Tekyeh of Moaven-al-Molk – Kermanshah, Kermanshah province, Iran
Photo by IsoGFX via Wikimedia Commons / CC-BY-SA-4.0

In Iranian culture, these two words (Tekyeh & Hussainiya) are sometimes used for a special place wherein mourning ceremonies and religious Ta’zieh (a Muslim passion play celebrated by the Shiʽa in Muharram) are held and sometimes they are used separately i.e. Hussainiya is a place for mourning, Rawda khwani (the Shia Iranian Muslim ritual of the Mourning of Muharram) and Sineh Zani (a common form of mourning ritual in which mourners beat on their chest) and Tekyeh is a place for performing Ta’zieh. There is no proof for existence of Hussainiya in Iran before Safavid dynasty or even during that period.

Tekyeh of Moaven-al-Molk – Kermanshah, Kermanshah province, Iran
Photo by IsoGFX via Wikimedia Commons / CC-BY-SA-4.0

The exact date of formation of Tekyeh in Iran is unknown, but it is believed that it was built in Safavid dynasty for Ta’zieh. The architectural structure of Tekyeh consists of a building with/without roof, a platform in internal space with two stairs in both sides or a gentle slope for horses to pass over there, a passage all around the platform for horse riding, a place for audience to watch the ceremony, and a locker room. They have several entrances, some are for the audiences and some others for the actors of Ta’zieh and their horses.

Ta’zieh and Tekyeh were highly flourished in Qajar dynasty. Tekyeh of Hasan Khan Moaven-al-Molk in Kermanshah province and Tekyeh of Dolat in Tehran province (destroyed in 1946) are the most well-known ones.

Tekyeh of Amir Chakhmaq – Yazd, Yazd province, Iran
Photo by Babak.masarat via Wikimedia Commons / CC-BY-SA-4.0

It can be certainly said that in all cities and villages of Iran that the Shia live in, there are always Hussainiya. Hussaniya of Haj Ghaffar (in Maragheh city) and Hussainiya of Mirza Mohsen Mojtahed (in Ardabil city) are the oldest ones in Iran which are considered as tourism attraction.

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When Arabs Invaded Iran and reached the central lands, a group of people escaped and took refuge in the valley of a mountain, today known as Karkas. The seclusion provided by the mountains enabled them to remain in relative detachment from the rest of Iran that was under the attack of Arab army. They followed their Zoroastrian Sassanid ancestors and made houses and fire temples in that tradition. However, slowly, the story of an infidel group living in the depth of mountains reached the Islamic rulers and attempts to turn the villagers in Abyaneh to Islam began; although the new religion wasn’t accepted at first, people began to turn to Islam that soon became the main religion of the villagers. While their religion changed, many of their Sassanid traditions remained.

In Iranian Mythology, there is prince called Siavash. With a conspiracy led by King’s brother, Siavash was captured and murdered.  His death was so tragic that when the news of his death scattered in the country the whole nation began mourning. From then, people started a mourning ritual on the day of his death. Abyaneh was among few places that mourned Siavash’s death each year. Even after converting to Islam, the ritual of Siavashan (mourning for Siavash’s death) was held.

The popularity of Islam and especially Shiite Islam shifted the focus from Siavash to Imam Hossein who was also brutally martyred. The ancient tradition of Siavashan that dates back to early Zoroastrian time and the language that dates back to Sassanid time shows how much the villagers have maintained their Iranian origin.

Abyaneh is famous for its architecture; the stepped village is like a red pearl in the Valley of Karkas Mountain. The whole village is covered with red soil and the wooden doors, windows and terraces create beautiful harmony.

Today Abyaneh is famous for its architecture; the stepped village is like a red pearl in the Valley of Karkas Mountain. The whole village is covered with red soil and the wooden doors, windows and terraces create beautiful harmony. The houses are small but built in two or more floors. The four mosque of the village, the pulpit that dates back to 11^th century, the wooden altar that belongs to 14^th century, and the Harpark arched vault are the main tourist attractions of the place. The villagers still wear traditional attires that adds to the charms of the village. Visiting Abyaneh is a fascinating travel through time to the end of Sassanid and the beginning of Islam.

