| Iranian National Ballet Company سازمان باله ملی ایران | |
| Successor: | Les Ballets Persans Persian: سازمان باله ایران |
| Founded: | 1958 |
| Founder: | Nejad Ahmadzadeh |
| Founding Choreographers: | William Dollar |
| Venue: | Roudaki Hall Opera |
| Website: | BalletsPersans.org |
| Assistant Director: | Haideh Ahmadzadeh |
| Sister Company: | National and Folk Music, Song and Dance Ensemble |
| Orchestra: | Tehran Symphony Orchestra |
| Official School: | National Ballet Academy of Iran |
The Iranian National Ballet Company (Persian: سازمان باله ملی ایران) was Iran's only state ballet institution until the Islamic revolution of 1979 and also the most known and recognized of all dance companies in the Middle East. It was founded in 1958 by the Iranian Ministry of Culture and existed during 21 years (1958–1979). The company, residing at Tehran's Roudaki Hall, was disbanded in the aftermath of the Islamic revolution and was re-established 23 years later in exile by Nima Kiann under the name of Les Ballets Persans (Persian: سازمان باله ایران) in Sweden.[1] [2]
The history of ballet in Iran started in 1928 when Madame Cornelli, a Russian immigrant who fled the Bolshevik revolution of 1917, started giving dance lessons in Tehran. There was no methodical ballet training; the classes consisted of various exercises to make the body supple and to cultivate the students' awareness of rhythm and musicality. Part of each class was devoted to character or folk dances.[3] A later dance teacher was Madame Yelena (Avedisian),[4] and Sarkis Djanbazian who respectively in 1933 and 1938 organized dance classes in the city of Tabriz and Qazvin. These newcomers expanded the European influenced dance scene in Iran by holding performances and dance classes of various style, including classical ballet, European folk dancing, the European partner dancing, etc.
In the early 1940s Nilla Cram Cook, who had vast knowledge in Eastern cultures and languages, was serving as the United States cultural attaché at the American Embassy in Tehran. During her time as the US culturаl attaché she became employed at the Ministry of Education and Propaganda, as director general of the Arts Department. Her endeavors and great interest in Persian culture, arts and literature resulted in the realization of the most extensive Iranian national dance project of the first half of the twentieth century. In 1946, Cram Cook founded the Studio of the Revival of the Iranian Ancient Arts (in Persian: استودیوی احیای هنرهای باستانی ایران), aiming to revive and restore the “forgotten” ancient Iranian performing arts. Most of the dances were based on Persian history or mythology. An important work by Cram Cook, The Caravan, was developed from a poem by Saadi and was later performed in 1958 by the Iranian National Ballet.[5] The dance troupe performed at functions at the American Embassy in Tehran and toured nationally and internationally, remaining active until around 1953.
In 1955, Mehrdad Pahlbod, the head of the Fine Arts department commissioned Nejad and Haideh Ahmadzadeh to start a ballet school on a professional basis aiming to raise native Iranian ballet dancers for a future national ballet company. The School was opened in 1956 in the premises of Tehran's Conservatory of Music. Two years later in 1958, the Iranian National Ballet Company was established with Nejad Ahmadzadeh as its founding director. When the Fine Arts Department of Iran eventually expanded and became The Ministry of Culture and Arts, Nejad Ahmadzadeh was appointed as director of the ballet academy, the ballet company and the National and Folk Music, Song and Dance Ensemble which was a sister company to the Iranian National Ballet Company using the same dancers to create and stage a nationally inspired repertoire.[6]
As institutionalizing ballet and bringing about a professional national ballet ensemble comparable to the ballet companies in the West had become a serious concern for the government, the Iranian monarch Mohammad Reza Shah Pahlavi had personally asked Dame Ninette de Valois to council on the formation of a ballet company during one of his official visits to London and after a command performance in his honor at the Royal Opera House. In the summer of 1958, Dame Ninette de Valois was visiting Turkey where she had founded a ballet school. On the invitation of the Ministry of Culture and Arts, she prolonged her trip in order to visit the National Ballet Academy of Iran and budding company in Tehran. On her return to London, she sent Ann Cox followed by Miro Michael Zolan and his wife Sandra Vane. Later Nicholas Beriozoff, Marion English-Delanian, Richard Brown and finally Robert and Jacqueline de Warren were sent by de Valois to teach and stage dances and short ballets for the ballet academy and company.
