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The Politics of Musical Participation
The Politics of Musical Participation
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Since 1979, the Islamic Republic of Iran has barred women from singing solo in front of men - yet Iranian women have never stopped singing. Drawing on a decade of fieldwork in Iran and Germany and more than forty interviews, Yalda Yazdani, herself a musician trained under these restrictions, traces how female singers navigate censorship alongside family, class, ethnicity, religion, and sexuality. From Qashqai, Kurdish, and Baluch traditions to Jewish, Afghan, and queer musicians, from Tehran's…

The Politics of Musical Participation (el. knyga) (skaityta knyga) | knygos.lt

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Since 1979, the Islamic Republic of Iran has barred women from singing solo in front of men - yet Iranian women have never stopped singing. Drawing on a decade of fieldwork in Iran and Germany and more than forty interviews, Yalda Yazdani, herself a musician trained under these restrictions, traces how female singers navigate censorship alongside family, class, ethnicity, religion, and sexuality. From Qashqai, Kurdish, and Baluch traditions to Jewish, Afghan, and queer musicians, from Tehran's underground metal scene to Instagram Live and the diaspora, the book reveals the strategies with which women claim space for their voices. Written in the wake of the "Woman, Life, Freedom" movement, it shows that silencing women is about power - and that their singing is resistance.

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Since 1979, the Islamic Republic of Iran has barred women from singing solo in front of men - yet Iranian women have never stopped singing. Drawing on a decade of fieldwork in Iran and Germany and more than forty interviews, Yalda Yazdani, herself a musician trained under these restrictions, traces how female singers navigate censorship alongside family, class, ethnicity, religion, and sexuality. From Qashqai, Kurdish, and Baluch traditions to Jewish, Afghan, and queer musicians, from Tehran's underground metal scene to Instagram Live and the diaspora, the book reveals the strategies with which women claim space for their voices. Written in the wake of the "Woman, Life, Freedom" movement, it shows that silencing women is about power - and that their singing is resistance.

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