he was born in Buenos Aires in the neighborhood of Boedo and died, in that city, the same day that our beloved singer Roberto Goyeneche died.

She was nearly of all trades, but mainly and for several years she was a symbol of Buenos Aires. She was as well successful in theater, movies and television.

She started as actress, at age 6, in the casts of the Teatro Infantil Labardén. At age 8 she joined the Compañía de Obras para Niños (Theater company for children) directed by Concepción del Valle, later she continued studying classical dances in order to become a great dancer. Subsequently that teacher was summoned to lead the staff of dancers of the Teatro Casino and with her she made her debut as chorus girl in 1941.

In 1948 she worked at the Teatro Maipo alongside the comic actors Adolfo Stray and Mario Fortuna.

In theater she appeared with Tato Bores and Olga Zubarry in the play Madame Trece. She sang with the Francisco Canaro Orchestra and at age 24 she teamed up with the lead actor Carlos Thompson in the movie Los pulpos directed by Carlos Hugo Christensen (1948).

From then on she began a career by which she harvested great hits and accompanied prestigious figures. As lead dancer and vedette, she was called by Carlos Petit to appear along with Marcos Caplán and Pepe Arias, among other greats of the national scene. In the fifties she danced along with Tito Lusiardo.

Some of the films in which her blonde charismatic figure survives are Daniel Tinayre’s La vendedora de fantasías (1950), León Klimovsky’s El túnel (1952) and Leo Fleider’s La casa grande. But none was as successful as Rolando Rivas, taxista in which she was featured alongside Claudio García Satur who played the leading role.

Her career on television was remarkable in important programs: Tropicana Club, La Revista de Dringue, alongside the well-remembered Dringue Farías. In the latter program the producer Jorge Valliant suggested her to sing tangos, which she began to do since then.

She was called El Gorrión de Buenos Aires —in allusion to Edith Piaf— and she danced Mariano Mores’s milonga “Taquito militar” before several presidents of our Republic.

She recorded around thirty songs, among which we highlight “Me bautizaron milonga”, accompanied by orchestra, “El firulete” with the Trío Yumba and “Ventarrón” with the Orquesta Color Tango.

Beba Bidart was linked for over 12 years with the emcee Jorge Fontana. After their breakup, she adopted a child to whom she gave him her family name and called him Paulo.

She was forwarded as candidate to the Academia Porteña del Lunfardo on recommendation signed by Sebastián Piana and José Gobello which explains the purpose of making this institution a sort of senate of Buenos Aires which represented all the cultural activities. On November 2, 1991 the proposal was accepted unanimously and the Academia grew richer with the presence and the pleasantness of one of the most popular and beloved personalities of the city.

She occupied the Juan Francisco Palermo chair, left vacant by Nyda Cuniberti. She honored it with her customary modesty and her ineffable way until the day of her death. She passed away when she was resting after the duties carried out that day in her dancehall: Taconeando.

«She was a piece of Buenos Aires and maybe because of that she decided to return, turned into ashes, to be a part of the streets in the city» said the Academy member Eduardo Rubén Bernal remembering her during an academic session on the first anniversary of her death. And he added: «I’ll never forget the last time I saw her dancing. It was in this hall where, accompanied by Alberto Mosquera Montaña, and Beba Pugliese on piano, she gifted us with the poetry of a tango. Because dancing was her way of writing».