The universal language of dance

The universal language of dance

MFA candidate Malathi Iyengar translates human experience by
weaving together ‘traditions and innovations,’ creating a tapestry
of multicultural dancers, diverse dance techniques and Indian
music.

By Rodney Tanaka

Love. Fear. Sorrow. Wonder.

Master of Fine Arts student Malathi Iyengar explores the human
experience and the battle between good and evil through dance in
her MFA project "Traditions and Innovations."

Split into two sections, Iyengar’s thesis performance features
"Partha Sarathi," danced in the traditional Pandanallur style, and
"Anubhava," a contemporary dance theater addressing human
perceptions and experiences.

"Anubhava" presents universal feelings such as love, anger, fear
and peace in an experimental setting. The performance features 12
dancers from diverse backgrounds: ballet, Indian and Chinese.
"Though I brought the music from India, all the performers were
able to get a feel for it and they have done a marvelous job
identifying with it and giving their creativity," Iyengar says. "I
wanted to show that it is possible for dancers who are not trained
in the same disciplines to come together and find a common artistic
ground."

The first section of the performance, "Partha Sarathi," praises
the Hindu god Krishna and recreates stories of the Mahabharatha
War. "One story will talk about Krishna being born, how his own
uncle, a demon, wanted to kill him," Iyengar says. "Krishna’s
parents, after praying, find a way to transfer Krishna to a foster
home."

Another story involves Krishna advising his companion Arjuna to
not hesitate from fighting in the war. Arjuna replies, "These are
the people who are my brothers and teachers. How can I fight them
and kill them?" Krishna tells him that "this is your duty. You have
got to kill them to establish good over evil."

The traditional Bharata Natyam performance reflects the
techniques and pure dances in the Pandanallur style that Iyengar
learned from her teacher Guru Narmada, who choreographed the piece.
"Guru Narmada has given me so much confidence and training,"
Iyengar says. "She is the reason I’m able to venture into these
projects."

If Guru Narmada provides the water for Iyengar’s artistic
growth, then Iyengar’s family planted the seed. She was born in
Bangalore, India to parents who excelled at music and performing.
Throughout her childhood, Iyengar performed in plays and honed her
skills as a visual artist. She married fellow artist Suresh Iyengar
in 1973 and one year later moved to the United States.

Iyengar found success in the business and artistic worlds. She
formed Rangoli Foundation, a visual art and floor design company.
At UCLA she became the first traditional Indian dancer to be
accepted in the Master of Fine Arts program. Iyengar also broke new
ground by receiving the 1994 John Lennon Award, previously
available only to music students.

With her first MFA project Iyengar hopes the audience will see
"dance as a universal language," she says. "I hope they see the
richness and depth in the Indian culture and how concepts in these
Indian traditional dance forms can be applied."

One person who already appreciates Indian culture will not sit
in the audience. Iyengar’s 12 year-old daughter, Lakshmi, performs
with her mother in both sections of the performance. "She was the
one who wanted to learn Indian dance," Iyengar says. "Because she
was born and raised here there’s a difference. I think it was
better because the interest came from her."

Love. Wonder. Peace. Malathi Iyengar dances from experience.

DANCE: "Traditions and Innovations" by Malathi Iyengar. 8 p.m.
Friday, Oct. 14 at the James Armstrong Theater, 3330 Civic Center
Dr., Torrance, Calif. TIX: $7 students, $10 general. For more
information call (310) 825-3951.