian-born musicians in other genres
754:Youssefzadeh, Ameneh (January 2000).
606:
604:
602:
577:. London ; New York: Routledge.
7:
527:
525:
490:DeBano, Wendy S. (September 2005).
242:, Master of Persian classical music
236:, Master of Persian classical music
230:, Master of Persian classical music
220:, Master of Persian classical music
810:Context: Journal of Music Research
760:British Journal of Ethnomusicology
14:
682:Asadollahi, Atieh (2023-05-19).
532:Fatemi, Sasan (September 2005).
20:
616:McNair Scholars Online Journal
1:
721:Elmjouie, Yara (2014-08-29).
700:10.1080/00497878.2023.2194023
649:Elmjouie, Yara (2014-08-29).
819:. Indiana Univ. Pr., 1993.
812:, vol. 35/36, 2010, p. 59.
969:
294:Persian/Iranian folk-music
912:Steward, Theresa Parvin.
772:10.1080/09681220008567300
550:10.1080/00210860500300796
508:10.1080/00210860500300812
463:Persian Traditional Music
460:List of Iranian Musicians
81:List of Iranian Musicians
916:. U of Edinburgh, 2013.
867:Maghazei, Malihe (2014)
456:Iranian women's movement
364:Many female pioneers in
349:, world class guitarist.
264:, musician and conductor
29:This article or section
876:Iranian women musicians
815:Bohlman, Philip Vilas.
469:Symphonic Music in Iran
341:Persian symphonic music
192:Persian Classical Music
183:Persian classical music
893:The Modern Middle East
574:The modern Middle East
188:Qamar ol-Molouk Vaziri
87:History and background
895:. Routledge. p. 237.
852:Popular Communication
360:Iranian popular music
33:synthesis of material
905:Rastorac, H. (2009)
628:10.15760/mcnair.2009
571:Pappé, Ilan (2005).
874:Maleki, T. (2002).
226:or better known as
214:musician and writer
833:, 38(3), 422–462.
283:Mehrbanou Goudarzi
272:Hamavayan ensemble
43:to the main topic.
37:verifiably mention
31:possibly contains
901:978-0-415-21408-7
584:978-0-415-21408-7
472:Iranian Pop Music
466:Iranian Fok Music
407:Faravaz Farvardin
366:Iranian pop music
234:Masoomeh Mehr-Ali
163:alternative, urba
76:
75:
68:
960:
919:Tasvir zendegi.
793:
790:
784:
783:
751:
745:
744:
742:
741:
718:
712:
711:
679:
673:
672:
670:
669:
646:
640:
639:
608:
597:
596:
568:
562:
561:
529:
520:
519:
487:
412:Ezzat Rouhbakhsh
277:Pirayeh Pourafar
71:
64:
60:
57:
51:
24:
23:
16:
968:
967:
963:
962:
961:
959:
958:
957:
933:
932:
864:, 20, 377–380.
845:Iranian Studies
831:Iranian Studies
802:
797:
796:
791:
787:
753:
752:
748:
739:
737:
720:
719:
715:
688:Women's Studies
681:
680:
676:
667:
665:
648:
647:
643:
610:
609:
600:
585:
570:
569:
565:
538:Iranian Studies
531:
530:
523:
496:Iranian Studies
489:
488:
484:
479:
447:
434:Laleh Pourkarim
429:Cymin Samawatie
420:
362:
353:Afarin Mansouri
343:
296:
218:Soosan Matloobi
185:
173:Ghashang Kamkar
89:
72:
61:
55:
52:
45:
35:which does not
25:
21:
12:
11:
5:
966:
964:
956:
955:
950:
948:Women in music
945:
935:
934:
801:
798:
795:
794:
785:
746:
713:
694:(4): 440–457.
674:
641:
598:
583:
563:
544:(3): 399–416.
521:
502:(3): 441–462.
