A Study of Transsexuality in Iran

Although transsexuality and change of sex might be considered a matter of personal choice, they have some socio-cultural causes and consequences. This article aims to examine these through the illustration of transsexuality in Iran. To this end, firstly, sexual transition and the legal system in Iran will be explained. Secondly, the methodology will follow. This study uses the survey method with two separate samples: 1) transsexuality policy makers and 2) forty individual cases of transsexuals. The findings reveal that while the Iranian legal system does not ban transsexuality and sexual transition, transsexuals suffering from gender identity disorder do encounter some social and cultural problems both in their private lives and publicly. The paper concludes with a summary of research findings, and sets out recommendations and study limitations.     

Visual representations of Iranian transgenders

Transsexuality in Iran has gained much attention and media coverage in the past few years, particularly in its questionable depiction as a permitted loophole for homosexuality, which is prohibited under Iran's Islamic-inspired legal system. Of course, attention in the West is also encouraged by the “shock” that sex change is available in Iran, a country that Western media and society delights in portraying as monolithically repressive. As a result, Iranian filmmakers inevitably have their own agendas, which are unsurprisingly brought into the film making process—from a desire to sell a product that will appeal to the Western market, to films that endorse specific socio-political agendas. This paper is an attempt to situate sex change and representations of sex change in Iran within a wider theoretical framework than the frequently reiterated conflation with homosexuality, and to open and engage with a wider debate concerning transsexuality in Iran, as well as to specifically analyze the representation of transexuality, in view of its current prominent presence in media.     

Mythological Themes in Iranian Culture and Art: Traditional and Contemporary Perspectives

In Iran, ancient mythical elements are very much alive in the present as a part of the fabric of ordinary people's lives and worldview. This paper explores the relationship between culture, myth, and artistic production in contemporary Iran, using the specific examples of symbols and mythological themes evoked in the work of painter/writer Aydin Aghdashloo and photographer/video artist Shirin Neshat. The paintings of Aghdashloo, in which he deliberately damages beautifully-executed classical style Persian miniatures, convey a sense that the angelic forces have failed and that the world is succumbing to the destructive and degenerative activities of the demonic. The photographs, videos and installations of Neshat likewise draw heavily on cultic forms inherited from ancient Iranian tradition. It is important to note that in none of these cases does the artist use mythological themes and symbols to express their original cultural meaning; rather, they appropriate well-known elements of ancient Iranian culture and imbue them with new meanings relevant to contemporary issues and understandings. What these examples do illustrate is the persistent resonance of ancient Iranian culture among Iranians up to the present day. Iranian artists have demonstrated the effectiveness of evoking their target audience's deep sense of cultural identity to convey contemporary messages using ancient cultural concepts, sometimes on a subconscious level.     

Transnational ways of seeing: sexual and national belonging in Hedwig and the Angry Inch

I argue that transnational ways of seeing help us apprehend the histories of globalization, immigration and imperialism that frame and make legible cultural productions. Focusing on John Cameron Mitchell's 2001 film Hedwig and the Angry Inch, which has been almost universally received as being about transsexuality, this essay argues that the film is equally about transnationality and specifically about how queer identifications and identities are produced in relation to the nation-state. Hedwig explores the limits of national belonging and the pleasures of US popular culture through the lens of sexual and gender identity, with the ambiguity of the Hedwig's body embodying confusion about legal, political and cultural citizenship. The film identifies and critiques the violences of heteronormative national belonging, yet by reading Hedwig alongside the political and legal histories that make its narrative legible, it becomes apparent that the film's popular reception frequently erases the transnational and imperial histories that undergird and produce sexual identities and identification. I argue that cultural practices do not simply reflect national or queer identifications but also produce them. The fissures between the cultural work of the film itself and of its circulation illustrate how despite the mutual imbrication of sexuality and nationality, transsexuality is sometimes more readily apprehended than is transnationality.     

Race and the Aesthetics of Alterity in Mahshid Amirshahi’s Dadeh Qadam-Kheyr

Focusing on black women Qadam-Kheyr and Sorur in Mahshid Amirshahi’s novel Dadeh Qadam-Kheyr (1999), this article examines literary representations of the African-Iranian presence, and provides a critique of race and slavery in twentieth-century Iran. In light of the history of the Iranian slave trade until 1928, and the reconstruction of race and gender identities along Eurocentric lines of nationalism in Iran, the novel under scrutiny is a dynamic site of struggle between an “Iranian” literary discourse and its “non-Persian” Others. The “aesthetics of alterity” at the heart of the text is, therefore, the interplay between the repressed title-character Qadam-Kheyr and the resilient minor character Sorur, each registering Amirshahi’s artistic intervention into a forgotten corner of Iranian history.     

