SALSA SURVIVAL: glass half-full or half-empty?

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How can we possibly worry about salsa survival in the Bay Area where salsa clubs like Cafe Cocomo and The Glas Kat are thriving; where in addition to already established and very popular yearly salsa congress held in November we just celebrated the second installment of the Salsa Festival organized by the leaders of Salsamania Dance Company John Narvaez and Liz Rojas?

The Second annual Salsa Festival took place at the Westin hotel in downtown San Francisco this past weekend and it felt like a full-blown congress with workshops, performances, visiting stars, vendors and even ever-present Albert Torres himself (this time only as a guest of the festival).

The hotel was more luxurious (even though last year we had better parking opportunities); the attendance was higher; the performances were short and sweet and the 3 big dance floors accommodated all dancers.

Even the music rocked with a newly created local band opening the festival at Cafe COCOMO Thursday night. Their song selections were very danceable and appealing to both experienced dancers and social crowd alike. If only they would shake off the irritating salsa bands' habit of playing long songs they would be perfect. Another new band - or rather a gathering of local musicians - played Sat. night to rave reviews. Some songs were too fast for many dancers sitting them out and, once again, cutting out uninspiring horn section improvisations would shorten the songs and improve the band's reputation. Fri. night was a DJ night and felt flat according to a quick poll of regulars.

With the skill level of local dancers rising every year there's no longer much difference in world-wide congress performances with mostly local groups representing Bay Area at the festival. Even world competition champs on 1 and on 2 - as fantastic as they were - should stay on their toes with others getting close with one notable exception: Eli Torres. This salsero from Philly, a follower with his partner Yen made a sensation at the last year's festival. In all the salsa dancers I've seen over the years - local and world wide - one would be hard pressed to find a match to Eli's incomparable technique.

Bay Area salsa is gearing for another major event already on the horizon - another congress-like feast for those dancers who live and breathe competition: US Salsa Open, to be held in July at the Oakland Marriott Hotel, the regular venue of the SF Salsa Congress. Organized by PB&G Productions, it already became a point of contention between traditional salseros who want to preserve the social dance origins of salsa and young dancers with competitive spirit.

This topic was one of the issues raised at the lunch time discussion about the ethics of salsa that attracted about 30-40 participants facing the 6 panel members across the huge dance floor. Speakers needed individual mikes to be heard. It would be more "user friendly" if it was held in one of many of the hotel's empty conference rooms so that people could interact on a more equal footing. Some comments would prompt a lively discussion given the opportunity, instead, it turned out to be a sterile question and answer session.

Still, the soul-searching question in the title seems to be on many dancers' minds these days. Why in this dance-fever craze going on in the mainstream shall we even ask? The prospects should be great: dancing is finally getting some attention and dancers - this long ignored and unappreciated group - is finally getting some recognition for the hardest life-time training they need in order to succeed in their craft. Does it mean salsa will finally get some American limelight?

Opinions vary, but before we cross that bridge we need to sort out our internal dilemmas. SF Bay Area salsa scene was bursting at the seams a few years ago when clubs, classes and workshops were packed with aspiring and advanced dancers alike. Everybody wanted to learn this fiery dance - fast! The influx of beginners prompted many skilled (and not so skilled) dancers to make quick cash by creating dance groups with intensive training sessions robbing the new trainees and their trainers of energy to continue their practice in social settings. Moreover, intermediate and advanced dancers driven to showcase their stuff by performing and competing abandoned the social scene as well.

The result? The very nature of salsa as a social street dance is changing. "Dancers" and the social crowd who support the scene by attending the clubs and providing the audience for the aspiring stars are growing further apart. Is it a worrisome trend that should be "forbidden" like some forum posters tried to insinuate? Not necessarily.

Dancing is a pastime with no laws and regulations. It has a life of its own and no forceful measures would be appropriate. The standardization of salsa similar to ballroom, necessary for fair competition rules, will erode the essence of salsa as a street dance open to individual interpretations. However, we should respect people's choices whether they want to keep salsa a social event or strive to become performers and competitors: to each his own. Nevertheless, to prevent further isolation and separation of salsa's 2 streams (and to prevent shooting themselves in the foot) group leaders must lead by example and encourage - even insist - that their members continue to support social dancing by attending the clubs and inspiring the newcomers. We should never forget that social crowd will survive without pro dancers as they did for decades, but the dancers and instructors will keep "boiling in their own soup" and fizzle without the influx of outsiders.

A few years ago I cajoled a producer to come see salsa performances at a congress. He walked out when family presentations and tears started. I didn't want to be crucified as a messenger of his comments then, but now, when so many in salsa community are striving to get exposure it would be worthwhile to hear him out.

First, it's fine to want to showcase your skills and measure yourself against others, but in spite of tremendous progress made, most salsa dancers are still not on the level needed to be on a professional stage with professional dancers who spent their lifetime in dance training, not only salsa patterns. To be less then perfect on TV you need to be a star first. Second, as long as salsa events remain in "la familia" they will never be broadcast in the mainstream media. The unsavory choice the organizers are facing is: dump the grandma or show the combination of 3 fingers to the media moguls(Are my nails ready yet? :-)

Another controversial point was made by DJ Fab Fred who came out in the open defending his long-standing philosophy of hiding, even soaking away labels off the records(!), in order to keep secret from the public and other DJs the names of songs and artists they liked. Even many artists and composers themselves do not want their creations blocked even from the non-paying public (record producers want that), but a DJ who did not create any of it and just happened to find a nice song to play is hiding it from you?!

It's beyond just being selfish. DJs play a crucial role in popularizing music; they get free samples from record producers, they're paid to play and it's their JOB to help bands and artists reach their audiences. It's bad enough that musicians busting their chops all night are paid less than DJs who spin someone else's music during the breaks!

Luckily, not every DJ agrees, even Fred himself. I got a few of my favorites' names from him until he accused me of sharing with other DJs. I was guilty as charged and would do it again if I ever hear something I like (once in a blue moon). Swing DJs actually hold music exchange parties where everyone is welcome to come, share their music, get something or just listen. There are websites where DJs post their music collections for all to see. We cannot separate the issue of salsa survival from the issue of popularizing its music and DJs have an integral part to play.

So, before salsa crosses into the limelight, we should all encourage each other including social dancers supporting the ambitions of others - if salsa does manage to get mainstream exposure, it'll be good for everybody. Salsa fans, dancers, DJs, competitors, musicians, promoters etc. should stop squabbling and present a common front appealing enough for the mainstream to take notice.