Reclaiming Woman, Life, Freedom Movement: Independent Artists versus Foreign-Backed Media

Iran has a long history of totalitarian regimes characterized by strict censorship and propaganda, leading to widespread rejection of state-controlled media. Satellite TV offers Iranians access to uncensored foreign news, which many prefer over state programming often described as lacking trustworthiness (CIA World Factbook, 2023). According to a Gamaan 2023 survey, 48% of respondents indicated they never use state-run media for news, reflecting deep-rooted distrust in outlets like IRIB, with only 21% of Iranians expressing confidence in regime media (Gamaan, 2023). In this media vacuum, foreign actors have seized the opportunity to shape Iran's political discourse.

This influence is not new. During the 1953 Mossadegh coup, outlets like the BBC played a role in broadcasting anti-Mossadegh propaganda that aligned with Western interests, ultimately contributing to his overthrow (Ganjian & Zanuddin, 2018). Similarly, during the 2009 Green Movement, outlets like Voice of America (VOA) and BBC Persian amplified reformist voices, emphasizing calls for reform over revolution (Monshipouri & Dorraj, 2013; Sreberny & Khiabany, 2010).

More recently, channels like Iran International and Manoto TV have played pivotal roles in shaping the narratives around Iranian political movements, including the Woman, Life, Freedom movement. Iran International, launched in 2017, quickly gained influence as the first 24-hour Persian-language news channel, with significant initial funding from Saudi Arabia. This connection raised concerns about the channel's alignment with Saudi geopolitical interests (CFR, 2023). Following the 2023 Saudi-Iran normalization agreement, Saudi Arabia withdrew its financial support, leading to a shift in Iran International’s editorial stance, which began promoting a more pro-Israel narrative focused on unity between Israelis and Iranians against the Iranian regime (CFR, 2023).

Similarly, Manoto TV, known for its entertainment and historical content, has cultivated a large audience among the Iranian diaspora and inside Iran. However, the network's promotion of monarchist ideals has been controversial. While monarchist narratives resonate with some in the diaspora, they are largely rejected by Iranians within the country, contributing to the fragmentation of opposition movements like Woman, Life, Freedom (Esfandiari, 2012).

Despite these challenges, independent influencers, artists, and cultural figures have played a crucial role in amplifying the voices of the Woman, Life, Freedom movement. Musicians like Shervin Hajipour and Toomaj Salehi have embodied the movement's spirit through their songs, Baraye and protest rap, both of which have gone viral on platforms like Instagram. Similarly, Iranian artists have shared visual art and choreographed dances, blending traditional and contemporary styles to reflect the ongoing struggle for freedom. By using social media, these artists have bypassed censorship and reached global audiences, ensuring their message of resistance transcends borders (CIRCA, 2022; FilmFreeway, 2024).

Events like the Woman, Life, Freedom Film Festival in Toronto, along with similar festivals in Los Angeles and at the United Nations, have served as key platforms to showcase films and visual arts centered on women’s rights and social justice in Iran. These festivals highlight the work of Iranian filmmakers and artists, amplifying the voices of protestors and underscoring the ongoing struggle for democracy and equality (Empower Women Media, 2023; FilmFreeway, 2024).

The role of these grassroots influencers may be crucial in filling the gap left by foreign-backed outlets, whose narratives often align with their funders’ geopolitical interests rather than the true desires of the Iranian public. However, a critical question remains: Can these independent voices, with far fewer resources, compete with heavily foreign-funded oppositional media in amplifying the voices of the real people in Iran?

References:

• Central Intelligence Agency. (2023). The World Factbook: Iran. Retrieved from CIA World Factbook

• Gamaan. (2023). Iranians’ Attitudes Toward Media. Retrieved from Gamaan

• Ganjian, M., & Zanuddin, H. (2018). The role of BBC in Iran’s politics: From the Shah to Khamenei. Iranian Studies Journal, 2(2), 63-82. https://doi.org/10.33201/iranian.476828

• Council on Foreign Relations (CFR). (2023). Mahsa Amini, Media, and the Saudi-Iranian Détente. Retrieved from CFR

• Esfandiari, G. (2012). Nothing Comes Between Iranians And Their Satellite Dishes -- Not Even The Police. RFE/RL. Retrieved from RFE/RL

• CIRCA. (2022). Shirin Neshat, Woman Life Freedom. Retrieved from circa.art

• FilmFreeway. (2024). Woman, Life, Freedom International Film & Visual Arts Festival. Retrieved from FilmFreeway

• Empower Women Media. (2023). Women, Life, Freedom Los Angeles. Retrieved from Empower Women Media

• Monshipouri, M., & Dorraj, M. (2013). Inside the Islamic Republic: Social Change in Post-Khomeini Iran. Hurst & Company.

• Sreberny, A., & Khiabany, G. (2010). Blogistan: The Internet and Politics in Iran. I.B. Tauris.