Hossein Filizadeh

University of Tehran

From Tehran to the most remote villages in Iran, young Iranians are eager to become rappers. Despite a lack of formal musical training and enduring years of restrictions, their motivation goes beyond economic incentives (Filizadeh 2022b; Nabavi 2013). Iranian rappers’ persistent efforts to build a vibrant community highlight a dedication to an ideal that has attracted widespread support over the past two decades, sustaining this artistic movement. Persian rap stands out for maintaining uninterrupted activity within the country while operating outside official regulations. This resilience, particularly from musicians born in the 1980s, 1990s, and 2000s, has cultivated a sense of freedom among new Iranian rappers. Their defiance of social norms demonstrates an unwavering commitment to their vision, despite ongoing threats and consequences. In this article, I critically analyze the key factors behind the growth, evolution, and resilience of artistic movements in Iran with a focus on the role of youth. By examining the interplay between cultural, social, and political forces, I highlight the drivers that have shaped various forms of artistic expression in the country. Particularly, I explore how youth-led movements have endured challenges such as censorship, shifting societal values, and external influences, providing a nuanced understanding of the dynamics fueling artistic innovation in Iran’s cultural landscape.

Art, including music, serves to “untangle ideological knots” (Kazemi 2022), revealing societal truths and fostering diversity often stifled by the lack of free media and independent production. The growth and survival of artistic movements in Iran have relied on the perseverance of young artists, audiences, and virtual media. Persian rap has excelled in this role, offering a distinct voice that has captivated millions of Persian-speaking listeners across age groups and social classes. Its popularity stems from the way young audiences perceive the genre in contrast to official ideology (Alikhah 2013). More than just music, Persian rap empowers both artists and audiences with a sense of ownership, allowing them to participate freely on the global stage (Golpushnezhad 2018). Millions of streams on platforms such as SoundCloud and YouTube reveal Persian rap’s significance as the most important cultural product in Iran since the Islamic Revolution (Filizadeh 2024), providing an authentic portrayal of modern Iranian society.

In its early years, Persian rap faced accusations of promoting Satanism, which led to the arrest of many rappers, with some even forced into exile from the country. About a decade ago, a video of young Iranians dancing to Pharrell Williams’ “Happy” led to their arrest shortly after it was posted online (Kamali Dehghan 2014). For non-Iranian audiences, films like No One Knows About Persian Cats (2009) and Raving Iran (2016) (Filizadeh 2022a) offer insight into the restrictions Iranian musicians have faced when working outside the legal framework. Cultural and social changes in Iran, along with an alignment with modernity—particularly American culture—have significantly influenced Persian rap and Iranian music. Modernity here reflects a break from traditional customs and the embrace of new forms of expression, technology, and norms. This shift is evident in Persian rap’s evolution from a fringe genre to one of the most popular music scenes in Iran with millions of listeners. Hundreds of Persian rap songs on music platforms now have over a million listeners, while other Persian popular genres barely reach a thousand streams (Gowd Community; HipChart; Rapfaio; Chartist).

Given the scarcity of reliable written sources on Persian rap, this article draws heavily on my professional experience in Iran’s popular music scene. As a producer, journalist, and consultant, as well as through three years of academic research on Iranian rap, I have interviewed numerous rappers and composers. The methodology primarily relies on my personal observations and experiences, supported by a review of media sources, including music magazines and online platforms such as Instagram, Telegram, YouTube, and recent programs focused on Persian rap. These sources provide a comprehensive view of the cultural and social dynamics at play, reinforcing the key claims of this study. Additionally, I have engaged in discussions with young individuals who share a passion for Iranian popular music, offering insights into their perspectives and challenges in the evolving music scene.

The 1978 Islamic Revolution marked the end of the Pahlavi dynasty and brought significant sociopolitical changes to Iran (Bayat 1998). Music played a vital role both during the revolution and in the subsequent Iran-Iraq War, motivating young people to volunteer for the war effort (Siamdoust 2020). The revolution disrupted Iran’s rap music scene, leading to a hiatus that lasted over two decades. Musicians critiqued the previous regime’s cultural policies, which had impacted the country’s music landscape. Contributing factors included criticism of the former regime, the rise of commercialized music, the emigration of musicians, and the new government’s lack of a clear cultural direction (Kowsari 2022). However, this period also fostered the growth of Iranian classical music (Samim 2021). As society evolved, the regime’s cultural restrictions, particularly on artistic expression, pushed the youth to challenge these boundaries and reclaim their right to creative freedom, especially in music.

