Tag: #Iran

Virginia Woolf Encounters Naser al-Din Shah in London

Posted on by George Thomas

By Sajad Sotoudeh, PhD Film and Television candidate, School of Arts

In the final entry to our series spotlighting PGR summer internship projects, PhD Film and Television candidate Sajad Sotoudeh explains his collaboration with Dr Nariman Massoumi on a film essay that explored the perceptual experience of the flâneur in the metropolis. Flânerie refers to wandering through the modern city, a concept that has intrigued many thinkers, including Walter Benjamin, Charles Baudelaire and Guy Debord.

My collaborative project with Dr Nariman Massoumi centred on two historical figures: Virginia Woolf (1882-1941), a Western writer, and Naser al-Din Shah Qajar (1831-1896), the king of Iran, focusing on their flânerie in London in late nineteenth and early twentieth centuries. Virginia Woolf was an English writer who is considered one of the influential figures of modern literature. She wrote about the experience of the figure of flâneur in the modern city. Naser al-Din Shah Qajar, the monarch of Iran for fifty years, was also a photographer and writer interested in traveling to Europe and seeing the manifestations of Western modernity.

We were interested in drawing on and entangling their unique mobilised gaze of the city into a dialogue or conflict to initiate new interpretations of urban modernity, postcolonialism, and gendered perceptual experience. Our project aims to create a visual impression of their contrasting perspectives as they walk London in parallel, across time and space. Through the meeting of these two historical figures on film, a layered encounter across temporal, gendered, and cross-cultural lines is intended. Using formal experimentation, the film will seek to examine an alternative historiography based on a non-linear approach to uncover neglected moments in the history of everyday life.

In the initial phase, Dr Massoumi and I examined various texts regarding Virginia Woolf and Naser al-Din Shah Qajar, flânerie, perception, gender, and sexuality in the modern city. We shared our findings in numerous meetings, which helped us better understand each other’s perspectives.

Dr Massoumi’s expertise in the cultural conflicts and influences between Iran and Britain and post-colonial studies significantly contributed to solidifying my ideas. Furthermore, his experience in filmmaking, particularly his focus on archival practice research about the history of the British-Iranian confrontation, provided me with invaluable insights into translating theoretical ideas into visual concepts in filmmaking. Acquiring this skill was a significant milestone, as it enabled me to present my ideas in a medium (cinema) that reaches a wider audience. This not only expanded the impact of my work but also provided me with practical experience in the burgeoning field of practice-as-research in academia.

Naser al-Din Shah Qajar in a carriage during one of his trips to Europe.

Since this project is closely related to my dissertation topic on the history of flânerie in Iranian cinema and culture, it has enabled me to study and explore texts associated with the concept of flânerie in greater detail. This PGR Internship has also allowed me to go through my first filmmaking experience in the UK with Dr Massoumi’s guidance, face its challenges, and better understand how films are produced in the UK. These achievements will help me to continue my career path in the field of research as a practice in the future, which can provide me with better job opportunities.

Currently we hope to complete the essay film by the summer of 2025 and submit it to a wide range of international conferences and film festivals.

Sajad Sotoudeh is a PhD Film and Television candidate with research interests in Iranian cinema, haptic perception, gender and sexuality in cinema, flânerie, and urban modernity. To find out more about the project with Dr Nariman Massoumi, contact af23066@bristol.ac.uk. To read more PGR summer internship projects, visit ArtsMatter.

Voices in Iranian Folk Music

Posted on by George Thomas

By Hadi Rahmani, PhD Music candidate, School of Arts

Continuing our series spotlighting PGR summer internship projects, PhD Music candidate Hadi Rahmani tells us about working with Professor Michael Ellison to uncover and study endangered vocal music in his native Iran. As Hadi explains, carrying out this research is vital for ensuring these unique cultural expressions endure for generations to come.

Iran, a land steeped in history and culture, resonates with a diverse array of folk music traditions that reflect the country’s geographical and cultural richness. During this project, I explored the depths of these traditions, uncovering a mosaic of voices that span different regions, each with its own unique flavour and significance.

