This is it. The very first local salsa fest in the Bay Area is over. 2 days and 3 nights, packed with performances, workshops, competitions and dances, dissipated like a dream. Those like me who experienced this event for the first time, felt like kids in a candy store: so many good dancers, so little time.

Local salsa scene consists mostly of social "butterflies" and the number of avid salseros who are striving to improve their dancing skills is relatively small. So this kind of feast that assembles experienced dancers from all over the world is a dream come true for salsa addicts.

Organized by Albert Torres Productions who has years of experience putting together one of the most prestigious salsa congresses (in Los Angeles) in conjunction with PB&G Dance Productions in San Jose, the first San Francisco congress will become an annual event and will most certainly attract large numbers of performers and dancers. After all, this city is a major tourist attraction with a mild climate and a unique reputation.

The congress lasted only one weekend, but two most popular salsa clubs in San Francisco, Cafe Cocomo and The Glas Kat, hosted pre-congress parties packed with local and visiting dancers who are spreading the word in their respective salsa communities.

The event was held at the luxury SFO Marriott Hotel with superb amenities and a complimentary shuttle to and from the airport. Several dance floors were placed in the huge ballroom divided during the day for workshops. (Some floor tiles were catching dancers shoe soles in their uneven metal frames)

Two days of workshops offered by some of the most respected local and guest instructors, included everything from styling to foot work to spin patterns to partner connection. The only thing missing was connection to the music. Only a tiny handful of salseros react to the song theyre dancing to. Its musical accents and breaks can and should be reflected in dancing according to most renowned dancers. That's what makes it a dance. You can see it more often in performances, choreographed and practiced in advance, but not on the dance floor. Whether consciously or subconsciously, spectators always appreciate this union of music and dance. Even in clubs dancers attuned to the beat always attract a lot of attention.

Why then most salseros don't do it? Ismael Otero, the director of Caribbean Soul Dancers and a master dancer, put it bluntly: "It's the instructors' fault, they don't teach it". Juan Matos who performed at the congress with Santo Rico Dance Co. and has a huge following attempting to emanate his style, offered the following explanation: "The music goes to my heart and makes me dance. Many salseros are too busy worrying about their moves to pay attention to the music".

Dance Performances

What distinguishes a successful performer? It's a perfect combination of many attributes including technical skills, passion and energy, original choreography, choice of music and its representation in the routine; even costumes and general impression.

Let's not forget that most salsa groups are not professional. The majority of dancers and even some instructors have 9 to 5 jobs. If some drop out, group leaders must train other hopefuls from scratch. Most of them have no professional dance training. They rehearse in their spare time and perform for free. They must contribute to the group fund and pay a fortune for their costumes. They do it because they love it, as simple as that.

It's a shame that in the country with such a large Latino population these dedicated individuals don't have access to wider audiences due to the mainstream media and entertainment business unwilling to take a chance and expand their horizon.

Nevertheless, even lacking support, a few remarkable groups achieved amazing results performing on professional level. Caribbean Soul from New Jersey always wows the audience with their flawless performance. Santo Rico from New York has its own unique style and flavor. Salsa Brava from Los Angeles is known all over the world for their spectacular choreography and high energy. These groups are known and admired in salsa communities everywhere on the globe.

Less known salseros seem to have inferiority complex feeling a bit intimidated by the presence of great dancers. However, the congress showed that many groups are not that far behind. Some concentrate on the complexity of their patterns, some polish their less complicated routines, some are keen on tricks.

Ritmo y Sabor from LA impressed the viewers with their reflection of a drumbeat in their music with a partners tummy serving as a drum.

Salsa in the Mix, also from LA, chose an interesting music selection and mixed it flawlessly. You couldn't tell if it was one song or several clips mixed together. It helped smooth out changes in their interesting choreography.

Ricasalsa's leader Ricardo Tellez from San Francisco always comes up with interesting dance themes. One of their previous routines represented marionettes with puppeteers. This time they showed cemetery corpses dancing with a Michael Jackson impersonator.

Salsamania, also from the Bay Area, demonstrated tremendous progress over the last couple of years in spite of changing group members. John and Liz, the groups leaders, managed to transform beginners into accomplished dancers. Two of their couples won several prizes, including first place at this congress professional competition on 2. This groups routines are always packed with complicated patterns and footwork.

Seaon Stylist Dancers from LA presented an all footwork number. Very good rendition, but Salsamania's footwork was more impressive.

Clave Kazi from Washington DC has its own style -- smooth yet precise moves, original footwork and response to music. The group's principal dancer Shaka Gonzalez Brown is one of the rare salseros reacting to the music in social dancing and he is just as impressive as he is on stage.

A relatively new Bay Area group, Tribu Nueva, presented a routine on the 60s theme with an amazing choice of music. It wasn't salsa, but it was a stupendous piece with a distinctive Latin flavor. Drew, the group's leader, always finds interesting music and creates simple but original moves to accentuate its breaks.

PB&G, the congress' host group, had to do double duty: group members were assigned different chores AND present their dance routine. Pretty Boys & Girls performed their tasks dutifully and were just as impressive on stage and off. Hats off to Ricardo and Michelle who found time to train their dancers AND launch this superb event.

It's impossible to comment on all the groups' performances, too many even to list. Few people realize how much work and dedication are required to learn to dance. All of the performers deserve recognition regardless of their stage skills.

