Sepideh Khaksar
Echoes of Silence: The Role of Women in Iranian Music Post-1979 Revolution
Bijan Maysami
Exploring the Symbolism of Seven in Ancient Iranian Music
Moderator: Soheil Human
Abstract
Bijan Maysami
Exploring the Symbolism of Seven in Ancient Iranian Music
The number seven holds significant symbolic value in ancient Iranian beliefs, representing both spiritual and material perfection, and it is deeply intertwined with the entirety of existence. This symbolism is shared by both Iranians and Indians, signifying its enduring importance throughout history.
Within Persian traditional music, this symbolism has been observed and passed down through oral tradition for generations, culminating in the concept of haft dastgah, which parallels the seven melodies found in the Gathas, known as the Haftata.
These melodies are imbued with prayers for good thoughts, deeds, and words, reflecting their spiritual essence. In this presentation, I aim to explore the various dimensions of this symbolism and its historical significance.
For instance, in ancient Iranian religion, Mithraism, the concept of seven is intricately linked to the pursuit of Mithraic secrets and the resistance against evil. Ceremonies featuring seven doors opening in temples with seven service stations correspond to the seven stages of prayer and the journey towards perfection.
Delving deeper into ancient texts such as the Gathas, we find references to seven regions representing countries and climates, highlighting the widespread recognition of this symbolic significance. Moreover, the Book of Burahmana further acknowledges the division of the earth into seven.
The concept of haft dastgah, encompassing “Shur,” “Segah,” “Chahargah,” “Mahoor,” “Homayoon,” “Raast-Panjgaah,” and “Nava,” presents a contextual challenge in understanding this tradition within the historical framework of music. Through analysis and discussion in this panel, we aim to unravel the complexities of this tradition and its implications in the realm of historical musicology.
Summary of Sepideh Khaksar’s speech
Sepideh Khaksar’s speech, titled “Echoes of Silence: The Role of Women in Iranian Music Post-1979 Revolution,” explores the complex and often challenging history of women in Iranian music, particularly following the Islamic Revolution of 1979. Her presentation spans several historical periods and addresses the evolving roles, struggles, and contributions of women in the Iranian music scene.
Khaksar begins by acknowledging the long history of women’s participation in various cultural forms, including music, despite facing numerous obstacles. She describes how, during her own studies of music at Tehran University, she encountered a restrictive and patriarchal environment that marginalized women. In post-revolutionary Iran, women were banned from performing music publicly, especially as solo singers, leading to an era where female musicians were largely pushed into private or underground spaces. This marginalization sparked her scholarly interest in exploring women’s contributions to music in Iran, a topic that has remained largely unexplored due to cultural taboos and political restrictions.
The speech is structured around three key historical periods in Iranian music: the Constitutional Revolution, the Pahlavi era (before the Islamic Revolution), and the post-1979 Islamic Republic period. Each of these periods reflects different social and political climates, significantly impacting women’s roles in the music industry.
During the Constitutional Revolution, women’s participation in music was mainly confined to private spheres, such as family gatherings and royal courts. Khaksar points out that women in the royal courts often organized special events and ceremonies, playing music that was acceptable within the constraints of the time. This marked an era where women’s musical roles were tolerated but limited to specific social and cultural contexts.
The Pahlavi era, particularly under Reza Shah and his son Mohammad Reza Shah, brought a period of modernization and increased public visibility for women in music. Reforms during this time, including the establishment of music schools, allowed women to receive formal training and perform publicly, although social conservatism still posed significant barriers. Notable figures, such as Qamar-ol-Molouk Vaziri, became iconic for breaking into public performance spaces, yet many female musicians continued to face societal resistance.
The Islamic Revolution of 1979 dramatically changed the landscape for women in music. Public performances by women were banned, and many musicians were forced into exile or underground activities. Khaksar notes that some women continued to perform in secret gatherings, while others fled the country to pursue their musical careers abroad. The ban on female solo performances in public and on national media remained firmly in place, even after some relaxation of restrictions under President Rafsanjani in the 1990s.
Khaksar concludes by discussing the resilience of Iranian women musicians in the face of political and social challenges. Despite strict regulations, women have continued to find ways to express themselves musically, both inside and outside of Iran. Movements such as the “Women, Life, Freedom” protests have spotlighted the ongoing struggles for gender equality, with music playing a vital role in these efforts. Throughout her speech, Khaksar emphasizes the importance of acknowledging and supporting the contributions of Iranian women in music as they continue to navigate an evolving and often restrictive cultural landscape.
