جستجوی مقالات مرتبط با کلیدواژه "سیاست فرهنگی" در نشریات گروه "هنر و معماری"

Understanding the significance of culture in shaping the meaning of place is crucial in today's world, as cities have become the primary environments for human life. These urban spaces are deeply affected by rapid cultural changes, which influence not only their physical form but also the lives and identities of their residents. In this context, Tabriz, a historically rich city, serves as an ideal case for examining how cultural policies affect urban life. This research investigates the cultural policies of Tabriz through a sociological lens, focusing on the narratives and perspectives of its residents. The main objective is to explore how these policies are perceived by the people of Tabriz and to understand what role they play in shaping the identity, memory, and cultural landscape of the city.
Theoretical Framework:The theoretical framework of this research draws on the works of several key thinkers, including Lefebvre, Crinson, Simmel, Berman, Miztal, Doserto, and Benjamin. According to Lefebvre, urban space is inherently political and never neutral, as it reflects power structures and social relations (Lefebvre, 2015: 21). Crinson suggests that cities are remembered through their buildings, which serve as tangible representations of urban memory (Crinson, 2016: 17). Miztal emphasizes that any objectified entity in a city can evoke perception and memory, providing a narrative about the past (Miztal, 2003: 132). Doserto adds that resistance plays a key role in urban spaces, as individuals create meaning in the city through their actions and interactions (Doserto, 1997).

This research uses thematic analysis to collect and interpret narratives from residents of Tabriz who are over 25 years old, have lived in the city for more than 10 years, and possess sufficient knowledge about its cultural policies. The participants, both men and women, shared their insights through in-depth interviews. The goal was to gather a diverse range of opinions and experiences, capturing the different ways in which Tabriz's residents understand and engage with the city's cultural policies.

The thematic analysis yielded several key themes, which are summarized below:
The Suffering of Forgetfulness: Drawing on Crinson's theory of urban memory, this theme highlights how urban renewal projects in Tabriz disconnect the present city from its past. As the city's infrastructure is modernized, its historical identity is eroded, leading to a sense of loss among residents.
Traces of Memory: Benjamin views the city as a complex site of perception and memory (Benjamin, 1986: 26). In Tabriz, the fast pace of renovations has resulted in the destruction of many historically significant areas, leaving residents with a fragmented sense of their city's past.
Repeated Collapse: Berman argues that modernity is a shared experience of both creation and destruction (Berman, 2016: 15). Tabriz, like many cities undergoing rapid modernization, experiences this duality—while modern urban development brings economic opportunities, it also threatens the city's cultural and historical fabric.
Memory Policy: Miztal’s notion of memory policy refers to the way in which official narratives are imposed from above, shaping collective memory (Miztal, 2003: 129). In Tabriz, the dominant political and cultural discourses often reshape the city's memory, leaving little room for organic, grassroots narratives to emerge.
The Other of the City: Simmel's concept of the duality of self and other is crucial for understanding the subjectivity of urban dwellers. In Tabriz, the coexistence of traditional and modern elements creates a complex dynamic between residents' historical identity and their adaptation to modernity. This is reflected in the city's proximity to Turkey, which shares similar historical and cultural contexts.
Channelization of Space: Lefebvre posits that urban planners play a crucial role in controlling and producing space (Lefebvre, 2015: 37). In Tabriz, planners have been instrumental in transforming the city through modernization projects that prioritize infrastructure over the preservation of historical sites, contributing to the loss of cultural memory.
Resistance Activism: Doserto's theory of power and resistance in urban spaces (Doserto, 1997) is evident in the actions of Tabriz's citizens, who strive to preserve their ethnic, linguistic, and cultural diversity. Through various forms of activism, they resist the homogenization of their city's identity and seek to retain its unique character.

Cultural sustainability, which encompasses the preservation and expansion of history, values, and relationships, is a key component of urban life. In Tabriz, the process of renovation and reconstruction has been marked by rapid changes and widespread destruction. The residents of Tabriz experience this as a loss of their city’s historical and cultural identity. For Tabriz to develop successful cultural policies, its urban plans must prioritize the needs and interests of its citizens over cars and infrastructure. Moreover, these policies should be democratic and inclusive, reflecting the diversity of the population. The narratives of Tabriz's residents offer valuable insights into their levels of satisfaction with the city's cultural policies and their willingness to engage in its governance. As urban renewal continues to reshape Tabriz, it is crucial to listen to these voices and incorporate them into future policy decisions to create a city that honors both its past and its future.

