Zurkhaneh – Guidebook

Khashayar Heidari

Bahman 1390 (January 2012)

Sydney, Australia

Table of ContentsIntroduction.........................................................................................................31The Zurkhaneh Tradition...................................................................................3

1.1What is Zurkhaneh?....................................................................................31.2Why practice Zurkhaneh?...........................................................................31.3History of Zurkhaneh..................................................................................3

1.3.1Beginnings...........................................................................................31.3.2The age of Pahlavans...........................................................................41.3.3Development of an art.........................................................................51.3.4Modern Zurkhaneh Sports....................................................................5

2The Customs and Etiquette of Zurkhaneh.........................................................62.1Values and Principals..................................................................................62.2The Zurkhaneh Sports Hall.........................................................................62.3The Participants..........................................................................................7

2.3.1Morshed...............................................................................................72.3.2Miyandar..............................................................................................7

2.4Rokhsat.......................................................................................................82.5Zamin Boosi (Entering the Gowd)...............................................................92.6Kesvat (Ranking).........................................................................................92.7Konde zadan (Kneeling)..............................................................................92.8Prayer.........................................................................................................92.9Apparel.....................................................................................................10

3Equipments and Instruments...........................................................................103.1Zarb (Drum)..............................................................................................103.2Zang (Bell)................................................................................................113.3Meel (Club-bell).........................................................................................113.4Takhte Shena (Push-up Board).................................................................123.5Sang (Shield)............................................................................................133.6Kabbadeh (Bow and Chain).......................................................................14

4Exercises and Techniques...............................................................................144.1Warm-up...................................................................................................144.2Shena (Push-ups)......................................................................................154.3Narmesh (Stretching)...............................................................................154.4Kham-giri (Squatting)...............................................................................154.5Meel-baazi (Juggling)................................................................................164.6Meel-geeri (Club practice).........................................................................164.7Paa-zadan (Aerobics Conditioning)...........................................................164.8Charkh (Whirling)......................................................................................174.9Kabbadeh-zadan (Bow practice)...............................................................174.10Sang-giri (Shield practice)......................................................................184.11Koshti'e Pahlavani (Pahlavani Wrestling)................................................18

5Competitions...................................................................................................195.1Individual..................................................................................................195.2Team.........................................................................................................19

6Zurkhaneh Sports Proliferation........................................................................207Relevance of Zurkhaneh Today.......................................................................20

IntroductionThis guidebook will provide a overview of Zurkhaneh (the House of Power), the sports, traditions, equipment and details of the exercises. In it we will also discuss the past, present and future role of Zurkhaneh in its country of origin (Iran) and internationally.

1 The Zurkhaneh Tradition

1.1 What is Zurkhaneh?

Zurkhaneh literally means House of Power/Strength. It refers to the physical structure where Zurkhaneh sports are performed and is today used for describing the sports as it is practiced today.

The sports, as we will explore, is a stylized form of martial arts, that has been derived from ancient battle techniques and refined during the last two millenia.

Zurkhaneh sports promotes physical, mental and spiritual wellbeing and, as will be discussed and demonstrated in further detail, is a holistic approach to health and fitness.

1.2 Why practice Zurkhaneh?

Zurkhaneh sports helps promote a healthy lifestyle, not only from a physical aspect but also from a mental and spiritual wellbeing point of view. Zurkhaneh sports incorporates practices and exercises that develop the practitioner from a holistic view point without overly emphasizing on a particular aspect or omitting others.

In Zurkhaneh sports a system of physical training has been developed and matured during thousands of years. The foundational roots of the exercises have been derived from ancient Iranian martial arts, the practitioner uses traditional instruments and his/her bodyweight to perform a series of exercises that increases and develops:

● Core strength;

● Endurance and stamina;

● Agility and speed;

● Flexibility; and,

● Concentration.

1.3 History of Zurkhaneh

1.3.1 Beginnings

As almost all forms of martial arts, Zurkhaneh sports has it's roots in battle and warfare. It was formed during an age where warriors conducted hand to hand and man to man combat and so were expected to be skilled, fierce, brave,

strong and able to defeat one or several opponents with or without the aid of battle instruments such as the club (mace) swords, spears etc.

Zurkhaneh Sports was developed as a physical discipline to forge warriors out of ordinary men, it empowered the practitioners to wield various weapons, taught them unarmed combat and prepared them for the endurance demanding activities of the battlefield and warfare.

