In an email interview with Maryam Ala Amjadi he discusses the concept of games in Iranian culture and society. 

Below is the abridged version, translated by the interviewer. 

 

Ali Aanizadeh: What you see of games in Iran today is not in concord with the Persian worldview. Iranian worldview is replete with concepts like mysticism, Sufism and fair dealing while games are more than often associated with frivolousness and sportiveness. In Iranian ideology, games are a worldly matter and game and gaming are synonymous with trickery and beguilement. Persian poet of 12th century, Khaghani says:

  

Almost all other poets voice the same view of games. In the mentality of Iranian Islamic scholars, the earth is not a playground but a place where we build credit for the world after death. Iranian poet, Seyf Erfaani (14th and 15th century) says:

Such interpretation of games can be found in the works of even contemporary thinkers, like the poetess, Parvin E'tesaami (1907-1941):

 

In Persian mysticism, game is tantamount to preoccupation with this world and hence, oblivion of death. All in all, games are regarded as a way of wasting one's life and time with no worthwhile gain. It seems what remains of games in Iran today is a consequence of such ideologies. As the poet says:

 

AA: Games with specific rules have managed to escape oblivion because of mass communication devices. But games that are simpler and nature centered, particularly games that depend on the four elements (wind, water, fire and earth) and are more in harmony with human nature, though old and valuable, are unfortunately overlooked. Today games have come out of their self-stimulating and people oriented format and have become more like official and planned events.  

AA: Well, to tell you the truth, I do not have precise information about this game. I first came to know about Kabaddi at the Guangzhou Asian Games in which Iran ranked second. With minor differences the same game is known as Zou in most parts of Iran. In Khouzestan province, southern Iran, it is known as Teetee and in the north, particularly Gilan, it is popular as Shirdodo. I think it is often called Kabaddi in Sistan and Balouchestan province, southeast Iran, bordering Pakistan and Afghanistan. So, the question remains whether this game is Persian or Indian.

AA: Of course, game and sports are almost two different realms. Games are based on customs and their rules are flexible and variable. But sports are more public oriented and their authenticity is more specifically defined while order and sophistication have somehow curbed and national and international tastes have flavored them. They follow economic, social and political trends. Football today is not only a game but has even transcended sports and has become a platform where ideologies, cultures, languages and monetary issues are traded the world over. Football is a social phenomenon, a phenomenon that creates overnight myths.

   

AA: Games were created in response to human needs and they are a mirror of the society and culture they come from. One can trace the needs of various ethnicities in their games. The main goal is entertainment but the communal wisdom of society intelligently integrates valuable principles in the inner layers of these games and while they don't voice moral issues directly, their impact is even more powerful. The main educational principles that are transferred through games are: social and economic concepts (competition, cooperation, forgiveness, issue of  rights, sympathy, making and staying friends, savings, ownership, contribution…) and moral virtues (honesty, trust, respect for other's property and privacy, waiting for one's turn, sacrifice…) So it is self-evident that such games link entertainment to educational issues and they can lead to sublime results like: sense of responsibility, acceptance of norms, strengthening the spirit of independence, cooperation and collaboration, joy and happiness, patience, reconciliation with nature, children bonding with adults, self-confidence, creativity and entertainment.

 

AA: Many traditional Iranian games are founded on the basis of moral values and in their essence are flexibility, willpower and mutual consent. Participants have to agree on reward and punishment, methods of making teams, number of players and rules. Based on the physical conditions and age, the number of games and even the extent of playgrounds are variable so everyone has a turn. As you know those who are younger are sometimes included in the game as nokhodi (literally meaning, little chickpea, someone who joins the game just for fun, is not in any team and to whom the rules do not apply). This is a beautiful excuse so everyone has a chance to play and contribute. In games where all players are in total agreement, acceptance of norms is more viewable and this attaches values to the soul of the game. This is why in traditional games, the winner is not the only hero because if heroism were the main goal then age, physical competence and number of players should be considered or at least youngsters should not be included in adult games.  This is why in traditional Persian games, not only the winner but the one who is also moral and virtuous and aims at long term victories is the real pahlevan (chivalrous hero).  Titles like man, head and chief for team leaders in traditional games indicate how significant the concept of manliness is. This is quite noticeable in local wrestling matches in the way participants invoke Moula Ali (1st Shiite Imam, known as a symbol of manliness, honesty and integrity) at the beginning of the match, when they say Salawat (Peace be upon Prophet Mohammad and his family) and also the way the players queue up according to their occupation or being a seyyed (descendants of Prophet). Also, those who are veterans in traditional sports are known as kohneh savar (literally meaning, old horseman) and sahebtaj (owner of the crown). In the historical roll that remains of the famous chivalrous poet and hero, Pouriya-e-vali of the 13th century, the term 'prayerhouse' was used instead of 'sports house'. It is, therefore, obvious why being a pahlevan has always preceded being a ghahreman. A hero is supposed to be well mannered, well groomed and well-spoken and conducted. Persian poet, Jaami of 15th century says:

  

In Iranian ideology, pahlevan is also someone who acts in goodness and helps the poor. As another poet, Ouhadi of 13th century says:

 

Of course, this is an upshot of the monotheistic approach to life and death in Persian worldview:

   

AA: The philosophical concepts of good and evil are displayed majorly in the act of casting lots. The foundation is of course chance and fate. Lots are casted in order to determine who starts the game, who plays on what side of the playground and which team presides over the other. The most common way of casting lots in traditional games is the "wet or dry" method. One player wets one side of a small and smooth rock and teams are asked to choose either side of it (as in tossing coins) We can trace many cultural elements in the ecology of Iran, so it is probable that wet or dry symbolize "abundance and dearth" which actually enfolds the concept of good and evil. "God or earth" is another term for casting lots or choosing team members which symbolizes materialism versus monotheism in a simple act. Heads or tails, flower or flour (bread) and empty or full are other terms in deciding whose turn it is. Emptiness can easily be taken as a connotation of evil. 

