[PROVISIONAL TRANSLATION FROM PERSIAN]

 

[Translator’s notes appear in square brackets.]

[Personal information has been redacted.]

[The excerpt below is from the section of the article that pertains to the Baha’i Faith]

 

[Adapted from website:] Edalat Golestan

[Date:] 5 Farvardin 1395 [24 March 2016]

 

The Footprints of Baha’ism and Monafeghin in the Story of the Removal of the Hijab of the “Mah Banoo” Musical Band + Image

According to the Golestan Justice Seeker’s news website, “One of the intricate social and cultural questions of the last few years is the debate on the issue of women’s singing, a debate that became so widely expressed with the inauguration of the new government, that almost every month such news was published in the real and cyber-media.

Sahar Mohammadi, the group’s soloist, having published a picture of herself without a hijab, with the support of the counter-revolutionary and Monafeghin media, announced, “On International Women’s Day, I removed my hijab to tell the world that Iranian women need freedom… Help us!”

This is a move that is worth pondering. Even though she knew that she would return to the country after the concert, her self-confidence in uttering such sentences is thought-provoking, and it seems unlikely that her removing her hijab and her speeches were made only for the purpose of seeking asylum.

The question is why people who have a Baha’i background, or who openly consider themselves supporters of this perverse sect, should have the opportunity for artistic work at home and abroad, while healthy and mainstream artists have to run around, and may or may not be able to get a simple work permit!

The interesting point here is that this group of singers is led by Majid Derakhshani and operates with permission from the Ministry of [Islamic] Guidance. Derakhshani is from Sangsar, Semnan, a place known for Hojabr Yazdani, a Baha’i famous at the time of the shah, who formed the largest and most powerful mafia group of the time. This, of course, brings one closer to the project of influence and the Baha’i system, which plays a prominent role in the “Manoto” network and many anti-cultural activities, so that at least we can become more vigilant in this regard. One of the propaganda methods and tools of the perverse Baha’i sect is the use of sexual, and especially artistic, attractions. The leaders of this perverse sect mainly prepared the ground for people to join this perverse sect by using various [techniques] such as concerts, mixed parties and encouraging sentimental relationships.

At first, the woman’s solo performance was not seriously opposed by the senior cultural directors, so in the next stage, a concert was held, and after that, the women singers started composing easily with a half-hijab [improper hijab] and heavy make-up. This soft influence caused the band called “Mah Banoo” to remove their hijabs in a concert abroad, and Mohammadi started talking about the liberation of women. Sahar Mohammadi and her like are considered as the targets of the enemies in paving the way for their goals. Considering the fact that, previously, Mohammadi had introduced herself as a supporter of Baha’is, the sensitivity of the issue becomes clearer and needs more reflection.