Islamic Art, Rituals, & Resistance: The Case of Ashura in Modern Iran

In Iran, the practice of Āshūrā sparked numerous social and political movements over five centuries and evolved into a symbol of justice. During this time, the Qajar dynasty transformed this religious ritual ceremony into entertainment for the general population. During the annual event of Āshūrā, people attend street festivals to see beautiful and historical visual elements of the ceremony and to listen to narratives of the Battle of Karbala, dramatizing the event. As access to public places, radio, and newspapers expanded for Iranian citizens into the twentieth century, the festival audiences pushed this ritual into a new era. The Āshūrā ritual has profoundly influenced not only Iranian ideology but also artistic perspectives as a metaphor for standing for human dignity.
The public performs Āshūrā in three different art forms: performances (Ta’zieh), rhythmic recitation (Rawzeh Khani), and songs of lamentation (nohas). Under the influence of political and social pressures in the 20th century, visual artists created the new artistic movements of Qahveh-khaneh and Saqqa-khaneh, establishing solidarity in restricted social spaces for Iranian people. These artworks mixed metaphors of heroism and justice for a new wave of audiences looking for social movement in the twentieth century who were very familiar with traditional Āshūrā symbols and icons.