BALAM Dance Theatre: Making a Hindu Myth Real by Carlos Fittante

BALAM returns to Bali this summer to perform one of its favorite signature works, “Ramayana-Abduction of Sita”, originally inspired by the Balinese dance drama I witnessed in my first visit to Bali in 1990. BALAM has created an action packed story fusing Balinese, ballet, modern, karate, and belly dance movement to bring four archetypal characters to life. This work has been praised by audiences and received critical acclaim in Bali and the United States.

In preparation for Bali Tour 2010, I am reconstructing the work with a heightened attention during rehearsals to weaving the heroic drama of the characters, who are gods, with real and nuances of human expressions. To accomplish this, I draw upon some of my recent studies and artistic experiences.

Toshinori Hamada as Rahwana. Photo by Julie Lemberger

This year, I have been working with BALAM’s resident guest actor, Inma Heredia, as a movement consultant and choreographer for several of her physical theatre projects. This partnership coincided with my return to acting lessons at the Lee Strasberg Theatre and Film Institute, where I teach movement and also learn the Method. I have also recently taken a Kestenberg Movement Profile workshop introducing this rich system of movement analysis that trains the observer to perceive and understand the psychological meaning of movement.

These experiences have enhanced my ability to make simple, yet significant changes in the “Ramayana-Abduction of Sita” choreography. Throughout the ballet, the audience will see rich, dynamic choreography that is clearly motivated by the character’s dramatic intention, as well as experience powerful emotional transitions that are rooted in truthfulness. This skilled work from the dancer/artist demands a rich inner life and an ability to transmit this reality outward. This imbues the characters of the ballet with real human vulnerabilities.

This year’s version of BALAM’s “Ramayana” ballet is sure to move our audiences in Bali once again. The best elements of both worlds are joined, the superhuman drama of the gods and the real emotions of mortals. What better way to capture the audience and lead them through a deep journey!

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.