1. Introduction and Development

When and how was drama therapy introduced to your country?

Although it is not possible to determine precisely when drama therapy first emerged in Iran, its historical development can generally be understood in three stages:

First Stage: Ritual Drama Therapy

Ritual drama therapy has its roots in ancient Iranian religious and spiritual traditions. These practices were typically collective and community-based forms of healing that incorporated dramatic, performative, and symbolic elements. They included both mourning and celebratory rituals.

One of the most significant examples is the Zar ritual, which has traditionally been used to treat conditions interpreted as spirit possession. In terms of its structure and therapeutic functions, the ritual shares notable similarities with contemporary drama therapy practices. The Zar ritual is still practiced among communities in southern Iran, particularly in Bushehr and Bandar Abbas.

Another example is the Guati ritual, which is performed in regions such as Baluchestan and Chabahar. This ritual combines dramatic enactment, music, and dance and has traditionally been used to address severe stress, the psychological consequences of natural disasters, and a range of mental health difficulties, including trauma, social isolation, and depression.

A further example is the Atash-Begi ritual, practiced in parts of Kurdistan, Lorestan, and Kermanshah. This ritual is used to promote spiritual connection and psychological calm, particularly among individuals experiencing emotional distress or inner restlessness. Atash-Begi incorporates elements derived from Christian, Mithraic, Jewish, Manichaean, and Islamic traditions.

In addition, the Khiali (or Khivali) ritual, practiced in Lorestan, Ilam, Kermanshah, and Chaharmahal and Bakhtiari, particularly among communities of the Zagros region, has traditionally been used to address certain physical and psychological conditions, including social isolation and various mental health difficulties.

Second Stage: Traditional Drama Therapy

An important figure associated with this stage is the renowned Iranian philosopher and physician Avicenna (Ibn Sina, 980–1037 CE).

In The Canon of Medicine (Al-Qanun fi al-Tibb), Avicenna describes therapeutic approaches that combined behavioral, dramatic, and medical interventions. These approaches may be viewed as early examples of what would now be called integrative therapeutic practice.

Numerous narratives in classical Persian literature can also be interpreted through a contemporary drama therapy perspective. One frequently cited example is Avicenna’s treatment of the melancholic prince of Rey, in which dramatic and behavioral interventions were integrated with medical treatment. This case may be understood as an early illustration of an integrative therapeutic approach.

Similar examples appear throughout Persian literary and cultural traditions. One such example is the account of a puppet performance used to alleviate the emotional suffering experienced by Sam, a character in Ferdowsi’s Shahnameh, following the birth of his white-haired son, Zal. From a contemporary perspective, this narrative contains elements that can be interpreted as therapeutic dramatic intervention.

Another example is the story of “The Merchant and the Parrot” in Rumi’s works, where a dramatic act serves as a means of liberation and transformation. Like many stories in Persian literature, this narrative can be examined through the conceptual lens of drama therapy.

Third Stage: Modern Drama Therapy

Scientific and academic exchanges between Iran and other countries expanded during the Qajar period (1789–1925). As contact with European and later American scientific and psychological traditions increased, interest in non-pharmacological approaches to treatment also grew.

These exchanges became more extensive during the later Qajar era and continued into subsequent historical periods. Psychiatric hospitals and institutions for the care of individuals with physical and mental disabilities were gradually established, and integrative treatment approaches received increasing

attention from psychiatrists and psychologists. Over time, these approaches were combined with indigenous ritual and cultural practices.

During the Pahlavi period (1925–1979), drama-based methods received greater attention in medical and educational settings and were occasionally used within psychological and psychiatric services.

The field expanded further through the translation and publication of key works, including Drama Therapy and Life Drama by Phil Jones, Introjection and Drama Therapy by Adam Blatner, and Drama Therapy on the Path of Evolution by Dr. Majid Amraei, one of the earliest original Persian works devoted to drama therapy.

Although contemporary Iranian drama therapy has been influenced by the work of Jacob Levy Moreno, its practical application has developed in distinctive ways and incorporates indigenous and culturally adapted integrative methods.

