BALAM Dance Theatre: BALAM's Artists

Nani Devi, BALAM Dance Theatre's Resident Balinese Artist, teaches and performs several Indosnesian dances from the Indonesian islands of Bali, Sumatra, Java, Borneo and Sulawesi. Born in Tabanan, Bali, Indonesia, she began dancing at the early age and was noticed for her naturaln government to perform in the palaces of Bali for visiting heads of state, she has performed in Russia, Japan, China, Thailand, the Philippines, and the United States, among grace and sweet expression. Selceted by the Indonesiaothers. Her Balinese dance roles include the Legong, Oleg Tambulilingan, Margapati, and Terunajaya.

Toshinori Hamada, BALAM principal dancer and Japanese dance and theatre expert, originated the role of Rahwana, the demon king in BALAM’s Ramayana, and choreographed Sunda Upasunda, which toured Bali with the Semara Ratih gamelan. Schooled in Buddhism as a boy in a monastery in Japan, his love for traditional Japanese culture led him to study and perform as a Kabuki actor, and later Noh Theatre under the direction of Master Junosuke Watanabe. He also holds a black belt in Kyokushin Karate. In NYC, he studied Martha Graham Contemporary Dance technique and has performed extensively as a modern dancer throughout the United States. An independent film maker, he received several awards for his productions Dream on Flatbed and My Master, and presently writes and composes original Japanese/American musical dramas, such as Wind Chime, created as a tribute to the 2011 Fukashima Nuclear Disaster.

Robin Gilbert-Campos, BALAM Dance Theatre’s principal ballerina, is originally from Cleveland, Ohio, and is a graduate from the renowned North Carolina School of the Arts. A complete dance-artist, Robin brings strong ballet and point technique, musicality, dramatic ability, and performing charisma to all her performing work. Some of her Balinese-fusion dance principal roles include Sita from The Abduction of Sita; Tigerlily in Tigerlily and the Dragonfly, and Eve in Eden’s Mandala. She also performs as a Baroque dance guest artist working with Apollo's Fire, Haymarket Opera, La Fiocco, and the Hartford Symphony, to mention a few. Other performing credits include Ballet Verite, Michelle Brangwen Dance Ensemble, Periapsis Music and Dance, Benjamin Briones Ballet, Atlantic Contemporary Dance Theatre, New American Ballet Ensemble, Connecticut Ballet and Anglo-American Ballet. She has also danced in Musical Theatre, Industrial shows, Opera, commercials, and videos, and has worked with numerous choreographers including Peter Pucci, Ann Reinking, Lila York and Arthur Faria. In her non-dance life Robin is a drummer and vocalist for the Long Island based band The Generators as well as the duo Pagman & Robin.

Barbara Romero, BALAM Dance Theatre Spanish dance expert, specializes in Spanish dance, especially the Escuela Bolera School, while having background and experience in other forms. She began her Spanish dance studies with Ramon Ramos de Vigil and Jose Molina but considers Mariano Parra and Jerane Michel her most influential teachers. Ms. Romero has also studied in the US and Spain with others such as Luis Montero, Orlando Romero, Estrella Morena, Paco Romero, Maria Magdalena, and Fernando Romero. Her dance studies began with ballet and character at the ABT school, and modern with Dorothy Vislocky and Billy Siegenfield. Ms. Romero is a licensed massage therapist and a certified yoga teacher.

Yumiko Niimi, Dancer, made her debut with BALAM Dance Theatre in the title role of Sita in 2015, as well as performing as the Golden Deer. She has been featured in the ballet pas de deux from the Romantic ballet Giselle in company’s Out & About community service touring program and more recently in the salsa dance duet, Fantasia de Amor. She has worked as a principal dancer and performer in several operas and Broadway musicals including, Washington National Opera’s production of Norma, The King and I at the MUNY theatre, A Chorus Line, Evita, New York Theatre Ballet, Japanese Folk-Dance Inc.

Inma Heredia, BALAM Dance Theatre’s resident actor and host, brings vitality and joie de vivre to each of her appearances. A native of Seville, Spain, Inma has been showcased in a variety of entertainment settings ranging from acting and comedy to dance. She has performed in shows, plays, movies, and ceremonies around the world as an actor, singer, flamenco dancer, comedienne, master-of-ceremonies, and voiceover artist. Recognized as the first – and only – flamenco comedienne in the world, she created her one woman show, Divas de España and received the "Latinos Unidos" Press Award. Other New York City credits include Dulcinea in The Adventures of Don Quixote at the Hudson Guild Theatre, the Statue of Liberty in the musical, Dan versus the Statue of Liberty, Blanche in A Streetcar Named Desire, and as the host in the New York hit, Latinas Don't P.M.S, which premiered at the world-famous Apollo Theatre. She has been a guest performer at the United Nations, Central Park, and numerous Off-Broadway theatres.

Carlos Fittante, Artstic Director, Baroque and Balinese dance specialist, has received critical praise from the New York Times, Village Voice, and Dance Magazine for his performances and choreography. Some highlights from his diverse performing career include the Metropolitan Opera, New York Theatre Ballet, Semara Ratih Gamelan, Joan Miller and Dance Players, Danzas Españolas, and several prominent Baroque ensembles including Apollo’s Fire, Juilliard 415, and the Boston Early Music Festival. A graduate of the School of American Ballet, he has a Master of Fine Arts in Dance from the University of Wisconsin-Milwaukee and is an Adjunct Assistant Professor at Queens College: City University of New York, where he teaches Ballet and Introduction to Dance.

(Photo Credits top to bottom: Julie Lemberger, Dave Tierney, Neil Sapienza, Maria Gueros, Yumiko Niimi, Michael Morris, Kathy Whitman)

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.