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Iranian Character Dance
By merging Iran’s vibrant cultural mosaic, folk traditions, and ancient aesthetics with the refined techniques of ballet, Nima Kiann pioneered a distinctive dance genre that reflects Persian identity while upholding the academic standards of classical and character dance.
The Genesis of Institutionalized Iranian Folk Dance: Robert de Warren and the National Folklore Society of Iran
In the mid-20th century, Iran embarked on a cultural renaissance, aiming to preserve and promote its rich tapestry of folk and ethnic traditions. Recognizing the need to document and stage the nation’s diverse dances, the Iranian Ministry of Culture and Arts commissioned Robert de Warren, then serving as Ballet Master and Guest Choreographer of the Iranian National Ballet Company (INBC), to spearhead this initiative.
In 1971, de Warren established the National Folklore Society of Iran, with the patronage of Empress Farah Pahlavi. This organization aimed to collect, document, and stage the myriad folk dances of Iran’s diverse ethnic groups. The performing arm of the society, known as the Mahalli Dancers of Iran, toured internationally, showcasing the nation’s cultural wealth.
De Warren’s approach was meticulous and respectful; he conducted extensive field research, traveling to remote regions to observe and record traditional dances in their authentic settings. Importantly, he refrained from altering the core elements of these dances. Instead, he adapted them for stage presentation, ensuring their integrity while making them accessible to broader audiences.
Defining Character Dance
Character dance is a stylized representation of traditional folk or national dances, adapted for the stage within the framework of classical ballet. It incorporates specific movements, rhythms, and costumes to convey the essence of a particular culture or region. Renowned ensembles such as the Igor Moiseyev Ballet have exemplified this genre, blending rigorous ballet technique with authentic folk traditions to create compelling performances that resonate with both cultural specificity and universal appeal.
Character dances are integral to many classical ballets, including “Swan Lake,” “Giselle,” and “The Sleeping Beauty,” where they enhance the narrative by reflecting the cultural settings of the stories.
Nima Kiann and the Evolution of Iranian Character Dance
Building upon the foundations laid by de Warren, Nima Kiann, founder of Les Ballets Persans, pioneered the integration of Iranian folk and ethnic dances into the classical ballet framework, giving rise to a new genre: Iranian Character Dance.Unlike de Warren, who focused on preserving and presenting traditional dances in their original forms, Kiann sought to fuse these dances with classical ballet techniques, creating choreographies that were both innovative and deeply rooted in Iranian cultural narratives.
This synthesis allowed for a dynamic exploration of Iranian identity through dance, offering audiences performances that were both technically sophisticated and culturally resonant. Kiann’s work not only preserved traditional forms but also reimagined them, ensuring their relevance and vitality in contemporary artistic discourse.
Character dance is where the soul of tradition meets the precision of ballet.Nima Kiann
Notable works by Kiann include “Simay-Jan,” inspired by the dances of Gilan province, and “Bahareh!,” which merges the folkloric dance of Lorestan with classical ballet. Through these and other productions, Kiann has established Iranian Character Dance as a distinctive and evolving art form, reflecting the nation’s rich cultural heritage and its contemporary expressions.