Zurkhaneh: The House of Strength: Music and Martial Arts of Iran by Federico Spinatti

Reviewed by: Zurkhaneh: The House of Strength: Music and Martial Arts of Iran by Federico Spinatti Anthony Shay (bio) Zurkhaneh: The House of Strength: Music and Martial Arts of Iran. Federico Spinatti, director. Film (108 minutes). University of Alberta in collaboration with Lab 80 Film, 2010, 2014. Color. In English and Persian. (DVD) $13.00. The institution of the zurkhaneh (gymnasium; lit., house of strength) and the series of exercises that are performed there known as varzesh-e bastani (ancient exercises) are deeply embedded in the fabric of Iranian society. They play a major role in the ways in which Iranian masculinities are constructed—physically, spiritually, and psychologically. The zurkhaneh, to the casual observer, can appear to be a complex martial arts genre designed to build the bodily strength of its performers. However, as this documentary reveals so clearly, the institution has clear religious, spiritual, and philosophical components that reveal to the viewer the importance of the music and its rhythms, the verses that are chanted, and the series of physical exercises that are performed. The round spaces in which the exercises are performed, centered on the god-e moqqadas (sacred pit), and the circular and upward quality of the movements demonstrate the ritual and ceremonial aspects of these performances. The film reveals that this is not simply a martial art with its accompanying physical aspects but a deeply complex way of life for thousands of Iranian men, and increasingly it is finding adherents in other countries around the world. The interviews, and an astonishingly fascinating series of scenes in a Sufi ritual, demonstrate the connections between religious and spiritual aspects of Iranian life and the lives and practices of the participants in the zurkhaneh. The film states that there are at least five hundred zurkhaneh in Iran, and that is probably an accurate figure for this uniquely urban phenomenon. The zurkhaneh, in spite of its historical depth, is dynamic. For instance, there currently exists a federation of zurkhaneh, which indicates government interest in this uniquely spiritual and Iranian institution that did not exist when I was a student in Iran in the 1950s. Also, currently, in conformity with the Islamic Republic’s morality standards, the participants wear T-shirts, but when I was in Iran the men went bare chested. Most of the few existing films about the zurkhaneh, whether made in Iran or abroad, focus almost exclusively on the performance of the exercises alone. They exclude all the other elements of this institution that are so central to male life in Iran—music, vocals and percussion, clothing, the historical [End Page 144] origins of the zurkhaneh, its crucial role in the construction of a specific type of Iranian masculinity, the training and preparation of the participants and their social positions, the central role of Shi’a Islam, and the role in society—that this institution represents. Until now, to my knowledge there has not been a film that addresses all of these important elements of the institution. Professor Spinatti has made a brilliant documentary that thoroughly highlights every aspect of this ancient institution, including a survey of the institution, its participants, and especially the role of the morshed, the guide and leader of the institution. The figure of the morshed is central to the zurkhaneh since he carries out a number of important roles and functions. He not only supervises the training of the participants; he generally sings and chooses, or sometimes composes, the verses, which provide religious, spiritual, and philosophical guidance to the performers. In addition, it is important that in private life, a morshed should embody all of the elements of idealized masculinity to serve as a role model to his followers: protection of the neighborhood; generosity toward the poor and weak; respect to his colleagues; a noble bearing; and purity of heart and soul. The film clearly shows the deep veneration with which the morshed is held, not only by his followers but also by the greater community, including other morshed and members of other zurkhaneh. Spinatti begins the film by showing the creation and construction of the drums used in the ceremonies and performances of the zurkhaneh. Through his many interviews with a range...

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