BALAM Dance Theatre: La-Tina Gets a Makeover

Robin Gilbert as "La-Tina"

By Carlos Fittante

New works often require revisions to integrate fully the material. The evolution of La-Tina, a humorous masked solo that confronts the stereotype of the sexy Latin female, exemplifies BALAM’s organic choreographic process.

Originally. I created the piece in 2007 for the company’s principal dancer and ballerina, Robin Gilbert. This first interpretation of La-Tina presented a masked woman performing a cha-cha-cha on point that debuted in the Staten Island Second Annual International Dance Festival.

A year later, this piece underwent significant changes, when Robin danced the solo in high-heeled shoes, rather than point shoes. The high-heel shoe version allowed the character to move in a more cha-cha-cha/ballroom manner, and let Robin concentrate on the presentation of the Balinese mask.

In September 2008, I decided to explore the theme of gender inherent in the solo by stepping into the role in the DUMBO DANCE FESTIVAL. Before I could present this new version, several changes were made. The piece’s first costume, a lace bell-bottom pants and halter-top outfit created by Edward Sylvia, did not fit me. I consulted Sylvia, an experienced designer of drag costumes, about how to transform myself into the character of La-Tina.

Using the same comedic Balinese mask, three inch red heels and Sylvia’s new, fabulous costume--an asymmetrical skirt and a padded halter-top decorated with ruffles--La-Tina in drag was born!

To help define this new character’s mannerisms, I consulted with theatre director Laura Drake. She encouraged me to perform the solo without the padded halter-top, as she experienced the juxtaposition of a man in drag and bare-chested as being more transgressive.

In November 2008, I performed the solo, complete with the padded halter- top in Coney Island Cabaret presented at the Puffin Room in SoHo, New York. The piece was an audience favorite!

The verdict is still out: Should the drag version of the solo be performed with the padded halter-top or bare-chested?

About BALAM

BALAM has performed throughout the United States and internationally at renowned venues such as: Lincoln Center Out-of-Doors, Jacob’s Pillow Dance Festival, American Museum of Natural History, and the Bali International Arts Festival. Its work has received acclaim from audiences, critics, scholars, and dignitaries alike, including critical praise mentioned in the New York Times, Village Voice, and endorsements from the Indonesian Consulate of New York, and the Governor of Bali.

The company's long standing interest in dance research, along with its extensive collection of Balinese masks, and cutural costumes and props, make it a resource for educators, artists, and scholars.

The Deeper Meaning of the "Ramayana"

By Shelley Lynne Cummins, www.jaisriyogis.com/

Shelley Lynne Cummins is a yoga and Oneness Blessing trainer, as well as a dancer.

The first two limbs in the eight fold path of yoga are the Yamas, Awareness of the obstacles in life, and Niyamas, cultivating practices to remove the obstacles. As these limbs are activated in harmony, a balance or zero point arrives allowing causality to permeate. The classic tale of the Ramayana is a perfect depiction of this inner balance Of polarities producing unity.

As a dancer and yogini, I have had the great opportunity to study and dance the Ramayana for many years. Every time I enter into this great epic, new realizations are found. It is likened to the dance of day, going to sleep and awaking again in the morning for a new play. Amidst the routines of life subtle realizations appear as the mystery of unity Dances around in the unseen worlds.

A yogini's reflection of this great great tale.

The Ramayana is the story of the divine marriage within. It is everyone's story with all the players aspects of their self. The story begins with a happy and harmonious marriage of Sita and Rama. Sita symbolizes the balanced female and Rama the balanced male within each individual.

One day Sita is enticed by a golden deer into the cave of the evil demon, Rawana.

The capture of Sita is a metaphor of the ego consciousness trying to gain control over the potential of all. The golden deer represents the possible deception and false allure of the illusion of this physical plane.

Upon hearing the news of Sita's capture, Rama gives his golden ring to Hanuman the Monkey King. He orders Hanuman to deliver the ring to Sita so she will know help is on the way.

Here Rama embodies his higher masculine qualities of protection of the unseen and the absolute creation which lives in his word.

The ring symbolizes the circle of light around the body, known as the merkabah or golden carriage of light.

Hanuman the Monkey King represents our monkey mind constantly chattering. As our mind unites with the purpose of reinstalling causality, it becomes a servant of the heart. In service Hanuman flies across the ocean to deliver the ring to Sita. He is able to tap into the One Heart Mind And use his merkabah to transport himself where needed.

Hanuman delivers the ring to Sita and upon his return tells Rama of her whereabouts. Rama goes to fight the evil demon, Rawana, for the release of Sita.

Rama is fighting the ultimate battle of light and dark in order to regain the feminine intuitive, All knowing, nurturing life force. The light always wins as it illuminates the dark corners and shadows. Rama reunites with Sita and together they live happily ever after in the diversity and play of unity.

And to think we know the whole story, the entire ring in the circle of life.We boldly go on experiencing each section of the ring.

As Joseph Campbell says: We are each a heroine or hero on a great journey.We begin enlightened creating a life of experiences in order to realize and reunite with our all encompassing light.