FAQ

No. Despite state repression and a governmental ban on dance, performances have been staged, albeit with numerous restrictions. While these performances may be considered unprofessional by Western standards, they still occur. They often involve children or female dancers performing for a female-only audience. Performances incorporating elements of ballet, both classical and contemporary, have also been presented, though these cannot be classified as conventional ballet performances.

Yes. Besides dance groups within Iran, there are numerous Iranian dance companies in the diaspora across Asia, Europe, and America. These companies primarily focus on Iranian classical dance and Iranian folk dance. Furthermore, some dancers of Iranian heritage, particularly second-generation Iranians, have recently created contemporary or neo-classical performances with Iranian themes, though these are not typically established as traditional ballet companies.

No. While Les Ballets Persans identifies as the only existing organization worldwide dedicated to safeguarding and preserving the heritage of Iranian ballet traditions, it is not supported by any government. At its founding, Les Ballets Persans received funding from both private individuals and Swedish authorities. Currently, it operates with private financing from benevolent patrons. Thus, Les Ballets Persans remains the only organization globally that is not financially supported by any government yet is regarded as the sole forum for safeguarding the ballet traditions of a specific country.

Iranian Ballet is the online forum and digital platform of the Les Ballets Persans foundation. Les Ballets Persans is more than just a dance production company. Its activities include serving as a resource for dance education, scholarly research, institutional dance studies, and advocating for the preservation of an Iranian national heritage, preventing it from being forgotten. With a quarter of a century of existence, Les Ballets Persans is recognized internationally for its work.

Before the Islamic Revolution of 1979, Iran had several institutions dedicated to dance, particularly focused on ballet, folk dance, and contemporary dance. These institutions were primarily established during the Pahlavi era, when Western-style arts, including ballet and modern dance, were actively promoted by the state.

Iran does not have an officially recognized "national dance", but the country has a rich tradition of regional and folk dances that represent its diverse ethnic and cultural heritage. Different parts of Iran have distinct dance styles, many of which are deeply tied to historical, social, and even spiritual traditions. Iranian National Dance [raqs-e melli-ye irani] is a term used incorrectly by a few Iranian post-revolutionary writers to describe dance and choreographies (particularly solo improvised) related to or inspired by Iranian national and ethnical elements for purpose of stage performances in an academic context. A specific dance or dance genre can be officially designated by a government as the “national dance”, like in several nations such as Mexico, Greece, and the Philippines. Academization of any specific dance or dance genre, which is possible if put into effect by a board of academic dance experts under governmental supervision and conduct, requires development and codification of technique and pedagogical method, creation of terminology, and de-vulgarization and adaptation of movements, like typical Iranian chest and hip (gher) moves. This has never happened in Iran in spite of the vast governmental support to promote “nationally inspired dance” before the revolution. The designation of a national dance is the result of a group of experts’ and scholars’ collective agreement in an academic entity and never conducted by incoherent innovating efforts of any individual.

After the 1979 Islamic Revolution, Iran’s foremost state-supported ballet company, The Iranian National Ballet (Ballet Melli Iran), was dissolved and effectively ceased to exist as an official institution. Twenty-three years after the disbanding of the company, it was revived in Les Ballets Persans. Similar to the Ballets Russes and Ballets Suédois, Les Ballets Persans is an exiled dance company with a distinctive repertoire entirely inspired by the Iranian cultural sphere. Many members of the Iranian National Ballet Company, including principal dancers and choreographers, fled Iran and continued their careers abroad after the revolution. Some moved to Europe and the U.S., where they joined international ballet companies or began teaching. Others had to leave the profession. The founder of Les Ballets Persans, the successor company, was nine years old at the time of the revolution and was never a member of the Iranian National Ballet Company. He was the first pioneering Iranian ballet artist of the post-revolution generation who was trained as a ballet dancer outside of Iran after the Islamic Revolution.

A national ballet company is an essential part of a country’s cultural identity and artistic heritage. It serves as a symbol of national pride, artistic excellence, and cultural diplomacy while also contributing to education, tourism, and economic development. Here’s why each country benefits from having a national ballet company:

1. Cultural Identity & National Heritage

• A national ballet company helps preserve and showcase a country's cultural traditions through dance.
• Many companies blend classical ballet with traditional and folk elements, creating a distinct national artistic style (e.g., Russia’s Bolshoi Ballet incorporating Slavic influences).

2. Artistic Excellence & Innovation

• A state-supported ballet company ensures high-quality training for dancers, choreographers, and musicians.
• It provides a platform for artistic experimentation, supporting the creation of new works and adaptations of classical performances.

