Suchergebnisse

Beeta Baghoolizadeh examines the twin processes of enslavement and erasure of Black people in Iran during the nineteenth and twentieth centuries, showing how following the abolition of slavery in 1929, Iranian society collectively forgot and ignored its history of racism and slavery.

This article looks to two songs, "Layla Said" and "Mammad, You Weren't There to See," to examine the politics of representation, race, religion, and nationalism in late twentieth-century Iran. "Layla Said," a religious eulogy sung by Jahanbakhsh Kurdizadeh, would serve as inspiration for the most popular song of the Iran-Iraq War (1980–88) in terms of melody, rhythm, and lyrics. Kurdizadeh, a visibly Black Iranian, is not popularly remembered as the source of the eulogy, an omission that compounds many of the politics of Black representation in Iran. Through an investigation of film, aural recordings, photographs, and more, this article follows the many mutations of the eulogy-turned-anthem to identify the various ways ethnography and documentary works frame blackness in Iran. Kurdizadeh's life and marginalized legacy highlights the tacit erasure of blackness on the national stage in Iran.

Every year, around the arrival of the Spring equinox, Iranians in Iran and in diaspora will recognize a minstrel named Haji Firuz with his Nowruz jingle. The inclusion of Haji Firuz during Nowruz festivities has been questioned and challenged for decades; where some will point out his connections to anti-Blackness, others will defend Haji Firuz, arguing that his face is only covered in soot from fires also associated with the holiday. This article contextualizes these arguments as a part of a larger discourse of denying racism in Iran and, more poignantly, erasing Iran's history of slavery altogether. This article addresses the consequences and pitfalls of defending Haji Firuz's blackface performance, and its implications for the broader Iranian community.