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Teacher · Innovator · Performer

Sharna Fabiano

Champion of the Follower's Voice

ContemporaryUnited States

Why They Matter

She reframed following as a sophisticated skill of active receptivity and applied partner dance dynamics to leadership theory, bridging dance and organizational development.

Known For

Lead and Follow frameworkTango performanceLeadership consulting through danceAuthor of Lead and Follow
TangoTeaching / Dance Education

Watch

Sueños y Sombras — Valeria Solomonoff and Sharna Fabiano

TangoMujer / authorized archive

Documents Fabiano's TangoMujer period and requires equal credit to Solomonoff.

Sharna Fabiano and Aja Fenn Argentine Tango

Aja Fenn / Tango Mercurio event

Shows role switching inside social improvisation with community-orchestra context.

Sharna Fabiano and Aja Fenn — Tang-O-Rama

International QueerTango Festival San Francisco

Documents Fabiano and Fenn in an explicitly queer-tango festival setting.

Tango Danza: Uno de Sharna Fabiano

Festival Internacional Cambalache

Supports the distinction between social tango practice and staged solo composition.

How Argentine Tango Changes the Way We Connect

Sharna Fabiano and Dan Istrate

Provides first-person context for Fabiano's tango journey and relational practice.

Conversation with Sharna Fabiano — Improvisation, tango and coaching

act/re/act

Documents how she connects dance practice to later professional-development work.

Biography

Sharna Fabiano is a dancer, choreographer, teacher and community organizer whose work centers on Argentine tango as both a performance practice and a vehicle for reciprocal partnership. Over more than two decades, she has trained across physical theatre, contact improvisation, modern and postmodern dance, somatic conditioning, and Argentine tango, developing a distinctive approach that challenges conventional role assignment and invites continuous negotiation between partners.

From 2003 to 2006, Fabiano was a member of TangoMujer, the world's first all-woman tango company. Performing alongside Valeria Solomonoff in the company's "Leading Ladies of Tango" repertory, she helped demonstrate that stage and social tango roles need not be mapped onto gender. Between 2006 and 2011, she directed her own performing company and produced three evening-length works at Dance Place in Washington, D.C. Rather than simply presenting social tango under stage lights, her choreography used postmodern structures, physical theatre, text, images, soundscapes and silence to make visible the intimate negotiation of attention, choice and connection that social tango requires.

In 2008, Fabiano founded Tango Mercurio in Washington, established to develop a large, diverse local tango community and present tango as a form of creative expression and connection. By 2018, the organization operated 235 classes, hosted more than 2,500 student visits, graduated eight teachers from its foundational teacher-training program, hosted sixteen visiting guest teachers, and presented five monthly dance events. Tango Mercurio documented that between 1997 and 2017, Fabiano taught thousands of people, toured as a guest artist across North America and Europe, and traveled by invitation to Phnom Penh and Havana. She completed an MFA in Dance at UCLA in 2014, focusing on how to represent intimate partner connection on stage, and later taught in UCLA's Dance and Theater departments.

Fabiano's work increasingly articulated tango as a study of reciprocal leadership. Her 2021 book *Lead & Follow: The Dance of Inspired Teamwork* and accompanying podcast translate principles from improvised social tango—where both partners continuously sense, propose, interpret and adapt—into a framework for collaboration and organizational practice. In recent years, she has developed new community practice in Long Beach, California, offering donation-based tango classes, practicas and the Altar Milonga, a monthly community gathering. An audio-documentary series, *The Tango Waits for You*, follows the first year of that community. California State University, Long Beach recognizes her as an internationally recognized movement artist with more than twenty-five years of teaching experience.

Career Highlights

1997

Began the twenty-year tango teaching period summarized by Tango Mercurio. Tango Mercurio

2003–2006

Performed with TangoMujer, described by CSULB as the world's first all-woman tango company. CSULB

2006–2011

Directed a performing company that produced three evening-length works at Dance Place in Washington, D.C. CSULB

2008

Founded Tango Mercurio in Washington, D.C. Tango Mercurio

2010

Presented solo performance work at the fifth Festival Internacional Cambalache. authorized festival video

2011

Performed improvised role-switching tango with Aja Fenn in Tango Mercurio's outreach fundraiser and at the International QueerTango Festival. Tango Mercurio video

2014

Completed an MFA in Dance focused on representing intimate partner connection on stage. Performance archive

2018

Tango Mercurio reported 235 classes, more than 2,500 student visits and its first foundational teacher-training cohort during the fiscal year. 2018 annual report

2021

Published Lead & Follow: The Dance of Inspired Teamwork and expanded her dance-derived leadership framework through workshops and interviews. Official book page

2025

Began the documented Altar Milonga series in Long Beach. Altar Milonga

2026

Continued donation-based Long Beach tango teaching and hosted a second Altar Milonga on 4 May. Altar Milonga

2026

Listed by CSULB as an internationally recognized movement artist with more than twenty-five years of teaching experience. CSULB

Legacy & Impact

Fabiano's legacy lies in her integration of role-fluid performance, sustained community institution-building, and an explicit theory of reciprocal partnership drawn from embodied practice. TangoMujer and her performances with Aja Fenn helped detach leading and following from fixed gender presentation; Tango Mercurio demonstrated that a nonprofit arts organization could sustainably connect classes, live music, teacher training and community outreach; her writing carried lessons from improvised tango into wider conversations about power and collaboration. She matters not as a sole innovator but as someone who built conditions in which more people could study, question and inhabit the tradition.

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