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City Theater of Tehran, Iran

Muzafar Al Din Shah’s travel to Europe might have left the already fragile country of Iran in an even worst situation, but it also marks the start of cinema in the country. Ibrahim Khan known as Akasbashi (photographer) was among the first group of people that purchased camera and started working with them. Being fully familiar with working with a camera, he then moved to the cinemographs that by that time have been a popular technology in Europe. In 1900, Ibrahim Khan made the first movie of Iran perhaps as a test of his new camera. From this time on attention to movie making increased and 15 years later the first group of students were sent to Europe to study cinema and the art of movie making.

In 1900, Ibrahim Khan made the first movie of Iran perhaps as a test of his new camera.

Abi & Rabbi is the first Iranian feature film directed by the Ovanes Ohanian, the Armenian-Iranian director who graduated from Moscow. Khan Baba Mo’tazedi did the camerawork of the movie. Whimsical and Brother’s Revenge soon followed the first movie but failed drastically in Box Office because of negative view to the whole industry. Thus far, the movies were all silent until the Indian producers and Iranian director and actors produced Lur Girl. Under the influence of Indian movie, Iranian producers were forced to an unwanted inactivity. This influence started what is today known as commercial cinema which includes movies that are not artistically valuable but very popular among people. Up to 1965-66, this forms of movie were sole products of Iran’s film industry until thinkers such as Farokh Ghafari, Ibrahim Golestan, Ali Hatami, Masoud Kimiaei and Darius Mehrjoie came to picture and their movies took the whole industry to a new level.

Under the influence of Indian movie, Iranian producers were forced to an unwanted inactivity. This influence started what is today known as commercial cinema which includes movies that are not artistically valuable but very popular among people.

Although many might believe that the revolution of 1979 imposed limitation on Iran’s cinema, a claim that is true to an extent, but the new limitation made the directors to change their insight and focus on a more serious cinema that involved social and political matters. Iran’s movie industry proceeded like this for more than thirty years that lead to the creation of movies such as Separation and The Seller by Asghar Farhadi that has won many international awards.

Iran’s Theatre

Iran is a rich country in the art of performance, many of them might not be referred to as theatre, but they are all forms of gaining people’s attention and putting some concept or ideology across. Kouseh Bar Neshin, Siavash Khani, Mogh Koshi, Ghali Shouyan, Tazieh, Pardeh Khani, and Naghali are the most notable examples of early performance done in Iran. The Satire works of Kouseh Bar Neshin, the Tragedy of Siavash’s death in Siavash Khani, the Epic story of Darius’s victory over his enemies in Mogh Koshi, the mourning of martyrdom of Imam Hossein in Tazieh and the Epic tales of Shahnâme in Naghali and Pardeh Khani make the history of theatre in Iran, and are a proof of Iranians interest in this art. It is a source of great joy that the traditional forms of theatre are still performed in Iran, next to the modern forms of act that are based on texts and dramas.

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No country, region or population of any sort is found that is exempt from rites and rituals, which although interesting, might have traces of superstition in them. These rites and rituals stem from the cultural, social, historical, geographical as well as ideological characteristics of the society they belong. Iran is a rich country in terms of rites, each of which is rooted in a different tradition. Some have faded in the course of history, performed only regionally in some parts of Iran such as Sadeh. Some have endured the evolutions of time and are celebrated all over the country like Nowruz and Yalda. Those rituals that have their roots in ancient history of Iran and the national occasions are held based on the Solar Calendar like Yalda, Nowruz, and Sadeh. While those that are related to Islam are performed based on Lunar Calendar like Ashoura and Eid Fitr. On general, Iranian rites are divided into five groups:

1-Ancient, Mystical and Seasonal Rites

Mehregan, Yalda, Nowruz, Sadeh, and Charshanb-e Suri are example of these rites. Iranian old rites were always accompanied by happiness and cheer. The ritual held on the death of Siyavash is the sole mourning one.

2-Religios Rites

Religions of Islam, Jewism, Christianity, and Zoroastrian are close together, each having their own rituals. However, since Shiite Islam is the official religion of the country, the Islamic rituals are highlighted. The most famous of them all being the Mourning of Muharram held for the martyrdom of third Shiite Imam.

3-National Rites

National rites are held on political, social and cultural events. Iranian celebrate 22nd of Bahman, the anniversary of the revolution of Islamic Republic of Iran.

4- Family Rites

Families hold private ceremonies on different occasion such as birthday, marriage and death of a loved one.

5- Regional Rites

Regional and local rites Refers to various rites that are held on the occasion of harvest, the beginning of fishing season and some other occasions that happen in one particular region and is not shared by the whole country.

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