Popular Music & Society in Iran

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FRIDAY, JANUARY 26 SATURDAY, JANUARY 27 9:30 AM - 10:00 AM 8:30 AM - 9:00 AM Greetings & Introduction Coffee & Pastry 10:00 AM - 11:30 AM 9:00 AM - 10:30 AM PANEL 1: POP MUSIC & STATE POLICY IN PANEL 4: FROM THE SOUNDS OF LALEHZAR SAFAVID IRAN TO EMERGING TRENDS IN TEHRAN’S Anthony Shay, Pomona College: What is Popular MUSICAL THEATERS Music? What is Popular Iranian Music? Ida Meftahi, University of Maryland: The Ann Lucas, Boston College: “The Shah Goes Soundscape of Lalehzar Tehran: 1941-1953 Pop”: The Unique Politics of Safavid Music Erum Naqvi, Pratt Institute: Art Kids of Tehran: 1501-1722 CE Emerging Trends in Musical Theater POPULAR MUSIC & 11:30 AM - 1:00 PM 10:30 AM - 12:00 PM PANEL 2: FROM MUSICIANS IN THE QAJAR PANEL 5: FROM PERSIAN HIP-HOP TO SOCIETY IN IRAN: ERA TO THE GOLHA RADIO PROGRAM MUSIC EDUCATION AMONG ROCKERS Amir Hosein Pourjavady, UCLA: The Social Theresa Steward, University of Mary Organization of Musicians During the Qajar Washington: “We Rap for Persia:” The Musical NEW DIRECTIONS Period Revolution of Rap-e Farsi Jane Lewisohn, SOAS: The Importance of Nasim Niknafs, University of Toronto: Musighi- Archiving the Performing Arts of Iran e-marâmi: How Urban Iran Reimagines a Local & DIY Music Education 1:00 PM - 3:00 PM Lunch & Screening of “No Land’s Song” 12:00 PM - 1:00 PM Lunch & Coffee 2:30 PM - 3:30 PM ARTIST SESSION I: DISCUSSION OF THE 1:00 PM - 2:00 PM PERSIAN RADIF & SETAR PERFORMANCE BY ARTIST SESSION III: SCREENING & AMIR HOSEIN POURJAVADY CONVERSATION: MOHSEN NAMJOO WITH SALMAK KHALEDI OF 127 ON IRAN’S 3:30 PM - 4:00 PM UNDERGROUND ROCK SCENE Coffee 2:00 PM - 3:30 PM 4:00 PM - 5:30 PM PANEL 6: FROM DIASPORIC MUSICAL PANEL 3: FROM STATE POLICY ON THE IMPIETY TO NEW MUSICAL RELIGIOSITIES FEMALE VOICE TO WOMEN MUSICIANS’ IN IRAN NARRATIVES Farzaneh Hemmasi, University of Toronto: Nahid Siamdoust, Yale University: The Islamic Diasporic Iranian Popular Music & Politics of Republic and Solo Female Singing Impiety JANUARY 26 & 27 Paola Messina, Arab Studies Institute: Hamidreza Salehyar, University of Toronto: Reclaiming Stage and Image: Iranian Women Mourning Rituals, Popular Music & New LUCE Auditorium Musicians, In Their Own Voices Religiosities in Iran MacMillan Center for International and Area Studies 5:30 PM - 7:00 PM 3:30 PM - 4:30 PM ARTIST SESSION II: CONVERSATION & SPECIAL SESSION: MOHSEN NAMJOO, 34 Hillhouse Avenue PERFORMANCE WITH SALOME MC, IRAN’S MUSICIAN: DEPOLITICIZING MUSIC New Haven, CT 06511 FIRST FEMALE HIP HOP ARTIST 4:30 PM - 5:00 PM iranianstudies.macmillan.yale.edu/popular-music-and-society-iran-new-directions Plenary Session & Farewell Sponsored by The Iranian Studies Program at Yale, Yale Institute of Sacred Music, and the Council of Middle East Studies at the Whitney and Betty MacMillan Center for International and Area Studies at Yale, with generous support from the US Department of Education’s Title VI National Resource Center Grants .