Today, the International Drama Therapy Association of Iran (DTCI) is one of the principal research, educational, and professional centers for drama therapy in Iran. The association provides professional training and annually certifies new practitioners at different levels of qualification, including Drama Therapy Instructors and Drama Therapy Teachers.

With the expansion of higher education, specialized academic disciplines, mental health services, and digital communication technologies, interest in drama therapy has increased significantly in Iran. The method is now used in a variety of educational, clinical, and community-based contexts.

Historical reports indicate that in 1967, Dr. Hamid Ashkani and Dr. Hassan Haghshenas briefly employed drama-based therapeutic methods at Hafezieh Hospital in Shiraz. Although these efforts were not sustained, they represent some of the earliest documented modern applications of drama therapy in Iran.

Later, Dr. Mohammad Majd conducted short-term drama therapy interventions with individuals diagnosed with schizophrenia and reported positive outcomes.

Following the establishment of the Drama Therapy Association of Iran in 2002, a professional clinical team—including Dr. Majid Amraei, Dr. Davood Rahimpour, Dr. Nabiollah Darijani, Dr. Ahmad Vaezi, Dr. Ahmad Tollaei, Shahram Riahi, Farzaneh Valizadeh, and other colleagues—implemented drama therapy within psychiatric settings, particularly with individuals diagnosed with schizophrenia and with survivors of war-related trauma.

With the support and collaboration of Professor Hassan Ashayeri and Professor Jean-Pierre Klein, these activities developed into a sustained program of hospital-based clinical practice that contributed substantially to the growth and professionalization of drama therapy in Iran.

2. Influential Contextual Factors

What social, political, or cultural factors have influenced the development of drama therapy in Iran?

A range of social, historical, and cultural factors have contributed to the development of drama therapy in Iran.

Post-War Recovery

One of the most significant factors was the need for psychological rehabilitation following the Iran–Iraq War (1980–1988). Between 2003 and 2011, drama therapy was incorporated into treatment programs at Saadat Abad Psychiatric Hospital in Tehran. These interventions contributed to a range of academic and cultural outputs, including the documentary film The Doomsday Machine (directed by Soudabeh Moradian, 2016), several books, university theses, and scientific publications.

Historical and Cultural Precedents

Historical evidence suggests that performance-based practices have long been associated with psychological well-being in Iranian culture. During the reign of Bahram Gur (420–438 CE), historical accounts indicate that thousands of musicians and performers were invited from India to help improve public morale following periods of conflict and social hardship.

According to historical sources, Bahram Gur elevated the social status of musicians and performers, recognizing their contribution to public well-being and social cohesion. Although this policy was later modified during subsequent

periods, it reflects a longstanding appreciation of the therapeutic and social value of performance in Iranian society.

Academic Development and International Exchange

Modern drama therapy in Iran has also been shaped by academic exchange and international collaboration.

Dr. Majid Amraei, who received specialized training in drama therapy at the Institute of Art Therapy in Paris, played an important role in introducing contemporary drama therapy concepts to Iranian professional and academic communities. Since the establishment of the Drama Therapy Association of Iran in 2002, increasing collaboration with international organizations and academic institutions has contributed to the growth of the field.

Today, drama therapy is an accepted topic for undergraduate, master's, and doctoral research in a variety of disciplines. However, an independent university degree program in drama therapy has not yet been formally established within Iranian higher education.

Professional Organization and Institutional Development

At present, the International Drama Therapy Association of Iran (DTCI) serves as the principal professional organization dedicated to drama therapy in the country. The association maintains branches in several provinces and supports professional training, clinical practice, academic research, and international collaboration.

Members of the association have contributed to the publication of numerous academic theses, clinical intervention studies, and professional books related to drama therapy.

Academic Trends

Interest in drama therapy continues to expand within Iranian universities, particularly among students in psychology and performing arts.

