T his issue’s cover art, Samira Alikhanzadeh’s Ata and Aziz Troupe, 1291 A.P., part of the artist’s series Centennial, illustrates the centennial celebration of the emergence of female musicians and entertaining troupes in modern Iran. In this 2013 series of print images, Alikhanzadeh delineates memories of the past not as a set of historical facts and examples but as a series of problems and interpretations in need of viewers’ critical interventions and interactional analysis. Thehistory of women’s presence inmusic anddance in Iran is as ancient as the country itself. Women entertainers appeared in sculpture reliefs and miniature paintings as far back as the Achaemenid (550–331 BCE), Sassanid (224–651 CE), and Safavid (1501–1722) periods, the three Iranian empires well known for their enormous support for and investment in architecture, fine arts, and entertaining arts, including music, dance, and theatrical performances. However, this presence did not mean that women musicians and entertainers were publicly valued and acknowledged like their male colleagues. Historical evidence refers to male musicians and entertainers by their names (such as Barbad of the Sassanid period), whereas women lack such historical and personal identifications. Notwithstanding the investment in and interest of almost all Iranian rulers and elites in forming, hosting, and enjoying female troupes in their royal courts, and despite the popularity of women musicians and entertainers among the poor, this profession has been mostly occupied by underclass women and seen as demeaning in the popular view and imagination of Iranian society throughout history. Womenentertainers andmusicians emergedas the thriving social fabric of the Qajar dynasty (1796–1926). Although female artists performed in the presence of the shah in the androonis (the women’s quarter), they were specifically hired by his female relatives (wives, sisters, mothers) for special occasions organized by women

中文翻译：

---

封面艺术概念

本期封面艺术，Samira Alikhanzadeh 的 Ata and Aziz Troupe，1291 AP，艺术家系列百年纪念的一部分，展示了现代伊朗女性音乐家和娱乐剧团出现的百年庆典。在这个 2013 年的印刷图像系列中，阿里汉扎德将过去的记忆描绘成一系列需要观众批判性干预和互动分析的问题和解释，而不是一系列历史事实和例子。伊朗女性参与音乐和舞蹈的历史与该国本身一样古老。早在阿契美尼德（公元前 550-331 年）、萨珊王朝（公元 224-651 年）和萨法维（1501-1722 年）时期，这三个伊朗帝国以大力支持而闻名于世，女性艺人出现在雕塑浮雕和微型画中。以及对建筑、美术的投资，和娱乐艺术，包括音乐、舞蹈和戏剧表演。然而，这种存在并不意味着女性音乐家和艺人像她们的男同事一样受到公众的重视和认可。历史证据指的是男性音乐家和艺人的名字（如萨珊王朝的巴巴德），而女性则缺乏这样的历史和个人身份。尽管几乎所有伊朗统治者和精英都对在其宫廷中组建、主持和欣赏女团的投资和兴趣，尽管女音乐家和艺人在穷人中很受欢迎，但这一职业主要由下层妇女和女性占据。纵观历史，在伊朗社会的流行观点和想象中被视为有辱人格。女性艺人和音乐家成为卡扎尔王朝（1796-1926）蓬勃发展的社会结构。尽管女性艺术家在 androonis（女性区）国王面前表演，但她们是由他的女性亲属（妻子、姐妹、母亲）专门聘请的，用于女性组织的特殊场合