Trabzon University State Conservatory © 2017-2018 Volume 2 Issue 2 December 2018 Research Article Musicologist 2018. 2 (2): 166-182 DOI: 10.33906/musicologist.493221

ANNA OLDFIELD (1) BEHRANG NIKAEEN (2) Coastal Carolina University, USA Tehran University, [email protected] [email protected] orcid.org/0000-0002-9461-2002 orcid.org/0000-0003-3734-0650

The Azeri Aşiq in Iran and the Republic of : Towards a Transnational Comparison of a Diverging Tradition1

ABSTRACT KEYWORDS circulated through the and Northern Iran for over 500 years. The Azeri aşıq tradition is a genre of musical storytelling that has AzerbaijanAzeri Aşıqs travelled between regions to perform, and practitioners th Iran remained in contact for most of the genre’s history. This contact was disrupted in the early 20 century, when northern Azerbaijan was Caucasus incorporated into the USSR. Divided between two countries, the aşıqs of the Republic of Azerbaijan and Northern Iran have developed along separate paths. This paper will compare contexts, contemporary and gender. aşıq Bardic performances as observed in The Republic of Azerbaijan and Northern Ashiq Iran, focusing on historical factors, performance regions since the 1990s may influence the future of the genre. This Musico-Poetic Finally, it will consider how increased interaction between the two Aşıq hrang Nikaeen in Iran. Dastan study is based on the fieldwork and research of Anna Oldfield in the Republic of Azerbaijan and Be 1 of Limerick in 2017 and at the International Mu at the Trabzon UniversityWorking researchin 2018. Won this paper was presented at the ICTM World Conference at the University sic and Dance Studies Symposium e are thankful to everyone who discussed the paper with us in both venues andReceived: would December like to specially 07, 2018; acknowledge Accepted: December Lois Anderson 16, 2018 for her encouragement and suggestions.

166 Aşıq

In(Ah the-SHUGH southern Caucasus and northern Iran, professional Azeri bards called aşıq, ) have been singing and playing for over 500 years. The genre, alsodastan, called is the Azeri people’s oldest vehicleaşıq for oral narrative, including epic lyric poetry, and verbal dueling. The is deeply embedded in the Azeri cultural imaginationceremonies. Aşıqs and holds an important role in weddings and other life cyclelive, travel to perform, and can be found wherever Azeri people includingnorthern Iran. in the Once Republic a common of Azerbaijan, tradition neighboring that circulated areas through of the Caucasus,the region, and it diverged in the 20th century as Azeri aşıqs mutually su were separated into two powerful and aşıqs spicious states, the USSR and Iran. Since the fall of the USSR in 1991, in the two countries have been in closer contact, but now embody two different trajectories of the same genre. aşıq e as observed

This paper is a working comparison of contemporary performancgenre has been in the Republic of Azerbaijan and northern Iran. Although the researched in both regions, there has been little comparative work across the border. This paper aşıq seeks to open this comparison by focusing on some initial questions: How are arts different on both sides of the Azerbaijan/Iran border? st Whatin the factors 21 may have contributed to these differences? How is the genre changing century now thatuestions. the border The is first more section, open? One This Tradition, paper discusses Two Paths: our Contemporaryinitial exploration Performance of these, q aşıq offers a window into contemporaryEvolution performance of the Aşıq in theGenre, Republic gives a of historically Azerbaijan framed and northern overv Iran. Section two, Split in Two: th th Political Division in the 20 century, iew of the tradition. Next, century historical aşıq describes the impact of 20 andPerformance political Contextsforces on and Repertoireperformances and Gen in bothder in regions. Aşıq Performance, Sections four look and more five, closelyContemporary at aspects Concerns that and differ Future between Possibilities the two regions. The final section, direction for further research. , concludes the paper and offers

One Tradition, Two Paths: Contemporary Performance

Inof Baku,the bardic the capital aşıq of the Republic of Azerbaijan, it’s not difficult to find an example genre, which is performed frequently at concerts, festivals, and

