The journey to becoming a successful professional dancer is incredibly challenging, demanding immense dedication, talent, and a touch of luck. Among the few who achieve this dream is Maria Torres, a New York-based dancer, choreographer, and educator making significant strides in film, television, and Broadway. Torres has carved a unique niche with her signature Latin Jazz style, a vibrant fusion reflecting her diverse background growing up in Brooklyn, with Puerto Rican, Cuban, and Dominican heritage. Her dance vocabulary seamlessly blends African American contemporary, ballroom, and various street dance forms, creating an aesthetic that is both captivating and accessible. Beyond her performance career, Torres is deeply committed to mentoring and educating young dancers from all walks of life, providing professional-level training through her nonprofit organization dedicated to emerging artists. Her work embodies the spirit and energy of a dynamic Latin Street Dance Company, even as she transcends genre boundaries.
Chicago audiences recently had the opportunity to witness Torres’ innovative style in “Echoes of Our Ancestors,” a piece created for Hubbard Street Dance Chicago’s winter series, “Of Hope.” This performance, presented alongside works by Rennie Harris and FLOCK, showcased Torres’ profound connection to her roots and her ability to translate personal experiences into powerful movement. We had the privilege of speaking with Torres about “Echoes of Our Ancestors,” her inspirations, and her perspective on nurturing the next generation of dancers within the broader context of latin street dance companies and beyond.
This collaboration with Hubbard Street marks your first, doesn’t it?
Yes, it does. Our initial connection happened at Jacob’s Pillow in 2022. Linda-Denise Fisher-Harrell, Hubbard Street’s artistic director, was there with the company. Observing their performance and engaging in conversations sparked the beginning of this project. Interestingly, one of their dancers, Abdiel [Figueroa Reyes], had previously raised the question of why Hubbard Street hadn’t yet commissioned a piece from a Latine choreographer. Fast forward a year, and it became a reality. I joined them in September to immerse myself in their world, allowing them to familiarize themselves with my technique and style. Then, I returned in January to begin the creative process for the piece itself.
How did the dancers adapt to your distinctive technique, which draws from a wide range of influences including what might be seen in a latin street dance company?
My dance background is quite diverse. Before transitioning to professional dance, my training began within my family, deeply rooted in folkloric dance traditions. I also competed in ballroom and hustle. So, when working with Hubbard Street, I drew upon this eclectic mix, describing our sessions as “from the home to Broadway.” This approach aimed to encompass the various layers of my personal journey and see what resonated with them as dancers. They embraced it wholeheartedly; they were eager for all of it. The company members were truly incredible. Beyond their talent, I genuinely appreciate them as individuals—they were incredibly supportive, curious, and genuinely enthusiastic about exploring new movement territories.
Tell us more about “Echoes of Our Ancestors” and the story it conveys. Does it reflect any elements you might see in a narrative from a latin street dance company?
When conceiving this piece, I reflected on my journey since 2020. As an Afro Latina artist in the industry, I was frequently asked to comment on issues of appropriation and related topics. I believe these themes naturally emerge in the work we create. With “Echoes of Our Ancestors,” I wanted to honor those who paved the way for me. I kept hearing echoes of the past, present, and future, which inspired the title. The piece unfolds in a nonlinear fashion, yet it follows a distinct emotional arc. Philip Hamilton composed original music for it, which was crucial. My intention was for the music and choreography to deeply resonate with the dancers’ individual movement qualities. It’s storytelling, but in a way perhaps unfamiliar to them, embracing diverse rhythms and movement languages often explored within latin street dance companies.
Since I don’t live in Chicago, it was vital for me to not only impart information but also to learn from the dancers, to gather insights that would inform the creation of a piece that felt authentic to both my vision and their experiences. Abdiel’s eagerness to explore made him my guide within the piece. Another dancer, Cyrie [Topete], shared that she was discouraged from dancing outside of her home growing up. This inspired a “liberation” section specifically for Cyrie’s character. The piece touches upon themes of nature’s grace, legacy, and the journey of how we arrived at this point, elements that resonate deeply within the narratives often explored by latin street dance companies focusing on cultural heritage.
Many contemporary works are now engaging with themes of ancestral acknowledgment and connecting past and present. It feels like a significant cultural shift.
Yes, 2020 certainly amplified these conversations. This younger generation—dancers like Abdiel and Cyrie—are demanding to see genuine representation. This movement stems from the social justice uprisings and a collective weariness of code-switching that many have experienced for years. The younger generation is pushing for authenticity, seeking out those who can share knowledge passed down through generations. I believe this demand is the driving force behind this artistic trend.
My own journey came from a place of facing constant discouragement. Early on, I was told, “No, you’ll never make it.” I didn’t fit conventional molds; I wasn’t perceived as Black, nor did I fit other stereotypical boxes—I was in between. I faced prejudice from multiple sides. My personal exploration became centered on understanding what it meant to be an Afro Latina woman in America, navigating spaces often not designed for me or those from a latin street dance company background trying to break into mainstream dance.
I encountered numerous obstacles. But, being from Brooklyn, being a full-figured woman, I was determined to find my way. I came from a family that consistently rose above adversity. When these questions about representation and identity began to surface more intensely in 2020, I initially didn’t fully grasp their origin, but I recognized the importance of sharing my story. My husband and I revitalized my nonprofit, recognizing education as a crucial component.
What I value now, and what I’m working towards, is not about dismantling established structures, but about fostering understanding and progress. Through unity and education, we can bridge divides related to race and background. Ultimately, we are all part of the human race. This is a core reason why I wanted to collaborate with Hubbard Street. We want to inspire those “little Abdiels and Cyries,” the young people who might not typically see themselves reflected in institutions like Hubbard Street, to realize their potential and know that they too can pursue their dance dreams, whether in a latin street dance company or on a larger stage.
Hubbard Street Dance Chicago “Of Hope” performed at the Museum of Contemporary Art, 220 East Chicago. February 22-March 3. Tickets and further information available at hubbardstreetdance.com.
