(Ne)cenzurirano v Iranu: Islamska republika, nadzor in glasba za zapahi

Vižintin, Veronika (author), Muršič, Rajko (mentor), Lunaček Brumen, Ana Sarah (comentor)

Avtorica je na podlagi življenjskih utrinkov sogovornikov in sogovornic ter z analizo trenutnega sistema v Iranu predstavila življenje posameznika v Islamski republiki Iran (IRI). Pri analizi si je pomagala z zgodovinskimi trenutki, ki so pripomogli k nastanku modernega Irana. Pri tem se je osredotočila na vzpon islama v Perziji od 7. stoletja dalje in na veliko poznejše delovanje dinastije Pahlavi (1925–1979). S to podlago je nato opisala delovanje političnega režima IRI, tamkajšnjih nadzornih organov in proces cenzuriranja predvsem glasbenih vsebin. Na delovanje vladnega aparata je poskušala pogledati s perspektive mladih iranskih glasbenikov in glasbenic, ki delujejo v državi ali pa so jo zaradi različnih razlogov (že) zapustili. Avtorica razpravlja o tem, ali je njihovo ilegalno glasbeno udejstvovanje znak upora, in ugotavlja, da gre prej za normalizacijo represivnega stanja v državi. Poleg tega se delo dotika konceptov upanja in zaupanja, ki ju moji sogovorniki in sogovornice po svojih besedah ne čutijo. Kljub temu nadaljujejo s svojim udejstvovanjem v iranskem glasbenem podzemlju (underground), ki ga država ne priznava, zato deluje v ilegali.

• Language: Slovenian
• Keywords: etnologija, kulturna antropologija, glasba, popularna glasba, Islamska republika Iran, nadzor, cenzura, underground, upor
• Work type: Master's thesis/paper
• Organization: FF - Faculty of Arts
• Year: 2021
• PID: 20.500.12556/RUL-152876
• Publication date in RUL: 10.12.2023

Secondary language

• Language: English
• Title: (Un)censored in Iran: Islamic republic, surveilance and music behind bars

Abstract

The author presented the life of an individual in the Islamic Republic of Iran (IRI), based on the interviewees' life experiences and provided a detailed analysis of the current system in Iran. She supported her analysis with historical moments that contributed to the emergence of the new state, focusing on the rise of Islam from the 7th century onwards, and in the recent historical period with the activities of the Pahlavi dynasty (1925-1979). With this background, she described the functioning of the political regime of the IRI, the supervisory bodies there, and the process of censorship, especially of musical content. She attempted to give an objective view of the government apparatus from the perspective of young Iranian musicians who are working in the country, or who have (already) left it for various reasons. The author reflects on whether their illegal musical activity is a sign of rebellion and concludes that it is not so much about that, and more about the normalisation of the repressive situation in the country. Moreover, the work refers to the concepts of hope and trust, which are not felt by the interlocutors in their own words. Nevertheless, they continue their involvement in the Iranian underground, which the state repeatedly makes illegal.

• Keywords: ethnology, cultural anthropology, music, popular music, Islamic republic of Iran, control, censorship, underground, rebellion