The International Drama Therapy Association of Iran conducts educational

workshops and professional training programs in cooperation with multiple universities. To date, several national and international conferences and seminars dedicated to drama therapy have been organized in Iran.

The association has also developed a proposed curriculum and academic framework for a university degree program in drama therapy and has submitted these materials to the Ministry of Science, Research and Technology for review. It is hoped that an independent academic degree program in drama therapy will be established in the future.

3. Key Figures

Who are the most influential pioneers and figures in the history of drama therapy in Iran?

Within the Iranian context, Avicenna (Ibn Sina) is often regarded as an early precursor to drama therapy because of his use of behavioral and dramatic elements within broader therapeutic interventions.

Two major international figures who have influenced contemporary drama therapy practice in Iran are Jacob Levy Moreno (1889–1974) and Nikolai Evreinov (1879–1953). Their work has provided important conceptual foundations for the development of modern drama therapy approaches in the country.

Among contemporary Iranian practitioners, Dr. Majid Amraei (born 1969) has played a significant role in the professional development of drama therapy. Active in the field since 1996, he serves as Secretary-General of the International Drama Therapy Association of Iran (DTCI) and has contributed to the establishment of professional networks, educational programs, and international collaborations.

Dr. Amraei is also the author of several books on drama therapy, including:

  • Drama Therapy on the Path of Evolution (2010)
  • Drama Therapy and Role Theory (2020)
  • Ten Steps with Drama Therapy (2014)
  • Drama Therapy: A Path to Mental Liberation (2016)

  • Drama Therapy and Personality Theory (2023)
  • Drama Therapy Syllabi (2017)

The International Drama Therapy Association of Iran collaborates with a number of professional organizations and institutions, including welfare agencies, psychological associations, international drama therapy organizations, and performing arts institutions.

4. Organizations and Associations

What drama therapy organizations or associations exist in your country?

The most prominent professional body is the International Drama Therapy Association of Iran (DTCI), which maintains branches in multiple provinces and serves as the principal organization responsible for professional training, certification, and development within the field.

Established in 2002, the association employs an integrative educational model that combines theoretical instruction, supervised practice, personal development, and clinical experience.

Its professional protocol generally includes the following stages:

  1. Assessment and Diagnosis
  1. Warm-Up and Rhythm Awareness
  1. Relationship Building and Group Connection
  1. Implementation of Therapeutic Techniques
  1. Evaluation and Closure

Professional training is organized into four semesters:

Semester 1: Theoretical Foundations of Drama Therapy

Duration: Approximately 3 months

Semester 2: Personal Development and Self-Experience

Duration: Approximately 4 months

Participants engage in self-exploration and experiential learning under the supervision of a senior drama therapist.

Semester 3: Supervised Clinical Practice

Duration: Approximately 4 months

Participants work directly with clients under professional supervision.

Semester 4: Advanced Supervision

Duration: Approximately 5 months

Participants complete advanced supervision requirements and professional evaluation.

Overall, the training program includes approximately 140–160 hours of theoretical and practical instruction.

Professional credentials are awarded at three levels:

Drama Therapy Instructor

This level permits graduates to assist qualified practitioners in clinical and educational settings. Instructors do not independently conduct therapeutic interventions.

Drama Therapy Teacher

Drama Therapy Teachers participate in therapeutic interventions and are also qualified to teach professional training courses.

Senior Drama Therapist

The highest professional level is awarded to experienced practitioners who have demonstrated advanced competence in clinical intervention, education, supervision, and professional leadership. This designation is generally awarded after at least five years of professional clinical experience and approval by the International Drama Therapy Association of Iran.

Drama Facilitator (Dramatic Assistant)

A Drama Facilitator supports dramatic activities through role enactment, improvisation, game facilitation, and the development of therapeutic dramatic situations. These individuals play an important supportive role within drama therapy sessions.

Training participants are evaluated through both written and practical examinations at the conclusion of each semester.

5. Educational Levels and Requirements

What professional levels and training requirements exist in drama therapy education in Iran?

The professional training system in Iran is organized into several levels of qualification, each with distinct responsibilities and competencies.

