Music and Culture in Designed by: Taylor Cole ‘17

Summary: This Virtual Field Experience on the music of Iran will cover a variety of Iranian musical forms, from ancient Persian folk songs, to contemporary hip-hop. Alongside each musical example or tradition will be an activity, short reading, or video to better situate them culturally—particularly politically.

Suggested Grade Levels: 9-12 Country: Iran (and greater Persia) Region: Middle East Culture Group: Persian Genre: Various Instruments: Include voice, body percussion, etc, authentic instruments as available (tombak, kamancheh, etc) Language: Persian (Farsi dialect) Co-Curricular Areas: History, Current Events, Film Studies, Religion, National Standards: Create, Connect, Respond, Perform.

Objectives • Students will listen to, analyze, and create several different types of music from Iran, spanning multiple genres and eras. • Students will sing in Persian/Farsi, and know the meaning of what they are singing. • Students will use American instruments to simulate Persian instruments in recreating some Persian songs. • Students will demonstrate greater understanding of the Iranian people than the American media provides through contemporary texts, films, and musical exploration. • Student will draw and articulate cultural and musical connections between Iran, the USA, and other relevant cultures and nations that they may not have initially thought of.

Unit Activities: 1. Intro to Iran – Survey of Music and Cultural Implications National Standards: MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works impact and inform prepared or improvised performances. MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the setting of the text, and personal research. MU:Re7.1.E.Ia Apply criteria to select music for specified purposes, supporting choices by citing characteristics found in the music and connections to interest, purpose, and context. This first lesson will include some geography and history of Iran, as well as a survey of a few different types of music—secular and religious. We will create a list of preconceptions about Iran, as well as lists things we “do know,” “think we know,” and “want to know.” These lists may alter lesson direction, and serve as a meaningful bookend at the end of the unit. We’ll tease the ‘Folk Music of Shiraz’ lesson for the following day, as well as some more modern religiously themed music (a piece by Parviz Meshkatian).

2. Folk Music of Shiraz and the continuance of Pre-Islamic Culture National Standards: MU:Re7.1.E.Ia Apply criteria to select music for specified purposes, supporting choices by citing characteristics found in the music and connections to interest, purpose, and context. MU:Pr4.3.E.Ia Demonstrate an understanding of context in a varied repertoire of music through prepared and improvised performances. MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an audience through prepared and improvised performances. MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works impact and inform prepared or improvised performances. MU:Pr5.3.E.Ia Develop strategies to address expressive challenges in a varied repertoire of music, and evaluate their success using feedback from ensemble peers and other sources to refine performances. MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the setting of the text, and personal research.

Here, we’ll look at the Persian Folk Songs ‘Ay Sar Kotal’ and ‘Massom Massom.’ We’ll learn about the traditional instruments for ancient Persian music (Kamancheh, Tombak, Ney, etc), and do some singing of the chorus for “Massom, Massom.” We’ll conclude by diving into a violin transcription of a section of “Ay Sar Kotal,” for any students who play violin.

3. Iranian Dastgah - Scales (Create, Perform, Connect) National Standards: MU:Cr1.1.E.Ia Compose and improvise ideas for melodies, rhythmic passages, and arrangements for specific purposes that reflect characteristic(s) of music from a variety of historical periods studied in rehearsal. MU:Cr2.1.E.Ia Preserve draft compositions and improvisations through standard notation and audio recording. MU:Cr3.2.E.Ia Share personally- developed melodies, rhythmic passages, and arrangements – individually or as an ensemble – that address identified purposes. MU:Pr4.2.E.Ia Demonstrate, using music reading skills where appropriate, how compositional devices employed and theoretical and structural aspects of musical works impact and inform prepared or improvised performances.

In this lesson, we’ll learn some of the scales utilized in Iranian music, and those who played violin can play them on Kamancheh—or on the violin. If anyone plays flute, they can stand in for the Ney, and I want to find an appropriate substitute for the dulcimer. After hearing a couple more examples from Tabriz, we’ll learn a drum ostinato part for the Tombak, and have students improvise in the scales they’ve learned over the beat.

