SALSA MAGNIFICENCE


Bacardi Salsa Congress 2000
by

EILEEN TORRES

Salsa Magnificence describes what was experienced at the 4th Annual Bacardi Salsa Congress held in San Juan, Puerto Rico July 25-29, 2000. The event has always been great. However, this year, the Congress was exceptional. It took a giant leap forward in its production, quality and presentation.

A new sophistication was evident as the event took on the aire of a well-staged production complete with television, web, and other media coverage. Every element was more professional than ever before.

This year's Congress was dedicated to Tito Puente who passed into the afterlife on May 31 of this year. Tito's music has always been a favorite among the performers. This year, we heard the largest number of selections from his vast repertoire.

This year's registrants represented 30 countries including Austria, Australia, Argentina, Canada, Chile, China (Hong Kong), Colombia, Cuba, England, France, Germany, Guadeloupe, Holland, Italy, Japan, Martinique, Mexico, Panama, Peru, Portugal, Puerto Rico, Slovenia, Sweden, Switzerland, Venezuela, United States, and Uruguay.


New features were welcome additions to the already abundant offerings. The Expo Fair was a hit. An exhibit hall was open daily from 10:00am-6:00pm. The U-shaped hall housed the registration area, a photo gallery featuring vintage pictures of Tito Puente and others, the cyber cafÈ with a long row of computers, exhibit booths for the sale of various dance related items, fresh coffee sampling, and a snack and beverage bar. Basic dance instruction and music by international Disc Jockeys was offered each day in the Expo. In addition one could meet and obtain autographs from stars like Michael Stuart, Tito Nieves, Jose Alberto "El Canario" and Tony Vega.

Salsa Congress Exhibit Hall

Two stages were set. One was for the live orchestra which played every afternoon; the other for the dance exhibitions. Dividing the dance exhibitions into two parts, afternoon and evening, made for a more even distribution of entertainment and allowed more time for dancing to the orchestras at night.

The newly renovated Caribe Hilton had the space required to comfortably host the 2,000+ attendees. There were adequate rooms for dance instruction, rehearsals, performances, orchestras, and dancing. The daily lectures and conferences were held in a small theater within the hotel.

Two ballrooms were reserved for the evening activities. One containing over 1,600 seats was set for the dance exhibitions. Professional multi-colored stage lighting and spotlighting highlighted the production. At times, the stage went to black to allow the performers to appear in dramatic poses when the lights came up. At other times, the dancers filed out from the wings. The other ballroom was set for the orchestras and the dancing by the attendees.



El Gran Combo
The Salsa Congress is not merely a dancer's delight. It is a musical extravaganza. For music lovers, the Bacardi Salsa Congress is akin to the Heineken Jazz Festival. In five days, one experiences the tremendous music of 14 orchestras. This year, the line up included Sonora Poncena, El Gran Combo, Roberto Roena, Andy Montanez, Tito Nieves, Cano Estremera, Jose Alberto "El Canario", Puerto Rican Power, Victor Manuelle, The Congress All Star Band, Conjunto Chaney, La Criolla, Truko Y Zaperoko and The Music Club. All put on tremendous shows. Special guests, Michael Stuart and Tony Vega were called to the stage to sing with other groups.
Several deserve special recognition. Sonora Poncena this year celebrates 45 years of providing the highest caliber of dance music. Their style of music is unmistakable; no one else sounds like them. Their extended performance of Yambeque was fabulous. They demonstrated how a piece of music from decades ago sounds as good today as when it debuted. In fact, their music remains head and shoulders above much of today's modern Salsa. They gave this author's favorite performance.

Jose Alberto "El Canario" is one of the few artists who consistently delivers top-notch performances. His talent is exceptional. He is perhaps the most well rounded Salsa practitioner. His show comes with the energy of a world champion aerobic instructor. He is a master bandleader that commands the musicians with discipline and authority. He is able to bring out the best of the musicians under his direction. He is also an inspired sonero (improviser of lyrics).

Speaking of soneros, we were treated to the mastery of the art by Cano Estremera. Cano was lead singer for Bobby Valentin for a number of years.

He delighted us with a string of hits and his tongue twisting, multiple rhyming, speedy method of improvising. His show was abbreviated due to the lateness of the closing night dance exhibitions. This was disappointing.


Sonora Poncena

The Congress All Star Band is comprised of some of the island's finest musicians. They performed a set of Tito Puente 's music in a tribute to the King. His music resonated through the hall and in the heart and minds of all in attendance.

The biggest surprise came from the new kids on the block, The Music Club (T.M.C.). This group gave a show that no one expected from the younger generation. T.M.C., with two CDs under their belt played with an energy and exuberance that was electrifying. Their music rocked! On top of that, they had a very exact and tight three-part vocal harmony. Their lead singer, Canito sporting a bleached blond hair color, proved that younger singers can improvise. Watch out for this group.


The Bacardi Salsa Congress 2000 had 65 dance teams representing 18 countries. For the first time, a special day was set aside for performances by children's and youth groups on Saturday afternoon. Eight youth groups demonstrated that Salsa is alive and flourishing in the younger generation. Children as young as seven displayed talents that many adults strive to achieve. Even the groups that had only been practicing for a few months showed stage presence, enthusiasm, energy and good ability.
Dancing skill is at an all time high. Each year the dance performances have been terrific. In the past, a few groups stood far above the others. This year, the gap narrowed to a large degree. It is apparent the performers have devoted much time to strength training, flexibility, balance, group timing and overall dance technique.

