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 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 Wikipedia article entitled List of Iranian Musicians. This article seeks to bring greater recognition to and understanding of Iranian women musicians present and past.[1]
The term Persian music has been equated with Persian traditional, Iranian traditional, Persian classical and Iranian classical music (Persian music). 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.[citation] The repertoire developed from this system in the 19th century is called the Radif. [Mirza Abollah, Center for Preservation and Propagation of Iranian Musicidentities] 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). [Oxford Bibliographies.com]
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 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.
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.
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 regarding participation of male and female musicians and appropriate performance spaces were established. These included mogalleds (mimics/actors) who often performed independent of any musical context and did not include women; and luti (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 bazingars 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.[2]
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 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.[3] 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.[2]
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.[4] With the Iranian (or Islamic) Revolution (1978–79), led by Ayatullah Khumeni (who overthrew the Shah), Sharia law “reform” was instituted, 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.[5]
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 Maryam Akhondy, 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.[4]
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 Iran, these costumes also served to avert suspicion from Islamic Cultural authorities.[6] The well-known classical and folk singer. Sima Bina, 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.
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 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.[7]
The establishment of the Ministry of Culture and Islamic Guidance (1979) and with it the institution of mujāwwiz--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 legal from underground, alternative, urban.[8][4]
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 in their attempts to get around restrictions, facilitated by less scrutiny by the authorities.
Ghashang Kamkar, 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 Parisa) have criticized the patriarchal power structure for its primitive treatment of female artists.[9]
Persian classical music
Qamar ol-Molouk Vaziri is believed to have been the first female master of Persian Classical Music to introduce a new style of music and receive a positive reputation among masters of Persian music during her own lifetime.
Several years later, Mahmoud Karimi trained several female students who later became masters of Persian traditional music.
Maryam Akhondy, founder of Barbad Ensemble and former member of Tschakawak
Many female pioneers in Iranian pop music were initially trained in classical Persian music. Maestro Ali Tajvidi in particular trained many female students (e.g.Hayedeh) that later on shifted to popular music. Some pioneers are:
↑ Fereshteh Javaheri, 'With These Problems of Life, There Is No Time for Art,' trans. Maryam Habibian, Zanan, No. 36 (1997), p. 23.
Related Research Articles
Music is the arrangement of sound to create some combination of form, harmony, melody, rhythm, or otherwise expressive content. Music is generally agreed to be a cultural universal that is present in all human societies. Definitions of music vary widely in substance and approach. While scholars agree that music is defined by a small number of specific elements, there is no consensus as to what these necessary elements are. Music is often characterized as a highly versatile medium for expressing human creativity. Diverse activities are involved in the creation of music, and are often divided into categories of composition, improvisation, and performance. Music may be performed using a wide variety of musical instruments, including the human voice. It can also be composed, sequenced, or otherwise produced to be indirectly played mechanically or electronically, such as via a music box, barrel organ, or digital audio workstation software on a computer.
A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instrumentalists, such as the jazz quartet or the orchestra. Other music ensembles consist solely of singers, such as choirs and doo-wop groups. In both popular music and classical music, there are ensembles in which both instrumentalists and singers perform, such as the rock band or the Baroque chamber group for basso continuo and one or more singers. In classical music, trios or quartets either blend the sounds of musical instrument families or group instruments from the same instrument family, such as string ensembles or wind ensembles. Some ensembles blend the sounds of a variety of instrument families, such as the orchestra, which uses a string section, brass instruments, woodwinds, and percussion instruments, or the concert band, which uses brass, woodwinds, and percussion. In jazz ensembles or combos, the instruments typically include wind instruments, one or two chordal "comping" instruments, a bass instrument, and a drummer or percussionist. Jazz ensembles may be solely instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards, one or more singers, and a rhythm section made up of a bass guitar and drum kit.
A choir is a musical ensemble of singers. Choral music, in turn, is the music written specifically for such an ensemble to perform or in other words is the music performed by the ensemble. Choirs may perform music from the classical music repertoire, which spans from the medieval era to the present, or popular music repertoire. Most choirs are led by a conductor, who leads the performances with arm, hand, and facial gestures.
A composer is a person who writes music. The term is especially used to indicate composers of Western classical music, or those who are composers by occupation. Many composers are, or were, also skilled performers of music.