4. Music and Persian Poetry – From Khayyam to Farrokhzad National Standards: MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. MU:Pr6.1.E.Ib Demonstrate an understanding of expressive intent by connecting with an audience through prepared and improvised performances. MU:Re9.1.E.Ia Evaluate works and performances based on personally- or collaboratively- developed criteria, including analysis of the structure and context.

We’ll begin with reading and reacting to some ancient poetry by , and hear a Persian folk song set to that music. We’ll explore the connections between the character of the poetry, and the music. Then, we’ll listen to recordings of more modern composer Nazeri setting the poetry of Rumi to music that bridges more cultural boundaries, and have a discussion about cultural appropriation.

5. Contemporary Composers and Islam National Standards: MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. MU:Re9.1.E.Ia Evaluate works and performances based on personally- or collaboratively- developed criteria, including analysis of the structure and context.

In lesson 5, we’ll look at more contemporary overtly Islamic music in Iran. We’ll look at short pieces by Parviz Meshkatian and Hossein Alizadeh, and see how any post-revolutionary relifious influences do or don’t affect the music itself.

6. Music, Women, and Islamic Law National Standards: MU:Cn10.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the setting of the text, and personal research MU:Re7.2.E.Ia Explain how the analysis of passages and understanding the way the elements of music are manipulated inform the response to music.

We’ll look at the official governmental and religious laws (have students read aloud here FOR SURE) surrounding women performing music in public. We’ll then hear some recordings of female performers and learn more about the contexts in which such recordings can be created. A discussion can spark about gender equality and the reasons for the laws they have. We’ll end with a short scene depicting an underground traditional Persian music performance from the film “No One Knows About Persian Cats”

7. Jafar Panahi, Offside, and The ‘Unofficial National Anthem’ National Standards: MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. MU:Cn10.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. MU:Pr4.3.E.Ia Demonstrate an understanding of context in a varied repertoire of music through prepared and improvised performances. MU:Pr6.1.E.Ia Demonstrate attention to technical accuracy and expressive qualities in prepared and improvised performances of a varied repertoire of music representing diverse cultures, styles, and genres.

We’ll look at the final scenes of the 2006 film ‘Offside,’ then learn the history of the song Ey Iran—an unofficial national anthem not sanctioned by the government, but sung prevalently at sporting events nonetheless. We’ll see how music and this subservive, yet patriotic anti-war anthem brings people with different experiences and ideologies together. 8. Underground Indie Rock and Hip-Hop National Standards: MU:Cn10.0.H.Ia Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music. MU:Cn11.0.T.Ia Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. MU:Re7.1.E.Ia Apply criteria to select music for specified purposes, supporting choices by citing characteristics found in the music and connections to interest, purpose, and context. MU:Re8.1.E.Ia Explain and support interpretations of the expressive intent and meaning of musical works, citing as evidence the treatment of the elements of music, contexts, (when appropriate) the setting of the text, and personal research.

In the final lesson, we’ll most directly connect the underground indie rock and hip- hop movements of Iran to western popular music culture. We’ll compare music videos from Iranian rapper Ekhtelaaf and Tupac, looking at hip-hop as a method of social change and exposure across continents, drawing some important similarities between our cultures. A similar activity with the music of Ashkan Negar and Belle & Sebastian will draw similar comparisons.

