Underground, overground: Rock music and youth discourses in Iran
Underground, overground: Rock music and youth discourses in Iran
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地下、地上：伊朗的摇滚音乐和青年话语
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发表时间：
2005
期刊：
影响因子：
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通讯作者：
L. Nooshin
中科院分区：
文献类型：
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作者：
L. Nooshin
德黑兰的地下室是一个有趣的现象。地下室是无处不在的公寓楼的标准特征，这些公寓楼建于20世纪60年代起，成为这座迅速扩张的城市中最显着的现代化标志之一，地下室植根于传统的建筑设计，其中地下空间提供了隐居以及与世隔绝的感觉。夏季凉爽，冬季温暖。如今，地下室有很多用途。它往往不是一个停车场，它也代表了一个界限空间，其中私人和公共领域之间的界限变得模糊。这种界限在伊朗仍然很重要，并通过围绕住宅建筑的高墙和金属大门在建筑上得到加强，保护内部私人空间不受外部世界的影响。但地下室违反了这一点。女性美容院通常用于婚礼招待会或男女自由混合的派对（与在公共场所举行的招待会相反），女性美容院通常位于地下室，远离公众视线，但不完全是私人家庭领域。在两伊战争期间，地下室也被用作防空洞。然而，近年来，在德黑兰的地下室里，在1979年革命26年之后，另一种东西正在发生。1998年政府放宽对流行音乐的限制后，许多年轻人开始组建自己的乐队，这导致了自1979年以来伊朗首次出现了草根流行音乐。特别是，许多乐队正在发展一种新的音乐风格，主要是摇滚为主，但也借鉴了一系列其他（主要是西方流行的）习语，有效地创造了一个本地化的伊朗摇滚品牌。
The Tehran basement (zir-e zamin) is an interesting phenomenon. A standard feature of the ubiquitous apartment blocks that were built from the 1960s onwards and became one of the most prominent signs of modernity in the rapidly expanding city, the basement is rooted in traditional architectural designs in which the space below ground offered seclusion as well as coolness in summer and warmth in winter. Nowadays, the basement serves many purposes. More often than not a parking area, it also represents a liminal space in which the boundaries between private and public domains become blurred. Such boundaries remain important in Iran and are reinforced architecturally through the high walls and metal gates that surround residential buildings and protect the internal, private space from the outside world. But basements transgress this. Regularly used for wedding receptions or parties where men and women mix freely (in contrast to receptions held in public places), women’s beauty salons are often located in basements away from the public gaze, but not quite in the private domestic realm. Basements also served as air raid shelters during the Iran-Iraq war. In recent years, however, something else has taken refuge in the basements of Tehran where, twenty-six years after the 1979 Revolution, a revolution of a rather different kind is taking place. Following the relaxation of government restrictions on popular music in 1998, many young people began to form their own bands, something that has led to the emergence of a grass-roots popular music for the first time in Iran since 1979. In particular, many bands are developing a new style of music, largely rock-oriented, but also drawing on a range of other (predominantly Western popular) idioms, effectively creating a localized brand of Iranian rock.