hese dialects have Arabic origins (“Learn About Kurdish Culture”). After the collapse of the Mahabad Republic, the Iranian government had banned the Kurds from speaking as well as writing in their official language. This included burning any current literature they had in the Kurdish language (Price, pg. 188). However beginning in the later 1980s, publications, radio and television programs began to appear in the Kurdish language although they were censored. Add in the formation of Internet cafes as well as satellite TV and the Kurdish culture began to reach further rather than be oppressed (Price, pg. 326-327).
Music, as well as dance, has always been important to the Kurdish identity (Price, pg. 258). Notably, in the city of Kermanshah, music is central. Most music in Iran originates from tribal Kurds in the Kermanshah religion. Some traditional Kurdish instruments include the drums, flute, and a guitar-like instrument known as an ut-ut. Since, generally, most Kurds speak Sorani, their dance is simple. Dancers have fluid-like movements during which their shoulders rise and fall continuously. This is known as Kurdish folk dancing that includes men and women dancing in the same line, which is uncharacteristic in comparison to other Middle Eastern cultures. When they dance, the Kurds wear elaborate, individualized costumes that are layered with various colors and garments (“Learn About Kurdish Culture”). Even in a climate where Kurdish culture was constantly suppressed, their music was able to flourish as long as there were no solo female singers due to the lack of restrictions (Price, pg. 325).

Similar to other parts of Iran, carpet-weaving is an important part of art to the Kurds. Typically, Kurdish designs involve a spectrum of colors such as blue, green, saffron, terracotta, and orange hues. With those colors, they would weave floral, geometric, and medallion patterns. These rugs they weave are symbolic of the in