The exact time and place for the development of Zurkhaneh sports is difficult to establish and there are various theories about it's origin. But the research is unanimous that it is a sports deeply rooted in the Iranian lands and part of its cultural heritage.

It is also known that some of the Zurkhaneh customers and traditions, such as the ranking system and ancient initiation ceremonies, have their roots in Mithraic traditions that date back to at least 2,000 bce.

According to research done by Delhi University professor Anita Ghosh, Zurkhanehs went underground during the Arab invasion of Iran around 637CE. The houses of Power served as secret meeting places where the national spirit was kept alive and where Iranians learnt to handle weapons forbidden to them by their Arab governors. Time and again, invaders destroyed these cellars of strength but nationalism kept new ones springing up in different locations.

1.3.2 The age of Pahlavans

The Heroic age of ancient Iran has been described at length in the literary masterpiece epic of Shahnameh by the renowned and great Ferdowsi, as well as in other sources. A word frequently encountered that describes and refers to the great heroes of Shahnamenh, and which is still used today to describe and refer to accomplished Zurkhaneh practitioners, is Pahlavan (in Persian). This word can best be described in English as a combination (label) of the words hero and champion.

A Pahlavan (Champion/Hero) is expected to be able to cross mountains,deserts and waters (physically and emotionally), infiltrate and penetrate forts and castles, be able to handle every conventional weapon, be skilled in hand to hand combat and be extreme survivalists. Not only strong in body they were expected to be be pure in spirit and courageous in character.

Honest in words, righteous in action and loyal helpers to those in need, they are the predecessors of the chivalrous paladins and knights of the middle ages and the epitome of [hu]manhood.

The stories of the feats of the ancient Pahlavans (Champions/Heros) of Iran, such as the legendary Rostam from Shahnameh, continue to be a source of inspiration for Zurkhaneh athletes aspiring towards emulating and following in the footsteps of the ancient heroes in terms of character and spiritual strength.

With the advent of Islam in the lands of Iran, and the conversion of many Iranians to Islam, the deeds, philosophies and teachings of the great leaders of Islam, such as Imam Ali (pbuh), were also incorporated in the Zurkhaneh

culture.

The examples of these great individuals and the lessons learned from their lives are often used by the Morshed (Master) to instill the core values of Zurkhaneh in practitioners and so continue a great tradition and lifestyle.

Note: The example of Imam Ali (pbuh) has been highlighted to demonstrate that Zurkhaneh is not exclusive nor Iranian centric in its philosophy and it's culture is based on merit of action and not ethnic, religious or racial affiliations.

1.3.3 Development of an art

Zurkhaneh sports developed and matured during millenia, as such it has been influenced and colored by the various Iranian cultures, schools of thoughts, spiritual and religious practices, such as Mithraism, Zoroastrianism, Islam and Sufism, throughout its life span.

As technology changed and substituted the battle instruments, and as periods of stability reduced the need for combatants, so did Zurkhaneh sports develop more and more into a stylized form of physical practice and an art form. While the symbolism of the instruments and practices remained, their usage has been shifted almost exclusively towards fitness and the development and maintainability of health.

The arts, poems and literature have always played a very important role in Zurkhaneh and they are still being utilized to promote and enhance mental and spiritual development of the athletes.

Often the subject of the arts, poems, songs and literature used in Zurkhaneh have been heroic deeds by courageous and righteous individuals during great battles and times of trial, as well as religious and esoteric teachings by great masters such as Ferdowsi, Hafiz, Rumi and the Holy Quraan.

This great tradition continues to this date and new songs, poems, inspirational teachings and great variety of examples from other cultures are constantly added to the vast repertoire of the Morsheds and the cultural heritage of Zurkhaneh.

1.3.4 Modern Zurkhaneh Sports

Modern Zurkhaneh sports maintains and includes all the aspects and elements of the ancient practice. While keeping true to its origins and roots, it has been infused with the modern understanding of physical exercise science.

Considerations have been taken and adjustments made, in accord with the advance of science, to further promote health, fitness and wellbeing of the practitioners.

But the training techniques and exercises of Zurkhaneh remain as ferocious and physically demanding as the name [House of Power] implies and constitute a rigorous, holistic yet demanding exercise that can be adapted to suit a great range of individual needs, i.e. the inclusion of women, children, elderly and also the physically challenged.

