Logotipo del Inaem (Instituto de las Artes Escénicas y de la Música)

CND. The Company


To promote and divulge the art of dance and dance repertoire to a broad audience. This means consolidating a stable company, open to all dance styles, choreographic languages and different movement arts in general, embracing both Spanish and international creations. All this aims to draw in new audiences and to boost the company’s reach and scope at home and abroad. And it will be carried out within a framework of complete artistic and creative freedom. All this is guided by the principles of quality service for citizens and professional excellence, involving interest-group participation and a drive to educate, while ensuring efficient use of resources. The approach is underlined by the onward preservation, dissemination and performance of this invaluable and intangible heritage that is dance.


  • 01
  • The work carried out in previous chapters continues, with the CND consolidating its own identity and aspiring to further artistic excellence. That involves marrying tried and tested classic techniques with interpretation and versatility.
  • 02
  • A NATIONAL DANCE COMPANY WITH REPERTOIRES that are varied and widely recognised at home and abroad, incorporating not only classical, neoclassical and contemporary dance but also the most avant-garde expressions of the movement arts. The repertoires will be made up of emblematic historic pieces as well as creations commissioned by the CND to choreographers from home and abroad. All will bear the CND’s own distinctive language and stamp.
  • 03
  • EMPHASIS ON THE VISIBILITY OF WOMEN CHOREOGRAPHERS by including their works in the Company’s repertoire, by fostering commissions to renowned Spanish and foreign female choreographers and by creating a programme of women choreographers as part of the CND’s tours.
  • 04
  • CONTINUED TRAINING to improve each dancer’s skills as part of their ongoing learning process. That includes visits from teachers from home and abroad and covering a range of disciplines and styles. The working atmosphere is friendly, demanding and empathetic, enhancing career compatibility with TRAINING and PROFESSIONAL RETRAINING.
  • 05
  • THE CND AND EDUCATION. The CND supports conservatories and professional dance schools and is committed to the ongoing development of an educational programme and parallel activities.
  • 06
  • COMMITMENT TO INNOVATION AND ARTISTIC VENTURE THROUGH ATTRACTNG AND INTEGRATING ARTISTS FROM A RANGE OF DISCIPLINES, such as composers, designers, visual artists or creators working with new technologies.
  • 07
  • INCREASED NUMBER OF CND PERFORMANCES WITH LIVE ORCHESTRAS when working with theatres and auditoriums which have in-house orchestras.
  • 08
  • A PUSH FOR NATIONAL AND INTERNATIONAL TOURS in order to reach corners of Spain not yet visited by the CND as well as prestigious international expos and festivals.
  • 09
  • SELF-ASSESSMENT AND SYSTEMATIC FORWARD PLANNING AND PROGRAMMING. This involves a commitment to programming both tour repertoire and dates with as much forward notice as possible. This approach optimises resources and the possibilities of sponsorships and will be accompanied by constant contact, as well as cultural collaborations, with relevant institutions at home and abroad.
  • 10


  • The Compañía Nacional de Danza was founded in 1979 under the name Ballet Clásico Nacional and headed by Víctor Ullate as its first director. In February 1983, María de Ávila took on the directorship of both the Ballet Nacional Español and the Ballet Clásico Español, placing special emphasis on opening the doors to choreographers such as George Balanchine and Antony Tudor. Furthermore, María de Ávila commissioned choreographies to the American dancer and choreographer Ray Barra, at the time resident in Spain. She later offered him the post as full-time director, which he accepted and held until December 1990.
    In December 1987, the outstanding Russian dancer Maya Plisétskaya took her post as artistic ballet director. In June 1990, Nacho Duato was installed as artistic director of what was now called the Compañía Nacional de Danza (CND); a position he held for twenty years, up to July 2010. His incorporation brought about an innovative change to the company’s history and make up, with the inclusion of new, original choreographies within its repertoire, together with long-standing tried and tested works. In August 2010, Hervé Palito succeeded Duato as artistic director for one year. In September 2011, José Carlos Martínez took the helm as director of the Compañía Nacional de Danza, holding the post for eight years.
    On 28 March 2019, INAEM—the culture ministry’s performing arts’ institute—announced Joaquín De Luz as new Artistic Director as of September 2019.

