Cuba's digital destination
Miguel became pretty good at it and eventually graduated from the Higher Institute of Sports and Physical Education. But his wish of becoming a dancer had never died. He danced whenever and wherever he could at social centers, comparsas during the carnivals, anywhere.
In 1967, encouraged by a friend who was dancing with the Cuban Television Ballet, he did an audition and passed the test. Two years later, in 1969, he traveled to Camagüey to work with the newly-created ballet. He studied there under Russian dancer Azari Plizetski (Alicia Alonso’s partner for many years) and Loipa Araújo (one of the jewels of the Ballet Nacional de Cuba) and attended every course and workshop he could get hold of.
One day, he attended Medea y los negreros, by Ramiro Guerra’s Conjunto Nacional de Danza, and in his own words, it was like “a slap in the face” that woke him up to what he wanted to do with dance. He resolved to join the company and left for Havana. He didn’t achieve his dream right away in the meantime he even studied Spanish Literature at the University of Havana. In 1975, in spite of a sprained ankle, he did an audition and became the newest member of Conjunto Nacional de Danza.
According to Miguel, he is a man of action, not an intellectual who dances. He has never left any opportunity go by–he premiered both Marianela Boán’s and Rosario Cárdenas’ first choreographies; he has danced and acted. He has been in the right place at the right time.
He was offered the direction of the company twice, in 1981, when he said no, and in 1984. He was 37 and still physically fit to continue dancing, but accepted because there many things that he thought were not right with the company. After Ramiro Guerra, the company’s founder, there had been 14 successive directors, and some who knew nothing about dancing. Miguel describes it like a child who has had 14 stepfathers with everything that this implies. His goal became to unify the company and managed not only this but made his company the “mother” of many other modern dance companies in Cuba, like DanzAbierta or Danza Combinatoria.
As Danza Contemporánea’s director, he feels the need to share an artistic affinity with the people who work by his side, to listen to their opinions in the most professional manner and believe in their honesty. Their love for dance unites them in their enterprise.
Almost 30 years later, Miguel Iglesias’ Danza Contemporanea de Cuba is one of the most universal companies in the dance scene in the world and has proven its ability to adapt and interpret varied styles. Iglesias has preserved the innovative spirit of its founders and is faithful to the original premises, which has allowed him to be open to the latest trends in dance in the world.
“To talk about cubanía today,” Miguel Iglesias confides, “is much more complex than years ago. Young people have other forms of expression and that does not make them less Cuban than our traditions. I think as a Cuban because I’m a Cuban, but I am also a citizen of the world and do not feel the need to show folkloric scenes to reaffirm the Cuban character.”
April 2015 This article formed part of the March 2015 issue of What’s On Havana The definitive monthly travel & culture guide to Havana Download our current issue of What’s On Havana, your definitive travel, culture and entertainment guide for all things happening in Havana, Cuba’s bustling and enigmatic capital city. We include features from around Cuba written by the best international travel writers covering Cuba. Our monthly online digital magazine is also available in Spanish and French.
What’s On Havana What’s On La Habana What’s On La Havane April, 2015
English version Abril, 2015
Versión Español Avril, 2015
Version Francais Free Download Descarga Gratuita Telechargement Gratuit