Music Dance Irani – “The new Iran nuclear deal is a major victory for Vladimir Putin,” former Vice President Mike Pence said as Beijing worked with Saudi Arabia and Iran to weaken US influence.
A group of Iranian teenage girls are wanted by the police for posting TiKTok videos. A song by Selena Gomez.
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The video, which went viral online, shows five teenage girls dancing head to toe to Selena Gomez and Nigerian singer Rema’s song “Calm Down” in front of a tower in western Tehran.
Iranian Children Are Dancing To Pop Music, And The Government Is Furious
Photos from the video on social media show five Iranian teenage girls groping Selena Gomez. (Twitter / @ shahrak_ekbatan)
Iranian-Canadian journalist Maziar Bahari said the video is considered normal in most cities around the world, but in Iran “it’s a protest.”
“Does @heisrema know that her song #CalmDown is the foundation of an incredibly brave protest movement of young Iranian women?” Canadian journalist Nahayat Tizhoosh tweeted. “It started when 5 girls from @shahrak_ekbatan played to his music – exposed to a regime that kills women just for protesting.”
Ekbatan, the Twitter account that publicized the incident, warned on Friday that the girl could be arrested and detained.
Iranian Girls Dance Video
The account said Iranian security forces were reviewing CCTV footage from the tower block and questioning officials to identify the girl.
The community was the center of protests last month that resulted in the death of Mahsa Amini. A 22-year-old Iranian woman is in police custody on September 22, 2022, after she was arrested for not wearing a proper headscarf.
A protester points to a picture of Mahsa Amini during a demonstration in support of the protestant Iranians who took the lead over the death of a young woman at a checkpoint in Paris, Sunday, Oct. 2, 2022. (AP Photo/Aurelien Morissard)
At the same time, hundreds of Iranian girls in schools were exposed to poisonous gases seeping into their classrooms.
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Officials in Iran’s Democratic Party initially dismissed the report, but later described it as a deliberate attack involving nearly 30 schools, which some believe may have been aimed at closing schools for the country’s more than 80 million girls. Art. It is not in a book, a song or even a score, but in the human body itself. As an inheritance, it must be passed down from generation to generation. If this strong lineage is severed, the dance is in danger of dying out. This is a challenge that Iranian women’s dance traditions face both in a homeland where public performance is prohibited, and in marginalized societies where the narrative of cultural heritage is often told through the identity politics of life away from the “homeland”.
Come here. Its tradition shows the nuances of social and natural geography. Although the soundstage at the venue has shifted to traditional music to accompany the dance. Iranian dance reflects itself
A diverse geography, from the Caspian Sea in the north to the Persian Gulf in the south, mountains.
To the great desert in the east. To live in these different environments, different forms of life are created and with them different behavioral traditions. Caught in the violence of time, the gestures of everyday life – the weaver’s baskets, the horse-drawn carriage, the weaver’s hand – were incorporated into the dance. In that case
An Enemy Plot’: Iran Launches Crackdown After Videos Emerge Of Schoolgirls Dancing
Beyond the borders of modern Iran with the ancient lands described in the Shahnameh, the geography of the dance expanded. Have you ever seen the beautiful princess Rudabi happy in Zal Kabul?
Danced with her maids? And does the sinister Afrosiyab (who shares his name with the ancient city of Samarkand) see Turanian dancers at his party? Did Nimiya Ganjavi describe the “seven princesses of seven ages” in his famous poem Haft Paikaar, performing their traditional dance while watching Bahram Gur in his palace? Perhaps something “multicultural” has always been part of the Iranian experience.
Dance as a cultural symbol Middle Eastern dance is generally considered in four broad categories, although these can be applied to Iranian dance, but they are not exhaustive. These items are “chains” or dance lines. The War or War Dance is a religious dance of mystical brotherhood and a dance of impossible loneliness. These categories include a rare pair of dances and expand the category of religious dance to other spiritual rituals and traditions, creating a more useful approach to analyzing and understanding Iranian dance. A chain or line dance often moves in a circular motion. They are often referred to as Caucasian, Qashqai, Kurdish, etc. regions, tribes or ethnicities.
