Selecting the Space for the Performance
After multiple visits to the V&A Museum, careful study of the layout, and consideration of logistical possibilities, I concluded that the performance cannot take place inside the Jameel Gallery, where the Ardabil Carpet is displayed. The room is densely filled with artifacts, and the carpet itself, enclosed in a large glass case, occupies significant space, leaving no clear area or corner for a dance performance.
However, just at the entrance to the adjacent South Asia section, there is an ideal space that can function as a stage without disrupting the flow of visitors moving between galleries. The background of this area is especially well-suited for the performance, featuring four columns reminiscent of traditional Iranian architecture. This architectural feature aligns with the concepts of symmetry and harmony—key principles reflected both in the choreography and the design of the Ardabil Carpet. The space is large enough to accommodate at least one daf player, who can be positioned behind the columns—still fully visible to the audience while blending naturally into the architectural setting.
This location’s proximity to the Jameel Gallery creates an organic connection between the performance and the artifact. Visitors who experience the dance first will be drawn toward the carpet with a deeper emotional and symbolic context, while those who have already seen the carpet will experience the dance as a continuation of its story. In either case, the performance enriches the audience’s understanding through movement, music, and costume—achieving the ultimate goal of offering a multisensory engagement with the Ardabil Carpet within the museum space.
Timing Considerations
In terms of scheduling, the performance can take place at any time that suits the museum’s protocols and aligns with its programming calendar. However, from a conceptual and symbolic perspective, the most meaningful time would be around December 17th—the anniversary of the death of Rumi, the great Iranian Sufi and poet. In Sufi tradition, this day is not mourned but celebrated as a spiritual union with the divine, often referred to as Shab-e Arus or “The Wedding Night”. This occasion is marked with Sema performances in Konya, at Rumi’s burial site, as a ritual of remembrance and transcendence.
Staging the dance performance around this date would add a powerful temporal dimension to the project, complementing its spatial and conceptual layers. It would situate the work not only within a cultural and historical framework, but also within a lived and ongoing ritual practice, deepening the emotional and spiritual resonance for the audience.
The performance can be repeated several times throughout the day, ideally every two hours starting 11 am as its duration is around seven minutes. The choice of a seven-minute performance is intentional—seven holds symbolic significance in many spiritual traditions, including Sufism, further deepening the thematic resonance of the piece.
while the performance offers a rich, multifaceted experience that enhances the cultural narrative of the Ardabil Carpet, careful budgeting will ensure that all elements—live performances and technical setups are supported without compromising artistic quality or visitor engagement.
Preliminary Budget Outline for the Ardabil Carpet Dance Performance
Duration: ~7 minutes
Daily performances: 3 times (11:00, 13:00, 15:00)
Days: Can be planned as a one-day event or extended to several days depending on the museum’s interest and funding availability.
Timeframe: Within museum opening hours (10:00–17:45)
| Category | Item | Estimated Cost |
| I. Performers | Dancer Fee | £150/day |
| Daf Player Fee | £150/day | |
| II. Pre-Production | Ney Recording Fee | ~£100 (one-time recording session) |
| Costume Preparation | ~£150 | |
| III. Technical/Logistics | Basic Sound Setup (speakers for recorded Ney) | ~£100/day (if not covered by the museum) |
| IV. Miscellaneous | Transportation (for performers/instruments) | ~£30/day |
| Estimated First-Day Budget Total | ~£680 |
Since some expenses are one-time costs, and the daily performance cost drops to approximately £430 after the first day, it would be financially beneficial for the museum to host the performance over multiple days. I have also explored the feasibility of presenting such a performance at the museum and noted that there is an ongoing Kuchipudi Indian dance pop-up performance and workshop, offered three times a day over the course of a month. This performance complements the Mughal exhibition by contributing intangible cultural elements to the presentation of tangible artifacts. Similarly, the proposed Persian dance performance could serve as a living cultural expression that enriches the visitor experience and deepens engagement with the Jameel Gallery’s Islamic theme.
Support and Significance: Empowering the Performance
To support the possibility of presenting the performance at the V&A Museum, I contacted two organizations with whom I have previously collaborated: the Iranian Studies Department at SOAS University of London and the Farhang Foundation in Los Angeles. Both have a history of featuring Persian dance performances at their cultural events. After discussing the significance of this performance and its potential impact at the V&A, both organizations expressed interest in financially supporting the project, contingent upon the number of performance days and the final budget.
Lastly, I will briefly elaborate on the importance of this performance. As previously mentioned, the dance will convey symbolic elements that are embedded in the carpet but not visually apparent to the observer. The performance is multi-dimensional, incorporating costume and music to support the dance in delivering deeper layers of meaning to the audience. Drawing on both Iranian and Islamic cultural concepts, the performance has the potential to foster greater understanding and raise awareness around issues such as Islamophobia and the misrepresentation of Middle Eastern identities—topics that are often oversimplified or distorted in mainstream media narratives.