Drama Therapy Instructor

A Drama Therapy Instructor functions primarily as an assistant to a qualified therapist or teacher. Individuals at this level may participate in therapeutic activities and support intervention processes but do not independently conduct clinical interventions. Their role is primarily facilitative and supportive, working under the supervision of a Drama Therapy Teacher or Senior Drama Therapist.

Drama Therapy Teacher

A Drama Therapy Teacher is qualified to participate in therapeutic interventions and to provide professional education and training in drama therapy. In addition to clinical involvement, individuals at this level contribute to the instruction and supervision of trainees.

Senior Drama Therapist

The designation of Senior Drama Therapist represents the highest professional level within the current training structure. In addition to conducting therapeutic interventions and teaching, Senior Drama Therapists are recognized for their expertise in drama therapy theory, clinical practice, assessment, and intervention. They are expected to contribute to professional development, supervision, and the advancement of the field.

Drama Facilitator (Dramatic Assistant)

Drama Facilitators support therapeutic activities through role enactment, improvisation, dramatic play, and the development of therapeutic scenarios. They help initiate and sustain dramatic processes within sessions and are expected to possess strong improvisational and interpersonal skills.

Training Requirements

Professional training in drama therapy generally consists of approximately 140–160 hours of combined theoretical and practical instruction. Students complete both written and practical assessments at the end of each semester. Successful completion of all educational requirements is necessary for progression through the professional levels.

6. Educational Institutions

How many educational institutions currently provide drama therapy training in Iran?

At present, several institutions provide professional education and training in drama therapy and related fields under professional supervision.

1. International Drama Therapy Association of Iran (DTCI)

The principal national training center is the International Drama Therapy Association of Iran (DTCI), headquartered in Tehran. The association serves as the primary institution for professional education, certification, research, and clinical development in drama therapy.

2. Chida Specialized Counseling and Child and Adolescent Psychodrama Center

Located in Ahvaz, this provincial center provides counseling services and training activities focused on children and adolescents.

3. Creativity and Psychodrama Center – “Create with Us”

Based in Tehran, this institution focuses on creativity development and drama-based interventions for children and adolescents.

4. Positive Life Psychodrama and Welfare Services Center (No. 5137)

Located in Kerman, this provincial center provides welfare-related services and drama-based interventions.

In addition, affiliated institutions and training centers associated with the International Drama Therapy Association of Iran operate in several cities, including Shiraz, Rasht, and Lahijan.

Together, these institutions contribute to the education, training, and professional development of drama therapy practitioners throughout the country.

7. Educational Frameworks

What educational frameworks currently exist for drama therapy training in Iran?

Because drama therapy is generally regarded in Iran as an interdisciplinary and multidisciplinary professional field, admission to formal training programs is limited to individuals who already possess advanced academic qualifications.

Applicants are typically required to hold a Master’s degree or Doctorate in psychology, counseling, psychotherapy, psychiatry, social work, performing arts, or related disciplines.

Admission Process

Admission generally occurs through a multi-stage evaluation process:

  1. Online Entrance Examination
  1. Academic Assessment Interview
  1. Health and Professional Suitability Evaluation

Applicants who successfully complete these stages enter the formal training program.

Duration of Training

The educational program usually extends over approximately 14–16 months and includes 140–160 hours of theoretical and practical instruction.

Training combines:

  • Academic coursework
  • Experiential learning
  • Personal development
  • Clinical observation
  • Supervised practice

  • Professional evaluation

This structure reflects the association’s commitment to integrating theory, personal experience, and clinical competence within professional preparation.

The Avicenna Medal

The International Drama Therapy Association of Iran annually awards the Avicenna Medal, an honorary distinction recognizing outstanding contributions to non-pharmacological therapies, particularly drama therapy and other forms of creative arts therapy.