The Iranian National Ballet Company developed to become the most renowned Iranian cultural institution during its tenure as the country's only ballet institution. Company productions were often performed at official events and functions in the presence of the Royal family and invited national and international dignitaries.[7] The company moved to the Roudaki Hall Opera upon its completion in 1967.[8]
The company repertoire included classical, neoclassical and contemporary ballets which were staged usually by invited guest choreographers and ballet masters from Europe and the United States. The company established a close collaboration with dance institutions in Soviet Union, United States and Europe. The Royal Ballet, Royal Academy of Dance, Bolshoi Ballet, American Ballet Theatre were parts of a vast exchanging cultural program between the companies.
Some early works of the company were those choreographed by Nilla Cram Cook for the Revival of the Iranian Ancient Arts Ensemble which were restaged by Cram Cook's former dancers, Nejad and Haideh Ahmadzadeh. Prominent and world-famous ballet dancers from renowned ballet companies of the world were often invited to dance the principal roles of all great classical ballets. In order to keep the high standard of the productions the company relied on guest artists from abroad to perform the leading roles in most work premieres.
| Year / Season | Work | Composer | Chore / Staged by | Principal dancers | |
|---|---|---|---|---|---|
| 1958 | The Caravan | Unknown | Nilla Cram Cook / Haideh Ahmadzadeh | Entire company | |
| 1961 | The Classical Première | Miro Zolan | Entire company | ||
| 1961 | 1+2=4 | Miro Zolan | Avak Abrahamian | ||
| 1961 | Don Quixote Pas de deux | Miro Zolan | Haideh Ahmadzadeh & Miro Zolan | ||
| 1961 | Rossiniada | Miro Zolan | Entire company | ||
| 1961 | Fiesta | Kabalevsky | Sandra Vane / Miro Zolan | ||
| 1962 | Libestraum | Strauss | Miro Zolan | ||
| 1962 | Miro Zolan | ||||
| 1963 | The Nutcracker Pas de deux | Marius Petipa / Miro Zolan | Haideh Ahmadzadeh & Leon Neshanian | ||
| 1963 | Comedie a la Francaise | Richard Brown | Entire company | ||
| 1963 | Rogers | George Balanchine / Richard Brown | Clara Avanessian | ||
| 1964 | Paul Dukas | Haideh Ahmadzadeh & Leon Neshanian | |||
| 1965 | Love and the Clown | Haideh Ahmadzadeh, Avak Abrahamian, Jamshid Saghabashi | |||
| 1966 | Games | ||||
| 1966 | La Valse | ||||
| 1966 | Symphony in C | ||||
| 1966 | Tchaikovsky Suite | ||||
| 1967 | |||||
| 1967 | |||||
| 1968 | Phaedra | Auric | Haideh Ahmadzadeh & Robert de Warren | ||
| 1968-69 | Romeo and Juliet | Sarvar Kaboli & Amin Taati | |||
| 1968-69 | Cinderella | Sarvar Kaboli & Amin Taati | |||
| 1969-70 | Lucette Aldous & Robert Bestonso | ||||
| 1970-71 | Adele Oroz & Viktor Rohna, Haideh Ahmadzadeh & Jamshid Saghabashi | ||||
| 1971 - Autumn | The Myth of Creation | Melik Aslanian | Robert Thomas | ||
| 1971-72 | Philippa Caire & Amin Taati, Haydeh Changizian & Jamshid Saghabashi | ||||
| 1971-72 | Irina Prokofyeva & Andrei Kondratoff | ||||
| 1971-72 | Marius Petipa / Jack Carter | Carol Grant & Jamshid Saghabashi, Haydeh Changizian & Amin Taati | |||
| 1972-73 | Robert Thomas | Haydeh Changizian & Amin Taati / Marion English Delanian & Robert Thomas | |||
| 1972-73 | Marius Petipa / Natalie Conus | Malika Sabirova & Mozaffar Burkhanov /Haydeh Changizian & Amin Taati, Haideh Ahmadzadeh in role of Gamzatti | |||
| 1972-73 | Unfinished Symphony (Pas de quatre) | Madjid Kashef | Haydeh Changizian & Riccardo Duse | ||
| 1973-74 | Rostislav Zakharov / Natalie Conus | Raisa Strouchkova & Nikolai Fadeyechev, Maggie Burton Saghabashi & Amin Taati, Haydeh Changizian, Avak Abrahamian | |||
| 1973-74 | Dimitri Romanoff | Haydeh Changizian & Amin Taati, Haideh Ahmadzadeh as Widow Simone | |||
