{"title":"Ugly Past/Insensitive Present: Blackface in Persian Popular Entertainment","authors":"Hesam Sharifian","doi":"10.1353/atj.2024.a927717","DOIUrl":null,"url":null,"abstract":"<p><p>Abstract:</p><p><i>This article is a scholarly expansion of my previous public writing in</i> HowlRound <i>entitled “Iranian Blackface Clowns are Racist, No Matter How You Sugarcoat Them in Obscure Archaic Mythology.”</i> <i>In the essay, I argue</i> siāh-bāzi, <i>an Iranian form of popular entertainment that features a main character in blackface, is indeed a racialized mockery of the African slaves who were brought to Iran from the sixteenth to early twentieth centuries. In the present article, I delve deeper into the history of slavery in Iran as a context for</i> sāh-bāzi<i>. I also analyze the embodiment techniques in</i> siāh-bāzi <i>to demonstrate its racial connotations</i>.</p></p>","PeriodicalId":42841,"journal":{"name":"ASIAN THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2024-05-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"ASIAN THEATRE JOURNAL","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/atj.2024.a927717","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ASIAN STUDIES","Score":null,"Total":0}
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Abstract
Abstract:
This article is a scholarly expansion of my previous public writing in HowlRound entitled “Iranian Blackface Clowns are Racist, No Matter How You Sugarcoat Them in Obscure Archaic Mythology.”In the essay, I argue siāh-bāzi, an Iranian form of popular entertainment that features a main character in blackface, is indeed a racialized mockery of the African slaves who were brought to Iran from the sixteenth to early twentieth centuries. In the present article, I delve deeper into the history of slavery in Iran as a context for sāh-bāzi. I also analyze the embodiment techniques in siāh-bāzi to demonstrate its racial connotations.
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