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Chogān, a horse-riding game accompanied by music and storytelling marks_1
  • Manage No, Sortation, Country, Writer ,Date, Copyright
    Manage No EE00000118
    Country Iran
    ICH Domain Oral traditions and representations Performing Arts Social practices, rituals, festive events Knowledge and practices about nature and the universe Traditional craft skills
    Address
    In recent centuries, especially from the Safavid Dynasty onwards, Iranian cities which have been chosen as capitals have kept the urban and royal forms of this game. They have also changed, regenerated and retained the tangible elements such as Meydān (the field) as a cultural space and the related objects as well as the artistic and technical knowledge and skills related to the game. The aforementioned cities are located in the centre of the country and they include Qazvin and Isfahan (the Safavid capitals), Tehran (the capital of Qajar, and Pahlavi dynasties), Karaj (a mid-point between the old capital cities of Qazvin and Tehran). Outside the borders of the Islamic Republic of Iran the game of Chogān is played, with some differences in practice and functionality, in several countries in the region.
Description “Chogān” is a traditional horse-riding game which is accompanied by music and storytelling. In Chogān, two rider teams compete and the aim is to pass the Gūy (ball) through the opposing team’s goal posts by using a Chogān (wooden stick). The team with a higher number of goals wins the game. It is played in an open area called Meydān in several “Chukkeh”s (rounds). Chogān differs in the size of the Meydān, the number of Chukkehs and "Chogānbāzān" (players) depending on the region. The game of Chogān includes: Chogānbāzi (the main game), the corresponding musical performance and, storytelling (Naqqāli and Morshedkhāni etc.). Given that the game needs a level Meydān, several Chogān horses, and skilled Chogānbāzān, it is mostly performed in specific places and major events including Nowrouz, and other local and national occasions. The audience for the game are mostly locals, the players’ family members and people interested in this entertaining game. Chogān has more than 2000 years of history in Iran and has mostly been played in royal courts and urban fields. Because of its connection with elements like the family (players and artists), nature, horses and arts, Chogān is of paramount importance in the Iranian culture. Today, the patterns and figures related to Chogān have a strong presence in the motifs used in Iranian handicrafts, traditional miniature paintings, architectural ornaments and stone engravings as well as the Iranian literature and languages.
Social and cultural significance Chogān is a cultural, athletic and artistic element with a strong connection with the history and identity of its bearers and practitioners. This element has a strong presence in the literature, Shāhnāmehkhāni (reciting Shāhnāmeh), storytelling, proverbs, miniature paintings, handicrafts and architectural ornaments which are valuable parts of the worldview and symbolism of its practitioners. Chogān, as an element which includes the health of the body and soul enjoys a variety of values, including 1. The social status and identity of Chogān as a royal game (the Chogān bearers call it the “game of kings and the king of games”). 2. Establishing a connection between the nature, humankind and horse, particularly in responding to the needs of urbanisation. 3. Exhilaration and entertainment value of the game and its accompanying forms of art. 4. Bringing about a sense of belonging to the society and history. 5. The presence of men, women and the family in a healthy competition. The artists often take part voluntarily and without any monitory compensation in this game. The storytellers narrate local, national and mythological stories and poems. The musicians use the local tunes and melodies; therefore, by performing in various areas, the local literature and musical melodies of those areas are promoted and the sense of belonging is strengthened on local, ethnic and national levels.
Transmission method The transmission of the various Chogān related skills including playing the game, the music or telling stories, often happens in the field or at home/workshop, informally and orally by parent-child or master-apprentice pairs. In learning the music and storytelling, the apprentices are also encouraged to improvise to showcase their creativity in connecting the occasion (such as the harvest festivities) to their historical identity. Before October 1982 the transmission was done on an ad-hoc basis by the families and enthusiasts. In 1982 a Chogān association (NGO) was founded spontaneously by the bearers and practitioners in Tehran. The other cities established their own associations later on. Finally in 1984 the Central Chogān Association was established in Tehran. Of the main roles of these associations were holding training courses, supporting local masters and providing assistance in transmitting all aspects of Chogān while safeguarding the local diversity. Based on the reasons which will be mentioned in the social functions section, this game is very attractive to the youth to learn. This has resulted in a high social respect and standing for the masters and veterans (Chogānbāzān and artists) in the society. The first Chogān living museum was established next to Meydān-e-Farahābād (Farahābād Field) in Tehran. Training workshops are held to train, familiarise and engage people with Chogān, particularly the youth living amongst the 12 million population of Tehran. The museum management directly invites schools so that the students, teachers and parents come to the museum for visits and take part in the workshops.
Community The people in the cities of Qazvin, Karaj, Tehran, and Isfahan are the traditional bearers and practitioners of this element irrespective of their ethnicity or gender. Also the skills and techniques related to this game have been transmitted in a hereditary fashion in some Iranian families including, Ilkhanizadeh, Shapouri, Zolfaghari, and Dehkhodayi families in Tehran, Ghanbari and Vakil-Gilani in Qazvin, Jafari and Shams in Isfahan and Bigham and Behbodi in Karaj. The bearers of this game include three main groups as practitioners (Chogānbāzān, musicians and storytellers): Chogānbāzān: These are the game players who are divided into two teams regardless of age or gender. Everyone takes part in the game based on their physical capabilities and skill level. These people have high skills in horse-riding and Chogān. Storytellers (Naqqāls, Morsheds, etc.): These are the narrators who recite epic stories or poetry related to Chogān, accompanied by music, before the game begins or between the “Chukkeh”s. The storytellers can be either men or women (in Karaj only men narrate). Sometimes, the storyteller uses another younger person, who has the role of the apprentice to perform the storytelling in a dialogue. The storyteller and the apprentice are often parents and children. In the context of Chogān, storytelling includes occasional performances such as the harvest dance, Pahlavāni (heroic) performances, and Hājji Firouz acts (heralding Nowrouz). Musicians: In many places they are two men who play Karnā (a wind instrument) and Dohol (a percussion instrument). The musicians change the tempo to excite the horses or calm them down. They also use different tunes to report the events in the game. The musicians, regardless of their age, are mostly from one family such as two brothers or a father-child pair. Apart from Karnā and Dohol which are the main instruments, other local instruments are played between the “Chukkeh”s.
Type of UNESCO List Representative List of the Intangible Cultural Heritage of Humanity
Incribed year in UNESCO List 2017

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