Legacy
Social Justice Through Dance
Nima Kiann’s choreographic works have addressed issues of exile, oppression, and cultural identity—establishing dance as a powerful medium for advocating social justice and reflecting the experiences of marginalized communities.
The Evolution of Iranian Ballet Repertoire
The repertoire of the Iranian National Ballet Company (INBC) under the Pahlavi monarchy was a sophisticated amalgam of classical, neoclassical, and contemporary ballet traditions. Encompassing both international masterpieces and original works commissioned for the company, the programming reflected a strong emphasis on Iranian literary, mystical, and historical themes. The incorporation of Persian cultural narratives into ballet was not only artistically significant but also culturally affirming, positioning Iran as a bridge between Western performance idioms and Eastern philosophical and poetic traditions.
While the majority of these works emphasized national heritage and humanistic values, a limited number of ballets explored themes of modern Iranian statehood. Among these, the contemporary ballet Naft (“Oil”) stands as a rare example of a repertoire work designed to extol the nation’s natural wealth and economic sovereignty. Yet even such politically tinted pieces remained fundamentally celebratory and did not engage with critical socio-political discourse. In contrast to some European productions—such as the Berliner Opera’s political staging of Hamlet—the INBC’s repertoire remained largely apolitical, privileging themes of cultural refinement and national identity over ideological critique.
Dance can be a voice for the voiceless, a stage for justice.Nima Kiann
While the majority of these works emphasized national heritage and humanistic values, a limited number of ballets explored themes of modern Iranian statehood. Among these, the contemporary ballet Naft (“Oil”) stands as a rare example of a repertoire work designed to extol the nation’s natural wealth and economic sovereignty. Yet even such politically tinted pieces remained fundamentally celebratory and did not engage with critical socio-political discourse. In contrast to some European productions—such as the Berliner Opera’s political staging of Hamlet—the INBC’s repertoire remained largely apolitical, privileging themes of cultural refinement and national identity over ideological critique.
The Post-Revolutionary Cultural Vacuum
The Islamic Revolution in 1979 brought an abrupt end to Iran’s institutional dance tradition. With the dissolution of the Iranian National Ballet Company, the very notion of ballet became anathematized. For decades, the new theocratic regime proscribed the public practice of dance, deeming it incompatible with Islamic moral codes. During this cultural blackout, the few performances that occurred—such as those labeled under Harekat-e Mozoun (“rhythmic movements”)—were stripped of artistic rigor and reframed to serve the ideological narratives of the state.
Despite these constraints, a handful of independent choreographers in the diaspora, and later within Iran, began to explore the possibility of embedding political or socio-cultural commentary within their works. These early attempts were often informal and lacked institutional backing. Choreographers, particularly in the diaspora during the 1990s, utilized Persian classical dance as a means of expressing themes related to war, displacement, and repression. However, within Iran, officially sanctioned performances remained aligned with the regime’s hegemonic messaging and offered little in terms of authentic artistic dissent.
Pioneering a New Paradigm: Dance as Social Commentary
The Islamic Revolution in 1979 brought an abrupt end to Iran’s institutional dance tradition. With the dissolution of the Iranian National Ballet Company, the very notion of ballet became anathematized. For decades, the new theocratic regime proscribed the public practice of dance, deeming it incompatible with Islamic moral codes. During this cultural blackout, the few performances that occurred—such as those labeled under Harekat-e Mozoun (“rhythmic movements”)—were stripped of artistic rigor and reframed to serve the ideological narratives of the state.
Dance can be a voice for the voiceless, a stage for justice.Nima Kiann
Through these productions, Kiann introduced a new canon to Iranian ballet—one that not only preserved cultural heritage but also served as a mirror to contemporary struggles. Works such as Hanging Gardens of Lost Dreams, Turquoise Land: Dream of Peace, and Symphony of Elegy continued this trajectory, each deepening the genre’s capacity to explore themes of trauma, displacement, and human rights within a formally rigorous artistic framework.
A Legacy of Resistance and Artistic Responsibility
Kiann’s commitment to embedding social justice within the language of ballet constituted a transformative innovation in Iranian performing arts. Though Les Ballets Persans has never functioned as a state-supported or institutional artistic entity, its impact has been profoundly institutional in practice. The company became an incubator for artistic innovation and political commentary at a time when such expressions were not only rare but also perilous.
Over two decades later, Kiann’s legacy can be seen in the emergence of a new generation of Iranian choreographers who utilize ballet as a vehicle for protest and expression. In the wake of the Mahsa Jina Amini movement and the ensuing nationwide upheavals in the early 2020s, a renewed wave of politically conscious ballet emerged within the Iranian diaspora. Choreographers such as Tara Ghassemiyeh, Sherene Melania, and Vivian Assal (last name) represent this new vanguard. Their works, thematically aligned with the demand for democratic reform and gender justice, echo the path first carved by Kiann in the early 2000s.
Through movement, we confront injustice and envision a more equitable world.Nima Kiann
These artists, while stylistically diverse, are united by a shared commitment to artistic integrity and civic engagement. In this broader genealogy, Nima Kiann occupies a foundational role as the pioneer who first demonstrated that ballet—long associated with aesthetic formalism—could become a medium of moral urgency and social responsibility within the Iranian cultural framework.
Conclusion: Rewriting the Role of Ballet in Iranian Society
The introduction of social justice into Iranian institutional dance constitutes a paradigmatic shift, one that redefines the role of the artist from a mere custodian of tradition to an active agent of change. Nima Kiann’s contributions reveal the latent potential of ballet not only as a mirror of cultural memory but also as a beacon for ethical and societal transformation.
By re-establishing the Iranian National Ballet and embedding it with new thematic imperatives, Kiann has elevated dance to a platform for advocacy, reflection, and resistance. In doing so, he has ensured that the legacy of Iranian ballet is not confined to the past, but is dynamically engaged with the pressing moral questions of the present.