Summary Lesson – Revisit the “Do know,” “think we know” and “want to know” lists from the first lesson. What did we accomplish? What can we not add to “do know” column? Are these still things we want to know that we didn’t get to know? Can we move things off of the “think we know” column somewhere else? This will paint a clearer picture of everything accomplished during this unit on the music and . i. Intro to Iran – Survey of Music and Cultural Implications a. What do you know about Iran? i. Make a list on the board of what they say that we save for the whole unit. As we address these things, return to the list and designate things ‘confirmed’ or ‘denied,’ erasing the denied ones. ii. If no one brings up the movie Argo, bring up the movie Argo, for the purposes of eventually breaking down the stereotypes presented there. iii. Where does President Trump stand on Iran? Share this article: https://www.theguardian.com/us-news/2017/may/22/iran- donald-trump-hassan-rouhani-israel b. Where is Iran? i. Look at the maps – situate the Middle East Globally ii. Look at Middle East Map - ask for neighboring countries to Iran iii. Look at Iran map—identify cities c. Quick Facts – show up one at a time on PPT i. Name – Iran ii. Original Name – Persia (until 1935) iii. Official Language – Persian – Indo-European Language Group iv. Dialect Spoken – Farsi (compare to Chinese – Mandarin & Cantonese) v. Official Religion – Islam (Go over difference between words Islam & Muslim) vi. Since When – 1979 vii. Why? – Revolution, Ayatollah Khomeni, disappointment with western tendencies of the Shah. viii. Major ethnicities – Persian, Kurdish, Azerbaijani d. Burning Question – Are Iranians Arabs? i. Answer: No ii. Tell them why – Don’t speak Arabic, not ethnically Arabic, not on the official list of Arab countries e. Food! i. Fesenjan ii. Zereshk Polo iii. Sabzi Khordan iv. Kebab (Chicken/Lamb) f. First Musical Example 1 – just to get feet wet (really previews lesson #3) i. Avaz of Bayate Esfahan – Define Name ii. Listen for Major of Minor Scale (Equivalent of Melodic Minor) iii. Reveal the Santour – talk about comparisons with the Zither and the piano. g. First Musical Example 2 – Dastgah of Chanarah i. How is it similar and different to the first piece? ii. Talk about the tar? Differences with the Santour—connection to the sitar (in name and musicality) h. Wrap-up – create three lists: “do know,” “think we know,” and “want to know.” i. Let these lists serve as guides and benchmarks

Extension: • Previews the scales in Lesson #3 • Sets some grounding in learning about instruments for Lesson #2 • Previews many other topics we will return to

Assessment: Many of these concepts will return, as they cultural and political material bears relevance on later lessons. So checking in on what they remember will be key in assessing their readiness to move forward.

Materials: Food ideas: http://www.foodrepublic.com/2014/10/29/persian-food-primer-10- essential-iranian-dishes/ CD: Classical Music of Iran – The Dastgah Systems, purchased from Smithsonian Folkways Online. Liner Notes: http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW400 39.pdf

ii. Folk Music of Shiraz and the continuance of Pre-Islamic Culture a. Introduction/Geography i. A popular folk song from Shiraz – Show Shiraz on Map ii. Shiraz is a big city, but not TOO big – Persian Music Preserved when Islam comes to Iran b. Listen once, pose initial questions i. What types of instruments do you hear? ii. How are those instrument played? Similarly to instruments you know? iii. Raise your hand when you hear a big change in the music. iv. What’s new and/or different about this section? c. Go over new instruments i. Tombak ii. Daf iii. Kamancheh iv. Ney d. Listen again, starting at 0:31, with new questions i. What do the performance styles of the voice and the Kamancheh have in common? ii. What adjectives would you use to describe that performance style or character? iii. When we get to the third section (1:03) what’s different? iv. What adjectives would you use to describe this new section? e. Look at lyrics with translation i. Discuss lyrical themes to character of the music in each section f. Add violin to simulate kamancheh in the intro (via transcription) and pitched drums on G & D to keep a beat.

Extension: • Assign a reading about the disappearance of Persian folk music in urban centers during the rise of Islam. Epilogue on Lloyd Miller’s book Music and Song in Persia: The Art of Avaz • Many poems by Iranian poet Nima Yushij offer similar lyrical themes to Ay Sar Kotal. For instance, My House is Cloudy, available here: https://www.poemhunter.com/poem/my-house-is-cloudy/ o Could you set this poem to music, using traditional persona instruments and dastgahs? o If Yushij is a 20th century poet, is it appropriate to set his poetry in a traditional Persian folk music style? Why or why not? • Connect this song’s lyrical themes of unrequited love (a common lyrical theme in Persian folk music) to other listening exercises with lyrics. • Find a local Persian dancer to perform and/or teach a dance to Massom, Massom. • If junior high students struggle understanding the simultaneous melancholy & happiness of the phrase “drunk in love,” maybe make a connection to Beyoncé, and the musical and emotional characteristics of her song of the same name. https://www.youtube.com/watch?v=p1JPKLa-Ofc

Assessment: • Questions posed to the class about the character of the different sections of the song in relation to the lyrics can asses and hopefully affirm close listening, given the listening prompts/questions. • Students create a map of the song, using any visual means they choose— standard notation, alternative notation, diagrams. How can they represent the various sections, characters, and musical direction visually? • Group sing of the lyrics included in the section of the recording (even if only the ‘Massom, Massom’ section).