For ancient agricultural societies, the circle dance fostered a sense of community cooperation that was necessary to compensate for the stress of survival, where famine resulted in only one bad harvest. In addition to entertainment, ritual dance is a way to further harmonize the unconscious forces of nature by evoking lost characters together. A war or battle dance is a way to process battle and help train warriors. Sword or sword dance is in this category. Stylized movements of athletes in Zurkhon (“house of strength”) also belong to this category. Spiritual dances, such as those of the Sophias or Dervishes, are depicted in Persian miniatures, and Persian miniatures show men of all kinds gathering in joyous postures. In everyday use, the sleeves of the dancers are sometimes pulled up by hand; The veil is bent to the ground, symbolizing a state of renunciation. These dances are reminiscent of Jalalindin Rumi’s mystical poetry and sama and zikr rituals.
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In the Turkish-Azerbaijani population, one can find a double dance similar to the Naza Elim. Men and women dance nearby. The male frames his female partner and shows a proud and active carriage. Elegant, feminine, elegant and gracious, she came forward. The imperial solo genre ranges from the renaissance of Persian court dance to modern social dance. These dances emphasize charm and beauty, as well as the elusive and difficult to define quality of tenderness. Of all the dance forms, the solo dance has historically given women the greatest opportunity to express themselves within the context of andarón (women’s season). For these reasons, it is the solo empire genre that has historically suffered most from its association with immorality.
In the hierarchy of traditional Persian art, dance ranked below poetry and calligraphy. For complex historical reasons, public dancing has created shame in traditional Muslim culture. Dance settings – Sexual settings such as coffee shops with a predominantly male audience are often associated with immorality such as drinking, smoking or inappropriate sexual behaviour, especially prostitution. Young boys sometimes seduce women, wear women’s clothes, and imitate women’s gestures and dances. These factors associate dancing with shame and guilt, making it an indecent profession. Court patronage under the Safavid and Qajar dynasties provided many famous venues for dance. Court dances, characterized as “beautiful, gentle, symbolic and full of meaning”, flourished.
A famous painting from Chehel Sutton – a magnificent palace in Isfahan – scenes of court entertainment, with dancers performing at banquets, richly dressed and decorated. The fall of the Qajar dynasty in 1925 broke the continuity of the court dance. Even in neighboring regions such as the Bukhara Emirate, the tradition is not lost, but through the family. When Iran’s historic border regions of Azerbaijan, Uzbekistan and Tajikistan were part of the Soviet Union, they benefited from professional dance training established in Western styles. Here, dance was promoted as a respectable art form. A similar trend developed under the Pahlavis, with the establishment of the Iranian National Ballet and the Iranian National Folklore Society, as well as mahali dancers touring abroad with Iranian folk performers.
Diaspora Dance Trends The Islamic Revolution of 1979 led to the country not only supporting dance as a profession, but also making dance accessible to all. The continuation and official promotion of dance for mass audiences fell to the diaspora population. In Sweden, Nima Kian established his own Les Ballets Persie, and Iran’s national ballet was in danger. Some other contemporary artists are also experimenting with mixing elements and styles of Iranian dance with other established and respected art forms such as ballet and modern dance to develop and elevate the art of Iranian dance.
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But in the mix of this genre, “Iranian” dance changes some of its main characteristics and becomes something new, perhaps adapted to a social world outside the “homeland”. Dance, like all art, can only flourish with the respect and support of the refugee community. In Los Angeles, Iranian-Americans such as Mohammad Khordadian produce highly popular instructional videos and tutorials. Iranian diaspora cultural centers and schools often include dance classes for children and youth to help them develop a sense of national identity.
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