One thought comes to mind, however. A lot of performers are trying various things to break out of the same routines. Different dance themes are often used. A choice of non-salsa music and moves are popular. Most groups choose hip-hop music and dance, a couple used swing tunes, but not swing moves. Salsa variations are centered mostly on top body moves while the steps remain almost the same. Footwork is done only in shines when dancers are apart. In tango the reverse is true: its a dance of the feet with dancers glued together on top. Swing is more balanced: it has a variety of foot and body moves. Super Mario from London comes up with intricate turn patterns and salseros flock to his workshops. Anybody tried to come up with a different footwork while dancing with a partner? Just a suggestion.

San Francisco International Dance Competition

This year there were 3 competing divisions: amateurs, professionals "on 1" and professionals "on 2". (For the non-initiated: basic salsa step can begin on the first or on the second beat in the 4-beat music bar) The majority of the East-coast salseros dance on 2, while the West-coasters prefer the first beat. It became a somewhat contentious issue with each side strongly defending its preference. You can see t-shirts and other gear with boldly printed "On 1" or "On 2" logos. (How about dancing on 1.5 or 2.5 etc.? It can be done)

However, more and more Bay Area dancers are starting to dance on 2. Even Salsa Brava, the hottest salsa group in LA, took up the issue in their performance with members sporting t-shirts spelling "NY, LA and PR (Puerto-Rico) United". Their presentation included a short "on 2" routine.

Are the two styles that different? Not really. Same moves, same patterns, same footwork whether danced on 1 or on 2. Again, it's the music that should dictate the preference, not some rigid beliefs. Old-style mambo and some jazzy modern salsa accentuate the second beat making "on 2" dancing a more natural choice. Many contemporary salsa songs are too fast even to notice that difference and many have strong "on 1" accents making dancing on 1 more engaging.

Amateur Competition

Some spectators were disappointed by the jury's choice of winners in this division. Yes, the audience preferred many attention-grabbing tricks of the Japanese couple in spite of their sloppy and often off-beat presentation. It looked like a collection of acrobatic exercises put together without any sense of dancing style. The couple that shared the first place with them was somewhat better, but Alex and Lisbeth from LA who took the third place presented a more pleasing performance than the first two put together. In the future, it would be nice if the jury were given an opportunity to explain their choices rather than blindly follow the audience's reaction.

Professionals ON 1 Competition

I don't think there was a soul present who disagreed with the jury's top choice in "on 1" competition. The flamboyant couple from Toronto, Canada, brought the house down. (What an oxymoron: "flamboyant" and "Toronto" in the same sentence) For the first time, I was proud of the city where I lived for 19 years before moving to San Francisco. Vive le Canada!

Orville Small and Ana Hovanessian, principal dancers of Salsation Dance Company, prepared an awesome routine that had everything: originality, passion, interesting choreography, perfect unison of music and dance combined with impeccable execution. It was so perfect that even in jealous and competitive salsa circles couples that lost did not dispute the Canadians' entitlement to the first place.

And it's not for lack of worthy competitors either. The second place was awarded to Roni and Dinora from LA who beat the legend himself Alex DaSilva and his partner Liz Lira. Alex taught just about every salsa instructor on the West Coast, but his routine used the same tired tricks we've seen many times before.

A local couple Peter and Lashion from the newly formed group Fusion Latina did not place in this competition, but this is a pair to watch. With more experience (and maybe sexier costumes) they will equal some of the best salsa dancers in the world.

Professionals ON 2 Competition

The jury's choice in "on 2" competition surprised even the winners themselves. First place was awarded to a Salsamania couple Luis-Antonio Aguilar and Abra Goldman who was transformed from an awkward beginner to a first place winner by her instructors John and Liz. Some time ago, sensing his potential, I told Luis he was going to be a star and now he is a hero for Bay Area salseros.

Caribbean Soul's couple Danny and Griselle, who managed to finish the dance holding onto her falling top with one hand, took the second place in spite of their well-deserved reputation of accomplished performers.

Third place went to Liz and Edwin from LA.

Milton Cobo from North Carolina decided to compete at the last minute and chose a partner form New-York. They did not place, but Milton and his brother James charmed many local and visiting dancers not only with their incredible dancing, but their sweet disposition as well.


Social Dancing

Last, but not least, the dances. That's what we're all there for -- the pleasure of salsa. Johnny Polanco band from LA plays enjoyable music, the songs could be shorter though. Jose Alberto "El Canario" sings beautifully, but his songs are easier to listen to than to dance to. You need a steady supply of energy to move that fast the whole night especially when DJ Frank continues to play "speedy Gonzalez" music between the sets and late into the night. (Too bad we didn't get a variety of DJs we were promised).

In spite of some insecurities emanating from many local salseros, I find that were lucky here in the Bay Area. We have some fabulous dancers who are a pleasure to dance with and who are eager to improve. They are just as good as some of the famous visitors.

We danced, we watched others dance, we learned more stuff, we listened to our favorite music. How do you define heaven? For salsa junkies this is it!

Overall, the congress was a smashing success. Bay Area salsa aficionados are thrilled at the prospect of this continuing event that's organized by the dancers for the dancers. In conclusion, to paraphrase a saying and to create a dancer's mantra, we can say: "To dance is good, but to dance good is better"..

Maya Salsaloca