la voz flamenca
FLAMENCO NEWS
FLAMENCO NEWS
Beloved dancer Manolo Rivera, a core figure in NYC’s flamenco community for decades, has passed away and left a tremendous impact on the art form’s history in the US and beyond, and touched many lives along the way.
Read on to learn about his beginnings and his life’s work: dance.
Research and writing by Flamenco Vivo friend, collaborator, and scholar Meira Goldberg for the NYPL 100 Years of Flamenco in New York exhibit (2013.)
“Born in Puerto Rico of Spanish grandparents, Manolo Rivera moved to New York as a small child. He began Spanish dance classes at age 7 with Lola Bravo, studying paso dobles, cape work, footwork, and castanets. At age 11 he found the teacher who would change his life: the dynamic Carmencita López, demanding and affectionate, who taught Flamenco, Spanish, and escuela bolera. Within months, he was performing with dance partners at Spanish social clubs, the Jefferson Theatre, and hotels. In 1962, Rivera was dancing Flamenco with Deirdre Correa at a Greenwich Village coffee house called El Gitano, while Carmen Amaya performed down the street at the Village Gate. He attended High School of Performing Arts, majored in Graham technique, and also studied ballet, character dance, and Classical Indian dance with Matteo. While still in high school, he danced with Carmencita López’s troupe at the 1964 World’s Fair and at Jacob’s Pillow with Alba/Reyes.
After graduating, Rivera toured the U.S. and Canada with José Greco, followed immediately by a 6-month tour of Asia as a featured dancer with Pilar Gómez. Upon returning to New York, José Molina invited him to Spain as the only American in a company which included Luis Montero and Antonia Martínez, culminating in a memorable 1970 performance at Carnegie Hall. Rivera went on to a brilliant career, featured as a guest artist and choreographer with María Benítez, Zorongo Flamenco, and Flamenco Vivo. He performed in Spain in venues ranging from Luisillo’s Tablao Los Cabales, where as a soloist he was distinguished by his eclectic and expansive style, to dancing with the great Antonio Ruiz Soler and as featured artist at the New York City Opera.”
Longtime collaborators of Flamenco Vivo and core Teaching Artists Aurora Reyes and Basilio Georges present Flamenco Latino’s annual Más Allá (Way Beyond) Series. This year’s series centers on the tongue in cheek notion that “We’ve Been Here Before,” a direct response to the rise of authoritarian ideas in United States, told through lyrics both sung and rapped, and above all, through movement. The 2024 Más Allá Series features guest artists Omar Edwards (tap) and Paige Stewart (hip-hop) who each compliment Flamenco Latino’s creative mission and style of innovative flamenco with salsa, jazz, blues and hip-hop flavors. You can even join them the day before for a free dance workshop combining flamenco and hip-hop!
Maya de Silva Chafe, a beloved Flamenco Vivo Teaching Artist, shares her very first installment of our La Voz Flamenca’s new West Coast Report! Hear about a one-of-a-kind flamenco campout festival happening this summer:
“I have become bicoastal, which gives me a view of West Coast flamenco happenings, so from these sunny climes I report! Now, so you can plan ahead, I highly recommend the Fiesta Fin de Verano in San Diego, CA (Aug 30-Sep 3). This 4-day, 24-hour-a-day event is jam-packed with stellar performances by well-known artists from Spain and elsewhere, parties, all-night juergas, classes in every aspect of flamenco, and fun activities for all ages. (Not to mention free massages, three delicious meals daily, bottomless wine, the list goes on. An unbelievable deal.) I have attended twice and can’t wait to return this year––this video illustrates the experience better than I ever could. If you want a raw, authentic, immersive experience, this is the place to be!”
Answer: Manolo Rivera!
Among a cast of other flamenco artists, NYC’s very own Manolo Rivera performed regularly at the 1964 New York World’s Fair, representing the art form on behalf of Spain. The fair was held at the ever-iconic Flushing Meadows Corona Park, with over 130 pavilions dedicated to different countries and companies, and reached tens of millions of visitors in its first year.
A notable moment in flamenco’s timeline, this was one of the Franco administration’s extensive strategic attempts abroad to synonymize the art form with Spain in the hopes of attracting tourists and bolstering Spain’s economy. Talk about a complex history!
Wondering what a spectacle this must have been? Hear firsthand from another key pillar of NYC and Spain’s flamenco community, and friend of Flamenco Vivo, scholar and journalist Estela Zatania. She visited the fair’s flamenco show many times, and recounted the experience in an article!