Papers by Nathalie M Choubineh
World History Insider, 2026
Eurydice I (circa 410 to before 343 BCE) is the earliest queen in the history of ancient Macedoni... more Eurydice I (circa 410 to before 343 BCE) is the earliest queen in the history of ancient Macedonia, whose impact on the political affairs of her time is known to us. Born to the royal house of Lynkestis, she became the mother of Philip II of Macedon (383/382-336 BCE) and the grandmother of Alexander the Great (356-323 BCE) through her marriage to the Argead king, Amyntas III of Macedon (circa 420-370/369 BCE). All three sons of this royal couple eventually ascended the throne of Macedonia, with Eurydice I playing a key role in their rise to power.
Eurydice I: The First Macedonian Queen with Political Influence
World History Encyclopedia, 2026
Eurydice I (circa 410 to before 343 BCE) is the earliest queen in the history of ancient Macedoni... more Eurydice I (circa 410 to before 343 BCE) is the earliest queen in the history of ancient Macedonia, whose impact on the political affairs of her time is known to us. Born to the royal house of Lynkestis, she became the mother of Philip II of Macedon (383/382-336 BCE) and the grandmother of Alexander the Great (356-323 BCE) through her marriage to the Argead king, Amyntas III of Macedon (circa 420-370/369 BCE). All three sons of this royal couple eventually ascended the throne of Macedonia, with Eurydice I playing a key role in their rise to power.
Although the history of ancient Macedonia is largely male-dominated, it is evident that the Macedonian royal women began to appear in remarkable public positions at least since the late 5th century BCE. Eurydice I, the first of these women, serves as a classical model for subsequent Hellenistic queens, who were able to exercise varying degrees of power, autonomy, and authority. Notably, several of these figures happened to be Eurydice's successors and descendants in the House of Argead, including Olympias, Cynane, Adea-Eurydice, Thessalonike of Macedon, and Cleopatra of Macedon. Based on the extant evidence, Eurydice's political impact became apparent after her husband's death, and it was so remarkable and decisive that she was honoured later through both verbal tributes and material constructions. Philip II fundamentally developed her birthplace into a major city known as Heraklia Lynkestis circa 358 BCE, and Aeschines, in his speech On the Embassy, praised her noble action at a defining moment of history.
Cleopatra of Macedon
World History Encyclopedia, 2025
Cleopatra of Macedon (355/4-308 BCE), daughter of Philip II of Macedon (reign 359-336 BCE) and hi... more Cleopatra of Macedon (355/4-308 BCE), daughter of Philip II of Macedon (reign 359-336 BCE) and his Molossian queen, Olympias of Epirus (c. 375-316 BCE), was the only full sister of Alexander the Great (reign 336-323 BCE). Born in Pella, the capital of the ancient kingdom of Macedonia, Cleopatra grew up as a royal princess in the Argead court. She later became the queen of Epirus through her marriage to her maternal uncle, Alexander I of Epirus (reign 343/2-331 BCE). Their son, Neoptolemus II (reign 302 to 297 or 295 BCE), was very young when his father left for a military expedition in Italy. In his absence, Cleopatra reigned as a regent almost independently for a few years.
Despite this prestigious background, Cleopatra's life is poorly documented, and what is known about her is limited and often controversial. Unlike her mother and older half-sister, Cynane (c. 357-323 BCE), who are portrayed with more distinctive and assertive images in ancient records, Cleopatra's significance is overall associated with her role in the political strategies of her male, and sometimes even female, peers. Ironically, she spent the rest of her relatively long life as an independent woman, namely without any appointed kyrios (male guardian), while searching for a suitable husband. Although courted by many significant leaders of her time, Cleopatra's several plans for marriage failed, and she ultimately lost her life over her final attempt.
To access the full content, tap on the file link at the top left or follow this link:
https://www.worldhistory.org/Cleopatra_of_Macedon/
Heraklia Lynkestis
World History Encyclopedia, 2025
Herakleia Lynkestis (Heraclea Lyncestis; Ἡράκλεια Λυγκηστίς) was a city in the ancient kingdom of... more Herakleia Lynkestis (Heraclea Lyncestis; Ἡράκλεια Λυγκηστίς) was a city in the ancient kingdom of Macedon not far from modern Bitola, founded c. 358 BCE by Philip II of Macedon (r. 359-336 BCE) as a governing centre for his new expansions around the older capital, Aigai, east of his current capital, Pella, to secure his western border from further Illyrian invasions.
