Set to purge the public space of manifestations of “eroticism” (shahvat), “prostitution” (fahsha), and “degeneration”(ibtizal), the Revolution of 1979 in Iran led to the refashioning of performing arts and the creation of new genres, some of which came to function as committed arts assisting in “eternalizing ” the revolution. Among the new genres, “rhythmic movements” (harikat-i mawzun) emerged to cast silent performing bodies moving to pious sound to enact religious or revolutionary narratives. Unlike the Pahlavi era (1926-79) cabaret dancer of the urban popular entertainment scene, these dancing bodies not only avoid evoking sexual passion in the audience but they are sublime enough to enact the holy figures of Shi‘i Islam such as Fatima, Zaynab, Ali, and Husayn. While witnessing these contemporary stagings of early Islamic history, the audience hears the voices of holy figures from a house speaker—to further sense their ascending superiority to pedestrian human beings. The rhythm, mood, and melody of the music to which the other cast members dance signifies their role as virtuous or as representing vice, as well as their relationship to those sacred characters. Focusing on sound in these productions and its interrelations to movement and the sensory experience of performers and audiences, this paper aims to decode, analyze, and historicize the aesthetic aural and corporeal criteria of the post-revolutionary stage. Deploying several post-revolutionary theatrical productions as case studies, this presentation will first trace the genealogy of sound and movement of rhythmic movements to the pre-revolutionary high art of "national dance" (raqs-i milli), a hybrid twentieth-century genre that sought to showcase the aesthetics and biopolitics of modernity and nationalism on stage. It further analyzes rhythmic movements by identifying its motifs borrowed from religious, vernacular Iranian, and international performative forms, and by exploring the politics behind such selection in light of the moral, aural, and movement codes of the post-revolutionary stage. Making use of the Pahlavi era Islamic discourse on shahvat and the socio-historical associations of dance and music of the popular stage; the (Marxist) revolutionary notion of committed arts and its hierarchization of feeling that undermined recreation; and the contemporary clerical responses to the veil, music, and performance, this paper interrogates the moods and sensory experiences permissible for rhythmic movements on the post-revolutionary theatrical stage.