481:
480:
478:
475:
474:
473:
470:
467:
464:
461:
458:
453:
446:
443:
442:
441:
439:Anousha Nazari
436:
431:
426:
419:
416:
415:
414:
409:
404:
399:
394:
392:Leila Forouhar
389:
384:
379:
361:
358:
357:
356:
350:
342:
339:
338:
337:
332:
327:
322:
317:
312:
307:
302:
295:
292:
291:
290:
285:
280:
274:
268:Afsaneh Rasaei
265:
262:Soodabeh Salem
259:
254:
249:
243:
237:
231:
221:
215:
205:
202:Maryam Akhondy
184:
181:
132:Maryam Akhondy
88:
85:
74:
73:
28:
26:
19:
13:
10:
9:
6:
4:
3:
2:
965:
954:
953:Women in Iran
951:
949:
946:
944:
943:Music of Iran
941:
940:
938:
931:
929:
924:
922:
921:Sima Bina Bio
917:
915:
910:
908:
903:
902:
898:
894:
890:
886:
884:
879:
877:
872:
870:
865:
863:
858:
855:
853:
848:
846:
841:
839:
834:
832:
827:
825:
820:
818:
813:
811:
806:
799:
789:
786:
781:
777:
773:
769:
765:
761:
757:
750:
747:
736:
732:
728:
724:
717:
714:
709:
705:
701:
697:
693:
689:
685:
678:
675:
664:
660:
656:
652:
645:
642:
637:
633:
629:
625:
621:
617:
613:
607:
605:
603:
599:
594:
590:
586:
580:
576:
575:
567:
564:
559:
555:
551:
547:
543:
539:
535:
528:
526:
522:
517:
513:
509:
505:
501:
497:
493:
486:
483:
476:
471:
468:
465:
462:
459:
457:
454:
452:
451:Music of Iran
449:
448:
444:
440:
437:
435:
432:
430:
427:
425:
422:
421:
417:
413:
410:
408:
405:
403:
400:
398:
395:
393:
390:
388:
385:
383:
380:
378:
375:
374:
373:
371:
367:
359:
354:
351:
348:
345:
344:
340:
336:
333:
331:
328:
326:
323:
321:
320:Monika Jalili
318:
316:
313:
311:
308:
306:
303:
301:
300:Pari Zangeneh
298:
297:
293:
289:
286:
284:
281:
278:
275:
273:
269:
266:
263:
260:
258:
255:
253:
250:
247:
244:
241:
240:Soosan Aslani
238:
235:
232:
229:
225:
224:Fatemeh Vaezi
222:
219:
216:
213:
209:
206:
203:
200:
199:
198:
195:
193:
189:
182:
180:
178:
174:
170:
166:
164:
160:
156:
152:
147:
143:
141:
135:
133:
127:
123:
119:
117:
113:
109:
103:
100:
96:
94:
93:Persian music
86:
84:
82:
70:
67:
59:
56:February 2012
49:
44:
42:
38:
34:
27:
18:
17:
927:
925:
920:
918:
913:
911:
906:
904:
892:
887:
882:
880:
875:
873:
868:
866:
861:
859:
856:
851:
849:
844:
842:
838:The Guardian
837:
835:
830:
828:
823:
821:
816:
814:
809:
807:
803:
788:
766:(2): 35–61.
763:
759:
749:
738:. Retrieved
727:The Guardian
726:
716:
691:
687:
677:
666:. Retrieved
655:The Guardian
654:
644:
619:
615:
573:
566:
541:
537:
499:
495:
485:
363:
335:Shushā Guppy
330:Zohreh Jooya
325:Ziba Shirazi
315:Mitra Rahbar
310:Darya Dadvar
288:Mahsa Vahdat
270:, member of
257:Simin Ghanem
196:
186:
171:
167:
162:
158:
154:
150:
148:
144:
136:
128:
124:
120:
115:
111:
107:
104:
101:
97:
90:
77:
62:
53:
30:
889:Pappé, Ilan
622:(1). 2009.
402:Sima Mafiha
370:Ali Tajvidi
355:, composer.
347:Lily Afshar
159:underground
937:Categories
800:References
740:2024-04-14
668:2024-04-02
208:Arfa Atrai
780:0968-1221
735:0261-3077
708:0049-7878
663:0261-3077
636:2375-7833
558:0021-0862
516:0021-0862
305:Sima Bina
151:mujāwwiz-
140:Sima Bina
116:bazingars
108:mogalleds
48:talk page
891:(2005).
593:58647932
445:See also
424:Azam Ali
377:Googoosh
387:Mahasti
382:Hayedeh
252:Delkash
246:Shakila
157:l from
899:
778:
733:
706:
661:
634:
591:
581:
556:
514:
397:Pooran
228:Parisa
212:Santur
177:Parisa
41:relate
862:IPEDR
477:Notes
897:ISBN
776:ISSN
731:ISSN
704:ISSN
659:ISSN
632:ISSN
589:OCLC
579:ISBN
554:ISSN
512:ISSN
155:lega
112:luti
768:doi
696:doi
624:doi
546:doi
504:doi
165:n.
39:or
939::
774:.
762:.
758:.
729:.
725:.
702:.
692:52
690:.
686:.
657:.
653:.
630:.
618:.
614:.
601:^
587:.
552:.
542:38
540:.
536:.
524:^
510:.
500:38
498:.
494:.
210:,
161:,
782:.
770::
764:9
743:.
710:.
698::
671:.
638:.
626::
620:3
595:.
560:.
548::
518:.
506::
69:)
63:(
58:)
54:(
50:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.