The items collected for the Ajam Digital Archive will allow us to document and record history from below—how it was actually lived, experienced, and understood. It is precisely these histories that were ignored in favor of tales that focused exclusively on wars and revolutions, rarely giving us a sense of how life was lived amidst it all.
Ajam mixtapes continue, this time with a sample of music that features Persian poetry as it appears in different musical forms. This mix showcases the myriad of ways Persian poems find their way into music, ranging from Rumi poems sang over classical styles to readings of American poetry in translation. Each poem is accompanied with an English translation.
In 2014, we covered a wide variety of topics ranging from morality and consumer culture in contemporary Iran to Soviet state planning in Yerevan and Afghan pop from the 70s, provoking a great deal of controversy along the way. Check out our ten most-viewed articles from 2014.
The post-Soviet art of Central Asia and the Caucasus comes out of a Soviet-era conversation of artistic styles that looks not just to Moscow but also to Mecca. An understanding of the high and low registers of this Soviet cultural heritage allows the humor and self-confidence of the work to be appreciated — aesthetically as well as financially — by audiences.
Ahmad Zahir, the major Afghan pop singer of the 1970s, died mysteriously in 1979, a year of upheaval and turmoil in Afghanistan’s political history. Since then, many Afghans, in diaspora and in Afghanistan, maintain a special relationship with Ahmad Zahir and his music. This article explores the memory of one family in using Ahmad Zahir as a way to connect to their homeland.
The Ajam Family would like to wish you all a very happy Nowruz and spring season. Enjoy this podcast, which collects the sounds of festivities from the different parts of the world that celebrate this joyous day.
This mix attempts to break away from looking at psychedelic rock as a Manichean battlefield between “eastern” and “western” sounds and instead, showcases how this genre allowed Iranian artists to engage in musical conversations with Western music, local sounds, and the sounds of neighboring countries. Thus, psychadelic music, which itself emerged from the interactions between young Western artists and Indian Classical Music, served as a platform for Iranian artists to inventively experiment as well.
Guest writer Felix de Rosen last year traveled from Armenia to Afghanistan, passing through Iran and Tajikistan en route. This article is the third part in a series about his…
Part III of a series on Afghan refugees in Iran. Earlier this year, I begun a series highlighting the experiences of Afghan refugees in Iran. By focusing on cultural production,…
Guest writer Felix de Rosen last year traveled from Armenia to Afghanistan, passing through Iran and Tajikistan en route. This article is the second part in a series about his…