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Reading Carpet and Architectural Common Aspects
Reading Carpet and Architectural common aspects Arefeh Behzadi Rad1, Javad Divandari2* 1Master of Science (MSc), Department of Architecture, Islamic Azad University, Kashan, Iran. 2Assistant Professor, Department of Architecture, University of Kashan, Iran. Correspondence: Ziba Borzabadi Farahani, Assisstant Professor, Department of Medical Surgical Nursing, School of Nursing and Midwifery, Shahid Beheshti University of medical Sciences, Tehran, Iran. ABSTRACT The ancient Persian religion and customs that has been entered the people's life of this land is playing an undeniable role in the carpets design. What's more all about the connection between the carpet and the architecture is the mystical and Iranian twists from both original arts which is exacerbated and has certain originality. This article aims to identify architecture and carpet, their features and study the relationship between these two arts in the Islamic civilization of Iran with matching the symbols and signs used in it in order to achieve the meanings of the hidden unit in arts. It was written by relying on handed manuscripts resources and visiting carpet weaving workshops and architecture. This is a fundamental question how to make Link between both original and traditional art architecture and carpet. Comprehensive attention and review in overall design of the carpet presentation with its similarity to architecture, expresses the fundamentals of common principles. It provides a table on the plan formation of two original Iranian arts. This article seeks to identify common aspects between Iranian noble arts. Keywords: Common aspects, Carpet, Architecture, Communication of arts with each oder. Introduction civilization. They are familiar with the most natural human emotions and beliefs.
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Eulogy for Dr. Ehsan Yarshater•
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Spiritual Art: a Study of Illuminated Drawings
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International Journal of Criminology and Sociology, 2020, 9, 285-299 285 Protest Visual Arts in Iran from the 1953 Coup to the 1979 Islamic Revolution Hoda Zabolinezhad1,* and Parisa Shad Qazvini2 1Phd in Visual Arts from University of Strasbourg, Post-Doc Researcher at Alzahra University of Tehran 2Assisstant Professor at Faculty of Arts, University of Alzahra of Tehran, Iran Abstract: There have been conducted a few numbers of researches with protest-related subjects in visual arts in a span between the two major unrests, the 1953 Coup and the 1979 Islamic Revolution. This study tries to investigate how the works of Iranian visual artists demonstrate their reactions to the 1953 Coup and progresses towards modernization that occurred after the White Revolution of Shāh in 1963. The advent of the protest concept has coincided with the presence of Modern and Contemporary art in Iran when the country was occupied by allies during the Second World War. The 1953 Coup was a significant protest event that motivated some of the artists to react against the monarchy’s intention. Although, poets, authors, journalists, and writers of plays were pioneer to combat dictatorship, the greatest modernist artists of that time, impressed by the events after the 1953 Coup, just used their art as rebellious manifest against the governors. Keywords: Iranian Visual Artists, Pahlavi, Political Freedom, Persian Protest Literature, the Shāh. INTRODUCTION Abrahamian 2018). The Iranian visual arts affected unconstructively by Pahlavi I (1926-1942) contradictory The authors decided to investigate the subject of approaches. By opening of Fine Arts School, which protest artworks because it is almost novel and has became after a while Fine Arts Faculty of the University addressed by the minority of other researchers so far.
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The Turkish Online Journal of Design, Art and Communication - TOJDAC November 2016 Special Edition IRANIAN TRADITIONAL HAND-WOVEN ART AS AN EFFECTIVE FACTOR IN TRANSFERRING NATIVE CULTURE (CASE STUDY: TRADITIONAL HOSIERY) Robabe Ghazali Faculty member, Department of Art, Alzahra University, Iran [email protected] ABSTRACT Different kinds of artifacts that are made by means of needle, crochet hook and similar tools or natural fiber are considered among woven products, for example gloves, socks, ascot , scarf and etc. Hosiery is one of the hand woven products of handicrafts which is found in Azerbayjan, Kurdistan, Khorasan, Gilan, Mazandaran and other area that enjoy a proper geographical distribution, in particular mountainous regions. Iranian hosiery’s visual diversity in terms of patterns, color, and motifs, and the extent of geographical location’s effect on traditional hand woven production is an effective factor in development and export of this traditional hand woven, due to its usability as effective field of cultural, social, and economical activities. The originality of Iranian hosiery has been approved since September 2011 and it has been enlisted in the handicrafts works of Cultural Heritage Organization. The way of weaving and applying pattern and color in designing traditional hand woven hosiery, as an effective and impressible branches of handicrafts on transferring native culture and art from past to present. The research was conducted by using a descriptive analytical method and gathering library field information and interviews. Keywords: Traditional hand woven, hosiery, ethnic beliefs, development of Iranian handicrafts INTRODUCTION Traditional arts are the collection of each country’s original and native art which is deeply and strongly rooted in its beliefs, habitudes, customs, and traditions and includes spiritual culture of society.