167 l and in other regions. While conductin holidays(2004-6 and both 2017 in the- capita g her fieldwork 18), author Anna Oldfield observed a number of performances, from spontaneous home concerts to very formal events aşıqsstaged at prestigious state venues. Although there are manyaşıq possibilities to see perform at concerts, weddings, and on television,aşıq an event in Baku will usually be carefully planned and staged. At a typical concert event you will saz,arrive the to long see neckeda stage lutefestooned of the withaşıq, flowers or banners and a graceful AzerbaijaniAparacı [Master of Ceremonies] - leaning on a podium. As the show begins,aşıq himan or herself - often a scholar or poet, sometimes an will introduce the proceedings.ages, dresse You are likely to be in an audience consisting of men and women of all children andd teenagers formally - for a night out. Whole families have come- but out in fact, with many their the latter on their cell phones, of course adults in the audience will use their phones to record the event as well. You will find the crowd both enthusiastic and knowledgeable as they cheer the appearance of beloved performers and respond to their favorite with applause. aşıqs aşıqs

Youand willa Caucasian probably papak see many perform in one evening. Male will wear boots colorful traditional or evening(lamb’s dress. wool Each hat) or a dark suit, while females will wear about 5- erformingperformer musicalwill sing dialogues one or twoin duossongs orof ensembles.minutes All aşıqs length, sometimessaz p will play the ,, most of them will sing, and they may be endaccompanied in a gala ofby aşıqs a double reed wooden and/or percussion. The concert will and accompanyingAparacı on the stage all playing together, with closing words from the . It is a night to celebrate Azerbaijani , poetry, and heritage, and your experience will be focused and mediated by the formal context of the performance.

168

Figure 1. Aşıqs Aşıq

Gülarə Azaflə andPhoto Roman by Anna Azaflı Oldfield. with ensemble at the Jubilee of Rustemov held at the Azerbaijan State Philharmonic Hall, April 2017, Baku, Azerbaijan. – an

OccasionallyAzeri aşıq from a special over theguest border may be in introduced northern Iran. to a hushed,The guest expectant audience brought to the stage and introduced by the Aparacı performer would be 2 to play one or two the songs author to understoodenthusiastic thatapplause. the aşıqs During conversations with Azerbaijani scholars, of dastan northern Iran are perceived to be heirs to a purer tradition, one in which whole epics are still told, in which older sazperformance hava and rituals have not given way to popular culture, and where rare regional singing styles are preserved. In concert, the author observed that performersaşıqs and fromtheir northernaudiences. Iran were met with admiration and respect by Baku

aşıq

Back home in Iran, the same may have a very different performance experience. As author Behrang Nikaeen aşıqsobserved during his fieldwork in Zanjan in 2015, people reportconcert having mostly seen performing at weddings rather than onstage at a

. If you are a man, you would be attending a specific men’s ceremony (if you 2 - i aşıq This is based on consultation with a number of Baku based Azerbaijani scholars on Azer arts in Iran, including Məhərrəm Qasımlı , Azad Nəbiyev, Sanubar Baghirova and Kəmələ Dadaşzadeh, as well as interviews with Aşıq Isa Tabrizli, who lives in Iran but often performs in Baku.

169 aşıq are a woman you will see the play later at a mixed gender part of the wedding). You are seated comfortably on a richly decorated carpet on the floor, eating and chatting with your friends,aşıq who all settle down on two sides of the room in anticipation. Soon the starts his performance,balaban and striding a qaval confidently between the lines of seated men, often followed by a frame drum. People are still talking as he recites the dastan, opening telling rituals the to narrati hush the audience into paying attention. Soon he will begin a ve portions of the story in dramatic prose, singingsaz dialogues between characters in with the accompaniment of his , making amusing digressions and responding to audienceseated requests. As he strides back and forth through the centerdastan of the room full of men,adventures his interactive of heroes such performance as the star pulls-crossed you intolovers the Asli and Keremto experience or the lonely the Aşıq Garip.

3 lasted over Hean closeshour. with a series of rituals and prayers after a performance that has

Figure 2. Aşıq

Mehdi Najafi, and his ensemble, September 2015, Zohreyn Village, Zanjan, Iran. Photo byaşıq Behrang’ Nikaeen.

These performances are both called ‘ and are both performed by Azerbaijani bards who identify with a single tradition. The performers choose most of their

3 ng Nikaeen in 2015.

Several performances of this type were recorded by Behra

170 music from the same stock of hava4, and most of their sung from the same stock of Azeri oral literature5.

