Under the direction of Miguel Iglesias, DCC presents its dancers with exceptional opportunities and with exceptional challenges as well. Along with the physical discipline required by a gruelling training regimen, Iglesias places a premium on a dancer’s spontaneity and intellect. “The grammar of dance, the words of dance, is movement,” Iglesias explains, “but a choreography must have a central idea, an intention. We must provide a dancer with the intellectual means to turn all this sophisticated technique into the language of dance.”
New faces are constantly appearing at DCC, and Iglesias sees that as another of the company’s assets: “Our approach always stays fresh. Each new member brings new experiences, feelings, intentions… They are young faces and bodies, some very young, but they are always extremely talented. Not all of them get to be stars, but we try to make sure everyone is playing the right role.”
With more than 70 works in its active repertoire, DCC has toured throughout the Americas, Europe, Asia and Africa. And this despite an annual budget that seems ludicrously small for a company of this stature. “We often lack the resources to make some productions happen,” Iglesias admits. “A choreographer needs money to materialize his dream. But let’s face it, sometimes the dreams are so great that no amount of money could make them real!”