Cinematic Revolution: Cosmopolitan Alter-cinema of Pre-revolutionary Iran

In the late 1950s, when Iran was witness to the withering away of social norms and everyday practices concomitant with the country's rapid urbanization, a group of young Iranian film directors embarked upon a new cinematic trend, in attempts to screen the ethereal quotidian of Iranian life. Defining itself against what was perceived to be the “cheap” and “repetitive” commercial “Film Farsi” industry of the time, this alternative (alter-)cinema fused the local and global, by incorporating international cinematic elements in socially and politically conscious national films, and projecting them on local and international screens. Problematizing a homogeneous conception of historical time that subsumes the history of cinema into a conventionalized grand narrative of the Iranian 1979 revolution, this article works with a conception of heterogeneous historical time that first interrogates cinematic temporality autonomously and then in relation to the political history of Iran, especially the events of the 1978–79 revolution. This article explores how the distinct cosmopolitan alter-cinema of pre-revolutionary Iran was born from a cinematic rupture in the 1950s, prompted by series of critiques and professional expectations that colored the attention paid to the vernacular and quotidian in film production.     

Gender and Organisational Restructuring in the National Health Service: Performance, Identity and Politics

Over the past decade, debates within economic geography and organizational sociology have shown that gender is embedded within economic discourses, organisational relations and processes of restructuring. The argument has been widely illustrated through reference to "identity", with examples offered of the ways in which organizations and organisational change draw on specific performances of masculine and feminine identities. However, whilst we now know a great deal about organisational expectations of gendered performance at work, we actually know little of how these required performances impact individual constructions of identity. This paper aims to explore this gap between organisational discourses of gender, on the one hand, and the construction of individual identities, on the other. The paper uses narrative analysis of interviews with five nurses working in two hospitals in the British National Health Service (NHS) to trace the place and articulations of organisation, profession and gender in the construction and presentation of self. The paper reveals complex processes of negotiation and resistance and both stable and shifting identifications as individuals actively construct gendered identities inter alia through their interpretations of organisational and professional change. This emphasis on agency, resistance and personal politics has important implications for thinking about the nature and form of workplace politics and may offer a missing piece of the puzzle in recent bids to build new forms of labour organisation.     

Contemporary Iranian Art: The Emergence of New Artistic Discourses1

This article deals with the emerging discourses and concerns that have dominated the Iranian art community mainly since 1997. It discusses the existing, or rather conflicting, views of the current situation of the visual arts in Iran as expressed in recent artistic events, productions, and exhibitions as well as in critical reviews.² It does not fully discuss the variety of artistic genres in Iran, but examines the dominant ideas from the main opposing factions of cultural and artistic thought. It also aims at identifying the structural changes in Iranian art as well as the prevailing artistic policy of recent years.     

Performing a different narrative: museum theater and the memory-work of producing and managing slavery heritage at southern plantation museums

In the southeastern United States, operators of plantation museums have traditionally engaged in a selective and romanticised remembrance of the antebellum past that has regrettably silenced and marginalised the historical experiences and struggles of enslaved African people. More recently, some plantation managers have sought to engage in the ‘memory-work’ using artistic practices to reconstruct and interpret slavery heritage for visitors. Our study explores museum theatre as a form of memory-work and suggests that theatrical performances of the memories of enslavement are an increasingly important but not yet fully understood strategy for recovering, embodying, and representing a different and hopefully more just narrative about enslaved Africans. We visit three plantation museums where managers hosted a theatrical performance of enslaved oral histories and explore the motivations and experiences of managers and the director of the slave performance. Realising the power and efficacy of theatrical performance as memory-work practice requires understanding how the management of the interpretation process can be difficult. We delve into the emotion-laden challenges confronting slavery-related museum theatre development at the North Carolina plantations and discuss the creative response formulated at the sites to help visitors work through unexpected feelings and understandings about the past.     

The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art

This essay explores two primary concerns in the art and artistic practice of contemporary Iran, namely “identity” (i.e. local, historical, imagined and collective identity and also self-identity) and “exoticism” (which appears inevitably related to the first), both of which (identity and exoticism) involve challenges relating to the “self” and “other” and the issue of “expectation”. It suggests that these issues see broader contextual socio-political parallels. The first apprehension relates to the concept of identity which addresses how artists have interpreted contemporary aesthetics in the light of national and indigenous ideology. The second refers to the ever-present obsession with cultural and frequently social concern with which Iranian artists are engaged within the country. The two concerns are integrated, in the way that the second is seen to be the outcome of the first. Some critiques are based on the issues of cultural commodification, anti-canonical West, cultural formulation, and also the stereotypes rooted in the preference and interest of the market.     

