BALAM Dance Theatre: Saraswati's Forum

Saraswati's Forum

BALAM is launching Saraswati’s Forum, an extensive archival project to transfer digitally and catalog founding director Islene Piunder's exclusive archive of films, videos, slides, audio cassette interviews on Balinese Dance and culture.

This vital project will assure all future company members and guest artists will be inspired and informed by this exclusive body of information. The community will continue to benefit from these sources which motivate many of BALAM's customized programs that target schools, libraries, churches and temples, and community centers.

To sample a1988 audio interview from Ms. Pinder's library, click Islene and also see the accompanying 90 second slideshow that offers two photographs taken in Bali of her signature dance roles, Jauk and Spirit Window.

In 1984, Islene Pinder commissioned several original masks for BALAM's repertoire from the award winning mask maker, Ida Bgus Anom. These masks are still in use!

We need your help to secure these precious library resources for the future. Use the secure PayPal link on BALAM’s blog to make an electronic donation. (Click the Donate button found in the upper right-hand corner.)

Send your check payable to BALAM Dance Theatre in an envelope addressed to:

BALAM Dance Theatre
319 West 18th St., Apt. 4C
New York, NY 10011

Please join us now in continuing Ms. Pinder's legacy and BALAM's work in local communities around the globe. Your donation in any amount will help us accomplish this essential archival project!

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.