2 The Customs and Etiquette of Zurkhaneh

2.1 Values and Principals

The values and principals of Zurkhaneh sports can be summed up in the three dimensional principal of Good Thoughts, Good Words and Good Deeds.

Zurkhaneh promotes, and the practitioners are expected to display, chivalrous, humble and polite behavior. The love of country, a sense of duty towards community, respect of elders and devotion to life and God are characteristics that have been and continue to be instilled in Zurkhaneh practitioners regardless of time and geographic location.

The Zurkhaneh continues to be a center and a place for love of life, righteousness of action, health, youth and chivalry or as summed up in the Persian phrase 'Javan-Mardi', i.e. being a true [hu]man.

2.2 The Zurkhaneh Sports Hall

The Zurkhaneh sports halls are the earliest known privatized gymnasiums, or fitness centers as they are often referred to today. They were and still are built and maintained privately and are open to the public. There are Zurkhaneh sports gymnasiums in Iran that are over 500 years old and still in operations in Iran today.

The physical location is a dome shaped building with a high ceiling and a low doorway, so that one has to bow in remembrance and acknowledgement of the higher power (God) upon entry. The high ceiling, in addition to accommodating for the various exercises conducted, also reverberates the sounds generated by the beat of the Zarb (drum) and the chanting accompanied the training and so helps enhancing the emotional and spiritual aspects when training.

In the middle of the structure there is a octagonal pit (Gowd) that is 10m in diameter and 70cm below ground level and constitutes the main exercise area.

The Gowd in turn is facing an elevated podium (Sardamm) which is the seat of the Morshed (Master). Around the Gowd there's usually flat surface to

Illustration 1: The Aab-Anbaar Zurkhaneh in Yazd, Iran, over 300 years old

accommodate for additional practitioners or equipments and/or seats for an audience.

The significance of the Gowd and the Sardamm is substantial in Zurkhaneh culture. The Gowd is below ground level to once again remind the athletes of the importance of humility and is considered holy ground which one can not enter in a impure state. The Sardamm is always elevated for practical reasons i.e. so the Morshed can properly supervise the session but again has a spiritual connotation since the practitioners are looking upwards for guidance.

2.3 The Participants

There are three types of participants in the Zurkhaneh; the Morshed (Guide), the Miyandar (Coach) and the Athlete. We will describe the first 2 roles as the role of the athlete is self explanatory.

2.3.1 Morshed

The Morshed (Master/Guide) has the highest status in Zurkhaneh. He should be skilled in the practical aspects of Zurkhaneh and has achieved a high level of spiritual growth and so is qualified to lead the congregation.

The Morshed is skilled with and uses the Zarb (Drum), the Zang (Bell) and his voice to set the rhythm and pace of the training. As previously mentioned he utilizes the vast resources of spiritual, poetic and artistic literature to aid and motivate the athletes during the training session.

The Morsheds singing that accompanies the exercise is a form of oral education, passing down spiritual, ethical, religious and social knowledge and moral codes from generation to generation.

2.3.2 Miyandar

The Miyandar (Coach) is usually a person that is most skilled technically and

Illustration 2: Morshed playing the Zarb and Zang

lead the training session while demonstrating the techniques fully to less experienced athletes. The Miyandar communicates with the Morshed throughout the training session by visual and verbal cues in order to set the pace, signify changes and transitions during the exercise.

As previously mentioned the Zurkhaneh exercise is performed with the athletes standing in a circle and often the Miyandar, which can be the most senior student, takes his place in the center of the circle while leading the exercise. It is however not mandatory that the Miyandar remains the same person throughout the entire training session, this role can be changed during the exercise and the most suited to perform the specific part of the exercise can step in to perform or continue the training session.

2.4 Rokhsat

Rokhsat means asking for permission. It signifies and demonstrated respect to the Morshed, the elders and can also include the audience if applicable. The athlete uses this phrase to seek permission from the Morshed prior to entering the Gowd, or the sports ground. It is also used prior to performing certain exercises which are done individually in front of the assembly, such as whirling or to seek permission to commence or lead the exercise.

Illustration 3: A group of athletes and the Miyandar during push up exercises

Illustration 4: Athlete performing Roksat prior to entering the Gowd

2.5 Zamin Boosi (Entering the Gowd)

Upon entering or leaving the Gowd (or sports ground) the athletes touch the ground with their fingers of their right hand and then kiss their fingers. The significance of this custom, called Zamin Boosi (literally meaning kissing the earth), shows ones respect to the sports ground as well as acknowledgement that we come from the earth and to it shall we return one day. This can be compared to certain eastern martial arts where the practitioners bow to show respect before entering and upon leaving the Dojo (sports hall or ring).

