Iranian Tradition a Taking-Off Point for Avaz International

The traditional dances of Iran aren’t merely the special focus of the Avaz International Dance Theatre but a matrix for the company to explore new choreographic and staging ideas.

At Birmingham High School in Van Nuys on Saturday, Avaz provided an engaging survey of major cultural groups in Iran, with artistic director Anthony Shay supplying typically cogent introductions and associate director Jamal characteristically vivid opportunities for the 20 hard-working dancers.

The difference this time involved the tightness of the reworked material, bringing the contrasts between regions, eras and genres into high relief. Moreover, the reliance on soloists Lori Parker, Edgar Miramontes and, particularly, Karen Ochoa and Edouard Kouzmitch varied the panoramic statements of local color with moments of potent personal drama.

Ochoa’s swirling veil dance in the bold, new Persian Gulf suite, for example, launched an elaborate, confrontational exorcism ensemble with disarming delicacy, and the black-clad Kouzmitch brought great intensity and gymnastic prowess to the solo-in-silence preceding the rhythmic, martial Khorasani pole dances.

Jamal’s new “Bojnurd” suite from Eastern Iran opened the program with rhythmic scarf- and stick-dances of great vivacity. But, for sheer splendor, nothing Saturday matched the complex geometric patterns for the women of Baluchistan wearing long, scarlet veils over intricately patterned gowns.

Complaints? A few: Overediting has turned some pieces (including a Western chupi dance) into mere costume parades. And if Avaz wants to start programs at exactly the announced hour, latecomers must be kept out until after the first suite to stop the kind of mass migration on view Saturday.