Hosein Ali Ramezani (Kadkhoda) is a performer of traditional ritualistic dance in Mazandaran.
In the lush landscapes of Mazandaran, a province nestled along Iran's northern coastline, dance serves as a vibrant expression of cultural identity and communal heritage. Among the myriad traditional performances, the "Chakeh Sema" stands out for its intricate movements and profound storytelling. This dance, deeply rooted in the region's history, was masterfully performed by Hossein Ali Ramazani and Mr. Fallah during a documented session, accompanied by musicians Mohammad Reza Kazemi on the Desarkoten and Norollah Yousefi on the Sorna.
The Essence of Chakeh Sema
“Chakeh Sema,” also known as “Selma” or “Lak Sari Sema,” is a traditional Mazandarani dance characterized by its energetic and rhythmic movements. Performed both individually and in groups, it is a staple in various ceremonies and celebrations throughout the Mazandaran region. The dance seamlessly blends music, song, and dynamic choreography, creating a captivating spectacle that reflects the rich cultural tapestry of the area.
A Day of Cultural Preservation
The journey to document this traditional dance began with logistical challenges. Navigating the dense forests and relying on imprecise location services, it took over two hours for the team to convene. Upon gathering, the absence of the dancers prompted a brief interlude, during which the idea of enhancing the performance space emerged. Mohammad Hami, a resourceful collaborator, suggested retrieving Persian rugs from his home to adorn the forest floor, creating an authentic and inviting atmosphere.
Once the ensemble was complete, the transformation of the forest clearing into a vibrant stage was swift. Musicians took their places: Norollah Yousefi prepared his Sorna, a traditional reed instrument, while Mohammad Reza Kazemi readied the Desarkoten, a type of kettledrum integral to Mazandarani music. Ali Hassannejad, ever the diligent organizer, ensured that all elements were in harmony for the performance.
The Performance Unveiled
At 76, Hossein Ali Ramazani, affectionately referred to as “Kadkhoda” (village headman) due to his esteemed status, commenced the dance. For eight uninterrupted minutes, he delivered a performance rich in detail and devoid of repetitive movements. His choreography encapsulated the various stages of life: embodying both feminine and masculine energies, depicting a young woman anticipating motherhood, a diligent farmer sowing seeds, and the relentless passage of time nurturing growth. Each gesture was deliberate, his expression stoic, mirroring the demeanor of elder Mazandarani men and women who honor ancestral traditions through dance.
Following Ramazani, Mr. Fallah presented the “Majma Sema” (Tray Dance), skillfully balancing a large wooden tray as he moved. His vigorous leaps and bounds, sustained until he was breathless, showcased his dedication, even as he humbly acknowledged not possessing Ramazani’s level of mastery.
The Instruments: Desarkoten and Sorna
The Desarkoten, also known as the Mazandarani Naqqara, comprises two egg-shaped earthenware bowls of differing sizes. The larger bowl produces deep tones, while the smaller emits higher pitches. These bowls are covered with tightly stretched animal hides, secured by threading gut cords through holes along the edges. Played with wooden mallets called “kotena,” traditionally crafted from wild medlar branches, the Desarkoten provides the rhythmic foundation for many Mazandarani dances.
The Sorna, a traditional reed instrument, complements the Desarkoten by adding melodic elements to the performance. Its piercing and resonant sound is pivotal in leading the musical ensemble, guiding dancers through the intricate patterns of the choreography.
Significance of Mazandarani Dance Forms
Mazandarani dances are diverse, each with unique characteristics and cultural significance. Beyond “Chakeh Sema,” other notable dances include:
Daf Dance: This dance involves performers skillfully playing the daf, a large frame drum, while executing synchronized movements. The rhythm of the daf dictates the pace, creating an immersive auditory and visual experience.
Bijen Sama: A celebratory dance performed during harvest seasons, symbolizing gratitude for bountiful crops. Dancers often mimic agricultural activities, weaving storytelling into their movements.
Chub Bazi: Also known as the “stick dance,” this performance involves dancers wielding sticks, engaging in mock combat sequences that display agility and coordination. It is both a dance and a demonstration of martial prowess.
Luchu Dance: Associated with traditional wrestling matches, this dance serves as both a prelude and a celebration of the sport. Participants perform dynamic movements that reflect the strength and competitive spirit inherent in wrestling.
Choob Dance: Similar to Chub Bazi, this dance emphasizes rhythmic tapping of sticks, creating percussive sounds that enhance the musical accompaniment. It fosters a sense of unity and collective rhythm among performers.
Each of these dances contributes to the rich tapestry of Mazandarani cultural heritage, preserving stories, traditions, and communal values through expressive movement and music.
Preserving a Cultural Legacy
The documented performance of “Chakeh Sema” by Hossein Ali Ramazani and Mr. Fallah, accompanied by the skilled musicianship of Mohammad Reza Kazemi and Norollah Yousefi, serves as a testament to the enduring vibrancy of Mazandarani dance traditions. Their dedication not only honors the past but also ensures that future generations can experience and appreciate the profound cultural expressions of Mazandaran.
