Dance Scene
Espiritu's Tau Dance troupe triumphs over adversity

By Catherine E. Toth
Advertiser Staff Writer

Peter Rockford Espiritu (shown here with dancer Holly Chung, right, in the 1999 production of "Cultural Slam") is celebrating the fifth anniversary of his Tau Dance Theater this weekend in "'Elima" at the Hawai'i Theatre. Donald Ranney Jr. photo

People change, landmarks fall.

So sustaining a dance company for that long is a significant accomplishment for Peter Rockford Espiritu, founder and artistic director of the Tau Dance Theater.

"It's monumental," said Espiritu, whose company will celebrate its fifth anniversary with a concert suitably titled " 'Elima (Five)" this weekend at the Hawai'i Theatre. "Especially with the climate of the arts here. To survive. You don't see a lot of us around. We're like rare birds."

Even in a place where ethnic dance is part of the local culture — celebrated, in fact — classical and modern dance styles are struggling to find a place — literally — in the community. (Finding affordable rehearsal and performance space is a continual problem.)

Still, Espiritu said, "It's actually getting better. I believe it has a lot to do with education."

Finding a way to keep performing, to bring modern dance to local audiences, is one reason Espiritu pours his soul into his company.

"Even my parents, who are educated but everyday people, would probably be more apt to watch a Hawaiian music group or track down Melveen (Leed) than watch a dance concert," he said with a laugh. "So I have to try and mix what I do, really heavily mix it with the culture."

The result is Tau Dance Theater's characteristic style: a sensual combination of classic technique with an exotic feel. Something extraordinary and unexpected.

" 'Elima" is classic Tau. Espiritu blends classic dance works with culturally inclined movements and sounds to create a synergy. It is classic and iconoclastic, traditional and non-traditional.

Espiritu flexes his modern muscles with a performance of the powerful "Aureole," created by modern dance great Paul Taylor and known for its grace and technical difficulty. It will be the first time a local dance company has performed the 1962 piece.

Tau will also present excepts from Hawai'i-born Earnest T. Morgan's "Olomana Suite," with additional choreography by Espiritu.

Morgan "is somewhat like me," Espiritu said. "He was a trailblazer, mixing what is culturally happening here with more abstract Western forms. I think that's my niche now. When people think of Tau Dance Theater and what I'm about, they associate me with modern Polynesian."

The night's opener illustrates Espiritu's passion for incorporating modernism with his local roots. "Petroglyphs," choreographed by Espiritu, features chants by Pualani Kanahele Kanaka'ole and Nona Beamer, with original music by Ron Perry.

"This is a real abstraction of cultural things," said Espiritu, who lamented the difficulty of describing Tau to those who've never seen them perform. "I've found the best way is to go out and show them what you do. You can't explain it, you can't talk about it. They don't know how two bodies can connect and will create a form of a petroglyph that moves that way."

Building a loyal fan base, one educated and appreciative of what Espiritu was trying to do, was difficult in the beginning. Five years later, Tau has 13 dancers (all local), does several large productions a year, and has acquired a network of supporters who contribute money, let the dancers use studio facilities and respect what Espiritu has built.

His goals now don't seem as impossible as did the thought of owning his own company when he first conceived the idea five years ago. He wants to continue to support and foster local talent, educate the community about dance through outreach programs and public performances, increase Tau's visibility on the national and international scene and integrate Pacific and Asian movements into Western dance.

But added to his list is to build a school, a foundation, a dance festival, all in the name of supporting and encouraging local artists to collaborate and create — a place away from urban stress, somewhere peaceful and close to the 'aina, a gathering of ideas, a place to learn.

"If we need to be based in Wai'anae, I'll be there," he said. "I see a farm, a barn yard, three to four shacks. An artist's colony. That's the way to go."

His only requirement: That it be in Hawai'i.

The Islands are an important source of inspiration and creativity for Espiritu, who is Samoan, Hawaiian, Chinese, Filipino, Spanish and Caucasian. He won't compromise his identity.

"To be a part of Tau Dance Theater, you need to understand that part of yourself, who you are," he said. "You have to have that connection. That's what Hawai'i is all about."