During the Qajar period (1789–1925), entertainment in Iran was limited in both scope and format. The reign of Nasser al-Din Shah Qajar (1848–1896), often referred to as the Nasseri era, marked a turning point in the country’s exposure to global culture. Yet, despite his travels to Europe and fascination with Western technologies, Iran still lacked a developed public entertainment industry.
Musical instruments were scarce and mostly confined to court musicians or regional folk performers. Unlike today, when radios, records, and television spread songs widely, music was localized and often tied to ceremonies, religious rituals, or private gatherings. Public singing, especially by women, was frowned upon in broader society. In fact, the idea of women performing for a mixed audience was considered shameful or inappropriate, and thus female singers and dancers were virtually absent from public life.
The typical entertainments of the time included:
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Ruhowzi and Ghost Theater – staged performances over covered water pools (hence “roohowzi”) often involving improvisational comedy, satire, and parodies of social figures.
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Black Magic Shows – a blend of illusion, folk belief, and ritualistic performance that fascinated the public.
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Clowning and Folk Satire – usually centered on the “blackened” performer, who painted his face and entertained through slapstick, riddles, and social jokes.
These performances took place primarily at weddings, circumcisions, and private celebrations. There were no designated theaters or cabarets open to the public. Entertainment was thus personal and familial, not institutional.