The choreographies were more interesting. There were more themed stagings employing the use of props including, tables, chairs, canes, hats, parasols, tents and the use of magic tricks. The African roots of Salsa became a strong focus in some of the numbers. The audience was treated to Salsa mixed with African, Spanish, Brazilian, Cuban, Puerto Rican, Japanese, Mexican, Argentine Tango, Swing and other influences.

The costumes were more beautiful, elaborate, glitzy, and sexy than ever. Salsa Brava sported zoot suits and matching hats in hot pink, bright yellow, red, purple, electric blue, green, and other colors while the women wore dresses and hats appropriate for that fashion era in corresponding colors. Several groups wore costumes that were taken off to reveal another underneath.

Many groups gave mesmerizing shows. The execution was superb. The group timing has improved so dramatically that the unison moves many times were so precise they appeared like mirror images. Full extensions of the legs and thoroughly completed moves were the rule rather than the exception.


Some of the women, especially in the super group from Puerto Rico, "Papa Tambor", had abdominal muscles so toned and tight that when they breathed deeply from the diaphragm their "six packs" became visible. In a solo couple performance, "Papa Tambor's" Gisela Rivera, with her trademark braids, completed the routine with a difficult gymnastic move. She was raised above her partner's head by her arms with her legs elevated in a sitting V position held in place for what seemed like forever. She is incredible.
Numerous standing ovations were given to the best dancers. A men's group from Venezuela, "Latin Jazz Dancers", was marvelous. Their performance containing a high degree of difficulty was clean, polished, and impeccably executed. The acrobatic moves within their Felipe Polanco-style Mambo routine were a great counterbalance to the elegant and suave performance.

Melanie and Tony Lapatin, United States Latin American Dance Champions danced with grace beauty. Their passion for the dance and flawless execution left the audience in awe. Melanie and Tony dance with a dignified authority laced with sultry innuendo. They are well known as champions and were asked to sign many autographs. They attended the Congress in its entirety and mingled with the other attendees to the delight of their many fans.

Melanie N Tony Lapatin

Melanie N Tony Lapatin on stage!


New York's Tropical Storm
New York's "Tropical Storm" comprised of Rebecca Sweet, Gildred Ribot and Anya Fuchs demonstrated clean execution, strong technique and vibrant energy. The Italian teams looked great and performed extremely well.

Eddie Torres, known the world over as the Mambo King, is responsible for developing a teaching technique and terminology used by many dancers and instructors today. In a memorable display of generosity, the Mambo King bestowed the title of "Prince of Salsa" upon Johnny Vazquez of Los Angeles.

Johnny graciously, humbly and with visible emotion, accepted the honor.

Johnny Vazquez and his partner Olivia Dasso, are considered one of the best couples in their field. In a very different choreography, both appeared on stage in Mexican "charro" suits. The number included Johnny singing a Mexican Ranchera to taped Mariachi music. His voice is quite good.

For the first time, a team of international dancers was fielded to perform a tribute to Tito Puente. Angel Ortiz of New York asked for volunteers via the Internet to participate in the tribute. He choreographed a number to Puente's Mambo Birdland. He called for two rehearsals during the Congress and then presented the number. Thirty five dancers from New York, Hawaii, Puerto Rico, Japan, Sweden, Holland, Hong Kong, Italy, Guadeloupe and others performed. At one point the males turned around to reveal tee shirts that spelled out the name TITO PUENTE. The crowd went wild. (Angel has just announced he will be auditioning dancers to become part of his new group Team New York. Interested parties should contact him for details).

Registration was quick, smooth and easy. You gave your name and were issued registration materials, a number, and a ticket for the official Bacardi Salsa Congress tee shirt. You then took your number to the next table and were photographed and issued an identification badge. You then went to the tee shirt booth to pick up the tee shirt.

Traffic flow was very controlled. At the entrance to the ballrooms you presented your I.D., had the date punched, and were shown to the performance ballroom. There was another door designated for exiting. Upon leaving the area, you were marked with a stamp visible under black light. You then returned to the entrance and showed the stamp.

The Andy Awards are named for Mambo Ace, Anibal Vazquez who died last year of a heart attack. This year, four awards were given in his honor to people or entities that have continuously supported and promoted Latin American music, especially Salsa. The recipients, selected early this year, were percussionist and bandleader, Tito Puente; dancer/instructor, Laura Canelias: CEO of RMM, Ralph Mercado; the bar, El Coabey: and radio station Z 93/95.

There was more media coverage this year than before. Lamusica.com and Starmedia.com were a constant presence. Lamusica.com transmitted live coverage of one evening's staged performance. The Latin American arm of HBO was present filming the exhibitions, bands, dancers on the floor, and interviewing the audience.

There was a large staff with dedicated duties and specific responsibilities. An outside company was hired to handle registration. Other staff handled the meeting room assignments, audiovisual, and other technical needs. A different group managed crowd control.

As wonderful as the Bacardi Salsa Congress 2000 was, there is still room for improvement as is the case with any young event. The start time for the evening exhibitions were not adhered to. The audience was kept waiting far too long. The Masters and Mistresses of Ceremonies talked too much and on two nights, solely in Spanish. Non Spanish speakers were lost. A full, wooden, level dance floor is needed.

Based on the vast improvements made this year, there is no doubt that next year's Congress will be beyond magnificent!

NOTE: Photos Courtesy of Fernando Lamadrid. To see complete photos visit www.justsalsa.com

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