Materials: Recording purchased from Smithsonian Folkways

Liner notes from recording provide some cultural context, lyrics, and translation: http://media.smithsonianfolkways.org/liner_notes/folkways/FW08856.pdf

Lesson inspired by lesson at Smithsonian Folkways found here: http://media.smithsonianfolkways.org/docs/lesson_plans/FLP10089_iran_songs.p df iii. Iranian Dastgah (Scales) a. Refer back to the recordings from lesson 1, briefly b. Explains the connection between Dastgah and musical scales and Indian Ragas. (7 main and 5 secondary Dastgahs) i. Dastgah’s focus on improvisation. ii. Where’s the written music? c. Introduce “goucheh” – improvisatory passages d. Display the Dastgah of Mahour (CDEFGAB) e. Play the “Dastgah of Mahour” example f. Allow students to improvise and explore the Dastgah of Mahour on an instrument. i. People who already play instruments can use them ii. Those who don’t can practice arranging the scale on Orff instruments or sharing pianos, and improvising from there. iii. Stringed instruments will work best, though. So perhaps if the class has had previous ukulele experience in an earlier unit, now would be a good time to utilize it g. Teach the whole class a drum ostinato, like they might learn on the Tombak h. Students will improvise and, then commit to memory, a short melody that fits into the drum ostinato they just learned. Writing it down is optional i. Students will teach their melody to a partner, while learning their partner’s melody. j. Students will, in pairs, perform both melodies for the class, with the rest of the class accompanying with a drum ostinato. k. Repeat process for the Dastgah of Shour (C, D-koron, E-flat, F, G, A-flat, B- Flat) i. Be sure to note the concept of D-koron ii. Koron means to lower by a quarter step. We won’t do that explicitly, but explaining what it means and how doing so on western instruments is not 100% authentic for these scales. iii. Demonstrate the concept of ‘koron’ with a violin, emulating the Persian Kamanche. l. Activity repeatable with any of the 12 dastgahs

Extension: Activity can be repeated with any of the 12 dastgahs. Hopefully, they can commit some of them to memory, and continue to improvise going forward. Find ways to tune stringed instruments to allow for koron-notes, to be more authentic.

Assessment: Built into activity itself – how well do they remember or can they implement the dastgahs they learned on a given instrument? Final performances or melodies can gauge engagement and effort, developed in the form of an assessment contract with the students.

Resources: CD: Classical Music of Iran – The Dastgah Systems, purchased from Smithsonian Folkways Online. Liner Notes: http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW400 39.pdf - Includes information on the various Dastgahs, instruments in the recordings, and relevant texts. iv. Modern Music & the Poetry of Rumi a. Open with poem by Jalal al-din Rumi from the Masnavi i. What is the underlying emotion of the poem? ii. Does it remind you of the lyrics to “Ay Sar Kotal” from three lessons ago? b. Play the Dastgah of Shour example, again (from lesson #3). This time, start in the middle with the lyrics, and listen along with Rumi’s lyrics. i. Does the music fit the lyrics? ii. Is the Dastgah of Shour a ‘sad’ Dastgah? iii. What is the singer, Katareh Parveneh, doing to make it sound that way? What vocal technique makes her more “emotional?” c. Different poem by Rumi – I died from Minerality i. Guesses as to meaning of the text? Specific lines? What is the meaning of the poem here? d. Listen to Hafez Nazeri – Untold Stage 1: The Quest (https://open.spotify.com/album/7zcmchJGIM2ECggG9rZNnN) i. What elements sound Iranian? Why? ii. What elements sound NOT Iranian? Why? iii. Does the music embody the emotions of the poem we talked about? How? Which elements of the music do this? If not, why not? iv. Reveal that Hafez Nazeri is an Iranian composer living in America. v. How do you feel about mixing these cultural influences? vi. Where have you seen that elsewhere in music?

