WOMUSIRAN: Women and Western Art Music in Iran

WOMUSIRAN通过西方艺术音乐在伊朗的棱镜，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，学者和从业者的命运，他们的工作和职业生涯成为1979年革命的牺牲品，以及随后对妇女和音乐制作的严格控制。该项目介绍了自下而上的历史，这些先驱女音乐家在塑造伊朗的文化政策，影响1979年后的散居社区，并为当今伊朗重新出现的音乐和文化生活中的妇女的可能性做出贡献。该项目的目标是对主要和次要来源进行批判性和背景评估，构建伊朗和散居社区主要女音乐家的口述历史，并对案例研究音乐家的作品进行比较和背景评估。另一个目标是将这些个案研究置于非物质文化遗产的框架内。这些目标将通过一种跨学科的方法来实现，该方法借鉴了（民族）音乐学、移民、性别和女权主义研究、地区研究和人权，借鉴了访谈、证词和档案材料，以及文本和音乐评估。1999年，她在伦敦大学音乐学院（即将离任）和伦敦国王学院音乐系（回归）工作，借调到波士顿丝绸之路音乐学院两个月，在世界文化之家音乐学院（巴黎）工作六个月。其成果将是跨部门的，打破学者和从业者之间的界限，使散居音乐家能够与他们的根重新联系，为新一代女性和LGBTQ+音乐家提供声音，并在伊朗和散居者之间建立沟通渠道。

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.