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Iranian dance
Iranian dance
Iranian dance
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Dances in Iran or Iranian dances (Persian: رقص ایرانی) are dance styles indigenous to Iran. Genres of dance in Iran vary depending on the area, culture, and language of the local people, and can range from sophisticated reconstructions of refined court dances to energetic folk dances.[1] The population of Iran includes many ethnicities, such as Kurds, Azerbaijanis, Arabs, Baluchis, Turkmen, Armenian, Georgian peoples, in addition to numerous Iranian tribal groups which can be found within the borders of modern-day Iran.[1] Each group, region, and historical epoch has specific dance styles associated with it.[1] Raghs (also spelled as Raqs) is the Arabic word for dance, and is almost exclusively the word used for dance in Persian, as the Persian word for dance, paykubi, is no longer in common usage. It is also the word in Azerbaijani for dance (Reqs). The Kurdish word for dance is Halperke, and the Lurs from Lorestan use the word Bākhten (or Bāzee) for dance.[2]

Prehistory

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Dancers on a piece of ceramic from Cheshmeh-Ali (Shahr-e-Rey), Iran, 5000 BC. Currently located at the Louvre
Dancers on a piece of ceramic from Cheshmeh-Ali (Shahr-e-Rey), Iran, 5000 BC now at the Louvre

The people of the Iranian plateau have known dance in the forms of music, play, drama or religious rituals and have used instruments like mask, costumes of animals or plants, and musical instruments for rhythm, at least since the 6th millennium BC. Cultural mixed forms of dance, play and drama have served rituals like celebration, mourning and worship. And the actors have been masters of music, dance, physical acts and manners of expression. Artifacts with pictures of dancers, players or actors were found in many archaeological prehistoric sites in Iran, like Tepe Sabz, Ja'far Abad, Chogha Mish, Tall-e Jari,[3] Cheshmeh Ali, Ismaeel Abad, Tal-e bakun, Tepe Sialk, Tepe Musian, tepe Yahya, Shahdad, Tepe Gian, Kul Farah, Susa, Kok Tepe, Cemeteries of Luristan, etc.[4]

History

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Seal with a Persian man dancing, Achaemenid period, dated c. 400 BC. Currently housed in the J. Paul Getty Museum in Los Angeles
Dancers and musicians on a Sasanian bowl

The earliest researched dance from historic Iran is a dance worshiping Mithra (as in the Cult of Mithras) in which a bull was sacrificed.[5] This cult later became highly adhered in the Roman Empire. This dance was to promote vigor in life.[6] Ancient Persian dance was significantly researched by Greek historian from Herodotus of Halikarnassos, in his work Book IX (Calliope), in which he describes the history of Asian empires and Persian wars until 478 BC.[6] Ancient Persia was occupied by foreign powers, first Greeks, then Arabs, and then Mongols and in turn political instability and civil wars occurred. Throughout these changes a slow disappearance of heritage dance traditions occurred.[6]

17th century Persian women dance in a ceremony in Iran

Religious prohibition of dancing in Iran came with the spread of Islam, but it was spurred by historical events.[6] Religious prohibition to dancing waxed and waned over the years, but after the Iranian Revolution in 1979 dancing was no longer allowed due to its frequent mixing of the sexes.[6][7] The Islamic Revolution of 1979 was the end of a successful era for dancing and the art of ballet in Iran.[5] The Iranian national ballet company was dissolved and its members emigrated to different countries.[5] According to the principles of the “cultural revolution” in Iran, dancing was considered to be perverse, a great sin, immoral and corrupting.[5] As a result, many of the talented Persian dancers moved to the West and spread out mainly in Europe and the United States and a new generation of Iranian dancers and ballet artists have grown up in the Diaspora.[5]

Genres of dance

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Iran has four categories of dance: chain or line dances, solo improvisational dance, war or combat dances and ritual or spiritual dances.

  • Chain or Line dances are often named for the region or the ethnic groups with which they are associated.[1]
  • Solo dance usually includes reconstructions of Safavid and Qajar Court Dance. These often are improvisational dances and utilize delicate, graceful movements of the hands and arms, such as wrist circles.[1]
  • War or Combat dances imitate combat, or help train the warrior. It could be argued that men from the zurkhaneh (lit. "house of strength", a traditional Persian gymnasium) and their ritualized, wrestling-training movements are known as a type of dance called Raghs-e-Pa but could also be seen as a martial art.[1][8]
  • Ritual or spiritual dances, are often Sufi are known as sama and also a type of zikr (religious chant).[1] There are various types of dancing in a trance for healing practices in Iran and surrounding areas. One healing ritual that involves trance, music, and movement is called le’b guati of the Baluchis of Eastern Iran, which is performed to rid a possessed person of the possessing spirit and appears to be in a similar state as an exorcism.[2] There is a term in Balochi, gowati, for psychologically ill patients (possessed by wind) who have recovered through music healing, music as medicine.

The word sama, from the Arabic root meaning "to listen," refers to the spiritual practice of listening to music and achieving unity with the Divine.[2] Dancing mystics (regardless of their specific religious identifications) are called Dervish.

Contemporary social dances and urban dance performed at festive occasions like weddings and Noruz celebrations focus less on communal line or circle dances and more on solo improvisational forms, with each dancer interpreting the music in her own special way but within a specific range of dance vocabulary sometimes blending other dance styles or elements.[1]

Iranian dance styles

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Basseri dance

This is a list of some of the ancient and contemporary Iranian dances, from various ethnic groups within Iran.

