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Cover Art Concept

Cover Art Concept Downloaded from http://read.dukeupress.edu/jmews/article-pdf/16/2/209/814057/209haghani.pdf by DEEPDYVE INC user on 30 March 2022 THIRD S PACE FA KHRI HAGHAN I his issue’s cover art, Samira Alikhanzadeh’s Ata and Aziz Troupe, 1291 A.P., part T of the artist’s series Centennial, illustrates the centennial celebration of the emergence of female musicians and entertaining troupes in modern Iran. In this 2013 series of print images, Alikhanzadeh delineates memories of the past not as a set of historical facts and examples but as a series of problems and interpretations in need of viewers’ critical interventions and interactional analysis. The history of women’s presence in music and dance in Iran is as ancient as the country itself. Women entertainers appeared in sculpture reliefs and miniature paintings as far back as the Achaemenid (550–331 BCE), Sassanid (224–651 CE), and Safavid (1501–1722) periods, the three Iranian empires well known for their enormous support for and investment in architecture, fine arts, and entertaining arts, including music, dance, and theatrical performances. However, this presence did not mean that women musicians and entertainers were publicly valued and acknowledged like their male colleagues. Historical evidence refers to male musi- cians and entertainers by their names (such as Barbad of the Sassanid period), http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Middle East Women's Studies Duke University Press

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Copyright
Copyright © 2020 by the Association for Middle East Women’s Studies
ISSN
1552-5864
eISSN
1558-9579
DOI
10.1215/15525864-8238230
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://read.dukeupress.edu/jmews/article-pdf/16/2/209/814057/209haghani.pdf by DEEPDYVE INC user on 30 March 2022 THIRD S PACE FA KHRI HAGHAN I his issue’s cover art, Samira Alikhanzadeh’s Ata and Aziz Troupe, 1291 A.P., part T of the artist’s series Centennial, illustrates the centennial celebration of the emergence of female musicians and entertaining troupes in modern Iran. In this 2013 series of print images, Alikhanzadeh delineates memories of the past not as a set of historical facts and examples but as a series of problems and interpretations in need of viewers’ critical interventions and interactional analysis. The history of women’s presence in music and dance in Iran is as ancient as the country itself. Women entertainers appeared in sculpture reliefs and miniature paintings as far back as the Achaemenid (550–331 BCE), Sassanid (224–651 CE), and Safavid (1501–1722) periods, the three Iranian empires well known for their enormous support for and investment in architecture, fine arts, and entertaining arts, including music, dance, and theatrical performances. However, this presence did not mean that women musicians and entertainers were publicly valued and acknowledged like their male colleagues. Historical evidence refers to male musi- cians and entertainers by their names (such as Barbad of the Sassanid period),

Journal

Journal of Middle East Women's StudiesDuke University Press

Published: Jul 1, 2020

References