The rich and varied music of Sudan has traditional, rural, northeastern African roots and also shows Arabic, Western or other African influences, especially on the popular urban music from the early 20th century onwards. Since the establishment of big cities like Khartoum as melting pots for people of diverse backgrounds, their cultural heritage and tastes have shaped numerous forms of modern popular music. In the globalized world of today, the creation and consumption of music through satellite TV or on the Internet is a driving force for cultural change in Sudan, popular with local audiences as well as with Sudanese living abroad.
The music of Afghanistan comprises many varieties of classical music, folk music, and modern popular music. Afghanistan has a rich musical heritage and features a mix of Persian melodies, Indian compositional principles, and sounds from ethnic groups such as the Pashtuns, Tajiks and Hazaras. Instruments used range from Indian tablas to long-necked lutes. Afghanistan's classical music is closely related to Hindustani classical music while sourcing much of its lyrics directly from classical Persian poetry such as Mawlana Balkhi (Rumi) and the Iranian tradition indigenous to central Asia. Lyrics throughout most of Afghanistan are typically in Dari (Persian) and Pashto. The multi-ethnic city of Kabul has long been the regional cultural capital, but outsiders have tended to focus on the city of Herat, which is home to traditions more closely related to Iranian music than in the rest of the country.
Daf, also known as dâyere and riq, is a Middle Eastern frame drum musical instrument, used in popular and classical music in South and Central Asia. It is also used in Afghanistan, Azerbaijan, Tajikistan, Iran, Uzbekistan, many regions of Georgia, Armenia, Pakistan as well as in parts of India and Russian polar regions. It is also popular among Balkans, Caucasians, Bukharan Jews, Kurds, and Macedonians.
Georgia has rich and still vibrant traditional music, primarily known for arguably the earliest polyphonic tradition of the Christian world. Situated on the border of Europe and Asia, Georgia is also the home of a variety of urban singing styles with a mixture of native polyphony, Middle Eastern monophony and late European harmonic languages. Georgian performers are well represented in the world's leading opera troupes and concert stages.
The music of Iran encompasses music that is produced by Iranian artists. In addition to the traditional folk and classical genres, it also includes pop and internationally celebrated styles such as jazz, rock, and hip hop.
Persian traditional music or Iranian traditional music, also known as Persian classical music or Iranian classical music, refers to the classical music of Iran. It consists of characteristics developed through the country's classical, medieval, and contemporary eras. It also influenced areas and regions that are considered part of Greater Iran.
Islamic music may refer to religious music, as performed in Islamic public services or private devotions, or more generally to musical traditions of the Muslim world. The heartland of Islam is the Middle East, North Africa, the Horn of Africa, Balkans, and West Africa, Iran, Central Asia, and South Asia. Due to Islam being a multi-ethnic religion, the musical expression of its adherents is vastly diverse. Indigenous traditions of various part have influenced the musical styles popular among Muslims today. The word "music" in Arabic, the language of Islam, is defined more narrowly than in English or some other languages, and "its concept" was at least originally "reserved for secular art music; separate names and concepts belonged to folk songs and to religious chants".
Fātemeh Vā'ezi, better known as Parisā, is a Persian classical singer, Avaz master, and one of the foremost female vocalists from Iran.
Sima Bina is an Iranian traditional musician, composer, researcher, painter and teacher, described by Radio WDR Germany as the "grand lady of Iranian folk music". Bina's performing arts career has spanned more than five decades. Bina has gathered and revived a collection of nearly forgotten Iranian folk songs and melodies. She has done extensive research on their origin, which included collecting, recording, writing and re-interpreting popular regional music. Her works cover the entire spectrum of Iranian folk music, including Mazandarani music, Kurdish music, Turkmen music, Baloch music, Lur music, Shirazi music, Bakhtiari music, and the music of North and South Khorasan.
A khananda is a name generally given to singers of mugham, an Azeri folk music genre. The word is of Persian origin and means "singer". When performing traditional mugham, a khananda is accompanied by a trio of musicians who play the tar, the kamancheh and the daf (tambourine). Often the khananda is the daf-player.
Master Farâmarz Pâyvar was an Iranian composer and santur player. Payvar died on 9 December 2009 after a long struggle with brain damage. Although once perceived as marginal, the santur is now considered an important solo instrument in Persian classical music, largely as a result of his work. Over the course of his career, Payvar revolutionised its playing, led two major ensembles and made numerous recordings.
