Contemporary Dance Is More Than Just A 'Style': An Interview With Dance Artist, Ea Torrado

Interview by Jha Briones

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.

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.

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.

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

Photo by Jha Briones

SIGNS

(Taglish)

Sabi ko noon, I don't believe in Signs. Or should I say, hindi ko ma-identify kasi kung ang nangyari ay sign ba talaga from God, o nagde-daydream lang ako, tapos nangyayari lang --- kaya parang hindi ako naniniwala. Tsaka ang alam ko kasi, sa mga pelikula lang yun nagkaka-totoo, at sa mga script na binubuhay ng mga aktor sa teatro.

But last week, I did something. I tried "asking" or "praying" for a sign. A sign that I know could make or break me and my heart. Sabi ko, sige bahala na. Basta hihingi ako ng sign. Kailangan ko lang i-control ng bongga ang sarili ko na huwag gumawa ng kahit anong participation para sana matupad ang sign. Sabi ko, dapat, kung talagang nagkakatotoo ang sign, hahayaan ko lang na mangyari. Either hihintayin ko, or I will just let it be, and go on with my days ahead.


So I did the latter. As days unfold, with my usual work routine, meetings to attend, plus freelance activities, nawala na lang sa isip ko. Dumaan lang ang mga araw. Dumating nga rin yung mga araw na pilit kong inaalala ano nga bang hiniling ko. Para saan nga ba ulit. Natawa pa nga ako sa sarili ko, kasi, parang kalokohan lang yung ginawa ko. As the days come near the 20th of December, tsaka ko naalala ang hiling. Ang sign.

Simple lang naman, at maaaring mababaw para sa nakararami. Ang hiling ko lang naman kay God, was, IF talagang seryoso itong ginoo sa akin, tatawag siya ulit bago mag-sabado, na may kaakibat na tamang plano, at matinong desisyon kung ano at saan na nga ba talaga patutungo itong pagkakaibigan namin. Walong taon din mula nung una kaming nagkakilala. At sa walong taon na 'yun, bilang ko lang yata sa mga daliri ko sa kamay at paa, ang mga araw na nagkasama kami. The rest of the years, MIA (missing in action) siya, tapos bigla na namang lilitaw. Magpaparamdam. Sasabihing hindi raw nagbago ang feelings niya sa akin. Mula noon, hanggang ngayon. Kung kinuha niya sa script ng teleserye mga sinabi niya, for sure ma-e-MTRCB approve.

What surprises me, though, was that, every time he calls, he remembers every single detail of those counted days na nagkasama kami. Hindi daw niya nakakalimutan yung mga araw na 'yun. Samantalang ako, sa tagal at sa dami na ng nangyari sa akin sa pagitan ng mga taong iyon, halos wala na akong maalala. Sorry, pero I told him, maging hitsura niya, hindi ko na talaga maalala (hindi pa kasi uso ang selfie at monopod noon, kaya oo, wala kaming picture together).

At sa dami naman na ng na-encounter kong palitaw -este- mga lalaking lumulubog at lumilitaw, na hahanapin o gugustuhin lang ako kapag may kailangan, siguro naman hindi niyo ako masisisi kung after 8 years sa lalaking ito, eh tamang humingi na ako ng desisyon mula sa kanya, hindi ba? Kasi hindi na kami bumabata. Mukhang baby face lang, sige pwede pa. Pero this time, hindi na tamang makipag-laro pa. Hindi na tamang, maging palitaw pa. It's either his actions mean something (he calls -- not just texts me, and he's trying very hard to take time out of his very busy days to communicate with me. In short, he makes TIME for me. And this is VERY, VERY much appreciated. Halos wala pang nakakapag-laan ng oras na ganyan para sa akin). Or, his actions could be just that --- mere gestures. Walang meaning.

Kaya ako humingi ng sign.

Nung nagka-kuwentuhan kami ni Lord, hindi ko na maalala kung sa banyo ba o sa kalsada habang tumatawid ako sa EDSA nung huli ko siyang nakausap, sabi ko, isang sign lang po. Kapag tumawag po siya ulit before Saturday, at bigyan ako ng malinaw na sagot sa mga nakabitin ko pong tanong, maaaring siya na. Siya na nga po yata. Siya na nga po sana 'yung matagal niyo nang planong ibigay para sa akin. Sana. 'Yun lang naman po.

Tapos, natulog na'ko. Gumising. Nagtrabaho, at gumawa na naman ng kung anu-ano.

Then last night, my phone rang.