The Lūtīs in Khorramabad: A Sociological Analysis of Factors Influencing Social Distance and the Decline in Status of a Musical Group

Document Type : Research Paper

Authors

1 Associate Professor, Department of Ethnomusicology, Faculty of Music, University of Art, Tehran, Iran.

2 M.A. in Ethnomusicology, Department of Ethnomusicology, Faculty of Music, University of Art, Tehran, Iran.

Abstract

The social position of subcultures related to music professions in the cultural regions of Iran is an important topic for investigation. Various theories have been proposed regarding the definition of the social position of individuals, social groups, and so on. One of these subcultures that are scattered across different areas is the Koli (Gypsy)—used as a general term—who are also known by other names. Luti is also a group derived from this subculture residing in Khorramābād. The Luti of Khorramābād play a significant role in the continuity of music in Khorramābād; however, for various reasons, they do not hold much prestige in the region, and the community maintains a defensive attitude and keeps its distance from this social group. This research aims to investigate the social position of the Luti based on relevant theories of social status and various factors in shaping their social standing. The research method is qualitative, and the presentation method of this study is descriptive-analytical, with data collection based on field studies and library resources. The main question of the research revolves around the factors that have influenced the manifestation of the social status of the Luti. The Luti of Khorramabad can be considered a type of diaspora who, for several reasons, migrated to Khorramabad and settled in a number of neighborhoods. Since the establishment of this subculture in the region, despite efforts to adopt cultural and social aspects of the host culture, the Luti have apparently failed to achieve a conventional social standing. This issue is attributed to some of their cultural, economic, and social behaviors. The most important cultural aspect relates to religious matters, where a lack of adherence to religious observance and superficial acceptance of religious constraints sometimes leads to distancing. Occupational activities at three levels – musicianship and dancing, engaging in blue-collar jobs, and in instances, engaging in unconventional behaviors such as begging, theft, addiction, etc. – have exacerbated this issue. Social behaviors, including lack of educational attainment and forcing women and children into unconventional activities lead to rejection and social frustration. Although the Luti participated in the war after the 1979 revolution, and the public’s view of the music profession has changed in recent decades, which has moderated some of the attitudes towards the Luti in the region, the Luti still do not enjoy a proper social position due to the long history of the influencing factors mentioned. Overall, these factors lead to a kind of social isolation. These factors have contributed to the emergence of resentment toward the dominant culture of society, the concealment of their identity, feelings of resentment and isolation, limited intermarriage with the host community, and frustration with the profession of musicianship—all of which have, at times, led to the migration of some Luti. To summarize: 1. music and dance, 2. labor, 3. unconventional activities such as begging, theft, addiction, etc.; and the lack of attention to education, treatment of women and children, and so forth have all played a role in their social exclusion. All these factors have influenced the decline of the social position of the Luti in the region.

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References

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Journal of Fine Arts: Performing Arts & Music
Volume 31, Issue 1
February 2026
Pages 81-91

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