However, there are important differences: in the Republicby an Aparac of Azerbaijanı audiences will most often see a stagedaşıqs performance managed for a duration duringof 5- which a number of male and female play and sing, each single male aşıq 10 minutes. In northern Iran, audiences will most often see a conductal the narrative entire performance,dastan. leading the wedding ceremony and performing an entire or aşıq

Looking at how arts have diverged between the Republic of Azerbaijan and northern Iran gives us a living example of how traditional bardic arts d. experience change along with the social and political lives in which they are enmeshe Evolution of the Aşıq Genre The aşıq genre

begins its early history in oral narrativedastan (which narratives makes such it asdifficult Qurbani to manyplace itsscholars origins believe empirically), it evolved but from as a the form earliest of Western Turkic bardic singing and storytelling at the end of the 15th century in early (Axundov and aşıq bards,

Tahmasib, 2005: iii; Köprülü, 2006:-necked 174). The called genre the developed saz, or some as times, the qopuzaccompanying, traveled themselves to sing dastan on a long called məclis throughout northernand compete Iran and in theverbal Southern dueling Caucasus.contests at Aşıqsgatherings have alwaysintegral been to the mobile, tradition; and assharing they traveled,music and aşıqs narratives became across conduits larger for geographiesmusic, stories, is

6 andlanguage news, (Oldfield, creating 2014: a larger 230). sense of community that went beyond nationality and

4 Hava saz. Hava can be regional, but there is a collection of traditional hava recognizedare namedby all Azeri musical aşıqs. structures that are played on the They can be played simply 5or The improvised Azeri dastan upon. is sung to a saz hava. The songs themselves can be embedded in the dastan or sung by themselves. Aşıqs is a prosimetric epic in which the story is told in speech and the dialogue aşıq hava. 6 Closely related genresalso singthat lyricsbranched taken out from across oral Western poetry Asia and include compose the lyrics Turkish themselves; aşık, the Turkmenhowever, allbakhshi songs and willthe beArmenian sung to aand Georgian ashug 2009: 137). (Başgoz, 1970: 402; Ustunyer,

171

Figure 3 ions in the Caucasus and northern

. Approximate Map of Azerbaijani Speaking Reg As aşıqs Iran (‘Regions’: 2013) became influencedfanned out byinto local the narratives.Caucasus, the Local genre schools merged took with root regional around traditions certain ustad and (master aşıqs

who could teach apprentices), and developedaşıq their own styles, repertoires and instrumentation (Qasımlı, 2003: 58). The became deeply integrated into village and community- life, taking on specialdistinctive functions instrumental in weddings and and holidays. Regions and micro regions saz hava, developed and many hava are named after their vocal traditions and repertoiresTabrizi, of Zancan Dubeytisi, Şirvani, or Göycheli (Eldarova, 7 places1984: 59). of origin, such as aşıqs However, because traveled to perform with others as part ofa largetheir profession, performers kept in communicationaşıqs with across different northern regions, Iran and and the shared repertoire developed among Azeri aşıqs t of a southern Caucasus. Thus although widely dispersed, Azeri remained par single performance community.

7 ons of Iran most aşıqs balaban and a qaval frame drum mostFor aşıqsexample: In the eastern regi balaban play with ensembles that include a of both countries most aşıqs , while in the eastern regions of the Republic of Azerbaijan play in ensembles with a and two percussionists. In the Western regions perform solo.

172 Split in Two: Political Division in the 20th century At the beginning of the 19th

century the expanded into the Caucasus8 and challenged the borders of the Persian Qajar Empire in a series of wars. In 182 negotiations led to the Turkmanchai Treaty, which divided the greater Azerbaijani region between the Russian and Persian Empires along the Aras River (Swietochowskidifferent countries: and inCollins, the south, 1999: they 129). remained Azeri people as a found large themselvesminority in living the Persian in two

Empire,Nonetheless, while aşıqs in the north, they were incorporated into the Russian Empire. in close contact. still travelled frequently between the two regions and remained

Figure 4. Ma

p of the Aras River Border (Heidari, 2011: 430) aşıqs north and south of the Aras

th Thisin the contact early 20 between was dramatically disrupted century. Northern Azeri territories in the Russian Empire were set free by the Bolshevik Revolution in 1917, leading to the formation of the Azerbaijan Democratic Republic, which was then conquered by the in 1920. After the USSR consolidated power, the government worked to sever Azerbaijani cultural ties with Iran and and reorient them towards Moscow. Communication with Azeris in Iran was largely closed off. As political and cultural change (such as changing the written alphabet to Cyrillic) made it difficulthe for border. citizens of the new Azerbaijan Soviet Socialist Republic to keep contact across t th

