The Origins of Forró New York - A Personal Story from Campinas to NYC (2011-2018)
- Rafael Piccolotto de Lima
- Feb 3, 2018
- 6 min read
Updated: 5 days ago
This text was originally written in early 2018, during the first year of Forró New York.
At that moment, the project was still taking shape, and many of the ideas described here were just beginning to unfold. Since then, Forró New York has grown into a structured educational and cultural initiative, with classes, events, online programs, and an active role in the development of the forró scene in New York City.
This article is preserved as a personal and historical account of that early phase - a reflection on how the project started, the motivations behind it, and the context in which it first emerged.
A Different Future Than Expected
If there was a chance I could go back in time, meet my 20-year-old self and tell him that in the future he would be living in New York City, working as a composer, arranger, conductor, videographer, recording engineer, and teaching forró classes, my younger self would not believe it.
A lot has happened in those 11 years.
Living in New York and working with music were dreams of mine, so that part would not be so hard to believe. But teaching forró here? That never crossed my mind.
Falling in Love with Forró in Campinas
As a dancer, I fell in love with forró in my twenties.
I became deeply engaged in learning this dance during my early years of college. Alongside my musical studies at UNICAMP - State University of Campinas - which I always took very seriously, I spent a year going to dance classes almost every day at one of the most traditional forró venues in the countryside of São Paulo: Cooperativa Brasil, in Campinas.
My weekends were dedicated to social dances, where I could put into practice the movements I had been studying. It was a period in my life when I was dancing forró almost every day. It became clear that this aspect of Brazilian culture would remain an essential part of my life.
Miami - A Pause in the Dance
Five years and much forró later, I moved to Miami to continue pursuing my musical path. I began my Master’s studies at the Frost School of Music (University of Miami) and became a composer fellow and assistant conductor at the Henry Mancini Institute.
During that time, forró had to be put on hold. Not exactly by choice, but by circumstance. At that time, Miami did not have an active forró scene. If I wanted to dance, it would have to be back in Brazil.
I looked forward to my summer trips home, where I could reconnect with friends and immerse myself again in the forró community, dancing for hours, often until sunrise.
Arriving in New York
A few years later, another important transition took place.
I completed my doctoral studies and moved to New York in 2016 to be part of the BMI Jazz Composers Workshop.
At that moment, I had many ideas for artistic projects I wanted to develop.
None of them involved teaching forró, creating a website, filming dance videos, or writing about how forró could impact people’s lives.
Life, however, had other plans.
A Scene with Potential - But Empty Floors
Unlike Miami, New York City already had a history with forró. There were active musicians, established venues, and a group of people passionate about the dance. However, for reasons that were not immediately clear, the events were not attracting large audiences.
I remember one night vividly. I was at Nublu, in the East Village, speaking with a musician. The venue hosted forró nights regularly, but that evening it was nearly empty. There were barely more dancers than musicians.
I remember asking:
“How is this possible? A talented live band, in a city as multicultural as New York, and so few people here to dance?”
The musician was discouraged, as any musician would be with such a small audience. I was concerned as well. We talked and tried to understand what was happening, but we did not arrive at a clear answer.
Still, I felt strongly that I wanted forró to be part of my life again, alongside my work in music. I did not want to let that possibility pass.
On my way home that night, something shifted. Sitting in a quiet subway car, I began to imagine what could be done. I decided to create a platform that would help organize and promote the forró scene in New York City.
That was the beginning of Forró New York.
The idea was simple: make information accessible. Forrozeiros - both locals and visitors - should be able to easily find where to dance, learn, and connect with others.
I wanted to contribute to the growth of the forró community in New York, helping bring more people into the dance, strengthening events, and supporting the musicians and organizers already active in the city.
That same month, I registered the domain forronewyork.com and began building the website. At first, it felt like a personal project, almost like a hobby.
Around the same time, I was invited to teach forró classes with dance instructor Cookie.
That experience became another important step, helping introduce new people to the dance and expanding the local community.
After just a few months, I began to notice changes. The scene felt more active, more connected, and gradually growing. Many others, beyond myself, also began to take initiative, contributing in different ways. New dancers, organizers, and musicians became part of this process.
It reminded me of my early twenties, when I was first discovering forró. There was a similar sense of possibility, curiosity, and openness. Once again, I found myself looking forward to each event, meeting new people and continuing to explore the dance.
Looking back today, many of those early ideas became the foundation of what Forró New York is now.
What started as a personal initiative - building a website, sharing information, and teaching a few classes - gradually evolved into a broader educational and cultural project, connecting people through music, dance, and community.
This text remains as a record of that starting point, and as a reminder that what begins as a simple idea can grow into something much larger over time.
Since forró continues to grow through community, I leave here the same invitation that existed at the beginning. If you have a story to share, you are welcome to contribute. All stories are part of what keeps this dance alive.
At the time this text was originally written, I also recorded a short video reflecting on that moment.
It was filmed in 2018, in a more informal and documentary-style format, capturing both my perspective at the time and glimpses of the forró scene in New York as it was then.
If you’re curious to see that earlier moment - and to experience how the project and the scene looked and felt back then - I invite you to watch the video below.
Continuing This Story
As these first ideas began to take shape, the project gradually unfolded in different directions.
From the development of regular weekly classes to early events and collaborations within the city, each step played a role in building what would eventually become Forró New York.
If you’d like to explore how this process continued, you can read more about these moments below:
ABOUT THE AUTHOR
Rafael Piccolotto de Lima is the Founder and Educational Director of Forró New York, as well as a Latin Grammy-nominated composer, arranger, and music director.
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