Published online by Cambridge University Press: 18 June 2019
The zūrkhānah is the traditional gymnasium of Iranian cities. Athletes exercised in a homosocial milieu that occasionally allowed for same-sex relations. Beginning in the 20th century, modern heteronormativity made such relations problematic, while gender desegregation allowed women to enter them. After the Islamic Revolution of 1979, gender segregation was again imposed, while heteronormativity was maintained. In recent years, women have endeavored to make the zūrkhānah more inclusive. This article analyzes the contradictions and paradoxes of gender relations in the zūrkhānah by using classical poetry, modern novels, anthropological accounts, autobiographies, travelogues, and press reports.
Author's note: I should like to thank Kathryn Babayan, Babak Fozooni, Marion H. Katz, Afsaneh Najmabadi, Philippe Rochard, Sunil Sharma, Houman Sarshar, Anthony Shay, and three anonymous readers for their helpful comments on earlier drafts.
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14 Quoted in Sprachman, Paul, “Le beau garçon sans merci: The Homoerotic Tale in Arabic and Persian,” in Homoeroticism in Classical Arabic Literature, ed. Wright, J.W. Jr. and Rowson, Everett K. (New York: Columbia University Press, 1997), 201Google Scholar. The original can be found in Furughi, Zuka al-Mulk, ed., Kulliyat-i Saʿdi (Tehran: Javidan, 1992), 930–31Google Scholar.
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22 In Persian kushtigiran means “wrestlers.” In modern Turkish and Uzbek topçak means “fat,” but unless Sultan Husayn Bayqara enjoyed the sight of fat wrestlers, topçak in Chaghatai may have meant something like “well-built.” Alternatively, Dr. Gulnora Aminova suggests that the word is töpçak, which means “stump.” Tupchaq-i kushtigiran would then mean a wrestler over whom other wrestlers stumble. E-mail message to the author, 28 May 2017.
23 Vasifi, Badayiʿ, 507.
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65 Nuqrahkar, Bachchahha-yi aʿmaq, 455.
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68 The director of this film was Samuel Khachikian and its screenplay was by Manuchihr Kay-Maram, a former member of the communist Tudeh party. It won a prize at the Tashkent Film Festival and has been popular in the Caucasus and in Central Asia to this day. It can be viewed at https://www.youtube.com/watch?v=En_jhqOow3w, accessed 3 December 2017.
69 Personal interview with the author, June 1997, Los Angeles. For details, see Rochard, “Le ‘Sport antique’ des zurkhâne de Téhéran,” 81–83.
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81 The rowdy and impolite behavior of male spectators is the official reason women are not allowed to attend men's sports events. Women retort that they should not pay the price for men's disinclination to behave themselves.
82 Technical manuals have adopted this dress code as well. Bulur, Compare Habib Allah, Fann va band-i kushti (Tehran: Madrasah-yi ʿAli-yi Varzish, 1976)Google Scholar and Tafrishi, Abu al-Qasim Rayigan, Amuzish-i kushti-yi pahlavani (Tehran: Safir Ardahal, 2001)Google Scholar.
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89 ʿIlmi, “Tablu-yi vurud mamnuʿ dar gawd-i zurkhanah.”
90 See untitled article by Rayihah Muzaffari at http://varzeshzanan.blogfa.com/category/3, accessed 2 December 2017.
91 https://www.youtube.com/watch?v=E0ZGnpv0k5I, accessed 2 December 2017.
92 http://www.anahitarazmi.de/House-of-Strength. Nomen omen est, for Anahita is the name of an Iranian goddess, while Razmi means “martial.”
93 But note that the rules of the shariʿa concerning ʿawrah are not the only ones that are relevant to an actual social situation; propriety is based on other criteria as well. In Marion H. Katz's words, “Is it haram to look at this body part” and “Is it decent to display this body part” are not identical questions. Personal e-mail communication with the author, 5 November 2018.
94 http://www.payvand.com/news/11/jul/1055.html, accessed on 28 May 2017.
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