The Shamss Ensemble is a musical group that performs traditional Sufi and classical Iranian music with the Tanbour, Daf, Ney and various other percussion instruments. The group was founded by composer Kaykhosro Pournazeri. His sons Tahmoures and Sohrab are also members of the group.
Iranian women and Persian music Maryam Akhondy is a classical trained singer from Tehran, Iran. She was student of Ostad Esmail Mehrtasch and Ostad Nassrollah Nassehpour, two masters of classical Iranian music. Because of the difficult situation for artists, especially female artists, in Iran after the Islamic Revolution of 1979, she moved to Europe and, since 1986, has lived in Cologne, Germany.
Farhang Sharif was an Iranian musician and renowned tar player.
The Shiraz Festival of Arts was an annual international summer arts festival, held in Iran bringing about the encounter between the East and the West. It was held from 1967 to 1977 in the city of Shiraz and Persepolis in central Iran by the initiative of Shahbanu Farah Pahlavi.
Women in music perform a variety of roles and make a wide range of contributions. Women shape music movements, events, and genres as composers, songwriters, instrumental performers, singers, conductors, and music educators. Women's music has been created by and for women in part to explore ideas of women's rights and feminism. The impact of women in music influences concepts of creativity, activism, and culture.
References
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
Auliffe, Sarah. “Popular Music and Memory Construction in Iranian Diasporic Contexts.” Context: Journal of Music Research, vol. 35/36, 2010, p.59.
Bohlman, Philip Vilas. The Study of Folk Music in the Modern World. Indiana Univ. Pr., 1993.
Chehabi, H. E. (2000). Voices unveiled: Women singers in Iran. In R. Matthee, & B. Baron (Eds.), Iran and beyond: Essays in Middle East history in honor of Nikki R. Keddie (pp.151–166). Costa Mesa, CA: Mazda.
DeBano, S. W. (2005). Enveloping music in gender, nation, and Islam: Women’s music festivals in post-revolutionary Iran. Iranian Studies, 38(3), 422–462.
Elmjouie, Y. (2014, August 29). Alone again, naturally: Women singing in Iran. The Guardian. Retrieved from https://www.theguardian.com/world/iran-blog/2014/aug/29/women-singing-islamic-republic-iran
Fatemi, S. (2005). Music, festivity and gender in Iran from the Qajar to the early Pahlavi period. Iranian Studies, 38(3), 399–416. doi:10.1080/00210860500300796
Nooshin, Laudan. “Whose Liberation? Iranian Popular Music and the Fetishization of Resistance.” Popular Communication, vol. 15, no. 3, 2017, pp.163–91. doi:10.1080/15405702.2017.1328601.
Female Voice of Iran. 2018, www.zeitgenoessische-oper.de/produktionen/female-voice-iran
Ghazizadeh, S. (2011). Cultural changes of Iranian music after Islamic revolution. IPEDR, 20, 377–380.
Maghazei, Malihe (2014) Trends in contemporary conscious music in Iran. LSE Middle East Centre paper series (03). London School of Economics and Political Science, London, UK.
Maleki, T. (2002). Iranian women musicians [Zanan-e musighi-ye Iran]. Tehran, Iran: Ketab-e Khorshid. (Original work published 1380)
Mozafari, P. (2013). Carving a space for Female solo singing in post-revolution Iran. In K. Laachir (Ed.), Resistance in contemporary Middle Eastern cultures: Literature, cinema and music (pp.262–278). New York, NY: Routledge.
Rastorac, H. (2009) Contending with Censorship: The Underground Music Scene in Urban Iran. The McNair Scholars Journal of the University of Washington, Spring 2009, Vol. VIII, (pp.273–296)
Steward, Theresa Parvin. “I Am the Brave Hero and This Land Is Mine”: Popular Music and Youth Identity in Post-Revolutionary Iran. U of Edinburgh, 2013.
Tasvir zendegi. Sima Bina Bio. www.tasvirezendegi.com/بیوگرافی-سیما-بینا-خواننده-ایرانی/.
Youssefzadeh, A. (2004). Singing in a theocracy: Female musicians in Iran. In M. Korpe (Ed.), Shoot the singer: Music censorship today (pp.127–134). London, UK: Zed Books.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