3. Cultural Diplomacy & International Recognition

• National ballet companies serve as cultural ambassadors, performing worldwide to strengthen international ties.
• Countries with strong ballet traditions (e.g., France, Russia, Cuba) use ballet to enhance their global artistic reputation.

4. Education & Youth Development

• A national ballet company usually supports ballet academies that train young dancers.
• It inspires youth participation in the arts and creates career opportunities in dance, music, and stage production.

5. Economic & Tourism Benefits

• Ballet performances attract local and international audiences, boosting cultural tourism.
• Governments often invest in ballet companies as economic assets, generating revenue through ticket sales, sponsorships, and partnerships.

6. National Unity & Inspiration

• Ballet, as a universal art form, brings people together regardless of background.
• National ballet companies create iconic performances that become part of a country’s cultural legacy.

Examples of Influential National Ballet Companies

• Bolshoi Ballet (Russia) – A global symbol of Russian culture.
• Paris Opera Ballet (France) – One of the oldest and most prestigious ballet institutions.
• The Royal Ballet (UK) – A cornerstone of British artistic excellence.
• Cuban National Ballet (Cuba) – A major force in Latin American ballet.
• American Ballet Theatre (USA) – Blends classical and modern ballet for global audiences.

The key difference between ballet as an institutional (or state-supported) dance and other types of dance lies in its formal structure, historical development, and government or institutional backing. Here’s a breakdown of how ballet differs from other dance forms in this context:

1. Institutional Ballet vs. Other Dance Forms

1. Support & Recognition – Institutional ballet is often funded or supported by governments, royal courts, or national institutions, such as the Bolshoi Ballet in Russia or the Paris Opera Ballet in France. In contrast, other dance forms can be community-driven, commercial, or independent, such as street dance, folk dances, or contemporary experimental dance.
2. Training & Standardization – Ballet requires years of formal training in state-approved academies, like the Vaganova Academy in Russia or the Royal Ballet School in the UK. Other dance styles, however, may rely on informal learning, self-teaching, or oral traditions, as seen in hip-hop, indigenous dances, or social dances.
3. Codified Techniques – Institutional ballet follows a strictly structured system with well-defined movements and positions, such as the five positions of ballet and en pointe technique. Other dance forms tend to be more flexible and improvisational, evolving naturally over time without a fixed set of rules (e.g., contemporary dance or traditional folk dances).
4. Purpose & Function – Ballet has historically been associated with elite performance, royal patronage, and national identity. In contrast, many other dance styles serve social, religious, ritualistic, or entertainment purposes, such as tribal dances, festival dances, or modern street performances.
5. Choreographic Process – Classical ballet companies often preserve and perform traditional works, such as Swan Lake or The Nutcracker, maintaining their historical legacy. Other dance forms, however, may evolve organically with changing cultural and social trends, leading to new expressions and styles over time.

2. Institutional Ballet: A Tool of Cultural Diplomacy

Ballet has historically been used by states to project national prestige and artistic excellence. For example:

• Russia/Soviet Union: The USSR heavily promoted ballet (e.g., Bolshoi & Kirov Ballet) as a symbol of cultural superiority.
• France: The Paris Opera Ballet, founded by King Louis XIV, was used to display royal power.
• China: The Chinese government adapted ballet into revolutionary works (e.g., The Red Detachment of Women).
• Cuba: The Cuban National Ballet was supported as part of socialist cultural policies.

3. Other Dance Forms and Their Institutionalization

Some non-ballet dance forms have also been institutionalized, such as:

• Folk Dances: Many nations have official folk dance ensembles funded by the government.
• Modern Dance: While originally a rebellion against ballet, modern dance is now part of many national arts institutions.
• Hip-Hop & Street Dance: Some styles are gaining recognition and institutional backing through academic programs and professional companies.

The term "institutional" or "state dance" refers to dance forms that are officially recognized, promoted, or regulated by a government or state institution. These dances are often used to represent national or regional identity, culture, or heritage. They may be performed at state events, diplomatic gatherings, and national celebrations.

Key Characteristics of Institutional/State Dance:

1. Official Recognition: The dance is often designated as a national or official cultural symbol.
2. Government Promotion: It may be taught in state-funded cultural institutions, schools, or performance groups.
3. Codification: Some state dances have structured choreography, costumes, and music that are standardized and preserved.
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4. Representation: These dances often reflect the traditions, history, or mythology of a nation or ethnic group.
5. Performance in Formal Settings: They are typically performed at national celebrations, political events, or state-sponsored cultural festivals.