  • Baba Karam, a chain dance, derived from a Sufi story[9] whereby a servant at the court of the king falls in love with one of the harem girls and sings this song out of grief from not being able to be with her, traditionally featured male dancers but nowadays also performed by women. Baba Karam sometimes refers to contemporary Persian Hip-Hop dancing.[10]
  • Bandari dance, a chain dance, is often referred to as Persian bellydance.[11][12] Bandari dance is a chain dance that often involves multiple people dancing[11] and often perform this at parties, traveling around in a circle and sometimes stepping into the centre for a solo with encouragement from other dancers, the only variations are in the arm movements.[12] It is a Persian dance that prevails in the South of Iran next to the Persian Gulf and has been influenced by Arabic music and dance.[13] It is a combination of rhythmic movements in various directions according to the beat of the song. The distinct feature of this dance is the way performers wave their hands in a unique manner that resembles the cooperation of a group of fishermen at the sea.[12][14] The word bandari means "of the port" and is a derivation of the Persian word bandar, meaning port.[11][15]
  • Basseri dance is a traditional dance performed by the Basseri tribe who live in the Fars province. The dancers wear their traditional and colorful clothes.[16]
  • Bojnordi dance: Bojnord is a village in the northeast section of Iran inhabited by a Turkic people. Men and women dance separately or together in Bojnordi dance, snapping their fingers in the method known as peshkan. Dancing in a circle with running and step hop steps, the dancers may turn alternate directions facing first one side then the next, dancers sometimes facing one another. Men or women may dance and wave small colorful scarves, called dastmal.[17]
  • Choob bazi, also known as chob bazi, chub-bazi, çûb-bâzî or raghs-e choob, is a chain dance found all over Iran, performed by men with sticks, the name translates to English as 'stick play'. There are two types of Choob bazi dance styles, the first one being more combative in style, only performed by men (normally only two men, assuming the roles as the attacker and the defender) and does not appear to have a rhythmic pattern; this style is more frequently found in Southwestern Iran. The second style Choob bazi is a circle or line dance with pattern, performed by both sexes and is more of a social dance.[18]
  • Classical Persian court dances, solo dances, improvisational, often utilize delicate, graceful movements of the hands and arms with animated facial expressions are central to the concept of that difficult-to-define flirtatiousness. Persian classical dance has not been organized and codified. Thus each dancer creates her own style and improvises within a recognizably Persian framework of movements.[7] Costumes for these types of dance feature rich silks, brocades and flowing long skirts.
  • Haj Naranji dance: an upper body motion is emphasized, with hand motions, trunk undulations and facial expressions being points of attention.
  • Jâheli is a dance popularized in the 1960s and 1970s by the Persian dancer Jamileh. It is part of an Iranian sub-culture that has its origins in the 9th and 10th centuries, a period when Turkic and Mongol tribes seeking pasturage and pillage formed an incursion in eastern Iran. Local, informal constabularies were formed to protect each town or village and the men of these groups, called jâhel (meaning “ignorant” in Farsi), along with women, developed a culture and dance with a mixture of street smarts and spirituality.[19][20]
  • Khaliji dance: a contemporary dance done in largely improvisational, performed by pairs or groups of women for their own entertainment at special celebrations, such as weddings. There is also a type of Khaliji music from the Persian Gulf region.
  • Kereshmeh dance: solo, 19th Century Iranian royal court dance
  • Kharman dance
  • Khorasani dance
  • Latar dance
  • Le’b Guati: a spiritual dance by the Baluchis of Eastern Iran to rid a person of a possessing spirit
  • Lezgi dance: Azerbaijani and Caucasian folk dance; comes in variations of styles based on region
  • Luri dance
  • Matmati
  • Mazandarani dance
    • Lak Sema[21]
    • Dasmal Sema[21]
    • Majme Sema[21]
    • Lampa Sema[21]
    • Derum Bakordan[21]
    • Tesh Sema
    • Chakka Sema
    • Saz Sema
    • Sema Hal
  • Motrebi dance: professional public dancers from the Qatar period, sometimes also prostitutes or party entertainment. In contemporary Iran this is a dance associated with low-class nightclub performers.
  • Qasemabadi, also known as Ghasem Abadi, is a chain genre, rice-harvesting dance of the Gilaki people from the Gilan province of Iran near the Caspian Sea.
  • Raghs-e-Pa, also known as Raqs-e Pa or Pay-Bazi, is the traditional gymnasium footwork dance found at zurkhaneh (a traditional Iranian gym). The name translates to English as "foot dance".
  • Raghs-e-Pari: Persian fairy dance
  • Raghs-e Parcheh: Persian veil dance
  • Raghs-e Sharqi: belly dancing
  • Ru-Howzi: a comic theatre performance on domestic life that includes some dancing
  • Sama-o-raghs: a spiritual Sufi dance of joy that involves chanting. Dancers move to the rhythm of the music, often continuing until they fall into a trance or collapse from exhaustion.
  • Chaap dance:is a balochi dance mostly performed by forming a circle by a group of people, dancing and clapping in the southeast of iran.[22] Chaap is a Balochi word that means clapping,[23]
  • Shamshir dance: war dance involving a sword, also known as Shamshir-bazi; usually performed in Sistan and Baluchestan province
  • Shateri dance: classical Persian dance often compared to Arabic dance but without any hip movements
  • Tehrani dance: also known as Tehrooni, Tehran-style nightclub dancing
  • Vahishta: a Sufi, spiritual dance
  • Yalli, also known as Yally or Halay, an Azerbaijani chain folk dance, starts slowly and finishes fast at almost running speed. Traditionally it was a celebration of fire, which was a source of heat, light, and warm food. In ancient times dancers worshiped fire as a goddess.
  • Zaboli dance: a folk, chain dance, from the Sistan and Baluchestan Province in Southeastern Iran
  • Zār: a spiritual dance, from Southern coastal regions of Iran. People believe in the existence of winds that can be either vicious or peaceful and possess people. They are healed through a specific ceremony and dance.[24]
  • Zargari dance: a chain dance, from the Zargari people, a Romani-related ethnic group deriving from the Zargar, Iran area

Notable dancers

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Further information: Category:Iranian dancers

Contemporary and historical dancers

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This list of contemporary and historical Persian dancers or choreographers (in alphabetical order, of various dance styles) includes:

Notable dance ensembles

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See also

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References

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Further reading

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Iranian dance

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Iranian dance encompasses a spectrum of traditional forms, including regional folk styles and classical courtly expressions, originating from ancient Persian civilizations with evidence of ritualistic and communal movements depicted in artifacts from as early as 5000 BCE. These dances evolved through successive empires, such as the Achaemenid and Sasanian periods, where they served purposes ranging from physical training and ceremonial rites to entertainment in royal courts, often accompanied by music and integral to Persian cultural identity. Classical variants, refined during the (1795–1925), emphasize graceful torso isolations, intricate hand gestures, and facial expressions symbolizing emotional narratives drawn from literature and mythology. Folk dances, performed by ethnic groups like the Qashqai nomads or in southern port regions, feature energetic group formations and improvisations reflecting communal life, harvest celebrations, and tribal lore, such as the lively Bandari style influenced by Gulf maritime exchanges. After the 1979 Islamic Revolution, the theocratic regime classified most dance as (forbidden), imposing severe penalties including imprisonment and lashes for public displays, which suppressed open practice and drove preservation efforts into clandestine domestic settings, communities, and limited academic documentation. Despite these constraints, Iranian dance persists as a vital emblem of pre-Islamic heritage and cultural resistance, with recent scholarly analyses highlighting its empirical study through archived videos and ethnographic fieldwork to counter historical erasure.

Origins and Ancient History

Prehistoric and Archaeological Evidence

Archaeological evidence of in prehistoric derives mainly from painted fragments depicting human figures in dynamic poses, unearthed at and sites across the . These artifacts, dating from approximately 6000 to 4000 BCE, suggest dance formed part of communal or activities in early agrarian societies. A prominent example is a sherd from Cheshmeh-Ali near Shahr-e-Rey, dated to around 5000 BCE, featuring a procession of three standing female figures interpreted as dancers, with arms linked and legs positioned in rhythmic steps; the piece is housed in the Louvre Museum. Similar motifs appear on from Tepe Sabz in the Deh Luran Plain, where vessels (ca. 5500-5000 BCE) show groups of stylized humans in circular formations, evoking collective movement patterns akin to dance. Additional scenes from sites like Khazineh and Tepe Musiyan in western portray lines or clusters of figures with raised arms and bent knees, consistent with prehistoric Near Eastern representations of rhythmic bodily expression, potentially linked to or seasonal ceremonies. Such depictions, often executed in black-on-red slip ware, underscore dance's role in social cohesion among proto-urban communities, predating written records by millennia. No textual corroboration exists for these visuals, but their recurrence across multiple loci implies a widespread rather than isolated occurrences.