The athletes enter the Gowd (or sports ground) from a position right opposite the Sardam and so they will be facing the Sardam and the Morshed upon entry in to the Gowd.

2.6 Kesvat (Ranking)

In Zurkhaneh there is no such ranking system that can be compared with the practices of ranking in various eastern martial arts. There is however an intricate system which is commonly referred to as Kesvat which signifies ones merit.

The system of Kesvat is not only based on practical experience and skill levels in terms of technical execution of practices or strength alone, but incorporates such aspects such as age and spiritual maturity as well as merits and reputation of the degree of righteousness of the athlete.

In contrast to many other martial arts there are no outwardly or physical signs of the rank of a athlete that one can wear. It is simply determined and signified by their position in the Gowd during exercise. All practices are performed in a circular fashion with the least experienced athlete standing at the 'bottom' of the Gowd and hence facing the Sardamm and the Morshed while the athlete with the highest Kesvat is allowed to stand with their back towards the Sardamm and consequently the Morshed.

The placement of the athletes in this way also has a practical advantage as the least experienced athlete can benefit from direct supervision and eye contact from the Morshed.

2.7 Konde zadan (Kneeling)

Prior to commencing the exercises the athletes kneel on their right knee while placing both their hands on their left knee with a upright posture. This is an ancient custom performed by the Pahlavans and knights of the past and signifies their respect to higher authorities while being prepared and alert to leap into action.

The athletes remain in this posture while the Morshed conducts the opening ritual which is often in the form of a brief song, poem or speech accompanied by the beat of the Zarb (Drum) which signifies the commencement of the proceedings.

2.8 Prayer

The training sessions are often concluded with a brief prayer led by the

Morshed and/or Miyandar (coach). The prayers are a form of thanksgiving and often simple and non-religious. They commonly concern the health and wellbeing of the athletes, their families, the community and the world in general.

This is done to strengthen the bond between the athletes and the community. It is a form of group meditation and signifies the end of the formal training session. Formal praying based on ones religious conviction can also be incorporated at this stage.

2.9 Apparel

The uniform of the champions at the zurkhaneh consists of either a loin cloth or a pair of short pants made from leather or some durable material. The pants are usually decorated with embroidery and a belt.

The shorts can be compared to a gi used in other eastern martial arts and are used as such during the wrestling sessions (Koshti Pahlavan'i) where the athletes use the waist or sleeve of the shorts to perform certain techniques.

3 Equipments and Instruments

3.1 Zarb (Drum)

The Zarb is a goblet shaped drum that is used by the Morshed to create the rhythm and pace of the exercises. It's use in Zurkhaneh exercises is one of the earliest known forms of exercise to music such as we can commonly observe today in modern fitness centers.

Illustration 5: A group of athletes during final prayers

Illustration 6: Koshti Pahlavani (Pahlavani Wrestling)

The beats and melodies used are reminiscent of battle, marching and military beats and is used to invigorate and create the atmosphere of martial arts exercise.

3.2 Zang (Bell)

The Zurkhaneh Zang (Bell) is used by the Morshed to accompany the drumming and creating the atmosphere conducive to the rigorous physical exercise. It is also used to signify beginning, transitions, changes and the end of the exercises.

The Morshed also uses the Bell to announce the entrance or exit of certain individuals, into or out of the Zurkhaneh sports ground or hall, whom are of high Kesvat (ranking), are elders or those respected within the community.

3.3 Meel (Club-bell)

The Meel (club-bell or Indian-club) has come to symbolize Zurkhaneh sports more than any other instrument used in Zurkhaneh. The Meel comes in different sizes and weights and are used as a tool for weight resistance exercises in Zurkhaneh.

Two factors that affect exercising with Meels are the height and the weight of a Meel. Usually the light Meel weigh about 2-3 kg. This type of Meel is used to improve stamina and they are exercised in 100s of sets. It is reported that

Illustration 7: Zarb and Zang

Illustration 8: Meel

Pahlavan Bozorg Hassan Razaz used to exercise meel swinging with 1,000 sets of swings as part of his daily exercise. Furthermore they are used to perform advanced variations as well as juggling techniques.

