After analysing the carpet, the next step is to create the performance by bringing together dance, music, and costume. The analytical findings will now be woven into a cohesive narrative, where each element—movement, sound, and visual design—works in harmony. Most importantly, this narrative will remain deeply connected to the object on display in the museum.
Choreographing Dance for the Performance
Considering the influence of Islamic tradition, the symbolism embedded in the Ardabil Carpet, and its connection to the Safavid dynasty, Islam, and Sheykh Safi al-Din, a Sufi leader, there is no better way to represent these elements in the dance than through a Sama (Arabic: سَمَاع, Turkish: Sema) performance. ‘Rooted in the rich traditions of Iranian mysticism, this enchanting dance has deep spiritual significance and a history that spans centuries’ (Morshedasda, 2023). While the Sama is traditionally a sacred Sufi ritual, in this performance it is approached as a symbolic and aesthetic gesture. By incorporating a dance form rooted in spiritual symbolism, the performance not only honours the spritual significance of the carpet but also evokes the themes of transcendence and unity central to Sufism. The whirling motion—symbolizing the soul’s journey toward divine enlightenment—harmonizes with the carpet’s central design, creating a layered experience that connects the physical, emotional, and spiritual dimensions of both the artifact and the performance. While this dance performance will provide the structural foundation, classical Persian hand movements and gestures will be incorporated and performed in harmony with the musical elements. ‘Historical sources suggest that [classical Persian] movement language originates from an urban dance that was popular in the district of Tehran and that it already existed in the Safavid and Qajar dynasties’ (Christensen, Khorsandi, Wald-Fuhrmann, 2024).
In addition, since Sama is widely practiced in Sufi rituals held at the tomb of Rumi (Persian poet and a great Sufi) in Konya, present-day Turkey, it resonates with the Ottoman artifacts displayed in the same gallery as the Ardabil Carpet, creating a universal connection rooted in Sufism. The incorporation of classical Persian-style hand movements into this tradition adds a deeper layer of symbolic meaning. In Persian classical dance, gestures often mimic the forms of flowers, with the positioning of the fingers evoking delicate floral shapes. These movements are rooted in historical dance traditions from the Safavid and later Qajar periods, further reinforcing the historical context of the carpet itself. The inclusion of Persian hand gestures also anchors the performance within the broader artistic and spiritual aesthetics of Greater Iran. As Anthony Shay (2005) observes, dance in the modern nation-state of Iran reflects only a narrow portion of the diverse dance practices found throughout the wider Iranian cultural sphere. While Iran’s current borders represent a contemporary geopolitical construct, the cultural scope of Greater Persia extends far beyond them. Therefore, the inclusion of Persian hand movements not only resonates with the symbolic and historical layers of the carpet but also with several objects from present-day Uzbekistan, which were historically part of Greater Persia and are displayed under the broader category of Islamic art.
The video below presents the core idea behind the performance. However, the hand movements in this version follow the lyrics of the music. In the choreography I propose for the museum setting, the gestures will be more refined and closely aligned with the stylized hand movements characteristic of classical Persian dance.
Designing Costume for the Performance
In designing the costume for my dance inspired by the Ardabil Carpet, I approached the body not merely as a material object but as a living site reflecting the socio-historical and cultural dimensions of Iran. As Joyce Sherlock (1988) suggests, dance is inherently cultural, and the body is a site of cultivation. This perspective highlights how the meaning of dance is shaped by the performer’s body language and the audience’s perception of bodily propriety. In this context, the costume becomes more than just a decorative element; it is an extension of the body and an active participant in the storytelling.
Thus, in addition to incorporating the carpet’s design and its embedded symbolism, I aimed for the costume to mediate between the carpet’s original home in Ardabil and its current location in the museum, connecting both geographically and culturally. To achieve this, I expanded my research to include the aesthetic features of the shrine in Ardabil, incorporating its architecture, tilework, and symbolism into the costume’s design. The top part of the costume embraces elements such as the repeated floral designs found in both the shrine’s tilework and the carpet. The architectural shape of the shrine’s tower is reflected in the front bottom part of the top, while Victorian design elements are integrated into the sleeves and waist. The full skirt suitable for Sema dance and in gold, represents the carpet’s medallion, symbolizing light, heaven, and God, while also echoing the sixteen oval shapes found in both the carpet and the ceiling painting of the Allah Tower at the Sheykh Safi al-Din complex. Hand-painted details will be added later.
Crafting Music for the Performance
The choice of music in a dance performance is vital, especially when the performance aims to convey cultural and historical narratives. Music does much more than accompany the dance—it shapes the emotional atmosphere, strengthens the connection between the audience and the story, and influences how the historical and cultural themes are perceived. To effectively communicate my ideas and engage the audience, I carefully considered the music that would accompany my dance.
My research process included exploring resources on the history of Iranian music, such as Ancient Music School in Iran (2014) and the documentary A Century of Iranian Music (2022), along with consultations with musician friends. After this exploration, I concluded that a combination of recorded melodic music played on the ney, alongside a live daf performance, would best serve the performance purpose.
The ney, a central instrument in Sufism, resonates with the spiritual essence I aim to convey through the dance. Its haunting, melodic tones evoke the deep mysticism of Sufism, which plays a pivotal role in the performance. In contrast, the live daf performance introduces another layer of depth to the experience. The daf, a percussion instrument intrinsically linked to Sufism, complements the ney by providing rhythm and grounding the melody with its pulsating beat. The live performance of the daf further amplifies the dynamic energy and authenticity of the experience, enriching the overall atmosphere. Incorporating the daf live not only allows the audience to immerse themselves in the emotional depth of Iranian music but also educates them about an important cultural element. The daf—an iconic Iranian instrument—adds layers of cultural meaning, fostering deeper engagement with the symbolic significance of the Ardabil Carpet. Its circular shape strengthens the connection between the music, dance, and the carpet, unifying all elements of the performance through the theme of Sufism. This circular form, also reflected in the whirling motion of Sama and the medallion at the carpet’s center, echoes the Islamic geometric symbol of unity, eternity, and the divine essence of Allah.