After the first importation of gramophone records, the Iranian government banned some music styles for the first time in 1931. In the 1930s, the government examined the lyrics of songs to prevent connection with communist ideology. On the other hand, in the 1980s and 1990s, the Iranian government banned some musical genres such as rock and later hip-hop, because since the Islamic Revolution, America and its cultural products were considered an imperialist power. 

This article examines two periods in which the Iranian government banned some genres of music. First, the 1930s are considered. After the import of foreign gramophone records, the Iranian government prohibited some music styles for the first time in 1931. These regulations targeted recordings with communist content. The second period refers to the current musical life in Iranian society. "Musicians from certain Western European and American music genres, such as rock, hip-hop, and country, are not officially recognized and are not allowed to work due to the cultural policies in Iran since the Islamic Revolution, where America is considered an imperialist power."

This article is considered a qualitative research study. Regarding methodology, the theoretical framework section is based on library studies. Data collection in the results section is based on fieldwork, ethnography, netnography, and library studies.

Gramophone records can be considered as the dominant audio medium during the reign of Pahlavi I (1925-1941) because there was no national radio station in Iran at that time. Wide acceptance of these recordings in Iranian society led to regulatory measures by the government. The government was concerned about the expansion of gramophone records in Iranian society, so it intervened in the recording industry by setting up a regulation for it. With this, the government no longer allocated the affairs of the recording industry to the field of culture, but to the field of security. As a result, the recording industry came under the supervision of the Ministry of Interior and the police and was managed by them. Another set of regulations was approved by the cabinet on July 18, 1931. According to this regulation, recordings whose content was politically communist and socialist were classified as politically harmful and were prevented from entering Iran.The place of music after the Islamic revolution is highly dependent on the place of music in Islam. The more stable the new cultural policy became after the revolution, the more the limitations of music life became. These restrictions were caused by some religious interpretations that considered music haram. In addition to religious reasons, these restrictions also had a political background. Western populist music was seen as a symbol of the modernized politics of the Shah's regime. After the 1997 presidential election, Iranian music, especially popular Iranian music, was transformed. At the beginning of the 21st century, pop music was a well-known concept in Iran's cultural policy. However, the genres of hip-hop, rock, and country were not recognized by Iran's cultural policy and were classified as imperialist culture.Rock music, despite all the restrictions, managed to find some freedom in the late 1990s. But in general, it was not common for rock bands to get a publishing license. As a result, many bands abandoned their formal activities and instead used the Internet as a new way to connect with audiences. Rock music was undoubtedly famous among the youth in the 2000s. In this situation, cultural politicians implemented a new strategy. Music custodians in the government promoted an official rock scene in Iran that was neither strongly political nor critical. The protesting nature of informal rock music turned into lyrical and mystical content.The roots of hip-hop in Iran go back abroad to an Iranian group called Sandy in Los Angeles in the early 1990s. Like rock music, the Internet also played a significant role in the spread of this genre of music. Iranian hip-hop music is divided into the following categories in terms of content and discourse: pleasure, street rap, radical protest, 6/8, critical-moral, Islamism, women's rights, and women's homosexuality.The focus of this article on country music as a research topic about imperial music genres is because the author came across an album in this genre that was published on Instagram. Mehrshad Vafaei released the album "From the Lute Desert to Arizona" in 2019, which is remarkable, because this album was released unofficially. It is safe to say that no such album has been released after the Islamic Revolution. This album contains ten songs, six of which are in Persian. Mehrshad Vafai released this album in collaboration with American musician Jerome Parker Wells. This cooperation is culturally and politically significant. As a part of the Fajr Music Festival, Jazz American Animation Group was exceptionally present in Tehran in 2015. This is an unprecedented issue and no band from America had the opportunity to participate in this festival. In addition to this political dimension, the presence of the American music group in Iran also has a cultural dimension, which ultimately led to the cooperation between Mehrshad Vafaei and American musicians. This is another aspect of globalization based on the theory of Arjun Appadurai, which is based on ethnic and technological landscape. Mehrshad Vafaei plans to create a kind of Iranian country music. Globalization happened in the first album of Mehrshad Vafaei at the textual level. At the musical level, this issue is not recognizable. Mehrshad Vafaei faced plenty of opposition when releasing his album because country music was unacceptable to the Ministry of Culture and Islamic Guidance. The relevant commission, which evaluates applications for the release of albums in terms of music and lyrics, rejected the use of the "Country" name. They thought the word sounded too American.