Recipients of this distinction have included:

  • Professor Jean-Pierre Klein (France)
  • Dr. Édith V. Armée (France)
  • Professor Hassan Ashayeri (Iran)
  • Dr. Houman Namvar (Iran)
  • Dr. Qotb al-Din Sadeghi (Iran)
  • Dr. Nisha Sajnani (United States)
  • Dr. Afsaneh Fakhri (Iran)

The award reflects the association’s commitment to recognizing individuals who have significantly contributed to the advancement of therapeutic and creative approaches to mental health and human development.

8. Formal Recognition and Professional Status

Is drama therapy officially recognized in Iran?

The International Drama Therapy Association of Iran is currently the most prominent professional organization dedicated to drama therapy in the country.

Through its educational programs, clinical activities, and professional collaborations, the association has provided specialized training to practitioners from Iran, neighboring countries, and, in some cases, European countries.

Certificates and professional credentials issued by the association have been accepted by various educational, professional, and related institutions both within and outside Iran.

Public Recognition

Each year, during World Drama Therapy Week, the association organizes a formal recognition ceremony attended by representatives from public and private sectors. During this event, distinguished practitioners are publicly honored for their contributions to the field.

These ceremonies are typically held at prominent cultural venues such as Tehran City Theater or the Iran Artists Forum and serve to increase public awareness of drama therapy and related professional activities.

Professional Recognition within the Health System

The association has engaged in discussions with representatives of the Ministry of Health and the Ministry of Science regarding the formal recognition of drama therapy within Iran’s health-care system.

Drawing upon more than two decades of clinical and hospital-based experience, association members continue to advocate for broader institutional recognition of drama therapy as a professional discipline.

The association has also pursued recognition of additional therapeutic disciplines and continues to support the development of complementary approaches within the broader field of mental health and rehabilitation.

International Engagement

The International Drama Therapy Association of Iran participates actively in international professional networks and conferences. Through these activities, the association contributes to global discussions, exchanges professional

experiences, and maintains collaborative relationships with practitioners and organizations in other countries.

This international engagement supports both the professional development of Iranian practitioners and the broader visibility of drama therapy in Iran.

9. Scope of Professional Practice

Can drama therapy be practiced independently?

Drama therapy may function both as an independent professional practice and as a specialized modality integrated within other professions.

In Iran, it is most commonly understood as an interdisciplinary and integrative specialization that complements existing professional backgrounds in psychology, counseling, psychotherapy, social work, psychiatry, education, and the performing arts.

Areas of Application

Drama therapy is used in a wide range of educational, developmental, and therapeutic contexts. Applications include:

  • Improving interpersonal relationships
  • Strengthening social roles and social functioning
  • Couple and family-related issues
  • Parenting education and support
  • Educational and developmental interventions
  • Skills training and personal development
  • Psychological support and rehabilitation

Professional Backgrounds of Trainees

Because drama therapy training is designed as an advanced professional specialization, participants are typically recruited from related disciplines.

Eligible backgrounds generally include:

  • Psychology
  • Psychiatry
  • Psychotherapy
  • Counseling
  • Social Work
  • Performing Arts
  • Theatre
  • Cinema
  • Music
  • Playwriting
  • Other related disciplines in psychology and the performing arts

This multidisciplinary foundation reflects the integrative nature of drama therapy and supports collaboration across educational, clinical, and artistic settings.

10. Cost Reimbursement

Are drama therapy services reimbursed through public health insurance or the national health system?

At present, drama therapy services are not reimbursed through Iran’s public health insurance system or the national health-care framework.

However, professional organizations and practitioners continue to engage in discussions with relevant institutions and policy-makers in an effort to secure formal recognition and future insurance coverage for drama therapy services.

The expansion of insurance support is widely viewed as an important step toward increasing public access to non-pharmacological and creative arts–based therapeutic interventions.

11. Practice Settings

In what settings is drama therapy practiced in Iran?

Drama therapy is implemented across a broad range of educational, clinical, rehabilitative, and community settings.

