Today in class, we discussed the relations and correlations that can be drawn between the images and texts present within a graphic novel, with particular reference to Persepolis by Marjane Satrapi. Prior to our study of the images and texts present in this graphic novel, I questioned how much information and relations could exactly could be drawn from and between the two, but upon analysis of the text, we were able to discover a multitude of these relations.

One group in our class decided to do an analysis of the illustration and text done on page 77 of the text. This particular illustration displays the protagonist of the story, Marjane, or “Marji”, the author of the text, riding on a flying carpet with her parents through a black night, where swirls of white lines display what looks like wind, and buildings exhibit main attractions of Europe, such as the leaning tower of Pisa, the Coliseum, and the exterior of a building with clothes hanging on lines out the window. The group that analyzed this brought attention to a hidden figure within the swirls, that of a flamenco dancer. I wanted to take a closer look at this flamenco dancer. After doing some research online, I came across a few findings that displayed the relations and historical ties between flamenco and its Islamic roots. From an etymological approach, some scholars believe that the roots of Flamenco stem from the Arabic words felag mangu, which, in english, translates to “fugitive peasant”, and in turn is derived from a root meaning “to flee” (“Flamenco and its Muslim Connection”).This is interesting to me, as in this point in the book, Marji and her family are on vacation after having been attacked during a demonstration by Islamic revolutionaries. From another source, I found that Blas Infante, an Andalusian historian, argued that the term flamenco pertained to Moriscos, who are ethnic Andulasions of the Islamic faith (Infante), who joined the Roma newcomers in order to avoid being forced into exile, or suffering from religious persecution. During this period in time, extremist Islamic thought was being implemented within Iran, so, Satrapi may be drawing a correlation between this and her younger self fleeing the extremist thought present at the time.

Another series of graphics I found interesting were the ones on page 91, where Marji is spending time with the children of Mali, a childhood friend of Marji’s mom. In the illustrations they are heading to bed while discussing star wars. The interesting thing about this series of illustrations is the bed covers, which are designed like the American flag. On the prior page, the father of the children is discussing how much certain items he has purchased have costed for him, and is complaining about how they are all gone now, because of a bombing that destroyed their possessions. Marji’s dad is said to not have liked the materialistic ways of this man. Then, on the following page, with the discussion of Star Wars, I believe the idea of Western influence is being hinted at. Upon doing some research, I found that the US backed the Shah of Iran, Mohammed Reza Pahlavi (“US-Iran Relations”) during the Islamic Revolution. This leads me to think that Satrapi included the American flag bedsheets to display US influence during the revolution, of which would have been viewed in a negative way by most who were participating in the revolution. Behind the beds is also an image of a bird, of which can be found throughout the book, such as on page 70, in the illustration of the newspaper displaying the death of her uncle. This bird could represent its traditional correlation, the idea of freedom, or could pertain to an element of the Islamic faith.

Both of these series of illustrations provide examples of how Satrapi correlates her illustrations and texts with deeper meanings and underlying abstractions/thought within the time period. I find the relations between illustrations and culture to be very intriguing, and I think there is much more room for study in this area.

Works Cited

“Flamenco and the (surprising) Muslim Connection.” A History Teacher in Andalusia. 2010. Web. 17 Mar. 2016.

Infante, Blas, and Manuel Barrios. Orígenes De Lo Flamenco Y Secreto Del Cante Jondo. Sevilla: Junta De Andalucía, 1980. Junta De Andalucia. Web. 17 Mar. 2016.

Satrapi, Marjane. Persepolis. Paris: L’Association, 2003. Print.

“US-Iran Relations: A Brief Guide – BBC News.” BBC News. Web. 18 Mar. 2016.