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Margaret Cool Root
Curriculum Vitae MARGARET COOL ROOT EducationU 1969 Bryn Mawr College B.A. Classical and Near Eastern Archaeology (Magna cum Laude & Department Honors 1971 Bryn Mawr College M.A. Etruscan Archaeology 1976 Bryn Mawr College Ph.D. Near Eastern and Classical Archaeology and Etruscan Archaeology Specialization: Art & Archaeology of the Achaemenid Persian Empire ProfessionalU Employment l977-78 Visiting Assistant Professor: Department of Art and Department of Classical Languages and Literatures, University of Chicago Research Associate: Oriental Institute, University of Chicago l978-92 Assistant-Associate Professor of Classical and Near Eastern Art and Archaeology: Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology (IPCAA) Assistant-Associate Curator of Collections: Kelsey Museum of Archaeology 1992-present Professor of Classical and Near Eastern Art and Archaeology: Department of the History of Art and the Interdepartmental Program in Classical Art and Archaeology (IPCAA) Curator of Collections: Kelsey Museum of Archaeology, University of Michigan 1992-93 Acting Director, Kelsey Museum of Archaeology, University of Michigan 1994-99 Chair, Department of the History of Art, University of Michigan 2004-05 Acting Director, Kelsey Museum of Archaeology, University of Michigan RelevantU Work-Related Experience l969 Trench Supervisor: Bryn Mawr College Excavations at Poggio Civitate (Murlo), Tuscany l97l-72 Museum/Site Study: Europe and North Africa l973-74 Dissertation Research: Turkey, Iran, London,
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Persian," “Islamic," And
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Decorative Arts of Iran in Association With
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02 CH02 P020-047.Qxp 6/10/09 13:56 Page 20 02 CH02 P020-047.Qxp 6/10/09 13:56 Page 21 CHAPTER 2 Ancient Near Eastern Art
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Goddess of Fertility in Southern Iran Plateau
International Journal of Art and Art History December 2017, Vol. 5, No. 2, pp. 33-43 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v5n2p4 URL: https://doi.org/10.15640/ijaah.v5n2p4 Goddess of Fertility in Southern Iran Plateau Mina Safa1, Safoura Boroumand2 & Mostafa Nadim3 Abstract Ancient petroglyphs of Dehtal site located in Bastak, Hormozgan province, with a variety of human, animal, and plant motifs and symbols provides an appropriate backdrop to recover the mythological themes and cultural environment of the peoples of southern Iran plateau from pre-historic to historical period. One of the symbols engraved on the stones of this area is the image of water birth; in this motif, two streams of water flow from a woman's womb rather than a baby. Based on the morphological and functional similarities between this motif and those on certain seals representing symbols of fertility discovered in Gyan hill and the Elamite, Mesopotamian and Zoroastrian goddesses of water, a comparison was made between the abovementioned themes. Accordingly, the symbol discovered in Dehtal is possibly the goddess of fertility with local characteristics in southern Iran. The discovery, emphasizing the inter-regional relationships and cultural influences from the last stages of pre-history to history, especially during the second millennium BC, suggests the importance of fertility in the worldview and cultural symbolism of southern Iranian plateau. Keywords: fertility goddess, petroglyph, Dehtal archaeological site, social history of art. 1. Introduction Stone motifs, either murals carved into the caves or petroglyphs in the open areas, are among the primitive media for spread of thought.
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