Haydeh Changizian: The Unbreakable Thread of Dance

In the latest episode of Cozy Corner with Hossein Nasiri, we had the privilege of sitting down with Haydeh Changizian, a pioneering figure in the history of Iranian ballet. From her childhood in Tehran to becoming a globally recognized ballerina, Changizian’s journey is one of resilience, passion, and cultural fusion. Her story is not just about dance; it is about how movement can serve as a bridge between cultures, generations, and historical moments.

This conversation takes us through over 80 years of contemporary history, reflecting on the evolution of ballet in Iran and the broader artistic landscape. It is a testament to how one individual’s vision can shape an entire art form.

A Childhood in Motion

Haydeh Changizian’s journey into dance was not a calculated decision but an instinctive calling. She recalls how, as a child, she would begin moving as soon as the radio played music, particularly during the Worker’s Program that aired at 1 PM. It was a moment of pure joy—an early sign of the deep connection she felt with movement.

At a wedding in her neighborhood, her uninhibited dancing caught the attention of an Armenian musician, Ashour Khan. Her passion was undeniable, so much so that she accidentally knocked over a vase near the bride, causing an uproar. Yet, instead of scolding her, Ashour Khan saw her talent and urged her father to take her to Madame Yelena, the foremost ballet teacher in Tehran.

Madame Yelena’s ballet school was not just a place for dance—it was an intellectual hub where Iran’s artistic and literary figures gathered. She was closely associated with poets like Rahi Moayeri and renowned composers, ensuring that ballet in Iran had deep cultural roots from the very beginning.

The Path to Excellence: Training in Europe and the Soviet Union

Changizian’s training under Madame Yelena laid a strong foundation, but her ambitions stretched beyond the borders of Iran. At 15, she faced a pivotal decision—whether to pursue traditional academics or commit fully to dance. Realizing that delaying her professional training could mean missing the optimal window for a ballet career, she chose to dedicate herself entirely to dance.

Her father, supportive yet pragmatic, decided to send her to Germany, where her older brother was studying. In Cologne, she trained rigorously, learning not just ballet but also folk and modern dance. Her talent was undeniable, and she quickly gained recognition, even securing a spot at one of the city’s elite dance academies.

Yet, her dream extended beyond Germany. She had always been intrigued by the legendary Vaganova Academy in Leningrad (now Saint Petersburg), one of the most prestigious ballet schools in the world. With the help of General Jahan-Bani, an influential figure who recognized her potential, she received special permission to study in the Soviet Union—an almost impossible feat at the time.

At Vaganova, Changizian trained alongside the best dancers in the world, including Mikhail Baryshnikov. The Russian method of ballet, known for its fluidity and emphasis on artistic expression, refined her technique and shaped her future performances.

The Return to Iran: Establishing a National Ballet Identity

Upon completing her training, Changizian returned to Iran, eager to contribute to the country’s emerging ballet scene. In 1972, she was appointed as the first Iranian ballerina of the National Ballet of Iran.

While Iran had ballet productions, many were adaptations of Western classics like The Nutcracker and Giselle. Changizian believed Iranian ballet needed its own identity, one rooted in the nation’s mythology and literature. This belief led to the creation of Bijan and Manijeh, a ballet based on Ferdowsi’s Shahnameh. The production was a milestone in Iranian ballet, blending classical techniques with Persian storytelling and music.

Her vision extended beyond the stage. In 1977, she established the Niavaran Dance Cultural Company and the Haydeh Changizian Ballet Institute, institutions that aimed to merge Iran’s cultural heritage with classical ballet training. She sought to create an Iranian ballet style that was not merely an imitation of European productions but a distinct and authentic art form.

Exile and Reinvention: Building a New Artistic Life in the U.S.

The 1979 Iranian Revolution dramatically changed the country’s cultural landscape. With ballet effectively banned, Changizian was forced to leave Iran. She first traveled to Europe and then settled in the United States, where she had to start over.

Despite the challenges of exile, she remained committed to her art. She founded the Haydeh Changizian Dance Center and the Anahita Cultural and Artistic Center, both aimed at preserving Iranian cultural heritage through dance. Her performances, particularly Giselle, were met with critical acclaim, and she became a respected figure in the American ballet community.

However, adapting to the U.S. dance industry was not easy. Unlike in Iran, Germany, or the Soviet Union, where state institutions supported the arts, in America, artists had to fund their own productions, from renting theaters to organizing publicity. Changizian had to learn an entirely new system of artistic entrepreneurship.

Despite these obstacles, she succeeded in re-establishing herself. She performed across various cities and continued to teach and mentor young dancers, ensuring that the knowledge and traditions she carried with her were not lost.

The Legacy of Haydeh Changizian

Today, Changizian’s influence on ballet extends beyond her performances. She has dedicated her life to mentoring the next generation of dancers, blending classical ballet with Persian artistic traditions. Her story is a testament to the resilience of artists in the face of political and cultural upheavals.

Her contributions were formally recognized in 2023 with the inauguration of the Haydeh Changizian Museum in Tehran. The museum serves as a living archive of her work, showcasing costumes, photographs, and memorabilia from her career. More than just a collection of artifacts, it is a symbol of her enduring impact on Iranian ballet.

Ballet as a Language of Identity

Throughout our conversation, Changizian likened ballet to an “unbreakable thread” that weaves through her life. It connects her childhood in Tehran, her training in Germany and Leningrad, her return to Iran, and her rebirth as an artist in the United States. She sees herself as a traveler, collecting stories and techniques from different lands, shaping a unique artistic identity.

Her advocacy for an Iranian ballet identity remains a defining theme of her legacy. She firmly believes that ballet should not be a mere reproduction of Western classics but should integrate local storytelling and cultural symbols. This philosophy, though interrupted by political turmoil, has not faded. Even in exile, she continues to champion the fusion of Iranian narratives with the universal language of dance.

Concluding Thoughts

Haydeh Changizian’s journey is more than a story about ballet—it is a story of resilience, cultural preservation, and artistic evolution. She has bridged continents, blended traditions, and overcome exile, all while remaining devoted to her craft. Her legacy is not only in the performances she delivered but in the countless dancers she has trained and the cultural heritage she has helped sustain.

Her story reminds us that art transcends borders and generations. Ballet, much like the unbreakable thread she describes, continues to connect her to her homeland, to history, and to the future of dance. Through her dedication, Iranian ballet lives on, proving that even in displacement, creativity and passion can shape new worlds.