A new generation of artists at ASU is pushing creative boundaries to redefine representation in their fields. From electrifying rhythms of Bollywood dance to the cultural depth of traditional drawings, to animations that breathe life into stories, these artists prove that art is more than expression – it's a movement.
DANCE
Andaaz totes itself as being "Arizona's only Competitive Collegiate Coed Bollywood Fusion Dance Team." Initially formed in 2013 by merging two ASU dance clubs, Andaaz has grown into a dynamic team that blends traditional Indian dance styles like Bharatanatyam and Garba with genres such as hip-hop and contemporary dance.
The club prides itself on fostering a space where students from different cultural backgrounds can celebrate South Asian dance and express their heritage on campus and beyond.
For Sai Gaddam, choreographer and a graduate student studying mechanical engineering, dancing with Andaaz is more than just an extracurricular activity. It is a way to stay connected to his cultural roots and find community.
"As an international student, I feel connected to Indian dance forms, Indian music," Gaddam said. "Having a group of students or group of friends who are having the same cultural background and sharing the same vibe ... We come together as one through dancing."
While Bollywood style dance is gaining more recognition in collegiate competitions, Andaaz continues to spearhead inclusivity on campus.
"I feel proud most of the time. I feel happy that we are going to a place where we represent our team, represent our culture, represent our views," Gaddam said.
INDIGENOUS ART
Alaina Tesarek, a sophomore studying interior design, is the co-owner of Tesarek Art Collective, where she and her sister sell their artwork.
As a biracial, half-Navajo Diné artist, Tesarek draws inspiration from her heritage, incorporating traditional themes through her favorite mediums, colored pencils and oil pastels. In her work, she ensures her culture and its history remain visible and relevant in modern spaces.
"Art is such a beautiful way to express different (things), whether it be an emotional state or an important part of history, it's so expressive and it's so dynamic in that way," Tesarek said.
Navigating the art world as an Indigenous creator hasn't come without challenges. Lack of representation, misconceptions about her pieces and skepticism toward her identity have all shaped her experience.
"There's pushback getting into the Indigenous art community as a half Native versus a full because there still is that stigma in the community ... me and my siblings grew up with it when we were younger, just being told, 'You're not really Native enough,'" Tesarek said.
One of Tesarek's most controversial pieces featured a buffalo with its ribs exposed — an image that held deep historical and cultural significance, symbolizing the near-extinction of buffalo during colonization and the devastating impact on Indigenous communities. However, not everyone understood the message.
"I didn't get a lot of positive looks, and a lot of people were like, why would you even draw something like that?" Tesarek said.
Tesarek said that once she explained her art, people began to understand. She also said that remembering history is crucial in order to create and grow a community.
Through both art and design, Tesarek is redefining how her cultural identity intersects in visionary spaces. She has partnered with other Indigenous creatives for ASU's Alliance of Indigenous Peoples during Native American Heritage Month, describing it as a meaningful experience. Though the path isn't always easy, she continues to use her work to challenge narratives and uplift deeper conversations about Indigenous experiences.
ANIMATION
Cecily Milynn Muir is a junior studying animation and the vice president of ASU's Women in Animation club, where she helps create space for women and other marginalized creatives in an industry historically dominated by men — who hold about 72% of animation jobs. Through advocacy and resource exposure, the club works to reshape the future of animation, making it more inclusive for future generations.
As a queer woman, Muir has often felt underrepresented in the animation industry. While her work does not explicitly focus on LGBTQ+ themes, her dedication to her identity has pushed her to demand more from her art. Muir describes this sense of purpose as creating in a way that serves her community.
"It's difficult to be a woman, it's difficult to be queer," Muir said. "Us being able to stand up, bring in these people, run these workshops, socialize and create the community, it means a lot to everybody here."
Muir attended multiple events for animators and visual artists last year but was disappointed by the lack of female inclusivity on the panels.
One event focused on highlighting women in the industry. Muir, initially excited, was met with stories of abuse, rejection and harassment and she left feeling disheartened. Muir said she had hoped the event would encourage her, but it only reinforced the struggles women often face in the industry. This experience made Muir realize that true empowerment starts at home.
"As a kid, you need to see those growing up and start small," Muir said. "As a college student, I need to see those people in the roles ... That will change the outlook of those coming into the industry, and it's going to change everything going forward."
Edited by Tiya Talwar, Abigail Beck and Katrina Michalak.
Reach the reporter at bmclar14@asu.edu and follow @clark_brande13 on X.
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