Afro-Iranians and their Participation in Cultural Development of Iranian Southern Coats (original) (raw)
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Costume: A Prominent Element to Recognize Iranians Ethnic Identity
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These two films will be of great interest for Iranian Studies scholars, students, and the thirsty-for-knowledge public. They help open the way for a neglected but now emerging area of investigation—the presence of African-origin people in Persia and Iran. Director and historian of modern Iran Behnaz A. Mirzai explains the transporting of African slaves into the Persian Gulf and coastal settlements—that expanded in the late 1700s—and then onward into the areas of present-day Iran, Iraq, Turkey, Afghanistan, and Pakistan. She also focuses on trade relations between Persia and Africa, with ships taking dates, ceramics, and salt to northeastern and eastern Africa and bringing back ivory and mangrove—for constructing the ceilings of mud homes. As a result of both Africans brought as slaves and trade in material items, the Afro-Persian population increased especially in the southern coastal areas. Even in Tehran, where Africans were put to work by shahs and the wealthy as servants, bodyguards, soldiers, eunuchs, nannies, wet nurses, and concubines, by 1869 some 3,300 people of African background lived in Tehran, constituting 2% of the population, according to Mirzai.
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Tourism is one of the most dynamic economic activities of the current era, which plays an important role in sustainable local development. This industry, on the one hand, provides leisure time, and on the other hand, leads to the development and growth of less developed areas and the spread of culture and religion in different regions. Cultural tourism, as one of the types of tourism, plays a significant role in the dissemination of the indigenous and national cultures of different lands and cultures. One of the cultural attractions in the world is the traditional clothing of different nations, which reflects the national and cultural identity, rituals, and customs, and shows the ways they can be distinguished from those in other nations of the world. This article aims to examine the position of traditional clothing, which is one of the most important factors affecting the tourism industry. For this purpose, it analyzes the traditional clothing of Iranian ethnic groups and scrutinizes its cultural and artistic impact on attracting tourists. The present study seeks to answer the question of how the traditional clothing of Iranian ethnic groups can contribute to the development of cultural tourism in Iran? This research is applied and uses the descriptive-analyticalsurvey method. The data collection methods included library and field research. Data from the field was collected through interviews with 40 researchers and experts in the field of tourism. The validity and reliability of the study were established through Cronbach's test and snowball sampling. The research hypothesis was based on the positive effect of traditional Iranian clothing in various dimensions and methods on cultural tourism. Analysis of the opinions of experts and researchers shows that the traditional clothing of Iranian ethnic groups is an important element in defining cultural identity in five sections: cultural relations, international tourism cooperation, introduction and supply of traditional clothing, advertising and dissemination of indigenous culture, can be identified and expanded as one of the most effective cultural attractions in the cultural tourism industry in Iran.
Review of Afro Iranian lives and African Baluchi Trance Dance
These two films will be of great interest for Iranian Studies scholars, students, and the thirsty-for-knowledge public. They help open the way for a neglected but now emerging area of investigation-the presence of African-origin people in Persia and Iran. Director and historian of modern Iran Behnaz A. Mirzai explains the transporting of African slaves into the Persian Gulf and coastal settlements-that expanded in the late 1700s-and then onward into the areas of present-day Iran, Iraq, Turkey, Afghanistan, and Pakistan. She also focuses on trade relations between Persia and Africa, with ships taking dates, ceramics, and salt to northeastern and eastern Africa and bringing back ivory and mangrove-for constructing the ceilings of mud homes. As a result of both Africans brought as slaves and trade in material items, the Afro-Persian population increased especially in the southern coastal areas. Even in Tehran, where Africans were put to work by shahs and the wealthy as servants, bodyguards, soldiers, eunuchs, nannies, wet nurses, and concubines, by 1869 some 3,300 people of African background lived in Tehran, constituting 2% of the population, according to Mirzai.
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Fashion in the twenty-first century in Iran has become highly inventive, surprisingly innovative, and undoubtedly glamorous. This is a surprise to some in the West who are accustomed to seeing images of large public gatherings of men and women in drab clothing engaged in religious or political activities that seem to be decidedly lacking in any elements that could be called “fashionable.” Women in particular are portrayed in the all-enveloping chador, usually solid black, which has become a Western trope for female repression. Fashion in Iran has, in fact, been remarkable for its flexibility and for its role in cultural communication. It has been directly responsive to social and political events in the country for as long as documentation has existed. Iranians take enormous care in their dress, exhibiting a great deal of attention and individualism. Every element of Iranian fashion is socially coded, making it easy to determine the political, social, and personal attitudes of the wearer. Because dress is such a potent public statement, attempts on the part of the Iranian state to impose standards and requirements on the population have been a universal phenomenon over many centuries. Before one can understand the current status of fashion in Iran, it is necessary to understand the elements from which fashion is constructed. These consist both of material element, like fabrics and tailoring, ethnic traditions from the many cultural groups that live under the rubric of Iranian culture, and historical social forces that have inspired the expression of Iranian identity over the years. These three elements: material, cultural, and historical, have shifted and interacted with each other to create fashion variation.
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