Overview of Iranian Folk Music

Iran’s folk music reflects the country’s rich cultural diversity, spanning various regions and linguistic traditions. My research covered Azerbaijan, Northern Iran (Talesh, Gilan, Mazandaran, Turkman Sahra), Kurdestan, Khorasan, the Zagros region (Lorestan, Bakhtiyari, Qashqai), Southern Iran (Khuzestan, Bushehr, Hormozgan), and Baluchestan, as well as Zoroastrian music from Central Iran. This diverse musical heritage includes languages from the Turkic family (Azari, Qashqai, Turkmen), Iranian languages (Lori, Kurdish, Taleshi, Gilaki, Mazani, Baluchi), the Semitic family (Arabic), and local dialects like Bakhtiyari and Bushehri (Bandari). These regional and linguistic variations contribute to the richness and complexity of Iranian folk music, making it a vital area for preservation and study.

Different Functions of Folk Songs in Iran

Iranian folk music serves a variety of functions, reflecting the cultural and social fabric of the country. These functions include dance music, which energizes social gatherings; lamentation songs, which express grief and sorrow; and ritual music, integral to religious and cultural ceremonies. Therapeutic songs, such as Zār, are used for healing, while Sufi music facilitates spiritual experiences. Epic and storytelling songs preserve historical and cultural narratives, and work songs coordinate collective labor. Additionally, ceremonial songs accompany events such as weddings and other significant life milestones, highlighting the multifaceted roles of folk music in Iranian society.

Connection to My PhD Research and Impact on Composition Work

The exploration of Iranian folk music has been instrumental in my PhD research on counterpoint within Persian traditional music. Many of these folk traditions are closely related to the Dastgah system (Dast meaning hand and Gah meaning a specific place), enriching my understanding of modal structures and their potential for polyphonic development. However, some folk traditions diverge from the Dastgah, offering unique modal qualities and rhythmic patterns that inspire innovative compositional techniques. The modal diversity and rhythmic intricacies of these folk songs, along with their elaborate variations, provide a profound source of inspiration, allowing me to incorporate authentic Iranian elements into my contemporary compositions, bridging traditional and modern musical expressions. Engaging deeply with Iranian folk music has not only expanded my research skills but also broadened my cultural horizons. It has prepared me for the collaborative nature of academic publishing, as I worked to synthesise these findings within a broader scholarly context. I’ve gained profound insights into the neglected folk traditions from remote corners of Iran, fostering a deeper appreciation for the country’s musical heritage and its socio-cultural significance.

Interdisciplinary Connections and Challenges in the Research

Conducting research on Iranian folk music has revealed significant interdisciplinary connections and challenges. Ethnomusicology, sociology, psychology, music therapy, and history intersect in this field, highlighting the rich cultural and social contexts of the music. However, a major challenge is the lack of resources, particularly academic works and expert analyses of folk music, many of which are in danger and require urgent preservation. This scarcity necessitates extensive fieldwork and primary data collection, which, while enriching, can be time-consuming and complex. Despite these obstacles, the interdisciplinary nature of this research offers a comprehensive understanding of Iranian folk traditions and their broader implications. Through this internship, I was able to utilise my knowledge of Iranian music to uncover and study regional voices and source recordings, providing key insights that will contribute to both the Centre for Asian Music Studies and the groundwork for future research in contemporary ensemble performance and composition.

In conclusion, my journey into Iranian folk music has been transformative, offering profound insights into its cultural tapestry and enriching my academic pursuits. Many of these folk traditions are in danger of being forgotten and require more attention to preserve them. I am excited about the future potential of this research, both in advancing scholarly discourse and contributing to the preservation of Iran’s diverse musical traditions. Research like this is vital for ensuring these unique cultural expressions endure for future generations.

Hadi Rahmani is a PhD candidate in Music Composition, focusing on polyphony within Persian traditional music. His research delves into the modal and rhythmic structures of Iranian folk traditions, exploring their potential for contemporary composition. To find out more about the project, please contact hadi.rahmani@bristol.ac.uk. To read more PGR summer internship projects, visit Arts Matter.