n the 20s she entered show business as a chorus member of the theatre company Vittone-Pomar, adopting the last name of her cousin Olinda, who already was a known actress.

Little by little she was going up the rungs of the ladder to proficiency in the theatre company, what allowed her to take part in one of the most prestigious theater numbers of the time, Muiño-Alippi, with the actors Enrique Muiño and Elías Alippi.
With them she made her début as singer in 1926 premiering the tango “Canillita canillita” by Tomás De Bassi and Antonio Botta. Since then a picaresque style was born, deeply connected with humoristic tango, the cachada (mockery) and lunfardo (slang), starting a way of interpretation which was later followed by other female singers, such as Tita Merello.

While singing, Sofía danced and walked on the stage and was one of the pioneers in interspersing dialogues and jokes with people in the audience.

In spite of her humor she always included dramatic tangos in her interpretations. So much so, that in 1927 with the Elías Alippi´s company and on the play by Pascual Contursi Saltó la Bola, she premiered the tango by Raúl de los Hoyos and Luis Bayón Herrera “Un tropezón” which, besides almost all the orchestras of the time, she herself and other artists such as Carlos Gardel recorded.

From 1929 she began to record for Electra, owned by Alfredo Améndola, a pioneer of our phonography. There she was accompanied by an orchestra led by Francisco Pracánico, with whom she recorded “Un tropezón”, “Canillita canillita”, “Nicanora”, “Gabino”, “Carro viejo”, “Cobarde”, “Esta noche me emborracho” and “Engominado”, all of them hits which became classics of popular song. She also recorded, with guitar accompaniment, some folk pieces, the estilo “Mis quejas” and the zamba “Traicionera”.

In 1930 she began to record discs for Nacional-Odeon label where she charmed with her interpretation of “Yira yira”, among others.

Her career in Buenos Aires theaters was successful, she was a major attraction in the Teatro Sarmiento revue company under the direction of Manuel Romero and Luis Bayón Herrera.

With this company she made a tour of Spain and France at the beginning of 1931. And in May of that year she made her début at the movies, together with Carlos Gardel for the French Paramount which shot the film Luces de Buenos Aires, where also Julio De Caro was spotlighted.

Back in Buenos Aires she was forever linked to the Teatro Maipo where she performed until the end of her days. The time and efforts Sofía devoted to this place were such that she was called The (Soul of the Maipo)Alma del Maipo.

From the 30s onwards and up to 1950 she had a place in several pictures shot in the country. Among those, these stand out: Loco lindo with the famous comic actor Luis Sandrini, Puerto Nuevo with the great actor Pepe Arias and the singer Charlo, with whom she also starred in Los muchachos se divierten and Carnaval de antaño.

In 1942 she was part of the unforgettable film Elvira Fernández, vendedora de tienda together with Paulina Singerman. In 1943 she performed in La Calle Corrientes and in 1951 she played in El Patio de la Morocha.

Theater and cinema actress, tango singer and dancer, she continued working at the Maipo theater until the day of her death.

However, either at theater, on record or on films La Negra Bozán left the mark of her tango soul. Her spirit, her joy and her songs are still in the air of Buenos Aires because Sofía was part of it. Sofía Bozán is a symbol which proudly represents the history of theater, cinema, tango and the life of people in Buenos Aires.