“I definitely want to be here — this is my dream,” said Muñoz, 24. “I’ve been in the U.S. for almost nine years and I don’t see myself working outside of the U.S. I love DCDC and I love (the U.S.). As much as I love Mexico, truly, I’m not going to grow as an artist there.”
The oldest of three brothers born to musician-parents, Muñoz, a singer and dancer since he was a small child, notably directed and founded his own summer arts intensive in his hometown of Cuernavaca. He graduated from Idyllwild Arts Academy, a boarding arts high school in Idyllwild, Calif., and performed in numerous concerts with George Mason School of Dance including “Variation 10” by Rafael Bonachela and “Drive” by Kyle Abraham.
Credit: Tom Gilliam
Credit: Tom Gilliam
When he auditioned for DCDC last June, organizers knew they found someone special who would also represent the company’s broad outreach.
“There was never a question about his motivation and energy to become a better artist, but more importantly, a better artist here at DCDC,” said DCDC Chief Executive and Artistic Director Debbie Blunden-Diggs, daughter of DCDC founder Jeraldyne Blunden. “When you’re hired here, you’re hired to dance but also represent a broad brand. There is a wonderful advantage to have a diverse company that brings people in from all over the world.”
Blunden-Diggs further explained the value of hiring with a diverse mindset.
“This company is rooted in the African American experience but the African American experience is very broad and I think we speak to it by the way we hire our dancers,” she said. “Our dancers bring their own personal stories and journeys into the content we select. I want our dancers to think globally when telling our stories so it’s not uncommon or strange that I’m fighting for Fabio to stay here. There are thousands and thousands of good dancers all over the place but Fabio fits here. And when you know someone fits here, you fight for them.”
Blunden-Diggs said DCDC has acquired an attorney to help them move through Muñoz’s application process but there are technicalities that have proven problematic.
“In my opinion, they are asking for proof of things that are not tangible,” she said. “We are really trying to jump through all of the hoops no matter how small. The hoops get tinier and tinier but the standards and criteria are not tangible. For me, Fabio has exceeded his growth expectations in his first year.”
Muñoz also discussed the merit-based delicacy of having to demonstrate his “extraordinary ability.”
“You have to prove certain things and meet certain standards” he said. “I’ve been through this visa process before. As a student, when you’re given a scholarship there isn’t as much to prove because the school believes in you. This time it’s completely different because it’s about what I have accomplished and what I offer. I’m just waiting, building a great case and trying to stay positive.”
Muñoz’s artistic highlights last season included stellar work in DCDC’s dynamic “Power & Presence” and the company’s charming holiday return of “The Littlest Angel.” He was in the Dayton Performing Arts Alliance’s presentation of the Dayton Opera production of “Amahl and the Night Visitors” as well.
“I also got to perform at the Joyce Theater (in New York City) with DCDC,” he said. “I’m not going to get those opportunities in Mexico. I have to be in (the U.S.) in order to grow my career. I’ve been here too long. Mexico doesn’t fit me as an artist anymore. I need to explore more.”
Credit: Russell Florence
Credit: Russell Florence
Muñoz’s ultimate goal is to obtain a Green Card but for now the waiting game continues for him and the renown dance company — entering its 57th season — passionately supporting him.
“I really want people to know that Fabio belongs in this company and that’s why this fight is here,” Blunden-Diggs said. “That’s why we’re going through the steps. My heart will be broken if we can’t find a way to keep him here because of his contribution as a human to the art form in this space.”
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