WOMUSIRAN: Women and Western Art Music in Iran

WOMUSIRAN透过伊朗西方艺术音乐的棱镜，调查性别、伊斯兰教、移民和文化挪用之间的联系。它追溯了女性作曲家、教师、学者和实践者的命运，她们的工作和事业成为1979年革命以及随后对女性和音乐制作的严格控制的受害者。该项目以自下而上的方式展示了这些先锋女性音乐家在塑造伊朗文化政策、影响1979年后流散社区以及为当今伊朗女性重新出现的音乐和文化生活做出贡献方面所发挥的作用。WOMUSIRAN与阿富汗目前的局势产生了强烈的共鸣。该项目的目标是对第一手和二手资料进行批判性和背景评估，构建伊朗和散居社区重要女性音乐家的口述历史，并对案例研究音乐家的作品进行比较和背景评估。进一步的目标将是在非物质文化遗产的框架内定位这些案例研究。这些目标将通过跨学科的方法来实现，该方法利用（民族）音乐学，移民，性别和女权主义研究，区域研究和人权，利用访谈，证词和档案材料，以及文本和音乐评估。该项目将在多伦多大学世界领先的伊朗研究中心（离任阶段）和伦敦国王学院音乐系（回国阶段）进行，其中在丝绸之路（波士顿）借调两个月，在世界文化之家（巴黎）实习六个月。结果将是跨部门的，打破学者和从业者之间的界限，使流散的音乐家能够重新与他们的根源联系起来，为新一代女性和LGBTQ+音乐家提供发言权，并在伊朗与流散的音乐家之间建立沟通渠道。

WOMUSIRAN investigates links between gender, Islam, migration and cultural appropriation, through the prism of Western art music in Iran. It traces the fate of female composers, teachers, scholars and practitioners, whose work and careers fell victim to the 1979 Revolution and to the subsequent tightened controls on women and music-making. The project presents a bottom-up history of the role of those pioneering female musicians in shaping Iran's cultural policies, impacting post-1979 diasporic communities, and contributing to present-day possibilities for women in Iran's re-emergent musical and cultural life. WOMUSIRAN resonates stronglywith the current situation in Afghanistan.The project's objectives are to undertake a critical and contextual assessment of primary and secondary sources, to construct an oral history of key female musicians in Iran and diasporic communities, and to conduct comparative and contextual assessment of works by the case-study musicians. A further objective will be to locate these case studies within the frame of Intangible Cultural Heritage. These objectives will be achieved through an interdisciplinary methodology that draws on (ethno-)musicology, migration, gender and feminist studies, area studies and human rights, drawing on interviews, testimonies and archival material, alongside textual and musical assessment.The project will be carried out at the world-leading Centre for Iranian Studies at the University of Toronto (outgoing phase) and at the Music Department of King's College, London (return phase), with a two-month secondment at Silkroad (Boston) and a six-month placement at the Maison des Cultures du Monde (Paris). The outcome will be intersectoral, breaking down boundaries between academics and practitioners, enabling diasporic musicians to reconnect with their roots, giving a voice to a new generation of female and LGBTQ+ musicians, and creating channels of communication between those in Iran and the diaspora.