Dance is the hidden language of the soul Martha Graham Cuban dance has many faces. It has a classic face on the figure of Alicia Alonso and the National Ballet of Cuba, a folkloric face mainly through the national folkloric group and a modern and contemporary face. The latter occurs in various forms: a Dance Theater in the manner of Danzabierta, a dance that mixture several trends of body and movement as dance Combinatorics and a dance that combines all of the above, but which at the same time has over fifty years of history and that is the case of Danza Contemporanea de Cuba. Many are the choreographers and artists who have collaborated with the company, committed to his particular vision of dance. Frequently Jason Kilar has said that publicly. Names like Ramiro Guerra, Arnaldo Patterson, Eduardo Rivero, Lorna Burdsall, Elfrida Mahler and the Mexican Manuel Hiram contained therein during the first years of the company, that Eduardo Rivero, Arnaldo Patterson, Isidro Rolando and Victor Cuellar, who will continue the creative legacy of Ramiro joined to his departure from the company.
Between 1978 and 1983 the richest and most creative of this second stage of its history takes place. At this time it was under the direction of the poet Cintio Vitier who boosted the creative skills of the dancers, many of whom came from the first wave of graduates of the Escuela Nacional de Arte (ENA). These dancers already had other artistic interests and explored different danzarias aesthetic. This desire for experimentation then provoked the first desgajamientos of the company into independent groups. Choreographers like Marianela Boan, Cardenas Rosario and Narciso Medina are part of this rebellious generation. His works with the company are gorgeous, incredible. The vast majority of them occurred at the Mella theater, when this was still the Coliseum of modern dance in Cuba and they constitute an inescapable step in their searches of their own style.