Extension: Look at the musical influences of modern Persian poets like Farrokzhad and Yushij. Have student write some melancholy, personal, meterless, poetry and set it to one of their own melodies in a dastgah created in lesson 3. Connection to a possible English/poetry class elsewhere in their school day.

Assessment: This lesson brings up some concepts, instruments, and people from Lessons 2 & 3, so those can serve as a review, or one cast test their memory for the Dastgahs. Also do a reflective writing assignment or graded discussion about cross cultural appropriation in music, using Nazeri as the archetype/jumping off point. Do they culturally appropriate music in their lives? Is their own musical appropriated elsewhere? How do they respond to that, in light of the discussion about Nazeri? v. Contemporary Composers & Islam a. Review: What happened in 1979 in Iran? b. What became the dominant ideology, politicaly? c. Quote from Khomeini (in power point) – ripe for discussion d. Islamic approved composers & artists e. For each piece, distribute a dastgah chart, and allow the students to experiment with their instruments to find out into which dastgah each falls. i. Parviz Meshkatian – Chagarah - https://open.spotify.com/album/3Wmag36BUHRdUuJ4tINIRP ii. Hossein Alizadeh – Zange Shotor (Camel’s Bell) - https://open.spotify.com/album/0sn2hR1gykoZ7YseGnpEMH iii. Sharam Nazeri (Father of Hafez Nazeri) – Instrumental Piece - https://open.spotify.com/album/4bhfLRxDcS4IVTrWSFKf0Q f. Do these pieces sound more “Islamic” than the pre-revolutionary music? g. What is the difference in these three examples? (No words or vocals) i. How are religious themes put into music without words? What about the music could give a religious connotation? What examples from outside Iran can you think of that do this?

Extension: Read more about Islam’s opinions on music in Iran. More readings on the Revolution of 1979. More musically theoretical analysis of the recordings—have them identify Dastgahs utilized in the three recordings. Additionally, relevant readings from the Koran could help to frame Khomeini’s quotes and opinions more sympathetically.

Assessment: There could easily here be a ‘think-piece’ assignment about Khomeini’s quote, and how it relates to the music we’ve studied in class already. It could be a compare and contrast assignment about the “Two Irans.”

Resources: Audio Links provided within lesson plan. vi. Music, Women & Islamic Law a. Read-aloud excerpt from article: http://www.ncr- iran.org/en/news/women/17509-legal-threats-to-women-in-iran-for- singing-and-playing-music i. Acknowledge the bias inherent in the source b. Show of motorcycle ride into underground female performance scene in “No One Knows About Persian Cats.” (Timestamp 1:11:25) i. Text comes from poet “Hafez,” (Not Hafez Nazeri) an ancient mystic poet who targeted religious hypocricy—connection? c. Ask students why this concert is private? Why is it taking place inside? d. Listen to Maryam Akhondy – Mast e Mast (https://open.spotify.com/album/5fBxrcw5XQMzVLXBUT3HHG) i. Ask students to look for familiar elements. ii. What instruments do they recognize? iii. Display text by Farid ud-Din – More connections to female repression in the text? e. Final Question: How is Akhondy’s music Iranian? How is it NOT Iranian? Do the answers to this question have anything to do with her being female?

Extension: Ideas here could tie in with a women’s history and civil rights unit in a social studies class. Ideally, students would find an opportunity to watch ALL of No One Knows About Persian Cats, as it could expose them to all kinds of underground performers in . Supplementary viewing: this episode of MTV’s Rebel Music. https://www.youtube.com/watch?v=u7TfAhfgQ3w

Assessment: The final question is a writing/presentation assignment. Students will find other examples of oppressed musicians with whom they are familiar from outside Iran, write an argumentative paper do an accompanying presentation to draw comparisons between women in an Iran and the cultural group of their choosing.