Although Philip chose the location for strategic reasons, his decision may have been influenced by his mother, Queen Eurydice I of Macedon (c. 410-369 BCE), being originally from the family ruling the Lynkestian tribe. Philip named the new city after the legendary hero Herakles (Hercules), not least because his family of Macedonian rulers, the Argeads, claimed this son of Zeus was their founding father. Herakleia Lynkestis was first built as a defensive citadel. Later developments may not have added much to its expansion but they turned the city into a significant centre of trade and administration.
After the Roman conquest of the Greek world in 146 BCE, Herakleia Lynkestis became a centre for local magistrates, perhaps reflecting the legacy of its most notable figure, Queen Eurydice (whose name means "sound judgment"), and the public reverence for Nemesis, the goddess associated with exacting justice. Thanks to its advantageous location along the so-called Roman highway of the Balkans, Via Egnatia, the city became a popular hub hosting visitors, traders, travelers, and scholars, who were drawn to its vibrant forum, temples (later basilicas), palaces, and theatre.
Britomartis
World History Encyclopedia, 2025
Britomartis, also known as Diktynna (Dictynna), was the Cretan goddess of hunting and fishing net... more Britomartis, also known as Diktynna (Dictynna), was the Cretan goddess of hunting and fishing nets in Greek mythology. Although referred to as a nymph and worshipped locally, she had at least two significant and active shrines, one in Crete and another in Aigina, where worshippers would bring offerings. They regarded her as a vanished maiden immortalized and deified by Artemis.
According to her most popular myth, Britomartis, meaning "sweet maiden," was an exceptional huntress and a beloved companion of Artemis. As such, she had vowed to remain a virgin. Nevertheless, King Minos desired her and relentlessly pursued her for nine months. He eventually caught her atop a high peak and attempted to seize her, but Britomartis leaped from the cliff into the sea to escape. She was recovered by fishermen's nets (diktuon) and brought to the island of Aigina. There, Artemis transformed her into the goddess of the nets, Diktynna, to preside over her own cult.
Thessalonike of Macedon
World History Encyclopedia, 2024
Thessalonike of Macedon (c. 345-295 BCE) was the daughter of Philip II of Macedon (r. 359-336 BCE... more Thessalonike of Macedon (c. 345-295 BCE) was the daughter of Philip II of Macedon (r. 359-336 BCE) and one of his several consorts, Nikesipolis of Pherae (also spelt Nicesipolis). Born to the Argead family of Macedonian rulers like her half-brother Alexander the Great (r. 336-323 BCE), Thessalonike married Cassander (r. 305-297 BCE), and after his death, she probably acted as regent for their sons.
In contrast with such a high profile, historical details about Thessalonike's life are relatively rare. And yet, her character still casts resounding echoes in both myths and history, in her legendary personification as a mermaid and as the eponym of Greek's second largest, emporium city, Thessaloniki.
Amphictyonic League
World History Encyclopedia, 2024
The Amphictyonic League was an early form of religious council in ancient Greece. It was typicall... more The Amphictyonic League was an early form of religious council in ancient Greece. It was typically composed of delegates from several tribes or ethnes living in the vicinity of a major, prosperous sanctuary, who then collaborated in supervising the temple's maintenance, managing its finances, organising the sacred rituals and games, and seeing to the protection of its temenos (sacred precinct).
The earliest evidence about the existence of such executive assemblies appears in the 7th century BCE, and the most significant and best-documented examples are the Amphictyonic Leagues of Delos and Delphi, both presiding the sanctuaries of Apollo, his Pythian Oracles, and the Pythian Games.
While the Amphictyonic League was primarily a religious organization, it sometimes played a significant role in the political and military affairs of ancient Greece. The League's most notable involvement in Greek warfare occurred during a series of conflicts known as the Sacred Wars over control of the Delphic sanctuary. These conflicts had a dramatic impact on the course of Greek history and the development of the poleis (city-states), fostering changes that eventually cushioned the ambitious plans of Philip II of Macedon (r. 359-336 BCE), and his son Alexander the Great (r. 336-323 BCE), for conquering the Hellenic world.
https://www.worldhistory.org/Amphictyonic_League/
Medes
World History Encyclopedia, 2024
The Medes (aka the Medians) are considered the founding fathers of dynastic, political leadership... more The Medes (aka the Medians) are considered the founding fathers of dynastic, political leadership in the Irano-Persian ancient history and at the same time among the mistiest ethnic identities that migrated westwards from Central Asia sometime in the late third or early second millennia BC. Our two bulks of resources about the Medes, namely archaeological texts and materials in and out of their locality and the ancient Greek writings about them mainly following centuries-old insider and outsider traditions, come in and out of conflict with each other whilst cross-referencing. My article about the Medes in the World History Encyclopedia is a representative introduction to this crucial part of pre-Achaemenid history and the way it was, and is now, looked at and questioned.