Achaemenid and Zoroastrian Influences

Archaeological artifacts from the Achaemenid Empire (c. 550–330 BCE) provide direct evidence of dance practices, including a scaraboid seal engraved with a Persian man in a dancing pose, dated to approximately 400 BCE and housed in the J. Paul Getty Museum. The figure wears a soft cap, tunic, and trousered dress with hands clasped over the chest, indicative of a stylized performance rather than combat or labor, reflecting dance's role in daily or ceremonial life. Such seals, common administrative tools, often depicted cultural motifs, suggesting dance held social significance in Persian society. Literary sources from Greek observers corroborate 's presence at the Achaemenid , where it served as physical exercise and alongside music. , in his , notes that trained in dance from youth to build strength and agility, akin to horsemanship, portraying it as a disciplined pursuit fostering bodily prowess. Courtly events featured musicians and dancers, including female performers, as referenced in Achaemenid administrative records and contemporary accounts, highlighting 's integration into royal banquets and diplomatic receptions. Zoroastrianism, adopted as the state religion under Achaemenid rulers like Darius I (r. 522–486 BCE), influenced cultural expressions through its emphasis on order, purity, and communal festivals such as the Gahambars—six seasonal feasts promoting feasting and joy—but lacked prescriptive dance rituals in sacred texts like the Avesta. While ecstatic or ritual dance is absent from core Zoroastrian liturgy, which prioritized recitation and fire ceremonies, festive gatherings likely incorporated movement and music, preserving pre-Zoroastrian Indo-Iranian elements tied to fertility and seasonal cycles. This distinction underscores dance's primarily secular character, potentially rooted in earlier Mithraic cults, amid Zoroastrianism's ethical framework that tolerated but did not sacralize such practices.

Pre-Islamic Court and Ritual Practices

In the (550–330 BCE), dance served as a form of physical exercise to build bodily strength, akin to horseback riding, and was integrated into courtly entertainments under royal patronage. Emperors such as those in the dynasty encouraged artistic expressions, including performances at royal courts and public festivals. Archaeological evidence, including seals depicting male figures in dynamic poses, attests to these practices around 400 BCE. Pre-Islamic ritual dances were tied to Zoroastrian and Mithraic traditions, where movements symbolized cosmic harmony during worship and festivals like the gahambars, though core religious ceremonies avoided dance. In Mithraism, a rite following bull sacrifice involved male-only ritual dances after blood baptism, reflecting consecration practices. These elements persisted into Parthian (247 BCE–224 CE) court life, where art portrayed women in dance amid hunting and splendor scenes, suggesting continuity in elite settings. During the (224–651 CE), court banquets featured dancers alongside musicians and acrobats, emblematic of lavish imperial displays. Silver vessels, such as ewers with gilded female figures dancing within arcaded frames and holding ceremonial objects, illustrate these entertainments, potentially evoking deities like or revelry motifs. Iconographic studies link dancers' attire to Zoroastrian influences, underscoring dance's role in both secular court pleasures and symbolic ritual contexts.

Historical Development Through Islamic Eras

Impact of Arab Conquest and Early Islam

The Arab Muslim armies defeated the Sassanid Empire in a series of campaigns from 633 to 651 CE, with decisive battles at Qadisiyyah in 636 CE and in 642 CE leading to the collapse of centralized Persian authority and the gradual Islamization of the population. This conquest disrupted pre-Islamic traditions, which had been embedded in Zoroastrian rituals, royal courts, and communal festivals as expressions of harmony, fertility, and divine favor; Islamic theology, drawing from prophetic traditions () that condemned as wasteful diversion (laghw) or a gateway to licentiousness, prompted jurists to restrict public performances, particularly those involving mixed genders or rhythmic movements mimicking idol worship. Empirical evidence from early post-conquest accounts, such as those in al-Baladhuri's Futuh al-Buldan (), notes the toleration of certain Persian customs under and Umayyad rule to maintain stability, but Zoroastrian ritual dances—once performed by priests to invoke —faded as conversions accelerated, with Zoroastrian communities dwindling to under 10% of the population by the . Despite doctrinal pressures, folk and secular dances exhibited resilience, persisting in rural and ethnic enclaves where Arab administrative control was weaker, as local Iranian elites under caliphal oversight continued private entertainments without outright prohibition. Historical texts from the Umayyad era (661–750 CE) describe dancers in Mesopotamian and Persian provincial courts, often female professionals or captives, performing stylized movements to poetry and lutes, adapting Sassanid forms to align with emerging Islamic patronage while avoiding religious venues. Continuity is evidenced by the survival of bandari-style coastal dances in and proto-kurdish communal steps in the northwest, transmitted orally and tied to agrarian cycles rather than courtly excess, evading fatwas by framing as innocuous play or wedding rites. Under the (750–1258 CE), Persian cultural revival in integrated dance into sama' gatherings—ecstatic movements linked to Sufi mysticism—though early orthodox scholars like critiqued them as (innovation), reflecting ongoing tension between prohibition and practice. This era marked a causal shift toward concealment: public spectacles diminished in urban centers like (revived as ), where over 100,000 dancers reportedly served Sassanid courts pre-conquest, replaced by veiled, indoor performances for elite male audiences to comply with shar'ia norms on modesty. Regional variations emerged, with eastern Persianate areas under Samanid rule (819–999 CE) preserving more overt folk expressions influenced by pre-Islamic mobility dances, while western provinces saw greater and restraint. Literary allusions in poets like (d. 941 CE), who referenced rhythmic hand-clapping and footwork in verses, attest to adapted survivals, underscoring that while imposed ideological constraints, entrenched cultural inertia—bolstered by Persia's demographic weight in the —prevented eradication, setting precedents for later medieval syntheses.

Medieval Persianate Courts and Folk Continuity

In the medieval period, following the consolidation of Persianate culture under dynasties such as the Buyids (934–1062 CE) and Seljuks (1037–1194 CE), dance persisted as a form of courtly despite Islamic scholarly toward it, often viewed as permissible in private settings for aesthetic pleasure but discouraged publicly due to associations with frivolity or sensuality. Literary depictions in works like the 11th-century Vīs o Rāmīn employed terms such as pāy-bāzī (foot-play) to describe rhythmic, improvisational movements akin to Sasanian precedents, reflecting continuity in elite performative arts influenced by pre-Islamic traditions. These court dances typically featured solo female performers executing graceful hand gestures, spins, and footwork synchronized to recitation or music, as evoked in Persianate emphasizing elegance over overt eroticism. Under Persian-influenced rulers, such as the Buyid emirs who patronized a of Iranian arts in and , dance integrated into feasts and celebrations, drawing on earlier Zoroastrian elements adapted to Islamic contexts, though direct archaeological evidence remains scarce owing to the ephemerality of performance and textual biases favoring moralistic critiques. Seljuk courts, blending Turkish military ethos with Persian administration, hosted similar spectacles, with viziers like implicitly tolerating dance in siyāsatnāma-style advisories on court protocol, where it served to display refinement. By the Mongol Ilkhanid era (1256–1335 CE) and into Timurid times (1370–1507 CE), Persianate patronage extended these practices, as seen in miniature paintings and chronicles alluding to rāqiṣa (dancers) at banquets, though Islamic jurists' fatwas periodically restricted professional troupes to elite, non-public venues. Folk dance traditions exhibited greater resilience in rural and tribal regions, insulated from urban clerical oversight, preserving pre-Islamic group formations like chain dances and hand-clapping routines (kereshme) tied to agrarian cycles, weddings, and festivals such as . These communal practices, often in 6/8 rhythms with improvisational elements, maintained causal links to ancient and communal bonding, as evidenced by their archaic terminology surviving in medieval folklore and later ethnographic records, unaffected by courtly stylization. In ethnic enclaves—among , , and Baluchis—such dances endured through oral transmission, resisting full assimilation into orthodox Islamic norms due to geographic isolation and , forming a substrate that later influenced urban revivals. This continuity underscores a pragmatic : while courts refined dances for symbolic status, folk variants prioritized utility in social cohesion, evading suppression by embedding in lifecycle events less subject to doctrinal scrutiny.

