Ea Torrado thinks contemporary dance is more than just a 'style' that most people are used to seeing in, So You Think You Can Dance. For her, it is many things new and fresh. It can be a new way of choreographing steps, new ways of placing dancers onstage, new ways of creating, producing and performing dances, new ways of interacting with the audience, or new ways of experimenting with the hows and whys behind a dance.
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| Photo by Tuchi Imperial |
Ea essayed principal and soloist roles in both classical and contemporary full-length ballets; has toured extensively in the Philippines and abroad (USA, Russia, Europe, Scotland, Cambodia, Japan) with Ballet Manila, Ballet Philippines, and Dance Theatre of Tennessee; and has worked as a guest artist for Contemporary Dance Map Philippines, Dance Forum, Airdance, E-dance Theatre, and Steps Dance Project. At 29, she is now the Artistic Director of Daloy Dance Company, the newest dance group in Manila. In the coming year, Ea will be dancing and choreographing Canton, a dance piece inspired by the life of survival sex workers in the Philippines.
Ea had some time last week for a quick interview before she flies to Vietnam and Singapore for performances and workshops at Ho Chi Minh International Contemporary Dance Festival and M1 CONTACT Festival.
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| Photo by Tuchi Imperial |
JB: How is Daloy different from other contemporary dance companies?
ET: In creating Daloy Dance Company, being "different" from other contemporary dance companies was not the goal exactly. In fact, I wanted to veer away from this competitive mindset of having to bring "something new to the table" to stand out. Truly, the intention that we had while forming the group was really to be authentic and simply dance the way we love dancing.
And this is really what "Daloy" (Flow) is all about: following that mysterious inner force within all of that, if we listen to, leads us in the most magical of ways. It brings the dancer back to the essence of dance, which is the pure singing of the mind, body, and spirit that can only be found within. I think it is a philosophy that doesn't abide by any one dance pedagogy, but allows dancers, and myself especially, as a choreographer, to find their own. This kind of paradigm is very exciting to me as it has opened the doors for a new kind of dance language, which I am currently developing. I hope to test this new language sometime next year.
JB: In creating dances, what/who were your influences?
ET: I am heavily influenced by a classical ballet background; the discipline of constant practice and the high standards of technique are strongly ingrained in my DNA. However, with my other influences in modern and contemporary dance and theater --- dancers and choreographers like Agnes Locsin, Myra Beltran, Denisa Reyes, Edna Vida and Julie Alagde-Carretas, and theater practitioner, Ana Valdez-Lim (from the Philippines); and choreographers Mats Ek, Jyri Kilian and Crystal Pite, and theater-practitioner Noa Rotem (from abroad) --- I constantly and consciously try to veer away from any rigid form of dance and create new ones.
I have also been influenced by yoga and eastern meditation techniques. Contact improvisation, which I have learned from international dance workshops and conferences, is something that has also peaked my interest. These have helped with achieving mindfulness in dance, being in the moment, and freeing my imagination when it comes to choreography.
JB: What are you currently trying to explore in your dances?
ET: In the recent past, I have been exploring themes of cultural and historical identity, social politics and feminine representations. This is reflective of my works since 2013. "Dots" explored middle class life in the Philippine metropolis and "Nga-nga" was a site-specific work performed in Intramuros, the old walled-city of Manila. "Sisa" and "Filipinas" both explored the role of the female as mother and Mother Country. "Dysmorphilia" comments on the prevalent issues on beauty and self-esteem, and "Canton" is inspired by impoverished Filipinos who trade sex for a packet of pancit canton.
In the future, I am interested in creating more site-inspired and site-specific choreography. I believe that by allowing the dance to come from the topography, history, and social context of both urban and rural areas, dance becomes part of the landscape in which it is being performed, and thus more relevant to those watching.
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| Photo by Jha Briones |
JB: What is your world view on dance, and how do you want to evolve with it?
ET: I have observed that a lot of dances recently have attempted to incorporate multimedia in their productions. I think a lot of dances are trying to extend their capacities with the use of technology (i.e. projection, video) as well as the use of spoken word. Other dances attempt to explore visual and aesthetic patterns, while others try to explore emotion and drama embodied in dance. So it seems dance has been evolving at "all fronts". This is exciting as it means there is a plurality in dance in the country, and this means new ideas, new works, and new dialogues in dance.
As a choreographer and dancer, trying to make the next groundbreaking thing in dance is not my top priority; I am simply creating from my own experiences and own current interests and ideas. These ebb and flow in my creative process; it is always in flux. I think by bringing this authenticity to dance, I create pieces that are meaningful and thought-provoking to audiences.
Ea Torrado website: www.eatorrado.com
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| Photo by Jha Briones |
