Since December 2017, Iranian women’s protests have emerged in momentous and creative forms. One of the most prominent examples is a diverse group of women known as the Girls of Enghelab Street, who climbed onto urban utility boxes between December 2017 and March 2019 and removed or waved their scarves in the main streets and subways of Tehran and other Iranian cities. Alongside the country-wide protests in response to the intensifying economic crisis and inequality of laws in Iran, women have creatively claimed their rights despite continuous efforts by government agents to regulate and limit their ability to live freely.

These movements have involved groups of women who have ventured into certain urban spaces–such as main streets, subways, and parks, where prohib‐-itive laws apply to the rights of women to enter and dress freely–to claim their right to appear as they like in public. While demanding such a right to exist in urban spaces without obstruction, they have utilized urban and cultural tools for creative protest through, for example, the unprecedented practice of climbing onto utility boxes on the street and waving their scarves bareheaded.(see Rezai 2018) However, this innovative reclamation of urban space has not been limited to the recent conquering of utility boxes; women have also chanted revolutionary songs from earlier feminist and leftist movements in public spaces, thereby connecting with these ‘past’movements and incorporating their