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Women Musicians and Dancers in Post-Revolution Iran

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Women Musicians and Dancers in Post-Revolution Iran Negotiating a Position: Women Musicians and Dancers in Post-Revolution Iran Parmis Mozafari Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music January 2011 The candidate confIrms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2011 The University of Leeds Parmis Mozafari Acknowledgment I would like to express my gratitude to ORSAS scholarship committee and the University of Leeds Tetly and Lupton funding committee for offering the financial support that enabled me to do this research. I would also like to thank my supervisors Professor Kevin Dawe and Dr Sita Popat for their constructive suggestions and patience. Abstract This research examines the changes in conditions of music and dance after the 1979 revolution in Iran. My focus is the restrictions imposed on women instrumentalists, dancers and singers and the ways that have confronted them. I study the social, religious, and political factors that cause restrictive attitudes towards female performers. I pay particular attention to changes in some specific musical genres and the attitudes of the government officials towards them in pre and post-revolution Iran. I have tried to demonstrate the emotional and professional effects of post-revolution boundaries on female musicians and dancers. Chapter one of this thesis is a historical overview of the position of female performers in pre-modern and contemporary Iran. The next chapter examines the socio-political changes in post-revolution Iran and the impacts of the event on musical atmosphere of the country. The focus of this chapter is on female instrumentalists. There are two other chapters with focus on female singers and female dancers. Each of these chapters is followed by a case study to examine the post-revolution changes more precisely. Table of Contents Introduction. .. .. .. .. .. .. .... .. ... I Chapter One: A Historical Overview of the Condition of Female Performers in Iran ........ 45 Introduction .............................................................................................. 45 Music and Dance in Pre-Islamic Iran (4000 BCE - 650 AD) .. , ................................ 48 Women Musicians after the Arrival of Islam ...................................................... 52 Women Musicians during the Pre-modern Era (1501-1906) ...................................... 55 Pahlavi Era (1921-1979): Female Musicians and the Rise of Modern Institutions ............ 61 1979 Revolution: Prohibitions in Power ...............................................................67 Music through Post-revolution Political Changes ................................................... 68 The fIrst Era: 1979-1989 ....................................................................... 68 The Second Era: 1989-97 ..................................................................... 71 Reform Era: 1997- 2005 .........................................................................73 The Era of Populist Fundamentalism: 2005-2011 ........................................... 76 Chapter Two: Music and Instrumentalist through Political Changes ........................... 78 Musical Genres during the Twentieth Century: Types, Origins and Classifications .......... 78 Iranian Classical Music: Challenges, Changes and Developments .............................. 86 (1) Music and the Contradictory Interpretations of Islam .............................. 86 (2) The Media and the Conservative Control ............................................ 87 (3) The Pitfalls of Receiving Permits from MCIG ....................................... 91 (4) Financial Issues, Copyright Problems, Music Halls and Sponsors .................... 99 (5) Developments: Gender, Instrument and Power ..................................... 106 (6) Women, Islamic cover, Performance, Resistance and Choice ....................... 112 Conclusion .............................................................................................. 116 Chapter Three: Instrument, Gender and Restoration of GhanoonlQanoon: A Case Study on Maliheh Saeedi ......................................................................................... 118 Introduction: Remembering an Achievement ..................................................... 118 Family and Music Background ...................................................................... 120 Reconstruction and Restoration of Ghiinoon as an Iranian Instrument ......................... 126 Changing the Sound Range and Tone of the Instrument ............................... 127 Saeedi and Her Work with Ghiinoon after the Revolution .............................. 129 Helping to Transform the Post-Revolution Performance Boundaries for women 132 Saeedi's Role in Changing the Post-Revolution Educational Boundaries ........... 134 Making Ghiinoon Popular .................................................................. 136 Composition .................................................................................. 138 Instrument and Gender: the Transformation of a Position ............................... 139 Publication of Books and Albums: Problems and Concerns ...................................... 143 Books ............................................................................................ 143 Audio Material ................................................................................ 144 Problems with censorship ................................................................... 145 Finances ....................................................................................... 150 Performances................. ................ ......... ..... ....... .............. .... .... ........ 151 Conclusion ................................................................................................ 153 Chapter Four: Female Singers and the Transformation of Singing Genres .................... 154 Introduction ............................................................................................ 154 The Musical Life of a Culture: Past and Present Singing in Public ............................ 155 The Expansion of Singing Genres before the Revolution ....................................... 159 The Contraction and Transformation of Music Genres after the Revolution ................. 168 Classification of the Spaces and Styles (1980-2010) ............................................. 172 Spaces (1) Female Singers in National Television and Radio Channels .................... 173 Female Singing in Unofficial, Semi-Official or Liminal Performances ........... 174 (2) Private Performances inside Houses ............................................... 174 (3) Female-Only Performances in Music Halls ....................................... 176 (4) Public Performances outside Iran ................................................... 181 Forms (5) Performances with a second or third voice accompanying the solo singer .... 182 (6) Singing with a changed voice ........................................................ 183 (7) Solo Singing in Rare Occasions and Theatrical Performances ................... 184 Singing Classes and the Prospect of Finding New Talents ...................................... 185 Conclusion .............................................................................................. 186 Chapter Five: Tradition, Modernity, Mysticism and Continuity, A Case Study on Parissa's Singing Career ....................................................................................................... 187 Introduction: Remembering a Presence and Recording It ....................................... 187 Early Career: Learning, Practicing and Becoming Spiritual .................................... 190 CPPTMI and Parissa's State Sponsored Activities before the Revolution .................... 196 Performance, Image and Identity: Parissa's Attitudes towards the Bans ..................... 205 The Post-Revolution Restrictions and Parissa's Position in Iranian Music ................... 213 Performance Features ................................................................................. 216 Performance Spaces and Audiences .............................................. 216 Physical Positions and Body Movements ........................................ 217 Musical Features of Paris sa's Post-Revolutionary Works ....................................... 219 Improvisation .......................................................................................... 221 Conclusion ........... , ................................................................................... 223 Chapter Six: Female Dancer and the Transformation of Dance in Contemporary Iran ...... 225 Introduction ............................................................................................ 225 Dance and the Limits of Popular Approval ........................................................ 225 Dance in the Course of the Contemporary History oflran ...................................... 227 Dance after the 1979 Revolution: Restriction and Transformation .......................... 237 The divide between the public and private lives of people in Iran ............................. 239 Dance as an Illegal Leisure activity .................................................................
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