The Journal of Hellenic Studies, 2023
Complete draft of my review on Choreonarratives that could only be published in an abbreviated fo... more Complete draft of my review on Choreonarratives that could only be published in an abbreviated form.
GIANVITTORIO-UNGAR (L.) and SCHLAPBACH (K.) (eds) Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond (Mnemosyne supplements: monographs on Greek and Roman language and literature, volume 439). Leiden; Boston: Brill, 2021. Pp. x + 369. €119. 9789004462472.
The Journal of Hellenic Studies, 2023
Abbreviated review of Choreonarratives published in JHS 2023. No open access.
Ҫatalhöyük
World History Encyclopedia, 2021
Ҫatalhöyük is one of the largest Neolithic settlements ever discovered. Built more than 9000 year... more Ҫatalhöyük is one of the largest Neolithic settlements ever discovered. Built more than 9000 years ago in modern Konya Plain, central Turkey, it is known in archaeology as a proto-city, a link between the cave-dwellings of prehistoric hunter-gatherers and the early urban constructions. This is where communities began to grow crops and herd animals in preplanned and systematic ways for the first time in history.
Sacred Cakes in Ancient Greece
World History Encyclopedia, 2021
Sacred cakes in ancient Greece were baked loaves, biscuits, pastries, and sponges sweetened with ... more Sacred cakes in ancient Greece were baked loaves, biscuits, pastries, and sponges sweetened with honey (meli) and prepared as unburnt offerings to the gods and goddesses and other divine beings. Unburnt offerings were substitutes for or a complement to animal sacrifices whose bones and fat would then be burnt on the altar while their meat would be served in a cultic feast.
Tympanon
World History Encyclopedia, 2021
Introducing the tympanon, the most popular hand-drum in the ancient Greek world, with a brief his... more Introducing the tympanon, the most popular hand-drum in the ancient Greek world, with a brief historical cross-examination of this rumbling percussion in parallel cultural contexts, bringing forward its variation with the Latin tympanum and the modern tambourine.
https://www.worldhistory.org/Tympanon/
Ancient Greek Dance
World History Encyclopedia, 2020
Dance was, and still is, an underlining and influential aspect of Hellenic life and culture. Rath... more Dance was, and still is, an underlining and influential aspect of Hellenic life and culture. Rather like the overt blending of spiritual matters into reality, dancing could be part of all sorts of daily activities, from cultic practices and dramatic performances to liminal celebrations of weddings and funerals to education of citizens and training of warriors. In pre-modern times when the sacred-secular dichotomy had yet to be developed to an appreciable level, the Greek mindset and performance would rather be divided into the civic and the hedonistic, with dance playing key parts in both. My contribution to the World History Encyclopedia goes through such an illustration of Ancient Greek Dance, giving preliminary details on its origins, forms, and mythical and real-life practitioners.
https://www.worldhistory.org/Greek_Dance/
Word from Stone: Karpathos and the Citizen Rights
Inscription BM 364 in the British Museum is an honorary decree from the city-island of Karpathos,... more Inscription BM 364 in the British Museum is an honorary decree from the city-island of Karpathos, the second-largest of the Dodecanese islands. It has been retrieved from the temple of Poseidon Porthmios, to which it might have been originally dedicated, presumably in the late third century BC. The text announces the public endorsement of Menokritos, a metic physician from Samos, whose 20-year professional services have been abundantly beneficial to the citizens of Brukounti in Karpathos and their neighbouring cities. It suggests that whilst the people of Karpathos crowned Menokritos as a healing-hero, he had to endure a long-term dwelling in the lower levels of prosperity and social esteem as a metic, showing a great, notable amount of perseverance in his self-sacrificing ways, before he could enjoy some of the rights reserved for the Karpathian citizens.
The prevalence of Athenian democratic measures regarding citizenship and the rights it might or might not involve in most, if not all, parts of the Hellenic world, is very well-known overall. However, the degree and duration of practicing these measures across different cities and eras are still open to further explorations. The inscription described and contextualized here, although scarcely exposed due to curatorial considerations, is an enlightening piece of evidence about the stability of Athenian public views and treatments regarding metics in the Agean region and in the run-up to the Roman conquest of Greece in the second century BC.
