The Rhythmic Beat of the Revolution in Iran
The Rhythmic Beat of the Revolution in Iran MICHAEL M. J. FISCHER CMIT A Mah, mah-e khun ast, Seyyid Ali dar negun ast. [It’s the month, month of blood, Seyyid Ali (Khameinei) will be toppled.] Montazeri na morde, hokumat morde. [Montazeri is not dead, the government is dead.] —slogans chanted in Qum during the funeral marches for Ayatullah Hossein Ali Montazeri, December 21, 20091 INTRODUCTION: THE BEAT, THE TRANSFORMATION OF THE PUBLIC SPHERE, AND THE SCENARIOS OF THE REVOLUTION Coincidence and timing, as in music, are the tricks of politics. Instruments change: the new social media of the Internet, cell phone cameras, Twitter, and Facebook, are new. But some instruments remain the same: the passions of hope and anger. Repetitions repeat with a difference, anxiously conjuring costumes and slogans of the past to enact a new historic scene.2 Not always does history repeat only twice, the first time as tragedy, again as farce.3 More often the repetitions, including farce and failure, clear the way for the next movement. The actors need to catch the beat and move in harmonic concert, carrying minor notes and dissonance along. In Iran religion is part of the music, and so are the ideals of secular constitu- tionalism. Religion in counterpoint percussion goes back in one steady beat to the CULTURAL ANTHROPOLOGY, Vol. 25, Issue 3, pp. 497–543. ISSN 0886-7356, online ISSN 1548-1360. C 2010 by the American Anthropological Association. All rights reserved. DOI: 10.1111/j.1548-1360.2010.01068.x CULTURAL ANTHROPOLOGY 25:3 16th century Safavid establishment of Shi’ism as the state religion, and in different equally steady beat, back to pre-Islamic Zoroastrian tonalities.4 The insistent sec- ular constitutional rhythm also is not new.
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