The Poetics and Politics of the Veil in Iran: An Archival and Photographic Adventure

By Azadeh Fatehrad

This volume explores the lives of women in Iran through the social, political and aesthetic contexts of veiling, unveiling and re-veiling. Through poetic writings and photographs, Azadeh Fatehrad responds to the legacy of the Iranian Revolution via the representation of women in photography, literature and film. The images and texts are documentary, analytical and personal.

The Poetics and Politics of the Veil in Iran features Fatehrad’s own photographs in addition to work by artists Hengameh Golestan, Shirin Neshat, Shadi Ghadirian, Abbas Kiarostami, Mohsen Makhmalbaf, Adolf Loos, Gaëtan Gatian de Clérambault and Alison Watt. In exploring women’s lives in post-revolutionary Iran, Fatehrad considers the role of the found image and the relationship between the archive and the present, resulting in an illuminating history of feminism in Iran in the twentieth and twenty-first centuries.

• Language: English
• Publisher: Intellect Books
• Release date: Dec 1, 2019
• ISBN: 9781789381276

Azadeh Fatehrad

Azadeh Fatehrad is an artist, curator and researcher based in London. She is the author of Sohrab Shahid Saless-Exile: Displacement and the Stateless Moving Image (2020) published by Edinburgh University Press, UK. She is on the editorial board of the peer-reviewed journal MAI: Feminism & Visual Culture in Gothenburg, Sweden. Contact: Kingston University, Penrhyn Rd, Kingston upon Thames KT1 2EE, London, UK.

Book preview

First published in the UK in 2019 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK

First published in the USA in 2019 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA

Copyright © 2019 Intellect Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.

A catalogue record for this book is available from the British Library.

Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The author apologizes for any errors or omissions and would be grateful if notified of any corrections that should be incorporated in future reprints or editions of this book.

Copy editor: MPS Technologies

Cover designer: Aleksandra Szumlas

Cover image: Azadeh Fatehrad (2015),

Departure series. Photograph. Tehran.

Production manager: Naomi Curston

Typesetting: Contentra Technologies

Print ISBN: 978-1-78938-126-9

ePDF ISBN: 978-1-78938-128-3

ePUB ISBN: 978-1-78938-127-6

Printed and bound by Severn, UK

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This is a peer-reviewed publication.

‘This refreshing and evocative book brings new light to the study of how women in Iran are represented at home and abroad. Tracking images of Iranian women in photography, film, poetry, fiction and philosophy, Azadeh Fatehrad locates the experience of state-mandated unveiling and veiling within the spaces of the home and society, revealing how changes to the urban fabric coalesce with new veiling regulations to foster and inhibit access to public life for women in Iran. Bringing her own artist’s eye to the subject, Fatehrad explores how visual behaviours of looking and averting the gaze – often indiscernible to outsiders – are learned, imposed and resisted by women and men across the generations and across the political spectrum.’ 

Reina Lewis, professor of cultural studies, London College of Fashion, UAL. Author of Muslim Fashion: Contemporary Style Cultures (Duke University Press, 2015)

‘Azadeh Fatehrad shares her research with great sincerity. Her book gives a rare glimpse into some of the day-to-day affairs of Iranians – Iran is a huge topic and this is a very welcome addition to the growing literature about the country.’

Arshin Adib-Moghaddam, professor, SOAS, University of London. Author of Psycho-Nationalism: Global Thought, Iranian Imaginations (Cambridge University Press, 2017)

This book is dedicated first to the women of my country of birth, Iran – with all your curiosity to search for our hidden history, whether inside or outside Iran, you have been a great inspiration for my resistance, strength and love.

Second, to the women of my adopted country of the UK, to your observations, doubts and generous support that have provided the nurturing platform for the creation of this book.

Contents

ABOUT THE BOOK

PREFACE

INTRODUCTION

CHAPTER ONE

1.1 Iran in 1936

1.2 The Hijab in Iran

1.3 On Feminism in Iran

1.4 The Islamic Revolution of 1979

1.5 On Photography

CHAPTER TWO

2.1 On Veiling and Writing

2.2 Veiling and the Sense of Protection

2.3 On Veiling and Modesty

2.4 On Looking

CHAPTER THREE

3.1 Mobile Architecture

3.2 On the Garden: Away from the Crowd

3.3 Drapery: Displacement from the Body to the Fabric

3.4 Today in Iran: The Contemporary Public Life

APPENDIX: THE SHOWROOM PROJECT SEPTEMBER 2015

BIBLIOGRAPHY

ACKNOWLEDGEMENTS

INDEX

About the Book

The publication The Poetics and Politics of the Veil in Iran: An Archival and Photographic Adventure written by the Iranian born and London-based artist and curator Azadeh Fatehrad is a photographic–poetic meditation uncovering Iran’s feminist history.

The chance discovery of a photograph taken in Teheran on 8 March 1979 of women marching in the streets in protest against the introduction of the compulsory Islamic dress code marks the starting point for Azadeh Fatehrad’s journey as a diasporic artist in search of her own history. Through her research she uncovers more about the spontaneous uprising of 8 March 1979 and the complex history of feminism in Iran in the twentieth and twenty-first centuries.