Cold War Conflicts and Cheap Cabaret: Sexual Politics at the 1975 United Nations International Women's Year Conference

In a widely read memoir, a Bolivian union militant signals the moment of her alienation from the nongovernmental organisation tribune of the United Nations’ 1975 International Women's Year (IWY) conference in Mexico City by describing her dismay when she encountered a group of women clamouring for sexual rights, reiterating a persistent narrative about a trade‐off between sexual rights and other forms of social justice.
Drawing on feminist performance theory, this article examines the political performances of three central figures at IWY – Domitila Barrios de Chungara, Betty Friedan and Mexican theatre director Nancy Cárdenas – to explore the ways that political performances rooted in distinct scenarios, or historical contexts, generated a confusion of meanings around campaigns for sexual rights.     

Art as a diagnostic: assessing social and political transformation through public art in Cairo,Egypt

Since January 2011, Egypt has undergone several waves of political upheaval in order to craft a new form of governance. Central to this process has been the role of art. This article argues that artistic interventions that engage with the idea of public space and that take place in the public space of the city engender interactions that illuminate the complexities and difficulties currently facing Egyptian society. More so than serving as documentation of what has taken place or as acts of protest, public art can serve as a diagnostic of issues that simmer underneath the surface of national politics. Based on interviews, focus groups, and observations conducted between 2011 and 2013 with Cairo-based artists and arts advocates, the paper explores the way in which public art has signaled tensions regarding class, gender and increasing political polarization. By exploring the relationship between art, artists and urban space, this paper extends analyses on political transitions to take account of the effects produced by forms of artistic expression within the public sphere.     

Fictive Layering and Inversion in the Paintings of Ali-Akbar Sadeghi

In Iran surrealism is spoken of by artists and critics as a living element in art, long after its popularity in Europe and North America has waned. This article explores key features of the work of one of the most prolific contemporary Iranian artists, Ali-Akbar Sadeghi. While Sadeghi says that he thinks of himself as a “surrealist,” his work is distinguished from many self-professed surrealists in Iran: whereas the latter are concerned with representing metaphysical, even mystical, meanings, Sadeghi sees his art as a kind of intellectual exercise, presenting a dramatic theater in which the viewer engages in epistemological interrogation. Though Sadeghi's paintings are full of apparent references to surrealist themes and tropes from the past, here it is argued that his work is not so much a storehouse of surrealist content as a series of puzzles for the viewer to solve.     

The Immemorial Iranian Nation? School Textbooks and Historical Memory in Post‐Revolutionary Iran

Abstract. This paper is concerned with the fortunes of the pre‐revolutionary, Pahlavi nationalist narrative in post‐revolutionary Iran. The study analyses and compares pre‐ and post‐revolutionary school textbooks with the aim of demonstrating that, for all its revolutionary and Islamic‐universalist hyperbole, the Islamic Republic of Iran remained committed to the Pahlavi dynasty's conception of the ‘immemorial Iranian nation’ (or the ‘Aryan hypothesis’) as it was first articulated by European scholars of the late nineteenth and early twentieth centuries. Post‐revolutionary Iran clung to the European/Pahlavi master narrative of Iranian history, its very basic ‘story line’. It was, therefore, subject to the same evolution, the same dialectic of remembering and forgetting, the same successive deformations, and the vulnerability to the very same manipulation and appropriation. This study, then, attempts to establish that the Islamic Republic's apparent shift from ‘Iran Time’ to ‘Islam Time’, though it reaches far beyond Iranian borders, nevertheless remains wedded to, and embedded in, the dominant European, secular traditions of the Pahlavi era. Islamic consciousness in Iran does not in any way constitute the basis for an alternative myth to the national myth. Rather, it adds Islamic terminology to the very same myth. Political Islam thus remains within the confines of Iranian nationalism. It is articulated in the framework of the symbols of Iranian nationalism, endowing them with a meaning that is supposedly religious.     

The Conservation of Biodiversity in Iran: Threats,Challenges and Hopes

Because of its diverse geological formations, climates, and soils, Iran is home to outstanding biodiversity. National conservation started in Iran over fifty years ago and today nearly 10 percent of the country is protected. However, biodiversity in Iran is threatened, with about 100 species of vertebrate fauna vulnerable or endangered. Increased population and human activity, climate change, drought, desertification, agriculture, poaching, and economic sanctions have helped create this crisis. Many of these causes can be mitigated through better planning, sustainable policies, and increased civil society and local engagement. Promoting awareness about the impacts of human practices will also be important for the long-term sustainability of Iran’s ecosystems. Iranian conservation NGOs have already taken an active role in preserving biodiversity.     

