Reflections on Dance and Culture in Iran
Remembering a Story That Sparked Longing
Walking down the street, I found myself contemplating dance and the desire to experience it in Iran. This longing stemmed from a conversation I had with my mentor eight years ago. More than eight years prior to that, my mentor stood at the Badat Hall in Tehran, invited to the Pazh Festival of International Theater. The Badat Hall, Iran's national opera house, was abuzz with the news of a female dance troupe's performance.
Dance Under Surveillance
My mentor recalled a local dancer's story: "He mentioned that he had been arrested during a performance and had served time in prison twice because of dance. He was moved to tears, expressing how grateful he was to witness such a magnificent performance and how he believed our dance could change Iranian culture and the perception of dance. Watching this, I realized how significant and impactful our performance was in Iranian society, despite the discomfort of wearing a hijab."
Two supervisors were present in the theater to check whether the dancers were wearing hijabs, and even with their heads covered, they had to wrap their bodies more tightly due to the visibility of their ears. My mentor noted that the hijab not only restricted movement but also that the flowing hair of the dancers in one of the invited pieces, "Nobody II," contributed to the aesthetic of the performance, which caused concern.
What Popularization Really Means
My mentor dreamed of popularizing dance, stating, "It shouldn't be something trivial like in Iran." From that moment, I understood 'popularization' in the context of 'like in Iran.' This implies that artistry and popularity are not mutually exclusive. Making a work popular does not mean simplifying it for mass understanding. My mentor remarked that the Iranian audience received the work sincerely.
Hope Within the Work
He explained a scene from "Dream" that you may not have learned yet, describing how it should feel suffocating, and how the struggle of giving birth metaphorically represented the hardships of life. He emphasized that his works often look to the future with hope rather than despair. Despite the challenges, he had traveled extensively with his work, most recently to Iran, where people, even those who do not dance, were eager to engage with him after the performance.
Works That Changed a Life
The invited pieces, "Dream" and "Nobody II," hold a special place in my heart, having significantly influenced my life. Although I had danced since I was a teenager, I had never been captivated by dance until then. When my mentor shared stories about Iran, I felt it might be a place that resonated with my tastes.
Dance That Refuses to Disappear
Theaters in Iran may be under threat, but the spirit of dance has never been extinguished. In 2013, two young people who danced in front of the Azadi Tower in Tehran received ten-year prison sentences for allegedly promoting corruption and undermining national security. Azadi means 'freedom' in the local language.
Memory, Politics, and the Present
Last September, I watched Armin Hockmi's "Shiraz," a piece reflecting on the communal memory of the Shiraz Arts Festival, which was lost after the Iranian Revolution. I wanted to understand the significance of invoking a politically charged place he hadn't directly experienced.
He mentioned that while Iran is politically oppressive, Iranians often dance in their homes with family and friends, and he has such memories himself. I remember little else he said, but I know that the current regime in Iran faces a significant crisis.
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