The heavy Meel is used to build strength. Heavy meels range from 4-16 kg each, and the height can be as tall as 1.5m. The material used to produce a Meel is walnut wood for heavy-weight kinds. To make it even heavier, Meel makers add lead to the bottom of the Meel, but this has to be done with care in order to ensure the symmetry of the Meel in terms of its center of gravity.

There are a variety of exercises that can be done using the Meel, the exercises are done in a rhythmic fashion and involves using and rotating the entire body, not just the arms.

The physical benefits of Meel swinging are increased mobility, flexibility, strength and stamina of arms, shoulders, back and core muscles as well as grip (forearm) strength and flexibility in the spine. The Meel can also be used as load for performing leg exercises.

3.4 Takhte Shena (Push-up Board)

The push-up board is used to center your point of gravity as some push-ups are performed with a more forward leaning posture and can be a challenge to the balance of the athlete during the more advanced stretching techniques.

It also reduces the stress on the wrists, as the hands are tucked under the body in certain positions, such as the the posture in stretch push-ups reminiscent of some postures in Yoga. Furthermore it assists to lift the trunk to allow it to curl further in the famous 'Crunch' or 'Screw' push ups allowing you to rotate the spine further, hence contracting the obliques and the abdomen in order to increase flexibility and core strength.

Illustration 9: Heavy Meel

There are other traditional and symbolic significances in using the push-up board. It represents the Iranian short sword, used by the Immortals and Iranian warriors, and is also used in advanced whirling exercises. The push-up board (Takhte Shenah in Persian) is treated with much respect in Zurkhaneh, e.g. one should not step on the push-up board.

Considered from a practical point of view, it allows the Pahlavan to practice their routine regardless of environment, i.e. on gravel and other uneven surfaces.

The physical benefits of doing push-ups on the Takhte Shena are increased flexibility, strength and stamina of arms, shoulders, chest, core muscles and spine as well as flexibility and stamina of the legs.

3.5 Sang (Shield)

The Sang litterally meaning stone, with reference to weight, is a wooden instrument resembling ancient shields used by the Iranian warriors. The Sang comes in different sizes and weights.

Illustration 10: Takhte Shena (Push up board)

Illustration 11: Athlete doing Sang press

It is utilized to increase strength and stamina in the arms, chest and core of the body by performing movements similar to chest press with dumbbells. The difference lies in the point of balance and gravity which, in addition to activating the major muscle groups of the chest, shoulder and arms it also activates smaller stabilizing muscle groups and the core of the body in order to fully balance, extend and rotate the body while performing the exercises.

3.6 Kabbadeh (Bow and Chain)

The Kabbadeh (Iron Bow) resembles a bow and is made of a metal frame with a chain and mail for added weight. The Kabbadeh comes in different sizes and weights. The main exercises done using the Kabbadeh are performed by holding the Kabbadeh frame in one hand and the chain in the other and swinging it from side to side in a rhythmic fashion whilst holding it overhead or in front of the body.

The most experienced Zurkhaneh practitioners can use the Kabbadeh's chain and mail to produce a rhythmic sound in tune with the Morshed's drum and bell beats and so add to the esoteric and spiritual experience through music and physical exercise to the point of complete exertion.

The benefits of Kabbadeh is for building shoulder, arms, back, chest and grip strength and stamina.

4 Exercises and TechniquesThe following is an outline of the exercises and practices that constitute fundamental components of Zurkhaneh sports. They are outlined in the sequence they are performed as established procedures by the IZSF.

4.1 Warm-up

Upon entering the Gowd the athletes do their warm-up routine which usually consists of jogging in line behind the Miyandar, accompanied by the drumbeat of the Morshed, and by performing different variations of rotational and

Illustration 12: Kabbadeh (Iron bow)

extension exercises of the major joints and limbs.

The warm-up lasts between 5-10min. It's purpose is to prepare the athletes for the coming rigorous exercises.

4.2 Shena (Push-ups)

In preparation for the initial strength and stamina building exercises the athletes form a circle around the Miyandar with their Takhte Shena (push-up boards) and after receiving the initial command from the Morshed they proceed according to the instructions and actions of the Miyandar to perform a series of push-ups according the below outlined sequence:

• Sarnavazi (4 count push-ups), these push-ups can contain variations and stretching components

• Shallaghi (2 count push-ups) • Keshide (stretch push-ups), these push-ups can contain variations and

stretching components as well as being performed in ascending and descending multiples

• Peech (Twist or crunch push-ups), these push-ups can be performed on the toes (advanced) or resting on the thighs (beginner)

The number, variations and intensity of these push-ups are determined by the Miyandar in accordance with the fitness level and abilities of the athletes.

