Susanne Zellinger: What were you like as a child? Did you already know you wanted to dance?
Rocío Molina: Oh yes, I knew very early on I wanted to dance. I was fortunate in that my parents supported me in every way. I wanted to dance, I wanted to work, and I wanted to learn – I didn’t have to be coerced at all. On the contrary, when the weekend came and I had nothing to do, I became intolerable. I would get angry and would cry without knowing why. I would whine until my mother would take me somewhere I could dance. I was always asking her to take me to some school or another so I could learn something.
SZ: You settled on this path very early…
RM: I can still remember it well: I had just had a performance, I was seven years old and I told my mother that I wanted to become a professional dancer. I asked her to enrol me in a school. My mother was a classical dancer herself at the opera in Brussels during Maurice Béjart’s era. I was able to fulfil one of her dreams. She helped me where she could, accompanying me everywhere, to Seville, Madrid, Granada. I was really very lucky.
SZ: When did you move to Madrid?
RM: I had wanted to move to the capital when I was 13, but I had to wait until I turned 15. My mother stayed on a few months with me, until I began studying at the “Real Conservatorio de Danza” in Madrid. She still comes to see a lot of my performances.
SZ: You had your first major success with “Oro Viejo” in 2008. What happened after that?
RM: Actually it was a very natural progression. I was curious and wanted to try out new things. “Oro Viejo” was still a rather traditional piece with a large ensemble, but from that moment on I began to concentrate on my own path. It was also the period of the economic crisis in Spain, but I was very successful at the time and I began to worry less and less about what people said. I was prepared to take a risk by turning to a contemporary style. My major shift came with “Cuando las piedras vuelen”, because I got to know the director Carlos Marquerie. He came from a theatre background and helped me to find an entirely new approach. He opened my eyes, so to speak. The collaboration with him resulted in “Afectos”, a little piece with the singer Rosario La Tremendita and Pablo Martín on double bass. In the wake of two quite ambitious pieces with a large ensemble, I suddenly had a desire to do something simple, small and clear, and I just wanted to dance without having to think about it too much. Then came “Danzaora” and finally “Bosque Ardora”. That was about being as a concept, whether of human beings or of animals, and about power, fear and territorial claims, but also about emotions, revenge, forgiveness, seduction, taming – about living, in other words.