BALAM Dance Theatre: “Sunda Upasunda-NYC Brothers” Revealed

“Sunda Upasunda-NYC Brothers” Revealed

One-on-One with Toshinori Hamada

Carlos Fittante sat down with Toshinori Hamada during Bali Tour 2010 to discuss his new piece “Sunda Upasunda-NYC Brothers” and its world premiere that just took place in the village of Kutuh, Bali on August 3. The story ballet, inspired from a Hindu myth that is often seen in Balinese dance performances, features an original score by the Semara Ratih Gamelan. Dancers Hamada and Carlos Fittante wear Baroque masks and Ratih Rismapurti performs the role of a Balinese dance maiden.

This is Hamada’s third collaboration with the Semara Ratih Gamelan. In 2005, he choreographed and performed a solo, Bali-Bolero and in 2007, he co-created the duet, KT Gamelan.

What did the process involve to present this new piece in Bali?

The process of collaborating in Bali was all about communication, scheduling and adjusting to jam karet or Bali time. The Semara Ratih is an amazing gamelan orchestra and I knew that what they created would be inspiring to me. The gamelan gave added breath, blood and vibration to the dance.

Before I arrived in Bali, I had an image in my mind of my piece. This image was shattered, when the reality hit of fitting it together with gamelan music in the short, speedy rehearsal process we had of about three days. This is a story ballet, and it was important for me, as the choreographer, to make sure the audience could understand the story and the message of the tale. For BALAM’s interpretation, I focused on the dangers of arrogance.

I also wanted the choreography to have a sculptural sense and for each moment to be a beautiful picture of epic beauty. Recently, I was at the Louvre Museum in Paris and was inspired by the myriad of classic statuary displayed there. My decision to use Baroque masks grew from those images of the statues that were dancing in my imagination.

I was amazed at the ability of the Semara Ratih Gamelan to create and play music that suited the traditional Japanese movements of my solo and Carlos Fittante’s Spanish dance inspired solo within the piece. I am thankful for this great challenge and experience and am happy at the good “campur” or mix.

Don't miss the next performance of “Sunda Upasunda-NYC Brothers" at the Sanur Dance Festival on August 7.

About BALAM Dance Theatre

BALAM Dance Theatre (BALAM), founded in 1979 by choreographer, dance educator, and movement researcher Islene Pinder, is a NYC based chamber-size ensemble offering a vision of contemporary dance that fuses diverse dance styles and historical periods from around the world. The company’s repertoire, inspired by the dazzling opulence and magical aura of Balinese theatre, blends eclectic movement and music, striking masks, imaginative props, and vibrant costumes to create a dance-theatre that appeals to audiences of all ages. The company 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, to mention a few. 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.

Awards Grant to BALAM Dance Theatre

Good news! BALAM Dance Theatre has been awarded a grant from the Puffin Foundation, Ltd. The grant will be used to perform in the Mountain Top Summer Residency Performance Program at Hunter Elementary School.
BALAM will be in residence from July 1-12, 20113 in Hunter, New York.

A workshop inspired by the Balinese Kecak, monkey chant, will also be presented to the students. The residency culminates with the students performing with the company members in BALAM’s signature work, Ramayana-Abduction of Sita.

“BALAM Dance Theatre thanks the Puffin Foundation for its support of our work with this grant. This is an affirmation of the quality and unusual programming we provide to communities at the grassroots level,” said Carlos Fittante, artistic director.

Isle of Bali

During the week of November 11, 2012, BALAM’s artistic director, Carlos Fittante, will continue to teach Balinese dance at Queens College (QC). One of the tools for this exciting segment includes a comprehensive video on Balinese daily life and ritual, Isle of Bali, created by BALAM’s founding director, Islene Pinder.

The 57 QC students, representing a range of ages and cultures, are enrolled in Fittante’s Intro to Dance course and will watch the documentary and enjoy wearing Balinese sarongs as they learn the fundamentals of Balinese dance. The students will use Balinese fans and masks provided from BALAM’s extensive inventory and experience firsthand the thrill and expressive richness. View a preview.

by Carlos Fittante, Artistic Director, BALAM Dance Theatre

What does it take to pull together an international dance company’s tour? A dance enthusiast asked me that question, which got me thinking about the skills needed to organize BALAM’s summer Bali Tour 2010. The stresses we face are typical – a tight budget, many things to do and not enough staff, etc. Rather than giving advice on stretching a budget, I want to share my directorial point of view that guides me in rallying the team to stretch the “kite string” all the way to Bali.

Maintain a good attitude. Interact with others with a calm and trusting disposition.

Create a sense of abundance. In your daily interactions and preparations, especially in rehearsals, try to bring a feeling of ease and availability to the situation.

Patience is a virtue. When required, I have developed the ability to slow down my pace during interactions, allowing time for me to get involved in the nitty-gritty of the problem, which reduces my potential for being annoyed.

Listen to the messenger. Try to understand what is said and simultaneously feel what is in the individual’s heart, as the person states it. The motivation behind the words is the essential communication.

Use these three lucky charms: breathing, smiling, and waiting. These three activities can help divert conflict.

Apologies can heal. The ability to apologize sincerely to a colleague is essential. Let the person know you care about their feelings, regardless of a difference of opinion. People are more important than getting what you want.

Acceptance is a sign of maturity. Be able to accept terms that are not your preferences. The creative process is all about accepting and incorporating boundaries and, at the same time, trying to stretch past them.

These realizations are at the foundation of my directorial style and have helped me throughout the planning of BALAM Dance Theatre’s Bali Tour 2010.

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.