| 1973-74 | Madame Tilda from Romania | ||||
| 1973-74 | Michel Fokine / Madame Tilda from Romania | Jamshid Saghabashi | |||
| 1973-74 | Sinfonietta | Miro Zolan | Haydeh Changizian | ||
| 1973-74 | Jigsaw | Miro Zolan | Haydeh Changizian | ||
| 1973-74 | The Scarecrow | Miro Zolan | Marion English Delanian & Avak Abrahamian | ||
| 1973-74 | The Witch Boy | Jack Carter | Haydeh Changizian & Jamshid Saghabashi | ||
| 1975-76 | |||||
| 1975-76 | Michel Fokine / Anne Heaton (ballet dancer) | Anne Heaton | Haydeh Changizian as Zobeide,Jamshid Saghabashi as the golden slave, Avak Abrahamian as Kalif | ||
| 1975-76 | Haideh Ahmadzadeh & Robert Urazgildiev | Haydeh Changizian & Jamshid Saghabashi | |||
| 1976-77 | Janet Popeleski & Michael Dane | ||||
| 1976-77 | Rangström | Janet Popeleski & Chinko Rafique | |||
| 1976-77 | / Nicholas Beriosoff | Maggie Burton Saghabashi & Chinko Rafique | |||
| 1976-77 | Marius Petipa & Lev Ivanov / Nicholas Beriosoff | Maggie Burton Saghabashi & Jamshid Sahabashi, Janet Popeleski | |||
| 1977-78 | / Nicholas Beriosoff | Janet Popeleski & Robert Craset / Nina Brzorad and Jamshid Saghabashi | |||
| 1977-78 | Marius Petipa / Nicholas Beriosoff | Janet Popeleski & Robert Craset / Nina Brzorad and Jamshid Saghabashi | |||
| 1977-78 | John Butler | Janet Popeleski, Nina Brzorad, Robert Craset, Jamshid Saghabashi | |||
| 1977-78 | After Eden | Holby | John Butler | Janet Popeleski & Robert Crazet / Nina Brzorad and Jamshid Saghabashi | |
| 1977-78 | / Nicholas Beriosoff | ||||
| 1978-79 | Marius Petipa / Nicholas Beriosoff | Nina Brzorad, Patricia Rensetti, Jamshid Saghabashi |
The Iranian National Ballet Company started operating in 1958 with a dozen of dancers. The company grew to approximately 50 dancers, one third of them Iranian natives. The rest of the company members came mostly from Europe and the United States.[9] [10] [11]
The civil unrest and political upheavals that caused the collapse of the Monarchy and establishment of a theocracy in Iran started in 1978 and was escalating rapidly. The last ballet production that was staged at the Roudaki Hall Opera was Sleeping Beauty during the fall season of 1978. By December 1978 and January 1979, the political situation of the country became more and more unstable. Almost all foreign members of the company left Iran during this period as soon as there was a flight available, before the complete collapse of the regime in February 1979. Employed dancers were informed that there were dismissed till the new government's further notice. Eventually, a meeting was arranged in Bāgh-e Manzariyeh in northern Tehran soon after the victorious revolution in the presence of Roudaki Hall's workforce and Ayatollah Mohammad Mofatteh. When he was asked about the fate of ballet in Iran, he replied irately and in no uncertain terms that Islamic Republic and ballet is paradoxical and self-contradictory. The Iranian National Ballet Company was thereafter formally declared as dissolved in 1979.[12]
Twenty-three years after disbanding of the Iranian National Ballet, the Swedish-Iranian dancer, and choreographer Nima Kiann created a new company in Stockholm, Sweden with the support of the Swedish authorities. Inspired by Les Ballets Russes and Ballets suédois as exiled dance companies representing vastly the culture of their countries, he named the company Les Ballets Persans (Persian: سازمان باله ایران).[13] [14] The company repertory is entirely based on the Persian culture and heritage and does not include any works of the Western repertoire unless they are created based on Persian heritage. The project of revival of the Iranian National Ballet Company made an international impact and was regarded as the most extensive individual artistic project ever realized outside of Iran.