Qajar and Early 20th-Century Transformations

During the (1789–1925), Iranian court experienced significant patronage, particularly under Fath 'Ali Shah (r. 1797–1834), who allocated substantial royal resources to the , fostering the emergence of what later became recognized as classical Persian styles characterized by rhythmic movements and expressive facial gestures. Professional motreb troupes—comprising dancers, musicians, singers, and comedians—performed motrebi-style s in royal courts, elite households, and public venues like coffeehouses, blending with acrobatic elements. These performances often featured solo improvisational forms such as raqs-e Tehrani, executed in 6/8 rhythms, and were integrated into ru-howzi theater, where young male dancers dressed as women enacted comedic or narrative roles. Gender-segregated norms shaped performance contexts: women dancers, sometimes acrobatic tumblers depicted in Qajar paintings, primarily entertained female audiences in private settings or the , while male performers, including "dancing boys" adorned in feminine attire, dominated public and homosocial gatherings for men. This era preserved pre-Islamic influences alongside Islamic-era adaptations, with dances drawing from regional ethnic traditions like those of and Turks, though urban conservatism increasingly confined elaborate forms to elite circles. Court records and European travelers' accounts document these practices as central to royal amusement, underscoring dance's role in social and cultural display despite underlying religious ambivalence. In the late Qajar and early 20th century, political upheavals including the Constitutional Revolution (1906–1911) reframed courtly dances as symbols of corruption, accelerating their marginalization amid rising European cultural influences and elite westernization. Professional dance transitioned from courts to stigmatized urban nightclubs and cabarets, often associated with and non-Muslim performers, eroding its prestige. The establishment of the in 1925 under marked a pivotal suppression, with royal court dances explicitly banned as part of broader modernization efforts that favored Western artistic forms like , driving traditional practices underground or into folk variants by the 1930s. This shift reflected causal pressures from and secular reform, prioritizing bodily discipline over expressive improvisation, though rural and ethnic dances persisted with less interference.

Regional and Ethnic Variations

Central Persian and Classical Styles

Central Persian dance styles originate from the heartland regions of Iran, including and , and emphasize improvisational solo performances that integrate expressive gestures with rhythmic footwork. These dances, such as raqs-e Tehrani, developed as social forms among urban populations, featuring fluid hip isolations, shoulder rolls, and intricate hand movements synchronized to live music. Unlike ethnic minority traditions, central styles prioritize aesthetic refinement over communal line formations, often performed at private gatherings or celebrations. Classical Persian dance emerged from Qajar court practices between 1795 and 1925, when rulers like Fath 'Ali Shah (r. 1797–1834) allocated substantial royal funds to support professional dancers for events such as coronations and festivals. These performances involved women in elaborate costumes adorned with , jewels, and veils, executing movements including head tilts, belt undulations, and gentle upper-body waves to convey poetic narratives. typically drew from classical Persian music modes, such as chaharmezrab or reng, fostering a theatrical style that blended improvisation with structured motifs. Lacking formal codification, classical variants differ by performer, with emphasis on facial expressivity and torso subtlety rather than vigorous . Post-1906 Constitutional , court patronage waned, shifting performances to urban entertainers and courtesans, yet core techniques persisted in private female lineages until mid-20th-century revivals. In , regional adaptations like raghs-e Isfahani incorporate local poetic influences, maintaining continuity with broader central traditions through shared gestural vocabularies.

Northwestern Ethnic Dances (Kurdish, Azerbaijani)

Northwestern Iranian ethnic dances, particularly those of the Kurdish and Azerbaijani communities, emphasize communal participation and synchronized movements, often performed at weddings, festivals, and social gatherings to reinforce group identity and cultural continuity. These dances reflect the rugged terrain and lifestyles of the , incorporating vigorous footwork and line formations that facilitate large-group involvement. Unlike more individualized classical Persian styles, they prioritize collective rhythm over solo improvisation, drawing from ancient communal rituals that predate Islamic influences. Kurdish dances, known collectively as halparke or helperkê, are typically executed in lines or circles with participants standing hip-to-hip, locking fingers and bending arms at right angles or extending them straight behind. The upper body sways as a unified mass while legs perform energetic steps, emphasizing precise footwork and posture with minimal individual improvisation, akin to the debka. Originating in western regions of Iran such as and provinces, halparke involves rhythmic shoulder and foot movements in unison, often symbolizing unity and historical resilience, and is performed by mixed-gender groups holding hands. This form dates back centuries, with some accounts linking it to ancient military training practices through coordinated marching patterns. Azerbaijani dances in northwestern , prevalent among communities in East and West provinces, feature line or open-circle formations with dancers holding hands at waist level, executing a characteristic "six-count" sequence: step right, step left, step right, kick left, step left, kick right, in tight synchronization. The yalli (also yally or halay), a prominent chain dance, begins slowly and accelerates to near-running speed, originally performed around fires in ritual ceremonies and now common at celebrations. These dances vary from lyrical and graceful to lively and enthusiastic, incorporating intricate that mirrors neighboring Azerbaijani traditions while adapting local Iranian folk elements. They serve social functions, fostering community bonds through participatory patterns resembling the Israeli hora or Bulgarian pravo xoro.

Southern and Eastern Ethnic Dances (Bandari, Baluchi, Luri)

Bandari dance, indigenous to Iran's southern coastal provinces such as Hormozgan and along the , features vigorous, improvisational movements including rapid hip isolations, shoulder shimmies, and fluid arm undulations that mimic the sea's rhythms and express communal joy during weddings and festivals. Often performed in chain lines or circles by groups of women or mixed participants, it draws on local percussion like the and neyban , with influences from Arab and African maritime trade evident in its syncopated beats dating back to pre-Islamic folk traditions preserved orally. Unlike more restrained central Persian forms, Bandari emphasizes uninhibited energy, though post-1979 restrictions have confined it largely to private settings or communities. Baluchi dances in eastern Iran's Sistan and Baluchestan region, performed by the Baloch ethnic group, center on circular group formations like Dochaap, where dancers—typically men or segregated groups—link arms, clap, and execute pivoting steps to thunderous dohol drums and oboes, evoking tribal solidarity and warrior ethos during celebrations or weddings as early as documented in 19th-century ethnographic accounts. These movements, characterized by stomping footwork and synchronized spins, reflect nomadic pastoral heritage and resistance to sedentary norms, with variations like Chapp or Lewanai incorporating swords for mock combats that symbolize historical feuds. Regional isolation has maintained their potency against Islamic prohibitions, though state media occasionally sanitizes them for tourism since the 1990s. Luri dances among the Lur people of southwestern provinces like Lorestan and Kohgiluyeh and Boyer-Ahmad involve communal chain or line formations known as Chopi or Bazi, led by a caller who directs shifts in and posture, with core steps featuring knee bends, hand claps, and circling patterns to and accompaniments rooted in Zoroastrian-era pastoral rituals. Styles such as Bākhten highlight explosive jumps and rhythmic stomps symbolizing agricultural cycles, while epic variants like Chub-bazi use wooden sticks for paired mock duels reenacting tribal valor, performed at harvest feasts with origins traceable to Achaemenid tribal militias via oral histories. Gender-segregated yet inclusive of all ages, these dances underscore Lur resilience amid mountainous terrain, persisting underground after 1979 fatwas despite their pre-Islamic vitality.