Avoiding the “F” word: feminist geography in Iran

Abstract

Little attention has been given to how feminist geography is defined, applied, and taught in non-Anglophone countries, especially in Muslim majority societies where Women’s Rights are quite different from the western world. The case of Iran among other Middle Eastern countries becomes even more isolated due to the several political, linguistic, and cultural limitations opposed on Iranian academics and international collaborations after the 1979 Islamic Revolution. Women make half of Iran’s 80 million population, 63% of university graduates, almost half of informal workers, 30% of Iranian professors, 13% of high level management position holders, and under 5% of the Islamic Majlis (Iran’s Parliament). However, feminist geography, the sub-discipline that has been traditionally dedicated to the inclusion of gender as an analytical lens within Geography, is not a recognized field at any departments in Iran. This essay aims to present the current status of feminist geographic research and teaching at selected Iranian Universities. My goal is to offer a better understanding of how the local social and political context affect what constitute feminist geographic work and how geographers navigate the political and hierarchal university systems to engage in gender studies. Through informal interviews via emails and Skype with several Iranian geographers, I illustrate why Iranian geographers often avoid using “feminist” terminology in recognizing their work, even though their work is feminist.     

Better a Warm Hug than a Cold Bath: Nationalist Memory and the Failures of Iranian Historiography

This paper assesses the extent to which the modern historiography of Iran is indebted to a nationalist construction of Iran’s past, rather than proceeding from impartial and critical historical research. The paper pursues this aim by applying the distinction between history (as a scholarly discipline) and memory (as a nationalist construct) to one of the central tropes of the country’s historiography. According to that trope, Iranian history can be summarized as a succession of violent invasions by foreign “races,” which never stamped out Iran’s separate ethnic identity. This resilience is attributed to Iranian civilization’s inherent superiority, which Iranianized the invaders and thus ensured Iran’s survival as a primordial nation. The analysis shows that—counter-intuitively—twentieth-century Iranian historians, instead of subjecting this narrative to critical assessment, have in fact played a central role in developing it into a self-serving historiography. Special attention is given to Zarrinkub’s seminal Two Centuries of Silence.     

Resisting the creation of forgotten places: artistic production in Toronto neighbourhoods

This article analyzes semi-structured interviews with contemporary visual artists from Toronto, Canada, to explore the relationship between artists, memory, and place. The focus of the article is on three neighbourhoods in downtown Toronto that have the potential to become forgotten places of artistic production: Yorkville, King Street West and The Junction. Through an analysis of artists' spatially grounded narratives about these three neighbourhoods, I reveal how the intense emotional and material connections that artists have to places have the potential to challenge the loss of collective urban memory. This article contributes to intersecting literatures on neighbourhood change, artistic production and the importance of vernacular memory in urban cultural geography.     

Trans youth,science and art: creating (trans) gendered space

This article is based on empirical research which was undertaken as part of the Sci:dentity project funded by the Wellcome Trust. Sci:dentity was a year-long participatory arts project which ran between March 2006 and March 2007. The project offered 18 young transgendered and transsexual people, aged between 14 and 22, an opportunity to come together to explore the science of sex and gender through art. This article focuses on four creative workshops which ran over two months, being the ‘creative engagement’ phase of the project. It offers an analysis of the transgendered space created which was constituted through the logics of recognition, creativity and pedagogy. Following this, the article explores the ways in which these transgendered and transsexual young people navigate gendered practices, and the gendered spaces these practices constitute, in their everyday lives shaped by gendered and sexual normativities. It goes on to consider the significance of trans virtual and physical cultural spaces for the development of trans young peoples' ontological security and their navigations and negotiations of a gendered social world.     

The female body as the bearer of national identity in Iran: a critical discourse analysis of the representation of women's bodies in official online outlets

Abstract

The female body has been in the foreground of nation-building in Iran especially since the 1930s projects of modernization, when unveiling women and adaptation to Western clothing became a crucial factor of bolstering modern Iranian national identity as opposed to a religion-based national identity. After the 1979 Revolution, the Islamic dress code became compulsory and female imagery depicting modesty and piety became a source of national identity. Although the representation of women's bodies in nationalist discourses has been subject of different studies, women's representation in official online outlets is still understudied. This article discusses how women's bodily appearance and representation in official online outlets feed into the nationalist discourses in Iran. Three key cases between 2014 and 2017 are addressed: (i) actress Leila Hatami kissing a man at the 2014 Cannes Film Festival; (ii) the public debate on women's entrance to sports stadiums in 2014–2015; (iii) the public revelation of actress Taraneh Alidoosti's tattooed forearm in 2016. Data were collected from multiple Iranian official online platforms and a critical discourse analysis was undertaken to analyse different forms of discursive articulation regarding women's bodies and national identity. Drawing on feminist literature inspired by the Foucauldian concept of biopolitics, the article discusses the ways in which women's bodies are discursively constructed to illustrate a uniform Islamic nationalistic discourse.