Indian dancers to grace 'U'

By Jennifer Gates

For the Daily

The Dances of India Troupe performs the classical ballet "Vahini" at the Mendelssohn Theater on Sunday. The ballet, while founded in tradition, is also founded upon the non-traditional personal histories of those who will make it possible. Such persons include the director and choreographer Malini Srirama and the student dancer Stephanie Messina.

Srirama, born and raised in India, has been a dancer since the age of five. Although she loved to dance, "at the time that I was living," she said, "I was not supposed to dance professionally. I was supposed to marry. My family was not interested in me as a professional dancer." It was not until she came to America with her husband 25 years ago after their arranged marriage that Srirama, with her husband's permission, put aside her masters in Zoology and Information Science, and focused on what she really wanted to do - dance.

Perhaps because she was originally denied approval to follow her heart, Srirama was attracted to choreograph the piece that she will present on Sunday. The Indian ballet "Vahini," or "sacred female flowing river," is an approximately 2,000 year-old Indian legend involving gypsies, (portrayed by guest performers Troupe Ta'amullat), and a princess who fights, literally, to

save her people. Srirama said she "always wanted to do a piece where a princess was not just a princess, but also a warrior. I am interested in how woman always had to be stereotyped as an extreme - one woman can only be this, or only do that - but, really, woman can take up several different roles."

In her own way, and not intentionally, Messina is also violating what some people see as norms. Messina, a first year graduate student pursuing her masters in Urban Planning at the University, was initially attracted to the troupe in a way that probably many of the other dancers were also drawn to the troupe. She went to a 1992 performance, "got chills watching it," and began to take classes. Where Messina differs from her dance colleagues is in her non-Indian background.

In regards to this Messina remarked, "I have come across some people who kind of question whether they want me to perform as a white person, because it may not seem authentic. But this has never come from an Indian person - Indians are usually really excited that I'm interested." She said that being non-Indian can sometimes make learning the moves very difficult and she "really has to put in extra effort to learn to associate movement with syllables I don't know, but this also goes for Indian students." At one time Messina almost quit, but her friends convinced her to continue.

One of the reasons Indian dance can be so difficult is because it is so detailed. Srirama said that it is a dance with "definite rules." Messina added that it is "very much based on religion. A lot of positions and movements are trying to imitate ancient sculptures on the temples of India. It is very rhythmic, it accentuates the beats. It is very structured, very precise. There are, for example, different levels of facial expression. We show anger, sadness, surprise - it is a big part of this style of dancing."

Both women agree that another important aspect of Indian ballet is the elaborate jewelry and costumes. On average the performers must spend at least two and a half-hours before their entrances dressing themselves for the stage. This is one of the more traditional aspects of a dance style that can be quite unique.