Technical and Cultural Characteristics

Core Movements, Postures, and Improvisation

Core movements in Iranian dance prioritize fluid upper body undulations, precise isolations, and rhythmic coordination between torso and limbs, reflecting aesthetic ideals of elegance and restraint derived from Persian artistic traditions. Delicate hand and wrist articulations serve as expressive focal points, often mimicking natural flows or symbolic gestures, while footwork employs small, quick shuffles on the balls of the feet to convey lightness and propulsion without heavy stomping. Postures emphasize an upright, elongated spine and poised balance, enabling extended arm lines and subtle hip shifts that maintain composure over exaggerated sways, distinguishing classical forms from more percussive regional styles. Facial expressions, including emphatic eye and eyebrow movements, integrate with bodily poise to convey narrative or emotional depth, aligning with the dance's in courtly and ritual expression. Improvisation constitutes a foundational , particularly in solo classical performances, where dancers spontaneously interpret modal music structures like dastgah through personalized variations on core motifs, fostering individuality within communal aesthetic boundaries. In folk contexts, such as line or circle formations, basic step-together-step patterns allow improvisational embellishments by individuals, adapting to while preserving rhythmic unity. This improvisatory approach, uncodified unlike Western , enables ongoing evolution tied to performer expertise and musical cues, as evidenced in pre-revolutionary Tehran-style solos requiring extreme flexibility for spontaneous flourishes.

Costumes, Props, and Gender Roles

In traditional Iranian folk and ethnic dances, costumes closely mirror regional ethnic attire, emphasizing functionality, modesty, and cultural symbolism. Women typically wear layered skirts or dresses in vivid colors—such as reds, blues, and golds—with embroidered blouses, vests, and headscarves or turbans, as observed in Kurdish dances featuring the most elaborate multicolored skirts and Luri styles with flowing chadors adapted for movement. Men opt for loose pants, tunics (jubbah), and vests often paired with belts or sashes, varying by group: Azerbaijani dancers incorporate felt hats and woolen cloaks, while Baluchi men use simple white tunics with turbans for arid-region endurance. These garments facilitate fluid hip and shoulder isolations central to many forms, though post-1979 dress codes have imposed stricter coverings like hijabs in permitted contexts, altering public presentations. Props in Iranian dance are sparse and symbolic, prioritizing rhythmic enhancement over complexity. The most widespread is the handkerchief (dastmal or hali), wielded in group formations for waving, snapping, or spinning to accentuate beats, as in Bakhtiari Dastmal Bazi wedding dances where pairs synchronize throws between genders. Qashqai women employ larger hali cloths in line dances, transitioning from slow undulations to faster flourishes mirroring pastoral life. Swords or sticks appear in male-dominated folk variants like some Kurdish or Luri routines, simulating combat or herding, but handkerchiefs dominate non-violent ethnic repertoires across central and . Gender roles in Iranian dance reflect Islamic-influenced segregation alongside pre-modern court traditions of female exclusivity. Folk dances often segregate performers by sex—women in circular or linear groups executing graceful, improvisational steps, men in vigorous lines with jumps—though weddings permit mixed handkerchief play under familial oversight, as in Bandari or Bakhtiari celebrations. Classical Persian styles, rooted in Safavid and Qajar courts, featured solo female dancers in veils and silks for elite audiences, de-emphasizing overt sensuality through stylized gestures; male performers were rarer, limited to comic or acrobatic roles. Since the 1979 Revolution, theological edicts viewing female movement as provocative have confined women to private or diaspora settings, enforcing all-male public troupes or virtual performances, while underground practices challenge this via coded mixed-gender defiance. This bifurcation underscores causal tensions between ritual continuity and state-enforced piety, with ethnic minorities preserving bilateral roles despite urban homogenization. ![جشن های عروسی در عشایر، تهرانی -panoramio.jpg][float-right]

Integration with Music, Poetry, and Rituals

![Dancers and musicians on a Sasanian bowl][float-right]
Iranian dances have historically been performed in close synchronization with traditional Persian music, which employs modal systems known as dastgāhs and rhythmic cycles called usūl, allowing dancers to improvise movements that mirror the music's melodic and percussive patterns. Instruments such as the santur (hammered dulcimer), tar (lute), ney (flute), and tombak (goblet drum) provide the sonic foundation, with dancers responding through fluid gestures and footwork that emphasize the music's emotional depth and structural nuances. This interplay transforms performances into a multimodal expression, as evidenced in artifacts like Sasanian-era bowls depicting dancers alongside musicians, indicating continuity from at least the 3rd to 7th centuries CE. The integration extends to poetry, where dance serves as a visual interpretation of classical Persian literary themes, particularly those in the works of mystics like Jalaluddin Rumi (1207–1273) and Hafez (1315–1390), who frequently referenced music and dance as metaphors for spiritual ecstasy and divine union. Dancers employ intricate hand movements, shoulder shimmies, and undulations to narrate poetic stories of love, longing, and transcendence, drawing from the subtle, symbolic language of ghazals and masnavis recited or sung during performances. In Sufi traditions, this fusion manifests in sama' ceremonies, where whirling and gestural dances accompany chanted poetry and music to induce trance-like states of remembrance (dhikr), a practice rooted in medieval Persianate mysticism despite later theological scrutiny. Ritual contexts further bind dance to communal and spiritual life, with folk forms enacted during weddings, harvest festivals, and exorcistic rites to invoke fertility, ward off misfortune, or celebrate seasonal transitions. For instance, zār ceremonies in involve trance dances to rhythmic music aimed at appeasing possessing spirits, a syncretic practice blending pre-Islamic with Islamic elements, persisting among coastal communities as late as the . Northern and central ethnic dances, such as those in Gilan or during , incorporate circular formations and improvisational steps tied to poetic invocations of renewal, reinforcing social cohesion through embodied recitation of . These integrations underscore dance's role not merely as entertainment but as a conduit for and metaphysical experience, often critiqued in orthodox Islamic jurisprudence yet enduring in vernacular practices.
![Wedding dances in Ashayer, Tehran][center]

Pahlavi Era Modernization and Promotion

State Sponsorship and Western Fusion

During the , particularly under Mohammad Reza Shah (r. 1941–1979), the Iranian government actively sponsored dance as part of broader modernization and Westernization efforts, funding academies, companies, and infrastructure to elevate . The provided financial support for initiatives like the National Ballet Academy, established in 1956 with American choreographer William Dollar serving as ballet master to train dancers in classical techniques. played a key role in promoting cultural revival, personally funding the Organization for Iranian Folkloric Performances (Sazman-e Folklor-e Iran) in 1968 to preserve and stage traditional dances professionally. This state patronage extended to inaugurating Hall in 1967, a premier venue for and dance performances, reflecting the regime's emphasis on showcasing as a modern nation with ancient roots. Western fusion emerged through the importation of European and American methods, which were adapted to Iranian themes and motifs, creating hybrid forms often termed "national dance." Early influences included Russian émigré teacher Mme. Cornelli, who began instructing in in 1928, followed by other Western experts like American Nilla Cram Cook, who formed a pioneering group in 1944 that evolved into the Iranian National Ballet Company by 1958. British-American choreographer Robert de Warren directed the National Ballet from 1965 to 1976, directing field research into regional folk dances and integrating these elements—such as rhythmic footwork and improvisational gestures—into structures for productions like Iranian Miniatures (1968). This synthesis aimed to modernize traditional forms while aligning with Pahlavi , as seen in early works like (1946), which blended ballet precision with Persian folkloric narratives drawn from historical and miniatures. Such fusions often involved , Western-educated Iranian women performers from upper-class families, whose participation signaled shifting norms under state encouragement, though they remained controversial among conservative segments of . Companies like the Pars National , founded by Iranian choreographer Abdollah Nazemi, produced films and stage works that further popularized these hybrids, performing both Western repertoires and Iran-inspired ballets until the 1979 Revolution curtailed activities. State-backed efforts thus transformed from a largely private or folk practice into a professional, exportable art form, though reliant on foreign expertise and selective revival of pre-Islamic Persian heritage to legitimize Western imports.