During the second Pahlavi era, the cinema industry in Iran adopted a distinct approach to regulation and control, guided by cultural policies deeply rooted in their perception of Iranian culture. This approach utilized legal mechanisms that were under the influence of political power. The government's cultural policies during this period were aimed at shaping the cinema of that time, exerting influence over public culture in alignment with their own ideals. Thus, this research aims to identify the legal tools employed by the government during the second Pahlavi era to implement and adapt these policies. The research hypothesis posits that the political power at that time exerted a specific direction on cinema, extensively utilizing censorship and various forms of surveillance in the films produced during that era. The research methodology employed is descriptive-analytical, and data collection relies on documentary and library sources. By examining the policies and cultural rights of that era, it is suggested that the government sought to guide the cultural lifestyle of the population through both positive and negative monitoring methods, utilizing legal instruments that were under the control of their cultural policies.

The institutionalization of cultural events play an important role in stabilizing approach to urban regeneration and improving environmental quality as a factor for heritage protection, restoration and rehabilitation of physical structures, new design and new functions in line with the previous and the arrival of new structures. The cultural regeneration of a culture as a development strategy is very important in the local and global scale. Since the 1970s, many European cities, some sort of restructuring was unexpected that the reasons may be handling industry and consequently employment, migration, urban middle class to the suburbs, changing patterns of employment, the development of shopping centers outside the cities and increasing dependence on private car ownership. In the 70's decade, the manufacturing sector, followed by urban decline and governments attempt to shift to a service economy, including the factors that cause changes in the theory of politicians in the 80's decade, which for the first time, culture as a tool of urban regeneration and economic problems were caused. Due to concerns of the finance, the arts and creative industries in particular emerged quickly led to economic development. Taking into account this new reality, many cities were forced together in the quest for uniqueness of the cultural, human and physical advantage over their competition to emphasize to other cities. This competition between cities in an effort to attract and deploy them in the field of hi-tech industries, as well as private sector investment and become a central part in national and international tourism and culture reflected. Increased competition led many in the policy with the aim of recreating the index of cultural distinctions from other cities, driven, in which the cultures plays a key role in urban regeneration policies. The main objective of this research is to develop a conceptual framework in order to explain the policies, culture-based urban regeneration and cultural factors affecting urban regeneration. In this regard, this study seeks to answer the question, "What are the cultural policies affecting urban regeneration?" Then, the approaches and cultural policies, and at the end of the components such as the "cultural uses", "urban cultural activities in the public space", "combines urban design creative cultural activities", "protection of cultural heritage" and "cultural tourism" as key measures of culture-based urban regeneration, urban regeneration project has introduced a three comparative tests were in Istanbul, Turkey. In this paper, the strategy of logical reasoning is used as a research strategy. This article is largely descriptive, sowe will attempt to review the concepts of urban renewal, cultural policy effectively introduced and the role and function in culture-based urban regeneration scrutiny and thus the basis for the continuation and identify pathways towards cultural policy affecting culture-based urban regeneration are provided. The skill of reading and studding documents based on the contents of the books, articles and documents as tools for research in relation to urban regeneration projects in the study sample were used. Finally, examples of effective components of the solutions culture-based to successfully achieve urban regeneration projects.

Through observing the situation of music, as well as ideas and positions of Iranian musicians, this article attempts to illustrate the mainstream Iranian musical discourses. The significance of considering the musical discourses lies in the fact that seemingly the respect for various discourses and their multi-communicative symbiosis enables the development and elevation of traditional Iranian music.