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It wasn’t long ago that the Iranian National Ballet was one of the most prestigious cultural and artistic organizations of Iran, and one that played an important role in representing and promoting the Iranian cultural heritage. In all the years since the Iranian National Ballet ceased to exist, there has been a big void in the cultural scene of Iran. The attempt to revive the ballet has for many years encountered numerous obstacles and problems. Due to Nima Kiann’s stubborn determination and tireless efforts, the dream has finally materialized. However, since the project is an ambitious one, demanding much in the form of both human and material resources, many difficulties still remain. I think it is most appropriate to emphasize here how much the future of this project depends on continued and expanded public and institutional support. What is so fascinating and distinguishable about Les Ballets Persans is that although the artists and dancers are from many different countries, the soul of the ballet is Iranian because of the cultural heritage reflected in the artistic work. Although ballet is an art originating in the West, it’s a sophisticated and refined art form, which is highly compatible with the many graceful properties of the traditional arts of Iran. And when the right balance is achieved between the various elements of the two, they complement each other in a harmonious way which can be most rewarding to human sensibilities. The repertoire of Les Ballets Persan’s debut performance consists of four pieces, each briefly introducing a distinct theme reflecting historical, cultural, spiritual and social aspects of Iran. It encompasses both fiction and reality, and covers the history of ancient and modern Iran. Seven Beauties by Kara Karaev, and based on Haft Peykar, the romantic epic work of one of Iran’s greatest poets, Nezami Ganjavi, who lived in the latter part of the 12th century, uses many of the traditional elements on which the pillars of Iranian culture and literature rest. It is considered to be one of the most important literary works of Iran. The theatrical dance interpretation of Haft Peykar in the form of ballet, could hopefully compel other contemporary as well as future composers and choreographers to use such a rich poetic and literary heritage as a source of inspiration for their work. One of the best-known Iranian and Azerbaijanian stories of struggle, sacrifice and dedication, based on real historic events, is the story of Bâbak Khorram-Din. This brave young warrior who was determined to defeat the occupying forces of the Caliphate in the late 5th and early 6th centuries, is without doubt one of the most heroic figures of Iranian history. Akshin Alizadeh’s artistic translation of this historic episode into his masterwork ballet, Babek, serves as a good example of how the dramatic properties of Iran’s rich heritage of epic literature can complement western classical ballet in its artistic and emotional expression. La Femme, choreographed by Nima Kiann, is a short modern ballet in honor of Iranian women and presents three different themes. The first expresses the pain and suffering endured through the centuries. The second theme celebrates their femininity, grace and beauty, while the third theme depicts the courageous struggle for their rights and emancipation. Spirituality has always had a profound place in the land of Iran. The focus on Divinity and the mysteries of existence is reflected in nearly all aspects of Iranian life, and has especially made a deep imprint on the various arts of the country. Divine Banquet, also choreographed by Nima Kiann, is a modern interpretation of the Sufi spiritual dance ritual, called “Samâ”. The art of dance has had its many glorious moments in the long history of Iran, but it has also suffered from periods of decline. As a matter of fact, it wasn’t long ago that this art form was classified by cultural and social norms as an immoral and corrupt form of entertainment. The art of dance has however played an important and integral role in Iranian culture since ancient times and can be traced as far back as to the time of the cult of Mithraism about four thousand years ago, when dance was used in religious rituals and ceremonies. And from there on, hand in hand with historical events, it weaves through many periods of national grandeur as well as times of defeat and destruction. It is a sad fact that the Iranian National Ballet, which had come into existence through the efforts, talents and devotion of all those who were involved in its creation and development, came to an abrupt end 20 years ago. The encouraging news is that the creation of Les Ballets Persans signals a new era through which the element of continuity will prove that the efforts of the pioneers of Iranian ballet were not in vain. The revival of the lost Iranian ballet will hopefully secure a major place in the history of dance in Iran. The other very positive outcome of this endeavor is that the engagement of both Iranian and Azerbaijanian artists and their mutual cultural heritage in this project, serves as an important platform for the promotion and expansion of the close cultural, artistic and historic ties and commonalities that exist between Iran and Azerbaijan. I want to take this opportunity to extend my own personal expression of gratitude to Mr. Nima Kiann and to all those individuals and institutions who have contributed to the realization of this great advent of Iranian culture and artistic creativity, and also my best wishes for its continued success.
Ali
Mirfetros
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