During a typical session the athletes will perform anything from 50-200 push-ups.

The duration is 5-10min.

4.3 Narmesh (Stretching)

After the push-up sequence the athletes will follow the actions of the Miyandar and perform a series of stretching movements whilst standing behind the Takhte Shena.

These stretching movements aim at relaxing the tension built during the previous exercise, increase oxygen circulation and reduce lactic acid build up in the muscles as well as increasing flexibility and toning the muscles. Both upper-body and lower-body muscle groups are targeted during these exercises.

The duration is between 5-10min.

4.4 Kham-giri (Squatting)

Immediately after the stretching sequence the athletes will commence on the squatting exercises to build strength and stamina in the lower-body. These exercises are done simply by using the body weight of the athletes and squatting and standing in rhythm to the Morshed's drum beat.

When an athlete wants to increase the difficulty additional load can be used and is usually done so by holding a pair of Meel on the shoulders during these exercises.

The number of squats performed increases incrementally by the Miyandar and is usually performed for 5-7min.

4.5 Meel-baazi (Juggling)

Prior to commencing Meel exercises those who wish will take center place in the Gowd and juggle with light Meels. This segment is often performed for an audience in an act of showmanship but also has the added benefit of balance, hand-eye coordination and concentration.

4.6 Meel-geeri (Club practice)

Similar to the initial 2 push-up sequences the Meel exercises are performed in the following order:

• Sarnavazi (4 count club swinging), this is a slower paced rhythmic club swinging and can incorporate several variations (intermediate to advanced)

• Stretching with the Meel, these exercies performed to signify the change between the slower 4 count Meel swings and the faster and more strenuous 2 count Meel swings, it also gives the athletes time to recuperate from the previous segment

• Shallaghi (2 count club swinging), this is a faster paced rhythmic club swinging and can incorporate several variations (advanced)

During this segment the athletes may choose to exercise using heavy or lighter Meels depending on their objective. When using the lighter Meels the athletes can perform variations during the Meel swinging that aim to improve coordination, balance, strength and stamina in multiple larger and smaller stabilizer muscles.

With practice these movements can be choreographed and performed in synchronization with the Morshed's drum beat and each individual athlete.

The duration of this segment is 7-12min.

4.7 Paa-zadan (Aerobics Conditioning)

After returning the Meels it is time for the aerobic part of the exercises. These exercises aim to increase stamina and cardiovascular ability of the athletes. They are performed in unison and in an ever increasing tempo to the drum beat of the Morshed. There are a series of routines and variations that are performed consisting of:

• Pa'ye Zarbedari (criss cross leg exercises), stomping the legs across eachother on the same spot

• Pa'ye Shateri (kickback leg exercises), kicking backwards alternating legs • Pa'ye Miyankoob (stepping leg exercises), kicking backwards alternating

legs with single, double or triple double steps • Pa'ye Daarjaah (stationary leg exercises), double steppint on the spot • Pa'ye Tabrizi (kicking leg exercises), kicking up alternating legs in single,

double, triple or continuous mode • Pa'ye Ya Fattah (kicking and double stepping leg exercises), kicking up

then doing a double step in between

The duration of these exercises are 5-12min

4.8 Charkh (Whirling)

The whirling exercises are aimed at increasing lower body strength and stamina as well as increasing balance and concentration and are performed individually by each athlete taking turns to take center of the Gowd and whirling clockwise in rhythm to the Morshed's drumbeat. There are variations of the whirling exercises that can be done in a serial mode or individually and consist of:

• Charkh'e Teez (fast whirling) • Charkh'e Chamani (slow whirling) • Charkh'e Takk Ferr (whirling with spins)

The duration of this segment depends on the number of people whirling. Usually this segment brings an end to the group exercise and is concluded with a group prayer before athletes may seek permission to exit the Gowd.

4.9 Kabbadeh-zadan (Bow practice)

Some athletes may remain in the Gowd and proceed to exercise with the Kabbadeh. These exercises is performed by swinging the bow and chain overhead or in front of the body from side to side in increasing repetitions performed to the beat of the Morshed's drum.