These include:

  • Counseling and psychotherapy centers
  • Juvenile rehabilitation and correctional facilities
  • Prisons and detention centers
  • Addiction treatment and recovery centers
  • Residential care facilities for older adults
  • Rehabilitation and habilitation centers
  • Universities and vocational training institutions
  • Medical and psychological treatment clinics
  • Psychiatric hospitals
  • Premarital counseling centers
  • Kindergartens and early childhood education centers
  • Professional drama therapy associations
  • Arts and cultural centers
  • Educational institutions
  • Community-based social service centers
  • Health promotion centers

The diversity of these settings reflects the flexibility of drama therapy as an educational, developmental, preventive, and therapeutic intervention.

12. Populations Served

For which populations is drama therapy used in Iran?

Drama therapy is utilized with a wide variety of populations across the lifespan.

These include:

  • Older adults
  • Adults
  • Young adults
  • Adolescents
  • Children
  • Young children

Drama therapy is also used with individuals experiencing various physical, psychological, and social challenges, including:

  • Physical disabilities
  • Motor impairments
  • Visual impairments
  • Speech and language disorders
  • Cancer-related challenges
  • HIV/AIDS-related challenges
  • Survivors of natural disasters such as earthquakes and floods
  • Survivors of war-related events and bombings
  • Survivors of fire-related disasters
  • Survivors of sexual violence
  • Individuals experiencing mental health difficulties

Within many of these contexts, drama therapy is employed as a complementary or adjunctive intervention alongside other therapeutic and supportive services.

Its flexibility allows practitioners to adapt interventions to the developmental, psychological, cultural, and social needs of diverse client groups.

13. Local Adaptations and Cultural Considerations

Are there locally developed or culturally specific forms of drama therapy in Iran?

Drama therapy practice in Iran is strongly influenced by local cultural traditions and social norms.

Because Iranian society encompasses a wide range of ethnic, linguistic, religious, and regional communities, practitioners frequently adapt their methods to align with local cultural expectations and values.

For example, in some regions where cultural or religious norms place restrictions on mixed-gender interactions, men and women who are not closely related may participate in separate therapeutic groups. In other regions characterized by more culturally diverse social environments, mixed-group approaches may be used.

These adaptations allow drama therapy interventions to remain culturally responsive while preserving their therapeutic objectives.

Integration with Other Approaches

In Iran, drama therapy is commonly integrated with other therapeutic and supportive approaches.

It may be used alongside psychological, educational, medical, and rehabilitative interventions. Examples include supportive work with women experiencing breast cancer, individuals living with HIV/AIDS, and populations receiving services in specialized treatment centers and correctional facilities.

This integrative orientation reflects the broader tendency within Iranian practice to combine drama therapy with complementary forms of care rather than viewing it exclusively as a stand-alone intervention.

Cultural Characteristics of Iranian Drama Therapy

Drama therapy in Iran may be regarded as a culturally grounded approach that draws upon indigenous traditions, collective practices, storytelling, ritual, and performance.

One notable feature of Iranian drama therapy is its adaptability across culturally diverse populations. Practitioners report that drama-based interventions are generally well received among communities with different linguistic, ethnic, and cultural backgrounds, including:

  • Persian-speaking communities
  • Turkic-speaking communities
  • Kurdish communities
  • Lur communities
  • Arab communities
  • Baluchi communities
  • Sistani communities
  • Mazandarani communities
  • Gilaki communities
  • Other regional cultural groups throughout Iran

This broad cultural adaptability has contributed to the growing acceptance of drama therapy across different regions of the country.

E. Research and Publications

14. Key Publications

What are the most important publications related to drama therapy in Iran?

Several publishing houses have contributed significantly to the dissemination of drama therapy literature in Iran.

Among these, Danjeh Publications is widely recognized as one of the most important publishers in the fields of psychology and drama therapy. Other notable publishers include Ghatreh Publications, Roshd Publications, and Nahid Publications.

Examples of influential publications include:

1. Drama Therapy and Personality Theory

Author: Dr. Majid Amraei

Publisher: Danjeh Publications

This work explores the relationship between personality theory and drama

therapy practice and provides a theoretical framework for understanding therapeutic role development.

