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Showing 2 results for Culture
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Volume 1, Issue 3 (5-2016)
Abstract
Local initiatives have been defined as specific collective activities without external support or incentives in order to control either ground or surface waters. On the other hand, one of the most important management approaches in managing water resources is an approach that emphasizes on creating capacity and institutionalization of local communities for participatory management of water resources. Social structures of water resources accounts for one of the aspects of indigenous knowledge and in the management of water resources, it is necessary to analyze social structures associated with it in addition to assessment of the indigenous knowledge. This paper aims to analyze indigenous knowledge in social organization of agricultural production and irrigation system in Rouzkin village, Sarduiyeh County - Jiroft city. In this study, based on anthropological methods and qualitative approaches, including direct and participant observation of the researcher and organized interviews with 32 informed informants (farmers) were used. In Roozkin Village, a certain social structure governs on the management of water resources in the region dating back more than 100 years. Cooperation in water resources management is considered as fundamental principle in this village and the social roles of Arbab and Zaim are among social initiatives of this village in management of water resources. In this village, 10 associations or local groups have been formed for managing water resources and each group is composed of Arbab and Zaim. Generally, it can be concluded that, over time, in addition to the sustainability of local traditions in water resources management, social and cultural stability have been improved with decreased social conflicts among local stakeholders in the rigion.
, , ,
Volume 1, Issue 3 (5-2016)
Abstract
Starting with the first Iranian film, A Girl from Lurestan (Dokhtare Lor), a silent film, viewers are faced with notable insight drawn from ethnic cultures and life in Iran. Different directors have attempted to properly present the lives of ethnic groups in Iranian Cinema and furthermore, employ it to enrich and foster their stories, cultural backgrounds, contexts and motifs. The directors of such films, nevertheless, often reproduce typical images or characteristics of these ethnic groups and sometimes their movies act as an agent for spreading a stereotype among pop culture and the public. Some elements such as food, clothing and place are key components that indicate the cultural image of the ethnicity. Some Iranian ethnic groups such as the Gikak, Lor, Turk, and Kurds have been shown more in Iranian Cinema. This article is dedicated to discuss the representation of Kurdish Ethnic cultures in Iran as an Iranian ethnic group whose presence in Iranian cinema has been remarkable in recent decades. This article concentrates on the key elements in the culture of Kurdish Ethnic groups, including clothing, food and place and reviewed the movies that have driven inspiration from this ethnic culture.
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