Illustration 13: Pa zadaan (Zurkhaneh Aerobics)

Illustration 14: Whirling

4.10 Sang-giri (Shield practice)

Alternatively some athletes proceed to lifting the Sang and performing variations during the lifts in double handed lifts or single handed lifts while rolling from side to side.

During competitions or exhibition this segment is performed by one athlete in the beginning of the session instead of warm-up to showcase the exercise and demonstrate their strength and ability with the Sang.

4.11 Koshti'e Pahlavani (Pahlavani Wrestling)

As a final event of the Zurkhaneh sports, specially during competitions and exhibitions, 2 athletes demonstrate the Pahlavani form of wrestling in the center of the Gowd.

At some Zurkhaneh's after the initial strength training the athletes proceed to wrestling practice. Pahlavani wrestling is guided by a strict code of rituals and conduct which the discussion thereof is beyond the scope of this article.

The Zurkhaneh exercises are the precursor to strength and conditioning exercises for wrestling practice. Wrestling has been an integral part of martial arts history and is often named as the mother of all martial arts. It had and continues to have a very important role in man to man combat skills. The need for wrestling skills has been highlighted in recent years in the field of mixed martial arts (MMA) events where those athletes with solid wrestling backgrounds have often dominated the MMA scene.

Illustration 15: Sang giri (Shield exercise)

Iran enjoys a strong and alive tradition in wrestling and it has been said that freestyle wrestling has its roots in Pahlavani wrestling. Most famous wrestlers from Iran started their career as a Zurkhaneh athlete, most notably Jahan Pahlavan Takhti. Thanks to the Zurkhaneh system, Iranians are regular winners at the Olympics in the wrestling and weight lifting events.

5 Competitions

5.1 Individual

Individual based competitions are held in the following practices: • Heavy Meel, based on repetitions • Meel Bazi, based on variations and skill• Sang, based on repetitions and variations • Kabbadeh, based on repetitions and variations • Whirling, based on time and form • Koshti'e Pahlavani (Pahlavani Wrestling)

5.2 Team

Team competitions are performed by a team of minimum 5 athletes by demonstrating all the major elements and components of the Zurkhaneh practices and techniques, as previously discussed. The objective of the team competitions is to score based on the following factors:

• Synchronization between team members • Synchronization between team members and Morshed • Synchronization between Miyandar and Morshed • Form and execution of the standard and basic techniques and exercises • Variations and innovations of movements

Illustration 16: African athletes during Pahlavani Wrestling

6 Zurkhaneh Sports ProliferationThe IZSF (International Zurkhaneh Sports Federations) has standardized the sport into the form as it is practiced today in over 30 countries and in five continents. The Aim of the IZSF is to promote Zurkhaneh sports in more countries and establishing Zurkhaneh sports complexes as has been done in Afghanistan, Iraq and Tajikistan.

Currently the IZSF has representatives in Europe, Asia, Africa, America and Oceania.

7 Relevance of Zurkhaneh TodayThe relevance of all this for our times cannot be overestimated because the ancients obviously knew that by encoding morality into a sport that is hyper masculine by its very nature, it would attract young men and a process of indoctrination could then take place. Through training, initiations and simply by association with experienced elders, they would learn about the correct behaviour expected of mature adult men and this certainly entails the protection of the most vulnerable in society.

These heroic obligations are denied to males in the modern Western world who are facing an emasculation process like never before in history, as the state aggressively takes these responsibilities from them. Contemporary writers refer to this as a crisis in masculinity especially in this era of mass divorce, which is seeing a whole generation of youth raised in single parent families, all too often with little or no positive contact with their own fathers, never mind other male role models. Mass media then provides the de facto definition of manhood that boys aspire towards and due to teen angst this inevitably comes from popular cultures such as certain music genres, shock video games and Hollywood action films. In their most impressionable years boys are given no guidance on how to proceed into adulthood and instead are propagandized by unrealistic fantasies that are impossible to attain without negative social consequences, ultimately leading to esteem destruction and nihilistic pessimism. While the state continues to sponsor family breakdown it is inevitable that these lost boys will congregate into criminal gangs, which act as substitute families, leading to the slippery slope of further social discord.

In Zurkhaneh athletes from different age groups and social statuses come together to further and improve their physical, mental as well as spiritual well being. The sense of community is strengthened and the opportunity to learn and respect the elders within the community becomes available to all. Learn

modesty, if you desire knowledge. A highland would never be irrigated by river.