The political changes of the 20 centuryaşıq had a major impact on how music evolved in the USSR. In Soviet Azerbaijan the genre was subject to a complex of cultural

173 thusiasm manipulation policies, which sought to harness local traditions to arouse en for the building of socialism andaşıq support for the new state. Because it was the art of the rural lower classes, the genre was strongly encouraged, and given new teaching ande norms performance structured opportunities by the Union of (Huseynova, Aşıqs, the formerly 2016: interactive 56). With dastan new performanc performance, which had integrated audience requests,aşıqs digressions and commentary, quickly became a mediatedextualized stage by appearance an Aparacı where to suit the eventperformed (Anniversary short songs of the in a fixed program, cont Octoberaşıqs Revolution, etc.). Still important at festivals and holidays, male and female played throughout the 20th century, often openly supporting the USSR, but- alsorevolutionary keeping adastan traditional parallel culture alive in rural performances, where pre 149). were still told for much of the 20th century (Oldfield, 2018:

In the 1970s-80s aşıqs

gained more independence from Socialist directives and becamea an important part of a powerful movement that hailed traditional folklore as songsnational from identitytraditional in oppositiondastan to Russification and Soviet culture.aşıqs, As a result, dastan were revived in concert, and aşıq older concerts, television,who still knew were recorded. By the fall of the USSR in 1991, andnot theradio Soviet shows State. had long become vehicles to celebrate Azerbaijani national culture,

In Iran, Azeri aşıqs th similarly tumultu who began the 20 century in the Persian Empire, underwent a ous century. The early century saw the Constitutional Revolution and(Keddie trouble and in Amanat, the Azeri 2008: regions, 205- which were ambushed twice by the Russian Empire 7). After the First World War, Reza Khan ousted the hisQajar son dynasty to become the first Pahlavi Shah, only to be forced out and replaced by Party (ADP)Mohammad formed Reza in Shah1945 in (Hambly, 1941. In 2008a:northern 245). Iran, Thethe AzerbaijanADP guaranteed Democracy the civic, economic, and cultural autonomy; territorial integrity of Iran, but aspired to this was unacceptable to the state and the ADP was disbanded (Atabaki, 1997: 120). In the 1950s, popularly elected Prime Minister Mossadeq replaced the Shah, but was removed by a coup backed by Great Britain and the US, who placed Mohammad Reza Shah back in power. The Shah became deeply unpopular, and in 1979, the Islamic

174 Republic2008b). of Iran was able to take power during a popular revolution (see Hambly,

rved the aşıq genre

The Azeri people of Iran weathered these storms and prese throughout. Unlike in the USSR,aşıq the Iranian government made no attempt to influence or interfere with Azeri performance. However, the cultural policies toward the were quite different; while in the USSR Azerbaijani was used as a written language and taught in schools in parallel with Russian, in Iran, Farsi was the only language taught in schools. One of the policies of the first Pahlavi Shah was to make Farsi the only national language, repressing other ethnic languages (Atabaki, 1997: 71; Atabaki and Zürcher, 2004: 238). This language policy was an ongoing source of conflict with Azeris, and it was part of the unsuccessful ADPthe a programşıq dastan (Atabaki, 1997: 114). As their language could not be taught or written, became a vital agent in preserving Azeri literature. aşıqs in , Iran in 1970:

Ilhan Başgöz noticed this cultural function of are the only ones able to “Azerbaijanoffer a cultural Turks activity are a minority in Turkish” group. (403). Among them aşıq Still today, Azerisdastan take markedhas remained pride preserving the narrative tradition,Aşıqs and performance of full analive integral for the feature Azeris inof Iran, performance. a vital cultural f have kept a huge body of oral literature unction for a minority people.

In the Republic. of Azerbaijan, Azerbaijani is the official language and is spoken by 8 the majority Even during the Soviet Dastan Period, Azerbaijani was widely used and had a th flourishingthe 20 century, written and literature. aşıqs in the northwere did written not need down to bytake folklorists on the throughoutfunction of preservingaşıqs the language and literature. The authors theorize that this has allowed in the Republic of Azerbaijanmance the freedomcontext of to the pursue concert paths stage farther rather away than from the the bardic traditions. The perfor dastan narration.wedding has further encouraged virtuoso musical performances rather than

8

This is not to discount the impact of Russian and Sovietmany policiesas a road which to getting privileged a higher the Russian language. Soviet Azerbaijan had both Russian and Azerbaijani schools; however, Russian had a higher official status land was seen by education, better employment, travel, etc.