Also, "punishment and reward" and "winner and loser" are other researchable terms in traditional games. Sometimes opponents face each other with terms like "lamb and wolf" or "king and thief". But more importantly, in traditional Iranian games, there is always a guide (teacher) who leads the participants from the realm of evil to the land of goodness.

  

AA: The intellectual view is that the purpose of traditional games is no longer valid and because of the appeal and sophistication of computer games, the age of traditional games has come to an end. As the French scholar, Rollan Ronson, says most traditional games seem like miserable relatives of modern sports while they are actually the forefathers of games today.  On the other hand, folklorists insist that despite all physical, emotional, special and time changes that humans have been through, traditional games should continue as before. This is while traditional and modern games are not opposed to each other and both can exist on parallel levels because game is a necessity in life. As Alfonso El Sabio says, God has intended men to enjoy themselves with many games. 

If we indeed believe traditional games to be superior to computer games in terms of creativity, flexibility, morality and uniqueness then we must also take measures to adopt and moderate them in a way that would also pertain to our modern lifestyle and make them more appropriate for our children today. If this happens then both can coexist but unfortunately acceptance of one is synonymous with negation of the other.

Also, globalization should not be viewed as a threatening  phenomenon but an opportunity for coalition of world cultures while they preserve their originality.  We cannot deny the existence of computer games but we can moderate them. Unfortunately, they have heavily shadowed the life of children today.  The future of games in Iran, in my opinion, is quite clear. I believe in the revival of the classics, as it happens with literary and art schools. I believe the violence of computer games will repulse the next generation to such an extent that they shall return thirstier than ever to the sanctuary of traditional games.

Although there are no precise records as to how many Persian games are still actively played in Iran, some statistics have cited an estimation of over 2500 recorded games in the country. Some of these games are, of course, repetitive with different names as they are region specific and reflect a glimpse of the diverse Iranian culture from across the country. Social, climatic, historical, and geographical and many other determining factors must be taken into account in understanding of traditional Persian games.

Based on their needed skills and purpose, Iranian games can roughly be categorized into three major groups of sports games, theatrical games and recreational games. 

Interestingly, even selecting the starting player or team is a mini game in itself and there are many ways to do it in different parts of Iran.

 

One method, which is the most common, is known as Sang- Kaghaz-Gheychi (literally meaning, rock-paper-scissors). Two players as two team representatives face each other while they hide one hand behind their backs. At the count of three, the players bring their hand forward displaying rock (with clenched fist) or paper (open palm) or scissors (using index and middle finger). The rules indicate that rock breaks (wins over) scissors, scissors cuts paper and paper covers rock. If both players display similar states the game continues until one of them wins.

But the oldest Persian sports game and probably world's most complex is Chogaan (modernized as Polo) which, although less prevalent inside the country, has gained international popularity. Historical evidences cite the game over 3000 years old.  Known as the game of kings, it is believed that polo originated among the Iranian tribes sometime before the reign of Darius the Great (521-485 BCE). Also, Persian literature and art give historical accounts of the game, as in the Shahnaameh (Persian Epic) by Ferdowsi (940–1020 CE) and in the Rubaiyats of the Persian poet and polymath, Omar Khayyam (1048–1131 A.D). In his poetry, Khayyam uses polo as a metaphor to illustrate existential and philosophical points. Also Iranian miniature paintings and traditional Persian carpet patterns display the game of traditionally clad horsemen prancing about with Chogaan sticks.

 

Of traditional games played by children in Iran today, one can cite the popular Gorgam Be-Havaa (possible close translation, Wolf Down the Platform). First, all players gather in one place and cast lots to choose the "wolf" who will chase the kids and try to touch them. The players are safe from the wolf only when: 

1- They stand somewhere higher than the wolf (above the ground)

2- Two players hold hands, meaning when one of them is being chased, another rushes to his aid when called "brother/sister help me!" (solidarity and unison) 

The one who is touched by the wolf either goes out of the play or becomes the new wolf and chases other players around. Sometimes players season the game with more excitement when they use the magic pause button by merely saying "stop!" and resuming the game by saying "start!" These two words are recurrent in some traditional Persian children games, particularly ones that have time limit or are intense. Of course, use of the pause option during games should be justified and absolutely necessary.

Another exciting game for five players is Gusheh Gusheh (literally meaning, corner corner). First, players mark a 4 × 4 meters square by chalk or other marker on the ground and draw a circle in the center. Then they mark the corners of the square by connecting two points from either side. One player is selected to stand in the center and the other 4 stand in the corners of the square. The corner players, alert and agile, should exchange places swiftly though cooperation with each other before the player in the center has time to occupy their corner. The player who loses his corner has to stand in the center and the game continues.

Another popular traditional game which is played indoors is Esm va Faamil (literally, name and surname) with a pen and a sheet of paper. Each player draws a table dividing the page into 7-10 columns with headings like name, surname, city, country, food, fruit, car, artist etc. Next, players agree on a particular letter of the alphabet and the game begins by saying "start!"  Each player tries to find words that begin with that particular letter and fill up the columns as fast as they can. The one who finishes all columns first says "stop!" and all players should stop writing. Then all players read out their words column by column. For each different word they get 10 points and if they have used similar words, they get 5 points. Total points of the columns are calculated after a few more rounds of experimenting with different letters of the alphabet and the winner is declared. 

These are, of course, just a few instances of traditional Persian games which range from simple and recreational to complicated and educational.