Don Quijote de José Carlos Martínez. Bailarina: Haruhi Otani

Joaquín De Luz


Joaquin De Luz Portrait. Picture: Sergio De Luz

"Return. Change. Aspire. Roots. Homeland. Spain. Friends. Memories. Moving. Pride. Ambassador. Effort. Work. Projects. Challenges. Ideas. Longing. Reciprocate. Contribute. Thoroughness. Quality. Dreams. Drive​. Emotion. Respect. Responsibility. Zest. Come back. Home."  Joaquín De Luz


Joaquín De Luz, Madrid 1976.

He started his ballet studies at the Víctor Ullate school of ballet. In 1992, he joined Ullate’s dance company, where he remained for three years. During his time there, he performed choreographies by Ullate, Duardo Lao, Nils Christie, Hans van Manen, Maurice Bejart, Rudy van Dancing, Misha van Hoeke and George Balanchine. In 1995, he joined the Ballet Mediterráneo at the request of Fernando Bujones.

In September 1996, Pennsylvania Ballet invited him to join the company as soloist. There, he performed leading roles in classics such as Diana and Actaeon, Coppelia and The Sleeping Beauty, as well as pieces by Lynne Taylor-Corbette, Hans van Manen and Matthew Neenan, not to mention George Balanchine’s, Nutcraker, Tarantella and Who Cares.

In December 1997, he joined the corps de ballet at New York’s American Ballet Theatre (ABT) becoming soloist a year later. During his seven years at ABT, he performed key parts, such as The Bronze Idol and Solor in La Bayadère (Natalia Makarova, after Marius Petipa), Red Cowboy in Billy the Kid, Champion Roper in Rodeo (A. Demille), Blue Boy in Le Patineurs (Ashton), first sailor in Fancy Free (Jerome Robbins), Birbanto in Le Corsaire (A. M. Holmes), Turning Boy in Etudes (H. Lander), Yellow Couple in Diversions of Angels and Benno in Swan Lake (Kevin McKenzie, after Marius Petipa and Lev Ivanov). He also danced in Clear (Stanton Welch), Black Tuesday (Paul Taylor), Symphonieta, Stepping Stones (J. Kylián) Known by Heart (T. Tharp), Smile with my Heart (Lar Lubobitch), Gong (Mark Morris), Sin and Tonic (James Kudelka), Spring and Fall (John Neumier) Gaite Parisienne (L. Massine) (M. Graham), La Fille mal Gardee and Midsummernight’s Dream (Ashton), Variations for Four (A. Dolin), Bruch Violin Concerto No. 1 (Clark Tippet) and Symphony in C, Theme and Variations (George Balanchine).

In 2003, he jumped aboard New York City Ballet as soloist to become principal dancer two years later, in 2005. With that company, his experience includes dancing at New York’s Lincoln Center as well as many other of the world’s most emblematic theatres. With NYC Ballet he interpreted some of dance history’s most important parts and roles. That includes many Balanchine pieces, such as: Ballo della Regina, Coppelia, the Divertimento from 'Le Baiser de la Fée', Donizetti Variations, The Nutcracker, Harlequinade (Harlequin, Pierrot), A Midsummer Night's Dream, Prodigal Son, Raymonda Variations, Rubies from Jewels, La Source, Symphony in C, Tarantella, Theme and Variations, Tschaikovsky Pas de Deux, Union Jack, Valse-Fantaisie, Vienna Waltzes and Sonatine. He also danced many Peter Martins choreographies, such as Fearful Symmetries, A Fool for You, Jeu de Cartes, The Magic Flute, Naïve and Sentimental Music, Octet, The Sleeping Beauty, Swan Lake, Todos Buenos Aires and Zakousky. Similarly, he performed many Jerome Robbins pieces, including Andantino, Brandenburg, The Concert, Dances at a Gathering, Dybbuk, Fancy Free, Four Bagatelles, Interplay, The Four Seasons, The Goldberg Variations, Other Dances and Piano Pieces. Other performances include

Makin’ Whoopee, from Double Feature, by Broadway’s star choreographer, Susan Stroman, and Mercurial Manouvers, by Cristopher Wheeldon.