The lives of women in Iran are explored across social, political and aesthetical contexts of veiling, unveiling and re-veiling. At the heart of the publication is the creation of an imaginary space of self-representation that responds, in poetic photographs and writing, to the legacy of the Iranian Revolution on the representation of women in photography, literature and film. The text and images move adeptly between the documentary, the analytical and the personal to create an accessible and theoretically nuanced visual narrative that rewires history and scholarly possibility.

The Poetics and Politics of the Veil in Iran: An Archival and Photographic Adventure demonstrates how forgotten archives can be reclaimed and used creatively to inspire new conversations and imaginaries of resistance. It offers a new form of evidence drawn from practice-based research that is academic, artistic and activist.

Preface

During my master’s studies at London’s Chelsea College of Arts, I attended a book launch by the German artist Sandra Schäfer, who was a visiting artist at Chelsea over the summer of 2009. When I flicked through the pages of Sandra’s book, Kabul/Tehran 1979ff (2006), I encountered an astonishing image of women in my country in 1979. I was instantly fascinated by the image, and asked Sandra what she knew about it. She replied that the photographer was actually sitting in the audience. That was my first contact with Hengameh Golestan, one of the pioneers of photojournalism in Iran. Golestan’s photograph became the origin – or starting point – of my project.

Here in London, for the first time I learned about the missing part of my own history, namely the uprising of 8 March 1979 when women took to the streets of Tehran in protest against the compulsory dress code. Golestan’s photograph had opened a door onto the complex history of my own country, which is largely inaccessible to me back home.

Golestan’s photograph thus became the emotional core of my project, and my research started to form around it as I acquired and made my way through piles of books about the history of Iran and Iranian feminism as well as texts about different cultural forms that, in one way or another, relate to representations of the veiled woman: for instance writings on Iranian cinema and photography, on literature and poetry, writings on architecture and gardens that talk about notions of protection and privacy. The resulting text is an assemblage of insights and references connected by the image of the veiled woman in Iran’s history, in an attempt to express complex, ambivalent and ambiguous relationships to the veil as a symptom of an oppressive regime. In other words, I examine the effect of historical imposition of the wearing of the veil on the lives of women in terms of art, film, photography, literature and so on. I try to transform the received idea of what the veil is for Iranian women into a different kind of cultural form or object. I should note here that veiling (covering, hijab) in modern Iran refers to the headscarf and accompanying garments, as well as the veil (chador) itself. In fact, a mixture of attire can be seen on the streets. Since the focus of this project is modern Iran, the word is used to refer to both forms throughout.

A black and white photograph showing women demonstrating on 8th of March. Farsi slogans can be seen behind the crowds.

FIGURE 1: Hengameh Golestan, Untitled (Witness ‘79 series). © Hengameh Golestan.

Introduction

The act of covering has been an interesting and noticeable feature in the history of Iran. Interestingly, the compulsory unveiling and compulsory wearing of the veil to hide the hair and body of women has been introduced and repealed many times throughout Iran’s history, beginning with Reza Shah’s 1936 ban on the headscarf and chador as part of his secularizing project.¹ This position is, of course, in stark contrast to what occurred some 40 years later when, following the 1979 Revolution, Ruhollah Khomeini reversed this decision and decreed that women should now cover their heads. During the twentieth century in Iran, the meaning of hijab went through several transformations. Unveiled women symbolized the secular and westernized regime of Mohammad Reza Shah Pahlavi. ‘Wrapped in a black chador’, these women became icons of the Islamic Revolution and, two decades later, their more relaxed, colourful and vibrant hijabs became the symbol of a new era of progress and reform in the Islamic Republic.

My project arose from an important and provocative historical image (Figure 1). This photograph was taken by the Iranian photographer Hengameh Golestan on the morning of 8 March 1979, following Khomeini’s announcement of the compulsory covering. It shows a group of women marching in the streets of Tehran, taking part in a 100,000 strong protest of both men and women against the compulsory hijab.² Soon after the Revolution there were rumours of plans for the reintroduction of the hijab, and the abolition of several women’s rights that had previously been protected by the Family Protection Act, the reason being that they were seen as ‘against Islam’.³ The photo intrigued me to the point that I wanted to find out more about it, to find out more about myself and the women of my society. The demonstration lasted for five days and ended when some violence was committed against the protesters by the revolutionary guards mobilized by the mullahs. The French group Pratique, Politique et Psychanalyse also documented the protests using a 16mm camera, and conducted interviews with the demonstrators. This led to the joint production of a 13-minute short film entitled Mouvement de Libération des Femmes Iraniennes: Année Zéro, which serves as the only video evidence of that historical moment.⁴ At this juncture, it should be emphasized that my project is not about the hijab as an Islamic or political icon in itself; rather I am interested in approaching this act of imposing the covering on women as an opportunity to reflect on the imaginary dimension of veiling and unveiling.

Walter Benjamin recommends that the historian, rather than seeking to portray the past ‘as it really was’ (an unattainable ideal, in any event), should ‘actualize’ the epoch or event, with an eye towards its contemporary relevance.⁵ Benjamin uses the word ‘indirection’ to express the effect of a past event as opposed to the event itself.