موسیقی و حیات اجتماعی نوارکاست در دهۀ شصت شمسی ایران

هدف اصلی مقالۀ حاضر، بررسی نقش نوار کاست در وضعیت فرهنگی شنیداری دهۀ شصت ایران است. موسیقی پس از انقلاب یکی از مهم‌ترین عرصه‌هایی بود که براساس انقلاب فرهنگی باید از آنچه در زمان پهلوی بود، تطهیر می‌شد. در سال‌های پس از انقلاب، فرهنگ عام، عادت‌وارۀ شنیداری تعلقاتش را به موسیقی قبل از انقلابی، در قالب تکثیر و توزیع نوارهای کاست، حفظ کرده بود و بازار سیاه خریدوفروش آن‌ها شکل گرفته بود؛ بنابراین در ایران پس از انقلاب، نوار کاست نقش جدیدی در شکل‌دادن به فرهنگ شنیداری غیرمجاز پیدا کرد. برای بررسی این مسئله از چارچوب نظری استفاده شد که به‌دور از دوگانۀ تاریخی سوژه/ابژه، به سراغ مفهوم عاملیت می‌رود تا بتواند دربارۀ قدرت عاملیت اشیا، به همان نسبتی که انسان هم دارای قدرت عاملیت است، طرح بحث کند. براساس یافته‌ها، نوار کاست که موسیقی غیرمجاز قبل از انقلاب یا لس‌آنجلسی را ضبط می‌کرد، بر پیکرۀ فرهنگ یکدست‌ساز دهۀ شصت ایران موقعیت‌هایی مانند شیارهایی ایجاد می‌کردند که درون آن‌ها سبک شنیداری زیرزمینی به‌وجود آمده بود و این چالشی برای مهندسی فرهنگی یکدست‌ساز جمهوری اسلامی در دهۀ شصت بود.

Music and Social Life of the Audiocassette Iranian 2000s

Introduction: The main objective of this article is to examine the function of the audiocassette in the state of Iranian listening culture in the first decade after the triumph of the Islamic Revolution in 197879. The Islamic Revolution in Iran was indeed a cultural revolution aimed at establishing an Islamic Shiite discourse as a new political discourse against the prerevolutionary, Westernized Pahlavi political system. Thus, cleansing Iranian culture of the Western lifestyle was the most important political project of the newborn Islamic government. One of the most problematic aspects of this cultural technique was pop music and the use of recorded audio tapes of pop music. Examining the role of pop music on audiocassettes opens a new perspective on the role of cultural assets in postrevolutionary Iranian culture.Method: To investigate the role of audiocassettes, we conducted indepth interviews with seven musicians who experienced their adolescence and youth in the 1980s and with sellers of audiocassettes from that period. Finally, interview data were coded and categorized through thematic analysis.Findings: The Iranian Islamic state is a comprehensive political program to control all aspects of Iranian daily life in order to eliminate and exclude all evil situations that promote evil deeds. Evil deeds are so harmful that they divert the attention of Muslims from God. For a Shi’a Muslim, all of life must be compatible with the holy laws of Islam. Thus, Iranian life after the revolution is holy because it obeys the holy Islamic rules, while the holy Islamic rules became holy laws. In the first decade of the Iranian Islamic state, the most undeniable feature of Iranian Islamic society was loyalty to the sacred Islamic laws, and an ideal Shiite subjectivity voluntarily sacrificed its life for political Islamic ideals. The Iranian Islamic state expected the ideal Shiite subjects to be willing to live a revolutionary lifestyle that was different from that of the prerevolutionary period. Unlike the prerevolutionary Iranian Western consumer lifestyle, the postrevolutionary lifestyle is supposed to resist the material world that diverts the Shiite subject’s attention from the Islamic God, and therefore the luxury lifestyle had to be banned as a Western lifestyle. This was a politicalcultural policy since the early years of the Islamic state. For the Islamic state, passions and temptations were aspects of the material world that were supported by Western culture. Therefore, the project of Iranian Islamic cultural engineering was to censor Western cultural and artistic products in order to create Islamic cultural values. Music was one of the most important Westernized cultural fields at that time, which had to be purified from the characteristics of prerevolutionary popular music because it did not support Islamic values. In popular culture, people maintained their prerevolutionary listening habits by reproducing and distributing recorded pop music on audiocassettes, and a black market formed. The audiocassette as an object had a power to continue the illegal flow of prerevolutionary pop music.Conclusion: The conclusion is that the audiocassettes enabled different and plural listening positions for Iranian postrevolutionary listening culture, and the audiocassette was considered as an evil object for Iranian Islamic revolutionary culture.