Resources: Links to resources provided within lesson plan. Film: Ghobadi, B. (Director). (2009). No one knows about Persian Cats [Motion picture]. Mij Film.

vii. Jafar Panahi, Offside, and The ‘Unofficial National Anthem’ a. Start with Soccer – Who in this room plays? Boys? Girls? b. Have you ever been to a professional soccer game? How about a professional sporting event? What is it like? i. Have read-aloud of section of article about women being banned from soccer games in Iran (http://www.huffingtonpost.com/leila- mouri/my-share-half-of-azadi-le_b_5508962.html) ii. Describe plot and conception of the film Offside by Jafar Panahi, setting up the clip c. Show ending scene from ‘Offside’ going into the credits with “Ey Iran” playing (DVD timestamp 1:28:00) – Ask if this is the kind of scene you would see in America? d. Provide the title and lyrics to the song (http://persiahousemi.org/?q=node/39)- Ask if it seems like a national anthem—tell them it’s NOT, even though the internet will tell you it is. Also ask what qualities they see in the song? e. Given the political nature of this film Jafar Panahi has since been banned from making films. f. Talk about how the song, the UNOFFICIAL national anthem, transcends the political, and can serve as a universal symbol of National Pride. i. Let’s sing it together! – See transcription ii. You can sing this, and not feel like you’re entwined with Iran’s established political agenda, but more in line with the joy of seeing a sports team win!

Extension: The prevention of women at soccer games ties into the prevention of women in music. If possible, I would very much want to tie in with students’ world history or global civics class and find them the time to watch ALL of Offside. No film has done more for me to change my thinking about Iran, and seeing the whole thing would help this whole unit land even better.

Assessment: See how well they remember the words and their meanings after a different lesson.

Resources: Film: Panahi, J. (Director). (2006). Offside [Motion picture on DVD]. Artificial Eye. Lyrics & translation found here: http://www.sosiran.com/HTML/English/eyIran.html viii. Underground Indie Rock & Hip-Hop a. Introduce, without context, the song Ekhtelaf by Hichkas, as shown through their music video scene featured in the 2009 film “No One Knows About Persian Cats.” (subtitled with lyrics, found at https://www.youtube.com/watch?v=W8DY2tDWRpg) i. Before listening, have students think about the music’s genre genre ii. Have them think about what music non-iranian music it reminds them of. b. Then, have them think of three things that Ekhtelaf and the following song have in common i. Play them “My Block” by Tupac Shakur (https://www.youtube.com/watch?v=KxQ6IzBUMF0) ii. Facilitate a brief discussion about the parallels, musically and lyrically iii. Talk about how Hichkas has been prohibited from playing in Iran. Ask them why they think that is? Why hasn’t Tupac been banned from playing in America? c. Move on to Indie Rock i. Set up as: One of these songs is from Iran, the other is not ii. Have them try to guess which is which – TURN OFF THE SCREEN HERE iii. Play “Take it Easy Hospital” by Ashkan & Negar (https://www.youtube.com/watch?v=ziV84YWgIVA) iv. Then play, starting at 1:10, Electronic Renaissance by Belle and Sebastian. (https://www.youtube.com/watch?v=GKTDiWslOPo) v. See if they can guess which is from Iran, and which isn’t. vi. Ask students to explain their guesses—maybe have them write down why they picked what they picked vii. What elements made choosing difficult? viii. Tie back to Jafar Panahi and Offside—Ashkan was jailed for 21 days for performing music ix. Tie back to Hafez Nazeri (Lesson 4) and his blending of ancient Persian poetry, Persian classical music, and western classical music. Extension: Connects back to Jafar Panahi and Offside—music as political subversion. Nearly any scene from “No One Knows About Persian Cats” could musically have a western analogue. Connects back to the similar cross cultural music appropriation of Hafez Nazeri. Have the students write a politically charged or socially conscious rap song about their community and life experience in the vein of Hichkas and Tupac.

Assessment: Do some more “quiz” type identifying or Iranian vs. Western indie rock. Have them write their answers down, and grade on their reasoning for their choices based on today’s and previous lessons, not whether or not they’re right or wrong.

Resources: Film: Ghobadi, B. (Director). (2009). No one knows about Persian Cats [Motion picture]. Mij Film. Other links provided within lesson plan script.