Establishment of Dance Academies

The establishment of formal dance academies in Iran during the Pahlavi era marked a shift toward institutionalized training, blending Western techniques with efforts to revive and systematize indigenous forms as part of broader cultural modernization. Early private ballet schools emerged in the late 1920s and 1930s, often founded by instructors trained abroad, providing foundational education amid Reza Shah's secular reforms. For instance, Mme. Cornelli opened a dance school in in 1928, followed by Yelena Aveidisian's school in in 1933 (relocated to in 1942), Sarkis Djanbazian's in in 1938 (moved to in 1945 using the ), and Mme. Lazarian's in in 1949. These initiatives catered primarily to urban elites and introduced European pedagogy, though they operated independently without direct state oversight until the 1950s. State sponsorship intensified under Mohammad Reza Shah, with the Ministry of Culture and Arts playing a central role in professionalizing . The National Ballet Academy of Iran was founded in September 1956 within the Honarestan-e Musighi (Music Conservatory) in , initiated by the ministry and directed by Nejad Ahmadzadeh, who served as founding director alongside his wife Haideh as . The academy was inaugurated with American choreographer William Dollar as , focusing on rigorous classical training to build a national corps of dancers capable of performing both Western repertoires and adapted Persian-inspired works. This institution laid the groundwork for the Iranian National Ballet Company, established two years later in 1958, reflecting the shah's vision of elevating as a symbol of 's alignment with global arts while asserting cultural sovereignty. In the late 1960s, emphasis expanded to folkloric and traditional dances, supported by Empress Farah Pahlavi's patronage of the arts. A School of National and Traditional Dance was established in in 1969 to integrate ethnic regional styles into formal curricula, promoting them as components of . This was followed by the Academy of National and Folkloric Dances of on February 24, 1970, also under the , offering structured 3- to 5-year programs to codify and teach indigenous movements alongside music. These academies received government funding and aimed to counter perceptions of as mere entertainment, positioning it instead as a disciplined art form tied to Persia's historical legacy, though training remained concentrated in and accessible mainly to middle- and upper-class students.

Pre-Revolutionary Performances and Troupes

In the early , the first professional Iranian dance ensemble, known as the Revival of Ancient Iranian Arts, was established under the direction of Nilla Cram Cook, the at the U.S. Embassy in . This group marked a shift toward organized, staged presentations of traditional dances, drawing on historical motifs to promote cultural revival during the Pahlavi modernization efforts. The ensemble debuted internationally in 1947, performing selections that blended classical Persian elements with contemporary staging techniques. By the mid-1950s, state-supported initiatives expanded dance performances, including the formation of ballet-oriented companies that fused Western classical forms with Iranian themes. The , founded in 1958 as Iran's premier state ballet institution, conducted national and international tours until 1979, emphasizing choreographed works inspired by and history under directors like Nejad Ahmadzadeh. Similarly, the Pars National Ballet, established by choreographer Abdollah Nazemi, produced filmed ballets and regular television broadcasts, integrating folk-inspired movements with narrative structures derived from epic poetry such as the . Folk dance troupes gained prominence in the through government patronage, particularly via the National Folklore Organization (Sāzmān-e Foklūr-e Īrān), established in 1967 with funding from Empress to preserve ethnic traditions. The Mahalli Dancers of Iran, the organization's flagship performing company, specialized in regional s from areas like , Baluchistan, and Fars, often dramatizing poetic tales through group formations and improvisational segments. Under artistic director Robert de Warren from 1971, the troupe toured globally, presenting over 20 regional styles in venues from to the , with performers like Parvin Sarlak leading ensembles that highlighted synchronized line dances and prop-assisted routines. These performances, held in theaters like Tehran’s Roudaki Hall, served both cultural preservation and diplomatic outreach, attracting audiences of thousands annually before ceasing operations post-1979.

Suppression Under the Islamic Republic

Following the 1979 Islamic Revolution, public dancing was effectively banned in Iran under the framework of the Islamic Penal Code, which prohibits acts deemed "indecent" or contrary to public morality. Article 638 of the code specifies that anyone committing an open haram (forbidden) act in public or thoroughfares faces up to 74 lashes, and dancing—particularly in mixed-gender settings or visible to non-mahram (unrelated individuals)—is routinely interpreted by authorities and judiciary as violating this provision, leading to arrests, fines, imprisonment, or corporal punishment. Prominent Shia clerics have issued fatwas reinforcing these restrictions. , Iran's Supreme Leader, ruled in 2018 that men dancing for other men is (forbidden) as a precautionary measure, extending prohibitions beyond gender mixing to same-sex performances. , a leading marja' (source of emulation), has decreed that dancing before non-mahram individuals is impermissible, with women specifically barred from such acts in front of unrelated men to avoid temptation. , the revolution's founder, did not issue a standalone fatwa on dancing but banned broadcast in July 1979 on grounds of moral corruption akin to opium, establishing a doctrinal precedent that encompassed dance as an extension of licentious expression under the new theocratic regime. Theological justifications in Twelver Shia Islam, as applied in Iran, frame dancing as inherently provocative and disruptive to piety. It is viewed as engendering fitna (seduction or social discord), stirring base desires, and diverting from obligatory religious focus, rendering it makruh (disliked) at minimum and haram in public or mixed contexts per ijtihad (jurisprudential reasoning) by mujtahids. This stance aligns with broader Quranic and hadith interpretations prohibiting behaviors mimicking pre-Islamic or non-Muslim excesses, though historical Sufi traditions incorporated rhythmic movement for spiritual ecstasy; post-revolutionary enforcement prioritizes strict literalism to safeguard societal virtue against Western cultural infiltration. Clerical authorities maintain that such prohibitions preserve Islamic order, with exemptions rare and confined to segregated, non-sensual private settings, underscoring dance's classification as a potential gateway to moral decay rather than neutral art.

Enforcement, Arrests, and Punishments

Enforcement of the ban on public dancing in Iran is primarily carried out by the Gasht-e Ershad (Guidance Patrol), commonly known as the morality police, alongside Basij militia forces and regular security personnel, who patrol public spaces to detect and detain individuals engaging in activities deemed violations of Islamic moral codes. These entities operate under broad interpretations of Iran's Islamic Penal Code, particularly Articles 637 and 638, which penalize acts contrary to public chastity or openly committing haram (forbidden) acts in public, with ta'zir punishments including up to 74 lashes, fines, or imprisonment at judicial discretion, though dancing is not explicitly criminalized but prosecuted as an "immoral" offense. Arrests often stem from viral social media videos, with authorities monitoring platforms like to identify and summon suspects for interrogation, sometimes coercing televised confessions. In May 2018, several women were briefly detained for posting dancing videos online, leading to state television broadcasts of their apologies on July 9, 2018. Similarly, teenager Maedeh Hojabri was arrested in 2018 for Instagram videos of herself dancing, resulting in a public confession aired by authorities. In September 2014, six individuals filmed performing "Happy" in received suspended sentences of 50 to 100 lashes and six months' imprisonment, enforceable upon any future infraction. Punishments have escalated in recent years amid heightened scrutiny of online defiance. On January 31, 2023, a couple in their 20s was sentenced to a combined 10 years in prison for a street dancing video near Tehran's Freedom Tower, charged with promoting " and indecency." In March 2024, two women were detained after dancing in Tajrish Square dressed as a fictional character, facing potential charges. More recently, on January 24, 2025, two young women were arrested for dancing in a Tehran cemetery without hijab, violating public modesty norms, while in late January 2025, two teenage girls were apprehended by morality police for a video at the Monument to the Unknown Martyrs. Even private or children's dancing has drawn enforcement, as seen in a September 15, 2025, crackdown on minors at an amusement park. These cases illustrate discretionary application, often amplified by social media virality, with punishments serving as deterrents rather than uniform penalties.

