Movement Reveals Itself Through Motion: Milagros Vicente and Spanish Dance in Puerto Rico

With this phrase—“movement reveals itself through motion”—we closed one of the last interviews I had with my teacher Milagros Vicente (Santurce, Puerto Rico, 1939–2020), who introduced me to the journey of dance when I was three years old. From her I learned discipline and technique, but also respect for the different schools of Spanish dance and for the particularities of each. The information I present comes from the testimonies shared with me by Milagros Vicente herself and forms part of my doctoral thesis, Between Two Waters: History of Spanish Dance in Puerto Rico (1900–1960).

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Milagros Vicente began her relationship with dance at the age of four by learning to play  castanets. Between the ages of six and twelve, she was a student of Ruth Vera (1924–2013), and later studied ballet with Ana María Valdés Cobián de Saldaña (1909–1995) and Hilda Casals de Puras (1916–2005)—at whose school the teachers José Parés and Pepe Montes also taught, both of whom were fundamental to her artistic training. Additionally, she studied flamenco with Francisca González “La Quica.”

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In 1952, at just thirteen years old, Milagros Vicente began her artistic career by sharing the stage with prominent figures in dance in Puerto Rico such as Gilda Navarra, Ana García, and Pepe Montes. Performing alongside established artists at such a young age shows both her exceptional talent and her early access to significant performance spaces. Moreover, her participation in these events places her trajectory within the context of the cultural effervescence experienced in Puerto Rico in the 1950s, marked by the rise of Spanish dance and the consolidation of the ballet and Spanish dance school and company led by Ana García and Gilda Navarra.

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In 1953, Vicente expanded her trajectory by beginning both disciplines at the school of María Teresa Miranda, demonstrating an unusual level of maturity and technical command for her age. That same year, her international projection was strengthened when she participated in a performance at the Teatro Payret in Havana, Cuba, invited by the Compañía Estrellas de Cabalgata and accompanied by guitarist Chucho Vidal.

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In the interview we conducted with Milagros Vicente, she recounted that during a rehearsal at the Teatro Tapia, she was discovered by Zenobia Camprubí, a prominent Spanish translator and writer exiled alongside her husband, the poet and Nobel laureate Juan Ramón Jiménez. After living in Cuba between 1936 and 1939, both settled permanently in Puerto Rico until their deaths in 1956 and 1958. Drawn by the sound of her castanets, Camprubí attended one of Vicente’s rehearsals. Captivated by her talent, she arranged for her husband, Juan Ramón Jiménez, to see her dance as well. He was deeply impressed by the young dancer’s interpretive maturity.

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At that time, Milagros Vicente made her debut as a soloist at the Teatro Tapia, where she presented a program of Spanish dances accompanied by Elsa Rivera Salgado on piano, with Juan Ramón Jiménez in attendance. It had initially been planned for him to read an excerpt from La gitanilla by Cervantes, but health issues prevented him from doing so. Despite his prestige, he requested that his name appear in a secondary position on the promotional posters, reflecting the humility that characterized him.

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This event, which included the performance of twelve dance numbers, stood out not only for its demanding repertoire but also, once again, for the participation of Juan Ramón Jiménez, who read his text “Dance and Ballet” during the performance. His presence and contribution underscored the artistic significance of the event and validated Vicente’s interpretive quality. This debut marked a milestone in her career and reflected the intersection of exile, literature, and dance within the Puerto Rican cultural landscape of the time.

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In 1954, with the inauguration of television in Puerto Rico, Milagros Vicente was introduced as the finest talent in Spanish dance by pianist Jesús María Sanromá on the program Puerto Rico en el Arte, broadcast on Channel 2 and sponsored by Luis A. Ferré and the Ferré enterprises. During these broadcasts, Vicente was accompanied by Sanromá on two occasions: August 22 and October 24.

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In a third program, she collaborated with soprano María Esther Robles in a performance of Seven Popular Spanish Songs by Falla. In a fourth program dedicated to the same composer, Vicente performed the Farruca del Molinero from The Three-Cornered Hat, again accompanied by Sanromá on piano. Unfortunately, these recordings have not been preserved.

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Her outstanding participation in these programs earned her recognition as the year’s breakthrough artist. That same year, Vicente and her group performed at the inauguration of the Hotel La Concha, where they presented a Spanish dance program that demonstrated her commitment to cultural promotion and the dissemination of Hispanic dance traditions in Puerto Rico.

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In 1955, Milagros Vicente and Pepe Montes gave a recital at the Casa de España, accompanied by pianist Alfredo Romero Bravo. The program, divided into two parts, featured a repertoire of Spanish music and dance pieces noted for their variety and historical richness.

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Holding a concert at the Casa de España in 1955—an institution associated with pro-Franco affiliations—raises multiple interpretations about the complex relationships among art, politics, and cultural identity within the Puerto Rican context.

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Casa de España in Puerto Rico, founded in 1914, is a historic cultural institution in San Juan that preserves and promotes Spanish heritage through social, artistic, and community activities.

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In 1956, Milagros Vicente married Pepe Montes (see gallery image 1), and the two moved to Seville. That same year, she made her debut at the Teatro Calderón in Madrid, accompanied by Antonio González “El Pescaílla.” She also performed at the Sala Pasapoga in the same city.

In 1978, Milagros Vicente, together with Pepe Montes and their four children, settled permanently in Puerto Rico. By this time, Montes had retired from the stage, while Vicente focused her work on teaching and artistic direction. She founded her own dance academy in the municipality of Trujillo Alto, where she trained new generations of dancers. Her company, known as the Ballet de Milagros Vicente or Ballet Andalucía, stood out in various cultural events, contributing to the dissemination of Spanish dance on the island. That same year, Vicente participated in the Puerto Rican Theater Festival, organized by Ballets de San Juan at the Teatro Tapia, presenting pieces from the classical Spanish school.

In 1981, Spain’s Ministry of Foreign Affairs recognized Milagros Vicente’s career as both dancer and teacher, granting her an award reported in the newspapers ABC in Spain and El Mundo in Puerto Rico. After the death of Pepe Montes in 1984, Vicente continued developing her artistic legacy in Puerto Rico. She directed dance groups at the Casa de España and collaborated with La Peña Madrileña in the production of zarzuelas. In addition, she taught at prominent institutions such as the Centro Gallego, the Centro Andaluz, Ballets de San Juan, and the Conservatory of Ballet Concierto de Puerto Rico.

The legacy of Milagros Vicente endures through the training of her students and the continued presence of Spanish dance in Puerto Rico. Her career helped solidify a tradition that remains alive in the island’s cultural scene.

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