175 Performance Contexts and Repertoire , aşıqs

In contemporary performance in Iran and the Republic of Azerbaijan show marked differences in performanceaşıqs contexts. Although new performance opportunitiestraditional venues, have the been coffeehouse developing, (kahvehane in Iran have kept firmlytoy majlisi) to the. These most ) and the wedding ( venues were noted by Başgöz and dastanAlbright and in thea high 1970s,-level and of areaudience still strong interaction today. Both feature the telling of whole including digressions, banter, and requests, especially at wedding ceremonies. aşıq

TheIran. wedding Weddings ceremony are one ofis bythe far most the vital most life important cycle ceremonies venue for in Azeriperformance culture as in - many others (Van Gennep, 1960: 116 145), and include people of all ages and social status. When interviewing Azeriaşıqs people of Iran, they most often cite the wedding as the place where they have seen perform. The dastan aşıq at the

recitation is the most complex performance demand for the wedding.reciting ustadname During this section, he will open ustad the ceremony with specific prayers, (words of wisdom by an ) and playingdastan specific songs. He will then recite, narrate, and act out the events of the , punctuating his narrativeaudience sits with on song,a car then finally close the narrative withaşıq ritual prayers. The pet on two sides of the room as the walks back and forth between them throughout the performance. aşıqs

Audience interaction is extremely importantaşıq for in all performance contexts in Iran. At the coffeehouse or the wedding, the performs Aşıqsvery close to the listeners, who react to the music and are free to make requests. dastanare judged by their ability to respondaşıq to any and all requests, which can include as well as manyaşıq types of or popular song. Requests have had a strong influence on repertoire in Iran, keeping it in tune with the tastes of the audience. aşıqs

In the Republic of Azerbaijan, audience interaction is limited as a result of the being on stage rather than walking close to listeners. The programAparacı is decided mediates ahead the of time and requests are seldom part of a performance. The aşıq performance, his or her words serving in place of the rituals with which an would begin and end the performance. The musical repertoire features traditional

176 saz hava from dastan dastan

and Azeri poetry;concert often venues. the songs are taken , but whole are not performed in After the Soviet Union fell in 1991, aşıqs

in the newly independent Republic faced- manyfashioned new and challenges. Soviet, they No longersud supported by the state and seen by many as old denly needed to compete in an entertainment market against a new influx of global . Although still supported by a loving andnational loyal culture, base, and ashiqs still integrated into weddings, holidays, and festivals as a sign of in the Republic of Azerbaijan have had to adjust themselves to a new world. The continued popularity-Soviet of the era. concert Dastan venue with a push towards 9 musical virtuosity has marked the post are no longer performeddastan at weddings nor in concert. However, the prevalence of songs taken from shows respect for and familiarity with the tradition. Gender in Aşıq Performance

A notable contrast in performance north and south of the Aras is the difference in genderthat “the norms. title Researching‘aşıq’ in coffeehouses in Tabriz in the 1970s, Albright wrote refers to a male,aşıqs professional ” (1976: 221), and observationcontexts are shows for all the- same today; in Iran are men, and many performanceomen is male audiences. However, this limitationaşıq arts and for study w saz in specifically for public performance; woman can learn the aşıqs music institutes in Iran, but they cannot work professionally as . In the Republicmany of of Azerbaijan, audiences at all performance aşıqs venues are of mixed gender,8). and the most respected and popular are women (Oldfield, 2008: How is it that women are excluded from performing professionally in one region and fully engaged in another? ender in the

Certainly,aşıq genre 20thin both century regions. politics In Iran and there social have engineering been strong have state affected controls g on musical performances by women since the foundation of the Islamic Republic in 1979; this

9 That is not to say dastan

are not valued as culturalaşıqs artifacts. Thedastan State Sound Recording Archive of Azerbaijan and the Folklore Institute of the National Academy of Sciencesaşıqare arts,two institutions that have worked dastan to record older who know ersation,and to 2018). preserve recordings. Sanubar Baghirova, who has worked on UNESCO projects connected to reports new initiatives to bring to a wider audience (personal conv

177 has been an evolving issue, but currently, women are allowed to play musical instruments but not to sing (except in a chorus). But even before theaşıqs, establishment of the Islamic Republic, researchers did not observe any women 399). nor was an Azeri woman ever seen in a coffeehouse (Başgöz, 1970: It was never questioned that the genre was all male.

