Introduction
The concept of motherhood has undergone significant changes and transformations over time. Archaeological evidence presented by Malinowski highlights that, in early civilizations, motherhood formed the foundation of family structures, with mothers being central to child-rearing and caregiving. In contrast, fathers held marginal and relatively insignificant roles in these early family systems (Mohammadi & Mohammadi, 2021, p. 232). However, contemporary trends have shifted dramatically. Today, women have greater autonomy and the ability to choose whether to embrace motherhood (Omidvar Tehrani et al., 2021, p. 1026).
Modern perspectives regard motherhood as a social category shaped by the cultural and societal positioning of women. According to recent theories, motherhood is influenced by the cultural constructs surrounding women, with art playing a significant role in this dynamic. Art not only reflects a woman's individuality and independence but also shapes and is shaped by her experiences (Amidipour, Rajablo & Bastani, 2024, p. 322). For instance, art can portray the distinctiveness of a mother’s perspective, enhancing her quality of life, while also serving as a medium for artists to embed themes of motherhood in their work. This influence is evident in how the creative output of female artists often transforms before and after they become mothers (Khaleq Panah, Mirzavandian & Rahimi, 2018, p. 73).
In this study, the focus is on music, specifically the folk music of East Khorasan, as a form of art that embodies and expresses these cultural narratives. By employing a phenomenological approach, this research aims to explore and identify the themes emerging from women’s lived experiences of motherhood as reflected in the region’s folk music.
Method
This research employs a phenomenological approach to identify common themes and sub-themes within the intersubjective experiences of individuals who, firstly, have musical expertise and, secondly, are mothers. The primary objective is to describe and analyze the shared experiences of the participants. Phenomenology is particularly well-suited for this purpose, as it facilitates a deeper understanding of people’s lived experiences by exploring their thoughts, emotions, and underlying systems. Additionally, it considers both the visible and hidden aspects of the phenomenon under investigation—in this case, folk music. The study aims to uncover the collective meaning participants assign to their ‘conceptual encounter’ with motherhood. Furthermore, it seeks to represent and analyze their narratives and perceptions of motherhood. To achieve this, the research follows Colaizzi’s seven-step method for phenomenological analysis. Semi-structured interviews were conducted with 11 female musicians and music teachers from the city of Mashhad during the winter of 2024. Participants were selected using a stratified sampling method to ensure maximum diversity within the group. The interviews focused on exploring participants’ inner world experiences after engaging with the folk music of East Khorasan. The narratives collected during these interviews were then analyzed using MAXQDA software to extract themes and insights.
 Findings
The findings reveal that the motherhood experiences of female musicians influenced by the folk music of East Khorasan are shaped by various factors, including age, education level, academic field, child’s gender, marital status, and child’s age. The narratives of the participants confirm that these external variables significantly impact their perceptions and experiences of motherhood. A key focus of this research was to analyze and represent the participants’ experiences of motherhood. The women’s perceptions of motherhood were closely tied to their musical experiences. Many participants believed that East Khorasan’s folk music contains themes related to motherhood, which, in turn, influence their personal experiences of being mothers while listening to this music. Through analyzing their narratives, three main themes and ten sub-themes were identified in relation to their motherhood experiences after engaging with folk music.
The participants’ narratives highlighted a sense of motherly hope that emerged while listening to Khorasan’s folk music. This hope was expressed through three core themes:

wish for health for children
hope for independence
wish for a successful marriage for the child

Each theme was explored through detailed participant narratives that illustrated their profound connection to these aspirations. Additionally, the mothers who were also artists described experiencing feelings of anxiety about fulfilling their maternal roles when listening to East Khorasan’s music. This anxiety reflected their concerns and responsibilities as mothers. On the other hand, several participants expressed feelings of happiness and joy after listening to the folk music of East Khorasan, showcasing the multifaceted emotional impact of music on their lived experiences of motherhood.
Discussion and Conclusion
The findings of this research reveal that the music of East Khorasan evokes contradictory experiences of motherhood for many women artists. On one hand, the joy of motherhood enriches their experiences of listening to and engaging with music. On the other hand, anxiety related to fulfilling their maternal roles casts a shadow over these experiences, ultimately contributing to shifts in their identity.
The lived experiences of the artists who are also mothers reflect a structural contradiction in their relationship with the music of East Khorasan and their maternal roles. Two primary themes emerge from their narratives: the joy of embracing motherhood and the concern about performing maternal duties. For some women, engaging with music—whether through listening or active participation—enhances their motivation for motherhood. Conversely, for others, music becomes a space where the demands of their artistic and maternal roles intersect, intensifying feelings of insecurity. This heightened insecurity makes their perception of time more fluid and uncertain. While some participants find harmony between their musical past and their role as mothers, a larger number derive significant satisfaction from their engagement with East Khorasan’s music. However, the ambiguity of time and the conditions it creates disrupt their sense of stability in their maternal roles. Given the increasing number of women active in music, it is essential to establish legal and cultural frameworks to support their dual roles as mothers and artists. These frameworks should aim to alleviate the conflicts they face, ensuring that their musical pursuits do not interfere with their responsibilities as mothers. It is recommended that cultural and artistic authorities acknowledge and adapt to these evolving realities, thereby reducing the intensity of these conflicts. Such measures can help empower women musicians to balance their roles as artists and mothers more effectively.
Acknowledgment
The authors are grateful to the General Directorate of Islamic Guidance of Khorasan Razavi and all the female artists who have given their valuable time to this research.