This paper, in Farsi, is published on the website of the Iranian Institute of Anthropology and Culture, December 2015.
Tanagra, the most prominent and prosperous city of Boeotia after Thebes, was also famous for its ... more Tanagra, the most prominent and prosperous city of Boeotia after Thebes, was also famous for its terracotta and tile-work from the mid-sixth century onward. The fall of Thebes in 335 BC left no rival to shake the polarity of Tanagra as an economically powerful trade-centre in south-east Greece. The terracotta statuettes known as Tanagra figurines, whose unearthing began in the 1870s, disputably reflect glimpses of such prosperity.
These Hellenistic ladies with their sumptuous clothing, immaculate hairdos sometimes topped with stylish umbrella hats, and delicate gestures pose in a charming dignity, and, unlike their earlier Attic sisters, represent an alternative, more eccentric artistic trend in the Hellenic world of the fourth and third centuries. While much has been said about the fabrication, originality, naturalism, and cultural contexts of Tanagra figurines, there is one significant aspect that calls for a deeper look. Tanagra figurines can be categorized into a rather distinctive kind of typology that juxtaposes artistic moves with female social roles. Moreover, the range of female activities recast in Tanagra figurines suggests a reconsideration of women's condition and status in the Hellenistic mindset, which also brings forward evidence of deviation from the fifth-century Athenian gendered ideology in vase-painting.
The present article is an effort in the categorization of Tanagra figurines according to this typology: noble ladies wearing umbrella-style hats and/or holding fans; mirror-bearers; baby-holders; music artists (including musicians, dancers, and/or actresses); ephedrismos-players (piggyback girls); and knuckle players.
The article was first published on 12 May 2014 on the Iranian Institute of Anthropology and Culture website.
http://anthropology.ir/article/22960
Conference Presentations by Nathalie M Choubineh
The New Classicists Conference, 2019
The krétiké is the earliest kinetic motif used by the Greek vase painters to represent a dance mo... more The krétiké is the earliest kinetic motif used by the Greek vase painters to represent a dance movement. Its appearance in the Late Geometric art complies with the millennia-old tradition of line-dance painting on terra cotta in the Iranian plateau and the East Mediterranean region. It is used for depiction of the individual dancers in the Late Archaic vase painting and continues its presence in various periods of this art, in Attica and elsewhere, right up to the end of the fourth century BC. My poster explores the krétiké and its polysemic functions in red-figure vase painting.
Books by Nathalie M Choubineh
Dance Cultures Around the World, 2023
This chapter was written shortly after the submission of the corrected and finalised copy of my d... more This chapter was written shortly after the submission of the corrected and finalised copy of my doctoral thesis in 2019 in response to the kind invitation of Lynn Frederiksen and Shih-Ming Li Chang of dance scholars around the world to write a prefatory chapter about the ethnic dance they are inherently familiar with. It gives a comprehensive view of the Persian Dance as individualised from its Arabic sister and highlights the characteristic movements, categorising genres, subdivisions, and styles, and the story of its survival throughout the millennia and under the heavy shadow of a traditionally, religiously, and politically supported choreophobia.
Iconography of Dance in Iran: A Discursive Review
Dance in the Persianate World: History, Aesthetics, Performance, 2023
Iconography of Ancient Dance in Iran: A Discursive Review, in Shay, Anthony (ed.), Dance in the P... more Iconography of Ancient Dance in Iran: A Discursive Review, in Shay, Anthony (ed.), Dance in the Persianate World: History, Aesthetics, Performance, Mazda Publishers, 2023
http://www.mazdapublishers.com/book/dance-in-the-persianate-world
Dance in the past, as a topic, is conventionally explored in the three main modes of historical accounts, ethnographic comparisons, and archaeological conjectures including or occasionally based upon iconographic interpretations. Once contextualised in Iran/Persia, this path of scholarship gets puddled with the marshy dualism of Persian Dance (a modern, ethnographic dancing style effectively shaped by the post-Islamic Iranian culture) versus the choreo-kinetic aspects of human life within the current geopolitical borders of the country from several thousand years ago to this day. How distant, or close, the Persian Dance and Dance in Iran may appear in a writing differs from author to author but muddling them up has remained recurring whilst barely reckoned and recorded.
