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Music of Protest: Intersectionality of Art and Activism Inside Iran and the Iranian Diaspora
Pirasteh, Seyedhamidreza
Pirasteh, Seyedhamidreza
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Thesis/Dissertation
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2025-05
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Music Composition
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https://doi.org/10.34944/ssw3-tp08
Abstract
In this dissertation, I explore the complex relationship between artistic expression, political resistance, and transnational activism within contemporary Iran and its diaspora. I investigate how individuals and communities utilize creative practices, particularly sound and music, as powerful tools for dissent, identity formation, and political engagement across geographical borders. This research employs a multifaceted approach, combining empirical methods such as ethnographic observation and in-depth interviews with theoretical analysis to understand the lived experiences of artists and activists within broader socio-political contexts. A central aim is to illuminate the innovative ways in which creative elements are integrated into protest tactics, functioning not merely as accompaniment but as integral components for conveying opposition and building solidarity.In Chapter One, I provide the background and methodology, outlining the core research questions and the blend of ethnographic, analytical, and interview-based approaches employed. It also introduces "White Room," an interdisciplinary performance-installation project that serves as an experiential extension of the dissertation's concepts.
Chapter Two delves into the protest tactics used in Iran during the 2022-2023 Women, Life, Freedom movement. I analyze the unique characteristics of this movement, focusing on the innovative uses of sound, such as delay effects and vocal registers in chants, language, and performance art in various public and university spaces to express dissent and address safety concerns.
The third chapter shifts focus to diaspora political activism and transnationalism, comparing tactics, such as protests, lobbying, cultural advocacy, as well as motivations across different diasporic groups, including Sri Lankan Tamils and Hong Kongers. It examines how diasporas mobilize resources and navigate the significant challenge of transnational repression, drawing on examples from the experiences of Syrians and Libyans.
In Chapter Four, I present ethnographic research based on my observations of Iranian diaspora protests in the United States, specifically in New York City, Washington, D.C., and Philadelphia. I analyze diaspora-specific tactics, including the crucial role of sound and music, such as adaptations of chants and the use of traditional instruments, the application of performance art, and the ways cultural symbols are employed to assert identity and solidarity while engaging with host societies.
The fifth chapter features my interviews with contemporary Iranian composers Niloufar Nourbakhsh and Adib Ghorbani. It explores how their personal experiences, cultural identities, and the socio-political realities of Iran shape their compositional voices, examining themes of censorship, resistance, truth-finding, and the shift towards creating accessible music for activism.
In Chapter Six, I examine the theoretical underpinnings of the "White Room" installation, connecting its concepts to the philosophies of Hannah Arendt (e.g. propaganda and totalitarianism), Michel Foucault (e.g. disciplinary power and surveillance), and Antonio Gramsci (e.g. hegemony and consent) within the context of power structures and control.
In the seventh chapter, I provide a technical and conceptual breakdown of my installation, White Room, describing its mechanism, musical materials, sensor integration, Arduino and Max patch functionalities, and the mechanisms for audience interaction and their influence.
The last chapter of my dissertation synthesizes my findings on the intersectionality of art and activism in the Iranian context and its diaspora. I argue that artistic practices are vital forms of political discourse and resilience, connecting the research back to the White Room project and the broader significance of art in challenging power structures globally.
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