Cultural and Psychological Impacts

The prohibition of dance in public spaces following the 1979 Islamic Revolution has contributed to a fragmentation of Iran's pre-revolutionary heritage, with formal academies and troupes disbanded and public performances curtailed, leading to diminished intergenerational transmission of classical and regional styles. This suppression, rooted in theological interpretations deeming mixed-gender or exuberant dance as morally corrupting, has driven traditional practices underground or into exile, reducing domestic access to authentic cultural expressions and fostering a reliance on communities for preservation. Broader cultural policies post-1979 prioritized Shia Islamic conformity over secular or Western-influenced arts, resulting in among artists and a contraction of creative output in related fields like music and theater. Psychologically, the ban has imposed chronic fear and isolation on practitioners, particularly women, who report a profound loss of personal identity tied to bodily expression, with many abandoning the art or facing arrest for private rehearsals. Enforcement through fines, floggings, and moral policing has instilled a pervasive sense of vulnerability, exacerbating broader societal patterns of emotional suppression and hopelessness engineered by regime controls on public joy and dissent. Empirical research on dance's neurobiological role underscores the deprivation's toll, as prohibition denies individuals and communities established mental health benefits from movement, such as reduced stress and enhanced emotional regulation, in a context where alternative outlets remain restricted. For former dancers, this has often meant professional exile or trauma from severed cultural ties, amplifying identity crises amid ideological conformity demands.

Underground Persistence, Protests, and Diaspora Revival

Clandestine Practices and Symbolic Resistance

Despite the 1979 Islamic Revolution's blanket prohibition on dance, which categorized it as haram (forbidden) under interpretations of Islamic law emphasizing modesty and avoidance of arousal, Iranians have sustained clandestine practices in private residences, family weddings, and hidden studios. Underground and classes, often held in basements or suburban homes, attract dozens of participants, including women defying gender segregation norms by training without in secluded spaces. Traditional folk forms, such as regional variations of raghs (group dances), persist at covert gatherings, where participants replicate pre-revolutionary steps to banned music, evading morality police patrols through informal networks and encrypted communications. These practices embody symbolic resistance by reclaiming bodily and cultural continuity against state-imposed ideological conformity, which post-revolutionary authorities justified as protecting society from Western moral corruption and excessive sensuality. Dancers view their movements as affirmations of pre-Islamic Persian heritage, including Zoroastrian-influenced rituals of joy and communal harmony, thereby subverting the regime's narrative of dance as inherently lascivious or un-Islamic. In private sessions, participants often incorporate motifs from suppressed Pahlavi-era fusions, such as synchronized group formations symbolizing unity, which implicitly critique the atomizing effects of mandatory veiling and . This underground persistence, documented in ethnographic accounts, fosters intergenerational transmission, with elders teaching youth steps that encode narratives of resilience amid suppression. The act of dancing clandestinely functions as a low-visibility form of civil defiance, prioritizing empirical self-expression over overt confrontation, and has been described by participants as a "quiet " against authoritarian control over personal and . By 2025, such activities reportedly involve small groups of 10-20 individuals per session, adapting to digital tools for coordination while minimizing exposure, thus sustaining a parallel cultural ecosystem that challenges the regime's monopoly on . Sources note that while enforcement varies by locale—stricter in urban centers like than rural areas—these practices underscore causal links between suppression and adaptive innovation, where prohibition inadvertently amplifies dance's role as a vessel for unyielding national spirit.

Role in 2022–2023 Protests and Viral Media

During the nationwide protests that erupted following the death of Mahsa Amini on September 16, , in while in morality police custody for alleged violations, Iranian women increasingly incorporated into acts of public defiance against the Islamic Republic's gender restrictions. These performances, often spontaneous and set to protest chants like "" (Jin, Jiyan, Azadi), involved women removing or igniting hijabs in streets, universities, and squares, directly challenging fatwas and laws banning public female dancing as immoral and provocative. Such displays peaked in late September , with footage from on September 22 showing groups of women dancing amid demonstrations, transforming suppressed into symbols of bodily and rejection of clerical . Viral media amplified these acts, as videos circumvented state internet blackouts via VPNs and satellite uploads to platforms including Instagram, YouTube, and TikTok, garnering millions of views and inspiring copycat defiance both domestically and abroad. Clips depicted solo and group dances—ranging from traditional-inspired improvisations to modern fusions with protest anthems—posted despite risks of doxxing and reprisals, with users overlaying footage of scarf-waving dances during rallies to underscore themes of liberation. By early 2023, this digital proliferation influenced cultural outputs like the electronic dance compilation Woman, Life, Freedom, produced by exiled Iranian DJs Aida and Nesa Azadikhah, which remixed protest sounds to sustain momentum. The regime responded with heightened enforcement, including arrests for "indecent" dancing in viral content, as public female performance violates Article 638 of Iran's penal code punishing "promotion of vice." Over 500 deaths and thousands of detentions were reported in the protests' first months, with dance-related videos cited in security crackdowns to deter emulation. Yet, these viral instances highlighted dance's evolution from clandestine practice to overt resistance tool, fostering intergenerational and exposing the theological underpinnings of suppression—rooted in interpretations of Islamic deeming unstructured female movement as fitna (seduction)—while empirical evidence of widespread participation underscored the protests' scale beyond elite narratives.

Global Diaspora Performances and Preservation Efforts

Iranian expatriate communities, particularly in the United States, , and , have sustained performances of dances such as raghs and regional folk forms like those from and Gilan, which were prohibited in Iran after the 1979 Islamic Revolution. In —home to one of the largest Iranian diasporas, often called ""—organizations like the Farhang Foundation host annual events featuring neo-classical Persian dance, including Melieka Fathi's 2019 Nowruz performance that revived classical elements blended with contemporary interpretations to maintain cultural continuity. Similarly, troupes such as Les Ballets Persans, founded by Nima Kiann in during the 1980s, have toured internationally, performing balletic adaptations of Iranian choreography to over 50 dancers, many exiles from the former Iranian National Ballet Company, emphasizing preservation amid displacement. Preservation initiatives extend to archival and educational efforts, countering the loss of embodied knowledge due to Iran's bans. In Berlin, projects like the "Iranian Dance Archive in Exile" propose collecting historical footage, notations, and oral histories from diasporic artists to document pre-revolutionary repertoires, addressing gaps in institutional records suppressed domestically. Scholars such as Robyn Friend highlight how diaspora practitioners teach ethnic-specific dances in community classes, ensuring transmission across generations despite adaptations influenced by host cultures, as seen in U.S.-based workshops that integrate live music to replicate social contexts absent in Iran. Academic works, including dissertations on diasporic choreography, argue that these performances serve as sites for negotiating "Iranianness," blending authenticity with innovation to resist cultural erasure. Performances often coincide with cultural festivals, amplifying visibility; for instance, Farima Berenji and Shahrzad Khorsandi's 2014 collaborations in reclaimed banned forms through site-specific works, drawing on personal exile narratives to educate audiences on 's dance heritage. In , exiled dancers from the Iranian National Ballet have integrated into companies like those in and , performing hybrid pieces that preserve technical lineages while adapting to Western stages, with events like UCLA's "Dancing through the " panels in 2023 fostering dialogue on choreographic practices. These efforts, supported by foundations and peer networks, have documented over 100 regional variations, prioritizing empirical transmission over ideological reinterpretation to safeguard empirical traditions against state-induced oblivion in .