My overview of dance in/of the Persian/Iranians and its controversial scholarship begins with a brief history of the study of dance archaeology in Iran by the founding pioneer of Iranian museology and curatorship, Yahyā Zukā (1923-2001). In the course of exhibiting his still unparalleled collection of choreologic depictions unearthed in various excavation sites in Iran, I investigate his views and deductions about local forms, meaning, and functions of dance performance and the profound and persistent impact of his work on the successive choreologic studies pre- and post-revolution of 1979, particularly his overarching overlaps drawn between post-Islamic and pre-Achaemenid dance arrangements and routines. Towards a methodological turn, I cast a glance at now ages-old choreologic quest for revisiting, reviving, and reconstructing of classical (mainly Greco-Roman) dance performances, examining some groundbreaking (and ground-making) attempts and challenges of this mainly European quest to preface my in-progress Iconographic Model for Dance Archaeology (IMDA). Benefiting from iconographic frameworks in the identification and analysis of dance movements illustrated in antiquity may well be a step forward in addressing the complex question of understanding Iranian, and other, dances as represented in painted and sculpted remains.
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Papers by Nathalie M Choubineh
Although the history of ancient Macedonia is largely male-dominated, it is evident that the Macedonian royal women began to appear in remarkable public positions at least since the late 5th century BCE. Eurydice I, the first of these women, serves as a classical model for subsequent Hellenistic queens, who were able to exercise varying degrees of power, autonomy, and authority. Notably, several of these figures happened to be Eurydice's successors and descendants in the House of Argead, including Olympias, Cynane, Adea-Eurydice, Thessalonike of Macedon, and Cleopatra of Macedon. Based on the extant evidence, Eurydice's political impact became apparent after her husband's death, and it was so remarkable and decisive that she was honoured later through both verbal tributes and material constructions. Philip II fundamentally developed her birthplace into a major city known as Heraklia Lynkestis circa 358 BCE, and Aeschines, in his speech On the Embassy, praised her noble action at a defining moment of history.
Despite this prestigious background, Cleopatra's life is poorly documented, and what is known about her is limited and often controversial. Unlike her mother and older half-sister, Cynane (c. 357-323 BCE), who are portrayed with more distinctive and assertive images in ancient records, Cleopatra's significance is overall associated with her role in the political strategies of her male, and sometimes even female, peers. Ironically, she spent the rest of her relatively long life as an independent woman, namely without any appointed kyrios (male guardian), while searching for a suitable husband. Although courted by many significant leaders of her time, Cleopatra's several plans for marriage failed, and she ultimately lost her life over her final attempt.
To access the full content, tap on the file link at the top left or follow this link:
https://www.worldhistory.org/Cleopatra_of_Macedon/
Although Philip chose the location for strategic reasons, his decision may have been influenced by his mother, Queen Eurydice I of Macedon (c. 410-369 BCE), being originally from the family ruling the Lynkestian tribe. Philip named the new city after the legendary hero Herakles (Hercules), not least because his family of Macedonian rulers, the Argeads, claimed this son of Zeus was their founding father. Herakleia Lynkestis was first built as a defensive citadel. Later developments may not have added much to its expansion but they turned the city into a significant centre of trade and administration.
After the Roman conquest of the Greek world in 146 BCE, Herakleia Lynkestis became a centre for local magistrates, perhaps reflecting the legacy of its most notable figure, Queen Eurydice (whose name means "sound judgment"), and the public reverence for Nemesis, the goddess associated with exacting justice. Thanks to its advantageous location along the so-called Roman highway of the Balkans, Via Egnatia, the city became a popular hub hosting visitors, traders, travelers, and scholars, who were drawn to its vibrant forum, temples (later basilicas), palaces, and theatre.
According to her most popular myth, Britomartis, meaning "sweet maiden," was an exceptional huntress and a beloved companion of Artemis. As such, she had vowed to remain a virgin. Nevertheless, King Minos desired her and relentlessly pursued her for nine months. He eventually caught her atop a high peak and attempted to seize her, but Britomartis leaped from the cliff into the sea to escape. She was recovered by fishermen's nets (diktuon) and brought to the island of Aigina. There, Artemis transformed her into the goddess of the nets, Diktynna, to preside over her own cult.
In contrast with such a high profile, historical details about Thessalonike's life are relatively rare. And yet, her character still casts resounding echoes in both myths and history, in her legendary personification as a mermaid and as the eponym of Greek's second largest, emporium city, Thessaloniki.
