Early Perso-Parsi Visual Encounters: A Dialogue with India is a scholarly exploration of 19th-century photography in Iran and India, focusing on the visual culture of Persians and Parsis. This richly illustrated work delves into the gender dynamics and power relations captured in photographs of the era, drawing from feminist theory, art history, and ethnographic studies to provide a comparative analysis that unearths the cultural narratives embedded in these historical images. Navigating the intertwined histories of Iran and India, the author examines how photography served as a medium to construct and challenge gender identities, bridging a significant gap in visual anthropology by spotlighting Parsi photographic heritage-a subject largely neglected in existing literature.
Sarah Jabbari is a documentary photographer with a deep focus on identity and cultural narratives. She is currently pursuing an MA in Visual Anthropology at the University of Manchester's School of Social Sciences, Granada Centre. Sarah holds a BFA in Photography from Tehran University of Art in Iran, an MFA in Art History, and a PhD in Fine Arts, both from India. Through her work, she explores the intersections of cultural heritage, displacement, and personal identity.
The current book presents a comparative study of photography of the two communities, Iranians (Persians) and Parsis, in India during the 19th century. The Parsis of India are the descendants of Iranian Zoroastrians who migrated from Iran to India around the 10th century during the mass conversions of Iranians from Zoroastrianism to Islam. It explores power relations among genders in the photographs, drawing upon feminist scholarship to analyze how the spaces, objects, and activities depicted in the photographs contribute to the construction and development of masculine or feminine atmospheres. This study raises questions that necessitate exploration, such as gender expectations in the photographs, the construction of gender identity, and whether the images reflect cultural change. Additionally, it examines how power relations are visualized in the photos.
The primary significance of this research lies in its rare academic focus on the photography of Iran and India, neighboring countries with deep cultural, historical, and ethnic ties spanning thousands of years. The study aims to intervene academically in an underexplored area of recent visual history by analyzing gender representation in 19th-century Iranian and Parsi photography. It draws from various approaches, including feminist readings, feminist film theory, visual culture, art history, and ethnography. While considerable analytical and critical studies have been conducted on 19th-century Iranian photography, a comparative study between Iranian photography and the Parsi community in India, focusing on gender, has not been undertaken. Furthermore, there is a scarcity of literature explicitly addressing Parsi photography. Hence, this project lays the groundwork for future researchers interested in Parsi photography and the comparative understanding of Iranians and Indian Zoroastrians (the Parsis).
Although the timeline of selected photographs predominantly falls within the 19th century, some extend into the early 20th century. The chosen timeline follows the period known as the ""long 19th century,"" spanning from the announcement of the daguerreotype in 1839 to approximately 1920, as defined by Staci Gem Scheiwiller.
I have used the new term ""Perso-Parsi"" instead of ""Indo-Iranian"" as the scope of this research is exclusively focused on the Persianate world of Persians and Parsis. While there are terms such as Perso-Arabic, Perso-Islamic, and Perso-European, the term ""Perso-Parsi"" has not been previously used.
My research has greatly benefited from scholars who introduced femininity and masculinity in the historical research of gender in Iranian photography. Key works that have shaped my understanding include Sivan Blaslev's ""Iranian Masculinity,"" Staci Gem Scheiwiller's.
""Liminalities of Gender and Sexuality in 19th-century Iranian Photography,"" Sikata Banerjee's ""Make Me A Man!,"" Afsaneh Najmabadi's ""Women with Mustaches and Men Without Beards"" and Tanya M. Luhrmann's ""The Good Parsi: The Fate of a Colonial Elite in a Postcolonial Society.""
This book is a revised version of my PhD thesis at Aligarh Muslim Univerity, India which I conducted during a severe battle with COVID-19 and its aftermath. I thank Dr. Shernaz Cama in Delhi for sharing her valuable library with me and providing warm hospitality. I extend my gratitude to those who assisted me during data collection, including Dr. Pheroza Godrej, Ervad Dr. Ramyar Karanjia, Ervad Dr. Parvez Bajan, Ervad Kayomarz Panthaky, Mr. Shahrukh Coachman and Mrs. Coachman, Mr. Jimmy Dally Patrawal, Mr. Ad. Dara Kaikhushru Deboo, Mr. Kersi Deboo, Mr. Aspi Contractor, Mrs. Anahita Contractor, Mr. Cyrus Dara Vandriwala, Mrs. Parinaz M. Gheewala, and Mrs. Chaitali J. Desai. I also thank Mr. Khushroo Palanji Variava, the manager of Ava Baug Charity Blocks, Navsari, for his incredible kindness and support. Additionally, I appreciate Ms. Shirin Contractor, my Avestan teacher in Mumbai, for her constant kindness and support. Finally, I extend my heartfelt appreciation to Prof. Y.S. Alone of Jawaharlal Nehru University, whose valuable time and advice have always benefited me. May God bless him.
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