How then to explain the robust participation of women in the genre north of the Araxes? Certainly, northern Azerbaijan’s incorporation into the Soviet Union compelled the inclusion of women in all aspects of public life, as a way to break with traditional culture, and gender segregated events became a thing of the past (Naroditskaya, 2000: 245). Female musical performers were especially encouraged “to113), create an image of emancipation” across all of the republics (Sultanova, 2011:saz. and cultural centers across the republic attracted and taught girls to play In the 1980saşıqs the poet Narinc Xatun travelled around Soviet Azerbaijan looking for womencollective calledand the found Aşıq them Pəri Məclisiin all corners of the republic; she founded a women’s , which went on to become a major success, such in concert and on television (Oldfield,Aşıq 2008: 152). Prominent women performers astoday. Gularə Clearly, Azaflı, the who won the ‘ of the Year’ award in 2011, are still popular 20th century and the Soviet era encouraged the public performance of women in the genre, and their popularity has continued after independence. aşıqs as the result of Soviet cultural

However, while it is tempting tonre see women th th policies, women wereaşıqs in the back ge to atwell least before the 17 the century,Soviet Era. and Azerbaijani in the 19 scholarscentury have traced women many of them had become well knowniver, (Cəfərzadə, female aşıqs1974; 3, Qasımlı, 2003: 212). All research shows that north of the Aras r , if they were able to achieve masterynorms as in men, the differinggenre, shared only in the dress. same repertoire, social function, and performance

aşıqs in northern Iran

Therea are, as far as the authors know, no professionalaşıqs in Iran womenhas not been researched and t this time. But the existence of women could open up new possibilities. Although possible, it seems puzzling that there would be women in the genre for hundreds of years north of the Araxes but not in

178 the south, a

nd the question is worth further research. In addition, there is the question of whether women will continue to stay out of the genre in Iran as contact withheard the on Republicradio and oftelevis Azerbaijan increases, and women performers are seen and ion coming from Baku. With modern technology, such as cell phones, it will aşıqs be more and more possible for audiences in Iran to see professional women performing in the Republic of Azerbaijan. Conclusion: Contemporary Concerns and Future Possibilities

In 1991, the Soviet Union fell and the Republic of Azerbaijan came into being as an independent state. Contact between Iran and the Republic of Azerbaijan was revitalized,began to trav and is robust today. Azeri people, many of whom had divided families,aşıq el more easily over the border from both sides. The two parallel traditions, which had known each other mainly through radio and tv signals, could noweach meetother freely again in in person. Now that they are able to meet, they are also influencing aşıqways that will create new possibilities in the future. Northern Iran is now seeing performancesaşıq concerts in concert are featured halls veryon the similar television to those and inradio the Republic of Azerbaijan, andvinces. Clearly, aşıq arts in Iran are also moving to include channels of the Azeri pro dastan narration is still strong. staged, musical performances, although traditional aşıq

Keeping the tradition alive in the modern world is challenging. Some factors at work in both regions include cultural change, globalization, cell phone technology,dastan. In addition,the commercial aşıqs music marketplace, and declining attention for lengthy now travel widely again and artists of many regions may meet to perform together and learn from aşıqs eac h other, Today, this process of musicalaşıq andexchange other exists musical not cultures, only between such as classical,of different , regions, but also between music. urban song, and popular

Of course, this discussion is only the beginni aşıq genre

ng of a comparison of the between the Republic of Azerbaijanaşıqs and northern Iran. As well as further research, thistheir study differences. needs interviews with themselves to understand how they perceive However, the authors believe it is an important collaborative topic, and we are eager to begin the conversation with this paper. Observing this genre as

179 itgenre has developed in the past, and watching it continueen to aşıqsevolve, and it theiris clear audiences. that the will continue to change in conversationaşıq betwe The newly enlarged transnational context of arts across the Azerbaijan/Iran border shows a dynamic field of possibilities that is open to the future.

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