Rap in Iran Bahman Ghobadi

Despite being affected by western rap, Rape-e Farsi has developed with its own set of particular features, influenced by the social context. Very popular with teenagers, the lyrics are about subjects such as poverty, unemployment, addiction, prostitution, child labour, economic corruption, homelessness, the Iran-Iraq war and the soldiers killed on the fronts. Rappers portray young people’s everyday lives, describing parties and neighbourhoods; reflecting what life in Iran is like today.

Rape-e Farsi emerged in 1991. Hich-kas, (which means Nobody) and the US-based Dive Sepid (White Beast) were amongst the first who experimented in the field. Later on, Yas highlighted its social aspects. In 2005, Hich-kas released a track named Vatan Parast (Patriotic) in defence of Iran’s nuclear program. Mahdyar Aghajani, musician and producer of this album, integrated rap and Iranian traditional music in a creative way. At the same time as the Hijab (womens’ Islamic dress) crackdown in Iran, the release of a track by Mahour, named Ettehan (Accusation), with a critical theme about the treatment of women, resulted in a more serious government campaign against rap music. As a result, several websites were filtered, some underground rappers arrested and illegal studios closed. Amid this mayhem, rappers like Shahin Najafi, Bahram and Yas released some tracks critical of executive policies in the country.

Alongside those who use the format to criticise the socio-political situation (Shahin Najafi, Yas) or speak about social values and moralities (like Salome, the first female rap artist), there are also those who are more interested in the violent aspects of American-style gangsta rap and obscene lyrical content (Zedbazi, Reza Pishrou) or simply creating entertaining pop music (Amir Tataloo, Sasy Mankan).

Despite the restrictions, rap musicians are the demigods of Iran’s underground music scene, an expression that applies to any group which fails to obtain a recording license from the ministry of culture. One of the main ways to get their music out is through the Internet. There may be fame, but there is little money in the business: most CD shops fear raids, as if caught they face imprisonment and huge fines. CDs are sold illegally or passed from hand to hand, copied with little regard to copyrights.

The music industry in Iran has not improved much because of the Islamic context, which compared to other countries imposes many restrictions on it. The Iranian authorities blame such genres for luring the youth away from Islamic culture. Of course, this only serves to increase its appeal. Youths are attracted by its novelty and different rhythm in general, and the upbeat attitude of certain tracks. At the end of the day though, most people like it because they consider it as a tool to express their feelings and freedom of speech.

In No One Knows About Persian Cats, the young rappers can only dream of making it to Europe to perform their art in public. Hopefully though the thought of having their voices heard by Cannes audiences is at least of some comfort.

Niloofar Zarei