UPCOMING PUBLICATION
The History of Ballet and Institutional Dance in Iran
A groundbreaking study on Iranian institutional dance, “The History of Ballet and Institutional Dance in Iran” by Nima Kiann represents a monumental contribution, unveiling hidden archives and redefining the field.
Pioneering Research and Defining a Field
In 2014, Nima Kiann was invited by Salomeh Gholami of the Institute of Empirical Linguistics at the University of Frankfurt, Germany, to present an essay on the history of ballet in Iran. This landmark research, stemming from his foundational article “Persian Dance and Its Forgotten History” (2000), laid the theoretical and historical groundwork for what is now recognized as the first scholarly inquiry into Iranian institutional dance studies. As the earliest and most influential figure in this field, Kiann’s pioneering research has defined an entire academic discourse.
Throughout the late 1990s and early 2000s, Kiann published multilingual articles on dance history and theory that broke new ground in Iranian cultural studies. These texts became foundational for emerging scholars who turned their attention to Iranian dance after the turn of the millennium. While most academic explorations at the time focused on folkloric traditions, classical Persian dance, or mystical and Sufi expressions, Kiann diverged sharply by directing his attention toward ballet, state dance companies, and the concept of institutional dance in modern Iran.
He was the first to articulate a comprehensive framework for what he termed “Iranian institutional dance”—a genre referring to choreographic and performative work produced under state-supported initiatives. Kiann introduced the now widely accepted Persian terms “Raghs-e Nahâdi” (رَقصِ نَهادی) and “Raghs-e Moassese-ee” (رَقصِ مؤسسّهای) to designate this category. His contributions have since become standard references in academic and artistic discourse on the subject.
A Unique Vantage Point and Lasting Impact
What distinguishes Nima Kiann’s scholarship is not only its pioneering nature but also the exceptional vantage point from which it has emerged. As both a practicing choreographer and Artistic Director of Les Ballets Persans, and as a meticulous researcher and art historian, Kiann possesses a rare and comprehensive understanding of Iranian classical ballet, institutional dance, and broader dance historiography. This dual engagement has enriched his research with unmatched insight, enabling him to reconstruct a cultural and artistic history long obscured by political and archival ruptures.
Reconstructing dance history obscured by political and archival ruptures.Nima Kiann
His essay on the history of ballet in Iran, following the earlier publication of “Persian Dance and Its Forgotten History”, attracted widespread scholarly and media attention. The ripple effects of his work have inspired a new wave of performances, publications, academic studies, and documentary films—many of which are directly grounded in his findings.
The Definitive Volume: Unveiling Hidden Archives
Now, nearly three decades into this sustained scholarly journey, a major milestone is on the horizon. In 2026, Nima Kiann will publish a definitive volume on Iranian institutional dance—an extensively revised and expanded work that incorporates crucial archival material recently made available. Central to this new publication is the revelation of a hidden and historically invaluable archive donated by the Saghabashi family to Les Ballets Persans. This archive—previously inaccessible to the public—contains rare photographs, documents, and primary sources that not only support but also correct and enrich the historical narrative of ballet in Iran, including Kiann’s own earlier reconstructions, thereby transforming an already pioneering account into its most complete and accurate form.
This forthcoming publication, a luxurious bilingual edition in Persian and English, will be the most comprehensive scholarly compendium ever produced on the subject. More than a book, it is a landmark academic reference destined to set new standards in the field of Iranian dance studies. With meticulously researched content, rare visual documentation, and access to long-concealed historical truths, this volume will offer a uniquely authoritative account of ballet and institutional dance in Iran.
A culmination of decades of research and a testament to one scholar’s unwavering commitment to cultural memory, this book promises to become a cornerstone in the study of Iranian art and performance history—a standard-bearer for future generations of researchers, artists, and cultural historians.