By Christopher Atamian

If the demographers are right, Latino is where the future is at in America. So, as it celebrates its 35th year, it's time to take notice of New York's Ballet Hispanico, the company founded by Venezuela-born Tina Ramirez in 1970 in order to bring Hispanic culture and dance to American audiences.

To properly honor the anniversary, the company is busy constructing a 12-story building behind its current west-side location, doubling its space in the process.

Over its history Ramirez has avoided "ism" movements and fine hair-splitting. Is her work contemporary or modern? Dance theater or performance?

The diminutive Ramirez brushes aside all such distinctions with a sweep of her arm: "I am interested in great theater and dance. Ballet means: dance with a storyline." Using leading choreographers, composers and set designers, she has sought to bring everything from classical ballet to modern, flamenco and other traditional Hispanic dances to the public. (In fact, in Ballet Hispanico's upcoming presentation at the Joyce, elements of capoeira and something choreographer Alexandre Magno terms the "Ipanema jam" are part and parcel of the action.) This probably isn't the place to re-open the somewhat dated "high-low" debate, but if ever there was a company that seamlessly melds folk with more recent as well as classical traditions, then it's Ramirez's.

A good example of the company's work is its new dance based on the Orpheus myth. Ballet Hispanico's production filters it through the lens of the master Brazilian pop choreographer Magno. His version of "Orfeu in the Carnival of the Souls" highlights the rhythms and dance elements of his native country, courtesy of Jobim, Gilberto and Moraes. (And the costumes by Anita Yavich and set designs by Eugene Lee are apt to surprise as well; a sketch of the Queen of Hell dressed as one mean postmodern beetle promises that audiences are in for a visual treat.)

The opening night program will also include "Eternamente y un Dia" (Forever and a Day), a seven-part homage by choreographer Peter Pucci to his native Mexican culture. A former member of Pilobolus Dance Theatre, Pucci has chosen music by Briseno and Sanchez that will be performed by those hi-low shapeshifters, the Kronos Quartet. Joyce Theater, Tues., November 29–Sun., December 11, 175 8th Ave. (at 19th St.), 212-242-0800; call for dates, tickets and showtimes.