The earliest evidence about the existence of such executive assemblies appears in the 7th century BCE, and the most significant and best-documented examples are the Amphictyonic Leagues of Delos and Delphi, both presiding the sanctuaries of Apollo, his Pythian Oracles, and the Pythian Games.
While the Amphictyonic League was primarily a religious organization, it sometimes played a significant role in the political and military affairs of ancient Greece. The League's most notable involvement in Greek warfare occurred during a series of conflicts known as the Sacred Wars over control of the Delphic sanctuary. These conflicts had a dramatic impact on the course of Greek history and the development of the poleis (city-states), fostering changes that eventually cushioned the ambitious plans of Philip II of Macedon (r. 359-336 BCE), and his son Alexander the Great (r. 336-323 BCE), for conquering the Hellenic world.
https://www.worldhistory.org/Amphictyonic_League/
https://www.worldhistory.org/Tympanon/
https://www.worldhistory.org/Greek_Dance/
The prevalence of Athenian democratic measures regarding citizenship and the rights it might or might not involve in most, if not all, parts of the Hellenic world, is very well-known overall. However, the degree and duration of practicing these measures across different cities and eras are still open to further explorations. The inscription described and contextualized here, although scarcely exposed due to curatorial considerations, is an enlightening piece of evidence about the stability of Athenian public views and treatments regarding metics in the Agean region and in the run-up to the Roman conquest of Greece in the second century BC.
This paper, in Farsi, is published on the website of the Iranian Institute of Anthropology and Culture, December 2015.
These Hellenistic ladies with their sumptuous clothing, immaculate hairdos sometimes topped with stylish umbrella hats, and delicate gestures pose in a charming dignity, and, unlike their earlier Attic sisters, represent an alternative, more eccentric artistic trend in the Hellenic world of the fourth and third centuries. While much has been said about the fabrication, originality, naturalism, and cultural contexts of Tanagra figurines, there is one significant aspect that calls for a deeper look. Tanagra figurines can be categorized into a rather distinctive kind of typology that juxtaposes artistic moves with female social roles. Moreover, the range of female activities recast in Tanagra figurines suggests a reconsideration of women's condition and status in the Hellenistic mindset, which also brings forward evidence of deviation from the fifth-century Athenian gendered ideology in vase-painting.
The present article is an effort in the categorization of Tanagra figurines according to this typology: noble ladies wearing umbrella-style hats and/or holding fans; mirror-bearers; baby-holders; music artists (including musicians, dancers, and/or actresses); ephedrismos-players (piggyback girls); and knuckle players.
The article was first published on 12 May 2014 on the Iranian Institute of Anthropology and Culture website.
http://anthropology.ir/article/22960
Conference Presentations by Nathalie M Choubineh
Books by Nathalie M Choubineh
http://www.mazdapublishers.com/book/dance-in-the-persianate-world
Dance in the past, as a topic, is conventionally explored in the three main modes of historical accounts, ethnographic comparisons, and archaeological conjectures including or occasionally based upon iconographic interpretations. Once contextualised in Iran/Persia, this path of scholarship gets puddled with the marshy dualism of Persian Dance (a modern, ethnographic dancing style effectively shaped by the post-Islamic Iranian culture) versus the choreo-kinetic aspects of human life within the current geopolitical borders of the country from several thousand years ago to this day. How distant, or close, the Persian Dance and Dance in Iran may appear in a writing differs from author to author but muddling them up has remained recurring whilst barely reckoned and recorded.
My overview of dance in/of the Persian/Iranians and its controversial scholarship begins with a brief history of the study of dance archaeology in Iran by the founding pioneer of Iranian museology and curatorship, Yahyā Zukā (1923-2001). In the course of exhibiting his still unparalleled collection of choreologic depictions unearthed in various excavation sites in Iran, I investigate his views and deductions about local forms, meaning, and functions of dance performance and the profound and persistent impact of his work on the successive choreologic studies pre- and post-revolution of 1979, particularly his overarching overlaps drawn between post-Islamic and pre-Achaemenid dance arrangements and routines. Towards a methodological turn, I cast a glance at now ages-old choreologic quest for revisiting, reviving, and reconstructing of classical (mainly Greco-Roman) dance performances, examining some groundbreaking (and ground-making) attempts and challenges of this mainly European quest to preface my in-progress Iconographic Model for Dance Archaeology (IMDA). Benefiting from iconographic frameworks in the identification and analysis of dance movements illustrated in antiquity may well be a step forward in addressing the complex question of understanding Iranian, and other, dances as represented in painted and sculpted remains.