BALAM Dance Theatre: Islene Pinder Talks About Performing in Bali at 81

Returning to the stage after a ten-year hiatus can be a challenge for any dancer, but imagine being a senior citizen and dancing in a foreign country. BALAM Dance Theatre’s Founding Director Islene Pinder spoke candidly with Artistic Director Carlos Fittante about returning to the stage at 81 in Bali.

CF: What motivated you to return to the stage in Bali?

IP: I felt everyone in the company was so supportive of the idea that any worries I had about not being quick or perfectly efficient in rehearsal would not matter. I knew everyone genuinely loved the idea, so this supportive spirit really gave me the chutzpa to go ahead with my desire to perform again.

I was particularly fond of the idea of returning to the stage in Bali because of my many years and experience of learning, performing and teaching Balinese dance. It is my primary movement language and skill set. I also felt dancing in Bali was a fitting affirmation of the deep and loving relationship between myself and my adopted Balinese godson, A A Gede Anom Putra, and his beautiful family. It was the Balinese dance that first attracted me to Bali, but it was the connection to my Balinese family that kept me coming back with such passion.

CF: Did you have to do any special training or preparation?

IP: No. I did not do any special physical training, but I had to cultivate the right attitude. At first, I was intimidated by the idea; after all, it has been ten years since I last performed and I am accustomed to handling the executive, administrative side of running the company, which is a very different mindset.

I had to let myself focus on thinking of myself as a dancer, and did not worry about all the details for the creation of the new ballet for me. As BALAM’s artistic director, you handled all of those details, so I could just focus on my character and movement.

I am a dancer who likes repetition. I would say that was my “special training” to prepare myself. The company and I rehearsed frequently. In Bali, we would run through the dance right after breakfast on the terrace. As any dancer knows, repetition helps galvanize the new neuromuscular pathways needed for the movements to feel like second nature. I also used the run throughs to shape my character’s agem or body posture and to find the best angles and expressions for moving with the mask. Actually, a lot goes into performing any dance, especially if you want to be conscious of your work and do the best you can.

I had the comfort of knowing the choreography would be based on my movement preferences and strengths, and I knew the Balinese gamelan musicians would take pleasure in having me dance with them again. There was a lot of camaraderie, laughter and fun in the process.

CF: What was most surprising for you about performing again?

IP: The rehearsal aspect surprised me because I discovered I felt energized after our practices, even if I entered the studio tired and worried.

CF: Many people would think having this experience at 81 is special. Is there anything unique that your age has given you for performing on this tour?

IP: I was surprised that I wanted more, and that I could do more extensive dancing. The gamelan music still stuns and thrills me after all these years. I also think the Balinese gamelan musicians lovingly and playfully encouraged me because of my age, which, in fact, freed me. This comes from the Balinese cultural reverence for elders and family. We know and have worked with each other for years. Of course, my company members are always loving and joyful when I am able to be with them. The sense of family that permeated the process, the awareness, and the understood meaning of different generations creating together was a big part of this project. It was a joy and I felt blessed.

CF: Will you perform in New York, as well? Yes, because it is a continuation of a specific and special type of interaction with my company and I find the audiences in the Bronx, where BALAM performs every year at Lehman College, have a similar appreciation for family, as the Balinese do.

IP: This tour is more than just a business trip for you, since you are the godmother to your Balinese family. Can you talk a little about this for our readers?

No matter what work I have to do here in Bali, whether it is my movement research, commissioning new gamelan music or masks, or touring with my company, I have a deep and loving bond with Anom and his beautiful family. We take pleasure in being with each other and understand that our hearts are one. The fact that we can share in an artistic capacity, too, is just another wonderful expression of our love for each other.

CF: Now that the tour has finished, what is on the horizon for BALAM Dance Theatre?

IP: We have some performances coming up in the fall and we will continue to expand our artistic scope. I am excited by your work with actors and there has already been talk about a return to Bali in 2012 with more collaboration, maybe creating a dance for Anom Putra, yourself and Toshi Hamada. It is very exciting to think about.

CF: Any closing thoughts?

IP: I’m sad to leave and the time raced by, but I am moved that I had the opportunity to realize that at 81 I am not as distant from movement and my love of dance, which remains as strong a driving force in my body and life, as when I was a little girl.

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.