Ali Barati: A Revolutionary Voice in Iranian Choreography
In a world where the performing arts often struggle against cultural and regulatory limitations, Ali Barati has emerged as a pioneering force, redefining dance and movement design in Iran. As the latest guest on “Cozy Corner with Hossein Nasiri,” Barati shared his journey, philosophies, and the intricacies of his creative process. His story is one of resilience, innovation, and a deep commitment to storytelling through movement.
A Serendipitous Start
Unlike many artists who set their sights on choreography early in life, Ali’s journey began by chance. At the age of 18, with no background in theater or dance, he was thrust into a performance due to an unexpected vacancy. This unplanned entry into the field ignited a passion that propelled him to become one of Iran’s most influential choreographers. His hard work and dedication stood out, earning him recognition and more prominent roles early in his career.
Reflecting on his beginnings, Barati said, “I didn’t choose this path; I just fell into it and kept moving forward.” His serendipitous introduction to dance shaped his open-minded approach to working with both professional dancers and amateurs, believing that raw, untapped energy often brings fresh perspectives to performances. This organic start in his career has significantly influenced his artistic philosophy, setting him apart from others who enter the field through traditional academic pathways.
Ali’s early years were marked by a constant desire to learn and grow. He immersed himself in various aspects of theater production, from stage design to directing small local performances. This multifaceted exposure allowed him to develop a holistic understanding of the performing arts, ultimately shaping his distinctive choreographic voice. By watching rehearsals, volunteering for backstage work, and observing established artists, he gained invaluable insights that would later inform his approach to movement design.
Choreography as Directing
Ali Barati views choreography as akin to directing. To him, music acts as the script, and dancers are the actors who bring the narrative to life. “Choreography is like directing,” he explained. “Just like a director works with actors, a choreographer works with dancers to give meaning to sentences. For us, those sentences are music.”
This perspective elevates choreography beyond the realm of physical movement, framing it as a holistic storytelling tool. His choreographic process often begins with a single word or image that he visualizes while listening to music. This intuitive approach allows him to craft performances that resonate emotionally and visually, ensuring that every movement is purposeful and narratively cohesive.
Barati highlighted a moment when he was tasked with designing a scene without any accompanying music. Instead, he created a mental metronome, designing movements to an internal rhythm that eventually guided the composition of the piece. This innovative approach underscored his adaptability and artistic ingenuity, qualities that define his body of work.
His role as a choreographer extends to shaping the overall stage picture, ensuring that the visual composition aligns with the story’s emotional arc. Barati often collaborates closely with lighting designers, costume makers, and set builders to create immersive environments that enhance the audience’s experience. This interdisciplinary approach highlights his belief that choreography exists not in isolation but as part of a larger artistic ecosystem.
Overcoming Limitations Through Creativity
Iran’s cultural and regulatory constraints have shaped the terminology and practices within the dance community. The term “movement design” was coined to navigate restrictions surrounding the word “dance.” These limitations have not only influenced language but have also fostered creativity in Ali’s work. “Limitations truly foster creativity,” he said, recounting how challenges forced him to devise innovative solutions that ultimately enhanced his artistic expression.
One notable example is his adaptation of scenes in “Oliver Twist.” Barati had to reinterpret moments involving female dancers to align with Iranian regulations. He replaced traditional dance movements with rhythmic gestures like synchronized skirt swaying, a creative workaround that received praise for its ingenuity. His ability to seamlessly blend narrative constraints with aesthetic innovation reflects his resourcefulness and artistic depth.
Ali believes that by embracing limitations rather than resisting them, artists can unlock new realms of creativity. This philosophy not only applies to his work but also serves as an inspiration for younger artists navigating similar challenges.
Moreover, Barati’s philosophy extends to his teaching. In workshops and classes, he often encourages students to explore movement within confined spaces or under strict parameters. This method forces participants to think outside the box, fostering creativity that thrives within boundaries. His students frequently comment on how this approach reshapes their perception of choreography, allowing them to find artistic freedom in the most unexpected places.
Drawing Inspiration from Daily Life
Ali’s creative process is deeply rooted in observation. He likens choreography to painting, where music serves as the canvas and movements become brushstrokes. Observing the world around him—whether in parks, bank queues, or the natural rhythm of daily life—he transforms mundane moments into captivating stage performances.
For instance, in a scene from “Mary Poppins,” Ali drew inspiration from Persian miniature art to choreograph a dream sequence involving children. Using 80 hands to mimic the blooming of flowers, he created a visually stunning tableau that captivated audiences. “I always tell my students: to create something, you must first see everything clearly,” he said, emphasizing the importance of keen observation in artistic creation.
Ali often carries a notebook where he sketches ideas or jots down fleeting observations that spark his imagination. From the graceful way a leaf falls to the ground to the hurried steps of commuters, Barati finds choreography in the ordinary. This meticulous attention to detail infuses his work with authenticity, allowing audiences to connect with his performances on a personal level.
Collaboration and the Power of Teamwork
One of Ali Barati’s defining characteristics as a choreographer is his emphasis on collaboration. Unlike conventional processes where choreographers work in isolation, Ali prefers to be involved from the earliest stages of a project. He believes that integrating movement design with directing and composing ensures a unified vision that enhances the overall production.
His collaboration with Hossein Parsaei in productions like “Les Misérables” and “Oliver Twist” exemplifies this synergy. Ali recounted instances where he worked alongside the composer and director, aligning their visions to create seamless transitions between narrative, music, and movement. This collaborative spirit has contributed to the elevated quality of musical theater in Iran, fostering a more integrated and immersive theatrical experience.
In “The Seven Labors of Esfandiar,” Barati was involved from the conceptual phase, allowing him to shape the project’s movement vocabulary alongside the director and composer. This alignment not only enriched the production but also showcased the transformative power of interdisciplinary collaboration.
Ali emphasizes that collaboration extends beyond the creative team. He regularly seeks input from dancers, believing that their perspectives enrich the final performance. By fostering an environment where feedback flows freely, he ensures that each production evolves organically, reflecting the collective energy and insight of everyone involved.
The Human Element in Performance
A hallmark of Barati’s work is his use of non-dancers in his productions. He believes that involving amateurs injects authenticity and raw energy into performances. This approach challenges traditional norms and allows him to design movements that resonate emotionally with audiences.
In “Les Misérables,” Ali worked with a cast of over 100 individuals, none of whom were professional dancers. Despite the logistical challenges, his innovative choreography brought the narrative to life, demonstrating his ability to adapt and thrive under unconventional circumstances.
Ali recounts that working with non-dancers often results in unexpected but beautiful moments that elevate the performance. “There’s something pure about non-dancers. Their movements are unrefined but honest, and that honesty translates to the stage,” he remarked.
By integrating diverse voices and abilities, Barati challenges the traditional hierarchy of performance arts, advocating for inclusivity and expanding the definition of who can be part of the artistic process.
The Evolution of Choreography in Iran
Ali’s work extends beyond the stage to influence the broader performing arts landscape in Iran. He has been instrumental in elevating the role of movement design, advocating for its recognition as an integral part of theatrical productions. Through his efforts, movement-based performances are gaining traction, with more productions incorporating choreographed elements.