Notable Figures and Ensembles

Pre-20th-Century and Classical Dancers

![Dancers and musicians on a Sasanian bowl.jpg][float-right] In ancient Persia, dance served practical and ceremonial purposes, with Achaemenid sources indicating it was practiced as physical exercise to build strength, akin to horseback riding, as noted by Greek historians like in his Anabasis (6.1.10). Archaeological evidence from sites like Tepe Siyalk and Tepe Mūsīān includes pottery depicting dancers from prehistoric periods, while a 5,000 BCE ceramic from Cheshmeh-Ali shows figures in rhythmic poses, suggesting early ritualistic forms. A Persian seal from circa 400 BCE portrays a male dancer in dynamic motion, evidencing individual performance artistry in the Achaemenid era. During the Sasanian period (224–651 CE), royal patronage elevated dance, as King Bahrām Gōr (r. 420–438 CE) employed troupes of dancing girls for entertainment, referenced in texts like the Šāh-nāma and Pseudo-Jāḥeẓ. Silver vessels and bowls illustrate female dancers with musicians, often in graceful, synchronized movements accompanied by lutes and drums, reflecting courtly spectacles. These depictions, analyzed in studies of Sasanian art, highlight dance's integration into elite festivities rather than named virtuosos, with forms including acrobatic elements and weapon dances like the "Persian" shield routine described by Xenophon in Cyropaedia (8.4.12). One rare named figure from antiquity is Roxanē (Roxane), daughter of the Bactrian satrap , who performed a with thirty high-born maidens at in 327 BCE, captivating , as recorded by Curtius Rufus (Historiae Alexandri Magni 8.4.22-23) and (Life of Alexander 47.7). Such accounts, drawn from Greek eyewitnesses, underscore 's diplomatic and seductive roles in pre-Islamic Persia, though individual dancers remained largely anonymous in surviving records. In the Islamic era, particularly under the Safavid (1501–1736) and Qajar (1789–1925) dynasties, professional motreb ensembles—mixed groups of musicians, singers, and dancers—entertained at weddings, circumcisions, and court events. Male motreb dancers, often young boys known as zanpush (literally "woman-wearers"), performed in public and elite male gatherings, frequently dressing in feminine attire and facing social marginalization, including among Jewish communities as outcast entertainers. Female dancers, segregated for performances, contributed to the evolution of classical court styles under Qajar rulers like Fath 'Ali (r. 1797–1834), who allocated royal funds to artistic dances during coronations and celebrations, as evidenced by palace portraits and traveler accounts. These performers, while not canonized as singular icons, embodied classical Persian dance's improvisational grace and regional variations, preserved in Qajar miniatures rather than biographical fame. Historical documentation prioritizes collective roles over personal acclaim, reflecting oral traditions and the era's focus on patronage over celebrity.

Pahlavi-Era Innovators

The Pahlavi era (1925–1979) marked a period of significant innovation in Iranian dance, driven by state-sponsored modernization efforts that integrated Western ballet techniques with elements of Persian folklore, poetry, and pre-Islamic heritage to foster . Classical ballet was first introduced in 1928 when Madame Cornelli, a foreign instructor, began lessons in , laying the groundwork for formal training amid 's cultural reforms. This initiative expanded under Mohammad Reza Shah, with the and Arts supporting academies and ensembles that blended , modern , and traditional motifs, often performed by women in public settings to symbolize progress and shifting gender norms. A pivotal early innovator was Nilla Cram Cook, an American who founded the Studio for the Revival of the Classical Arts of Iran in 1946, establishing the nation's first professional , "The Revival of Iranian Ancient Arts," in 1947. Cook's innovated a hybrid style combining modern , improvisation, and themes from like Saadi's poetry and Achaemenid-era history, with costumes evoking rural and aesthetics; it toured the , , and , promoting heterosocial performances that elevated women's roles in . Dancers such as Nesta Ramazani and Haideh Ahmadzadeh contributed to this style, with Ahmadzadeh later choreographing works like "Iranian Miniatures" in 1968, further standardizing -infused Persian forms. Iranian-led advancements accelerated in the 1950s, exemplified by Nejad Ahmadzadeh, who founded the National Ballet Academy of Iran in 1956 and the Iranian National Ballet Company in 1958, alongside the National Folkloric , Song, and Dance Ensemble. These institutions trained dancers in classical techniques while incorporating regional folk elements, enabling national and international tours, such as at Expo 1967 in and Expo 1970 in . Aida Ahmadzadeh succeeded as director of the National Ballet Company in 1971, while Bijan Kalantari established a ballet department at Tehran's Music Conservatory in 1969, institutionalizing professional education. Collaborations with foreign experts, including Dame Ninette de Valois in 1958 and Maurice Béjart's choreographies "Farah" and "Golestan," enriched this fusion, popularizing ballet and highlighting Persian motifs on global stages. Additional figures like Madame Yelena Avedisian advanced regional training, founding a dance school in in 1933, relocating to in 1945, and creating a "Song and Dance Ensemble" with 150 students by 1962. Venues such as Roudaki Hall, inaugurated in 1967, and the (1967–1977) hosted these innovations, featuring both local ensembles and international performers until the 1979 revolution curtailed activities. These efforts transformed dance from clandestine or cabaret associations into a respected national art, though reliant on elite patronage and foreign influences.

Contemporary Underground and Diaspora Artists

In , contemporary underground dance persists through clandestine networks, often in private homes or hidden studios among urban youth, despite severe legal risks including arrests and lashings for violating bans on public or mixed-gender performances. A surge in interest among middle- and upper-class youth since the has fueled informal classes and secret rehearsals, blending traditional forms like raghs with modern elements, though practitioners operate in perpetual secrecy to evade morality police enforcement. F.M. Sayna, an Iranian Azerbaijani artist trained in , , traditional Iranian dances, and contemporary forms, emerged from Iran's underground scene before relocating abroad; her work emphasizes embodied resistance against cultural suppression. Among communities, primarily in the United States, , and , Iranian artists have established ensembles and academies to revive and innovate Persian dance traditions suppressed since the 1979 Revolution. Melieka Fathi, daughter of Iranian immigrants, founded the Melieka Fathi Dance Company in 2017 in , focusing on neo-classical Persian choreography that integrates classical motifs with contemporary expression to preserve in . Her performances, such as those supported by the Farhang Foundation, explore themes of heritage and experience through structured narratives drawn from . Afshin Ghaffarian, exiled from , established the Reformances dance company in around 2017, evolving from his portrayal in the 2014 film —which depicted underground training under pre-revolutionary influences—to create hybrid works fusing Persian rhythms with Western contemporary techniques. Aisan Hoss, based in , trained from age 12 in Iranian dances and now teaches and performs contemporary interpretations, collaborating on pieces that address immigrant displacement and cultural continuity. Heather Rastovac Akbarzadeh, an academic and performer at the , incorporates Iranian folk and classical techniques into protest-oriented works, drawing on DIY to critique authoritarian controls on bodily expression. These artists often document their practices via online platforms or festivals, circumventing Iranian while fostering global audiences, though challenges like shortages and cultural dilution in exile persist. Efforts include archiving pre-revolutionary repertoires, as advocated in exile-based initiatives in since 2021, to counter historical erasure.

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