Some of the roles created for him include: Slice to Sharp, by Jorma Elo; Bal de Couture and Romeo & Juliet, by Peter Martins; Outlier, by Wayne McGregor; Year of the Rabbit, by Justin Peck; Concerto DSCH and Odessa, by Alexei Ratmansky and DGV—Danse à Grande Vitesse and Shambards, by C. Wheeldon.

Joaquín De Luz has appeared as guest artist with numerous international companies, such as Compañía Nacional de Danza de España (CND), American Ballet Theatre, San Francisco Ballet, Stanivslasky Theatre in Moscú, Ballet del Teatro Colón in Buenos Aires and the Ballet Nacional de Cuba, among others.

His many performances in international galas and special events include: Stars of the 21st Century, in París and New York; Intensio, José Carreño and Friends and The World of Diana Vishneva, in Tokio; Tribute to Nureyev in Rome. Additionally, he has appeared in a number of festivals, including the Ravel, Spoletto, Perelada, Santander, Madrid, Vail, Atenas and Miami festivals.

He represented Spain in the Lisbon Expo of 1998 and formed part of the tour Kings of Dance 2007-2011, touring across Russia and USA, to great critical acclaim.

Indeed, his career has received widespread acclaim and recognition, including prizes such as: the Gold Medal in Nureyev international contest in Budapest, 2006; the best male dancer prize in the Benois de la Danse in Moscow, 2009; the Madrid Region Culture Prize, 2010, and the Premio Nacional de Danza (Spain) for interpretation, 2016.

He has taken part in a range of TV appearances and events in USA, including: the Freixenet Christmas campaign 1999–2000; the NBC’s Today Show and Live from The Lincoln Center, on PBS. He also performed in Romeo and Juliette and The Nutcracker, with the latter being broadcast to over 600 cinemas across USA. Similarly, he danced in recorded performances of Le Corsaire with both the ABT and NYC Ballet in Paris.

Since 2008, he has worked as artistic director at the Estrellas ballet company in New York, with whom he has carried out tours in Europe, Asia, USA and South Africa. 

In May 2013, he debuted in the main role of the Broadway show On your Toes, New York, to great critical acclaim.

In 2017, he was commissioned as artistic director for the Menorca Danse Gala.

Since 2018, he has combined his roles as choreographer and artistic director with that of teacher and is under high demand to give courses and master classes at a wide range of institutions internationally. Currently, he is giving classes at the School of American Ballet in New York, at both the ABT’s JKO school and its Studio Company, at the Marat Daukayev School of Ballet in Los Angeles and at Philadelphia’s Rock School.

On 28 March 2019, Spain’s INAEM, Ministry of Culture and central government jointly announced his appointment, as of September 2019, as director of the Compañía Nacional de Danza (CND), succeeding José Carlos Martínez.

  • Joaquín De Luz. Foto/Picture: Sergio de Luz
    Joaquín De Luz. Foto/Picture: Sergio de Luz
    Joaquín De Luz. Foto/Picture: Sergio de Luz
    Joaquín De Luz. Foto/Picture: Sergio de Luz

CND Repertoire - Period 2011/2019. José Carlos Martínez



    • Auditions. Jardín Infinito. Nacho Duato

    • This email address is being protected from spambots. You need JavaScript enabled to view it.

    Follow us in Twitter


    In compliance with current rules and regulations concerning personal data protection, we inform you that the personal data obtained by our forms constitute part of the documentation that falls under the responsibility of INAEM Compañía Nacional de Danza and are treated by that entity with the aim of managing communications between  COMPAÑÍA NACIONAL DE DANZA and you. 

    This email address is being protected from spambots. You need JavaScript enabled to view it.

    Confirm Dates

    The programmes and dates appearing on this website are for general guidance only and may be subject to changes. Please make sure you confirm any programmed events with their respective venues, especially dates and times.

    Confirm Dates. Dancer, a part of her face is hidden by a hat



    All rights reserved. No part of this publication may be reproduced without the prior permission of Compañía Nacional de Danza.

    • Project Coordination: Maite Villanueva (CND)
    • Texts: CND