In the early post-revolutionary years, any artistic expression outside the dominant revolutionary ideology was viewed negatively and seen as a symbol of Westernization and immorality by both authorities and society. Nations often establish cultural authority as an extension of political power (Ghaed 2020). The revolution’s high demands for political and social commitment associated leisure and entertainment with triviality. This ideological conflict between the Islamic Revolution and the West led to the view that popular art was insignificant, both artistically and morally (Sedaghatkish 2021). The authorities sought to create an Islamic society through strict oversight of artistic production (Shahabi 2003). Their aim was to erase the cultural roots of the previous regime, which were influenced by Western modernity and separated religious ideologies from social rules (Samim 2021). This effort resulted in exclusive artistic works designed to cultivate a uniform taste and “homogenize” societal preferences (Kazemi 2022).

The rise of rap music in Iran provided young people with more than just entertainment—it became a platform to challenge cultural ideologies in conflict with their worldview. Youth culture, shaped by shared experiences, has found rap music to be a unifying force, connecting individuals from diverse backgrounds (Newman 1996). These subcultures often arise in opposition to traditional norms, reflecting the younger generation’s desire to forge distinct identities. Rap, with its subversive nature, resonates with this desire to resist authority and differentiate from older generations (Shuker 2001; Richardson and Scott 2002). In Iran, rap’s cultural rebellion and expression of identity make it especially appealing.

Today, Iranian youth have a stronger inclination toward modern artistic products such as American music, movies, and stand-up comedy, than they did in the past (Filizadeh 2024). Social media has facilitated access to global culture, accelerating globalization within Iranian society. This shift has diminished the influence of the radical cultural policies enforced after the Islamic Revolution, fostering disillusionment among younger generations. Lacking a clearly defined cultural identity, Western influences have filled this void, thereby reshaping youth perspectives. Hip-hop’s spread in Iran triggered rebellious behavior among its fans, as its lyrics, which were often straightforward and grounded in everyday struggles, resonated with the youth. Despite official bans and artistic restrictions, Persian rap quickly became a crucial part of the cultural identity of its audience.

In the early 2000s, a small number of Iranian rappers initially imitated American hip-hop, producing basic versions of what they encountered (Nooshin 2011). Over time, Iranian rap evolved into a more professional and sophisticated genre. By embracing global trends, depicting a lifestyle different from mainstream society, and addressing a wide range of themes with explicit language, Persian rap artists dismantled outdated social models. This movement, heavily inspired by foreign cultures, disrupted the social expectations placed on the post-revolution generation, which offered them a window into the modern world (Siamdoust 2017). In Iran, producing mainstream music requires licensing from the Ministry of Culture and Islamic Guidance. These limitations have contributed to a societal shift, especially among the youth, who are increasingly drawn to modern, globalized cultural models. As key consumers, young people who are familiar with technology are quick to adopt new forms of expression. This alignment with global trends represents not only a response to external pressures (Rice 2014; Shahabi 2003) but also a form of agency. Iranian youth are not simply abandoning traditional values; they are actively reshaping them within a cosmopolitan framework, balancing local constraints with global aspirations (Hannerz 1992).

Since the 2000s, under Mohammad Khatami’s government and its social reforms, Iranian youth have sought to escape cultural isolation and engage with modernity. This shift is visible in changes in worldviews, fashion, and a preference for contemporary artistic products. After decades of a ban on popular music, Iran saw the rise of its first generation of pop singers. Persian rap emerged as a significant global-local artistic phenomenon, offering a platform for youth to navigate cultural spaces with different rules from their traditional culture (Held 1999). The dominance of the Iranian diaspora in producing popular music, especially the “Los Angeles music” scene, has diminished due to the rise of Persian rap and cultural changes within Iran (Naficy 1998; Hemmasi 2020). The diaspora’s inability to foster creative musicians, combined with the youth’s efforts to modernize, has led to a concentration of music production within the country, now centered around Persian rap and licensed pop music (Filizadeh 2024).

Persian rap has become more than just a musical genre for Iranian youth; it reflects the cultural shifts that have taken place since the early 2000s. As a dominant musical form, it serves as the “soundtrack” of recent years in Iran. While youth culture has long been linked to various music genres, the lifestyle of Iranian youth today contrasts sharply with what is expected by the governing system, as seen in their collective behavior on social media and in society. Persian rap, resilient for over two decades, has emerged as a symbol of independent art in Iran. Two main factors—the reliance of local musicians on official permits and the lack of innovation among emigrant musicians—have allowed it to develop a strong, organized structure. Hundreds of virtual platforms provide a safe space for this genre, and the restrictions that once hindered early rappers have now been replaced by a professional environment, relatively free from censorship. Unlike other popular music scenes in Iran, which struggle to produce prominent figures, Persian rap continues to generate fresh talent. Persian rap is now central to mainstream youth culture in Iran. Through a deep understanding of this movement, the author has gained valuable insights into the mindset of Iranian youth. Its nearly two-decade evolution reflects broader cultural transformations, offering a clear view of the worldview of younger generations. Additionally, the strong embrace of rap by Iranian youth, in contrast to many neighboring countries, underscores the powerful influence of American culture. The similarities between Persian and American rap have grown more pronounced, demonstrating their deep cultural connection.

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