2. Drama Therapy on the Path of Evolution

Author: Dr. Majid Amraei

Publisher: Danjeh Publications

One of the earliest original Persian-language works devoted specifically to drama therapy, addressing theoretical foundations and clinical applications.

3. Drama Therapy and Life Drama

Author: Phil Jones

Translator: Chista Yathribi

Publisher: Ghatreh Publications

A Persian translation of an influential international text that introduced many Iranian readers to contemporary drama therapy theory and practice.

4. Introjection in Drama Therapy

Author: Adam Blatner

Translator: Hassan Haghshenas

Publisher: Roshd Publications

A translated work that contributed to the development of theoretical and clinical understanding of drama therapy within Iranian professional circles.

F. Current Status and Future Outlook

15. Human Resources

Approximately how many drama therapy practitioners are currently active in Iran?

According to available professional estimates, approximately 90 certified Drama

Therapy Instructors and Drama Therapy Teachers are currently active in Iran.

This number includes:

  • Approximately 60 Drama Therapy Instructors
  • Approximately 30 Drama Therapy Teachers
  • One Senior Drama Therapist

These practitioners are involved in educational, clinical, supervisory, and research activities across various regions of the country.

16. Current Situation

How would you describe the current state of drama therapy in Iran?

Drama therapy in Iran is currently experiencing a period of growth and professional development.

In recent years, there has been a noticeable increase in:

  • Academic theses and dissertations
  • Specialized publications and books
  • Research articles
  • Clinical intervention studies
  • Professional training activities

The number of trained practitioners continues to increase, and opportunities for international collaboration have expanded.

Each year, several Iranian practitioners receive letters of recommendation and professional support for admission to international academic institutions and training programs. In addition, multiple books related to drama therapy are translated or published annually.

Although the field remains relatively young compared with some established mental health professions, its academic visibility, professional organization, and public recognition continue to develop.

17. Challenges and Future Directions

What are the most significant challenges and future priorities for drama therapy in Iran?

Despite its growth, drama therapy faces several important challenges.

Communication and International Exchange

One challenge involves limitations in communication and international academic exchange, including disruptions in digital communication and access to international professional networks.

Access to Updated Resources

The field would benefit from greater access to newly published international literature, research findings, and professional resources.

Institutional Recognition

The absence of formal recognition within parts of the health-care and insurance systems remains a significant barrier to broader implementation and accessibility.

Public Awareness

Another challenge is the limited availability of independent media platforms dedicated to introducing drama therapy to the wider public.

Economic Factors

Economic pressures may reduce access to non-pharmacological therapeutic services, as many families prioritize immediate financial needs over elective psychological and developmental interventions.

Future Directions

Future priorities include:

  • Expanding professional education and training
  • Increasing research and publication activities
  • Strengthening international collaboration
  • Enhancing public awareness
  • Securing broader institutional recognition
  • Expanding insurance coverage for drama therapy service

G. Supplementary Information

Over the past year, more than 160 radio programs dedicated to introducing drama therapy were broadcast through Radio Namayesh.

These programs featured the Secretary-General of the International Drama Therapy Association of Iran, along with other specialists in the field, who discussed theoretical, clinical, and professional aspects of drama therapy. Members of the public were also able to ask questions and receive expert responses.

These initiatives contributed to public education and increased awareness of drama therapy among broader audiences.

18. Additional Comments

Is there any important information that has not been addressed elsewhere in this questionnaire?

Closing Statement

The International Drama Therapy Association of Iran wishes to express its sincere appreciation to the researchers responsible for this project and for their efforts to advance international understanding of drama therapy.

We hope for a future in which war, violence, and human suffering are reduced throughout the world, and in which integrative and creative therapeutic approaches contribute to the well-being of individuals and communities.

It is our hope that continued progress in the healing professions will bring greater opportunities for care, recovery, and human flourishing, and that one day no suffering will remain without access to appropriate support and treatment.

Dr. Majid Amraei and Colleagues

Spring 2026