Zouk Nation | Shani Mayer

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Shani Mayer

Shani Mayer

Previous Featured Instructors

Locations: Los Angeles, CA

Website(s): www.lazouk.com

Email(s): shanim.dance@hotmail.com

Interview

For the last Featured Instructor of this year, we thought it might be nice to cast the light on a Zouk instructor who is teaching within the United States. L.A. Zouk’s Shani Mayer instantly came to mind for all the amazing work she has been doing out on the West Coast, having a hand in creating not only a Zouk community in Los Angeles, but in San Francisco and Sacramento as well. Her endless energy and boundless enthusiasm for Zouk has resulted in her often being compared to an “energizer bunny” by her colleagues. Join me as I sit down with Shani to talk about her career as a dancer, how she first became enamored with Zouk, and some of the challenges she’s faced in starting a Zouk scene in the United States.

NB:	I thought we might start by having you tell us a little bit about your background.
SM:	I am originally from Israel. My father works as a consultant for high tech companies and my mom is a nurse. I have a younger brother and two younger sisters, who are twins.
NB:	How did you originally get into dancing?
SM:	I started dancing around the age of 4, starting with ballet and rhythmic gymnastics, and did a little bit of everything, tap, jazz , ballet, till I was around 10, then I competed in a gymnastics team till I was 15. I did not get back into dance till I was 17.
NB:	What got you back into dancing?
SM:	I think I just missed it.
NB:	Was dancing something that was encouraged at home?
SM:	It wasn’t encouraged, but it was ok to do as long as it was a hobby.
NB:	How did your family react when it was clear that you intended to pursuing dancing as a career?
SM:	They were not thrilled. They were worried about how I would make my income.
NB:	Now that you’ve managed to find some success at it and make a living doing it, has their opinion changed?
SM:	I think so yes.
NB:	Can you recall the first dance you first fell in love with?
SM:	Hard question. I would have to say modern/contemporary dance.
NB:	Can you remember what it was about that dance that grabbed you?
SM:	When Ifirst saw it, it felt like the ultimate form of expression for a dancer.
NB:	When did you decide that dancing was something you wanted to actively pursue as a career?
SM:	I would say when I was backpacking through South America. It was the first time I left all my attachments behind and could see what I really wanted to do.
NB:	What had you been doing, career wise, up until that time?
SM:	I didnt have a carreer yet. I was going to university, getting my bachelors in psychology and my minor in dance performance.
NB:	Where did you receive your training as a dancer? Whom did you study with?
SM:	I started my dance training in Israel with ballet, gymnastics and jazz, and then continued to expand my training in the US with modern/contemporary , salsa, samba and afro brazillian dance.
NB:	Is dancing how you currently make your living?
SM:	Yes Dancing is how I make my living. I perform with a few companies, Dreamscape Dance Theatre, Daurden Contemporary Dance Theatre, Sunflower Dancers. I teach classes and private lessons. I teach Zouk -lambada classes and privates and samba privates. I also teach dance at an after school program in a high school.
NB:	If you weren’t involved in dancing, what are some other areas that you might be interested in pursuing?
SM:	Well, I have a degree in psychology from CSUN, Cal State Nothridge. I always wanted to somehow combine that with dance. But i think i would pursue a job in my degree.
NB:	Do you find there is a connection between dancing and psychology?
SM:	Yes, of course, I think dance is as much mental as it is physical. A dance is usually great if the audience can connect to it, and what the audience usually connects to is the humanity in the dance, the emotions, ideas , and real life situations. A dancers psychology and mental state really influences how we dance , what we create and how the audience connect to us as dancers.
NB:	Curious to know your thoughts on the subject of Art Therapy.
SM:	I am really interested in that field. I think it is an amazing form of therapy. If I was ever to go into the field of psychology it would be in this direction, definitely.
NB:	Define Zouk for me.
SM:	I dont know if that’s something I can define in one sentence, because it’s a dance that is constantly evolving. And so for me the definition of zouk is the” evolution of lambada to zouk music.” There are many branches which have evolved, but the roots are the same.
NB:	Can your remember the exact circumstances when you were first introduced to Zouk?
SM:	Yes, I will never forget it. I was taking some capoeira and afro brazillian classes in Porto Seguro, Brazil and, one night after class, people came to dance zouk –lambada. I stayed to watch and I remember being mesmerized by this one girl wearing a white lambada skirt. It looked so flowy and sexy. I remember thinking “this is my dance.”
NB:	What is the appeal of Zouk-Lambada over other dances?
SM:	I think it provides a unique connection between two people. The head movement and body connection really require alot of trust and a connection to the partner.
NB:	Who are some of the instructors that you’ve studied Zouk-Lambada with?
SM:	Well, my first teacher was Mari Hodges. Then both Leon Gordin and Pablo Schmoller came to the U.S. and taught me a lot. After that I went to Buenos Aires and studied with Rominita Hidalgo and Mauro Fuster, and in Brazil with Didi and Braz Dos Santos and Josy Borges, all great inspirations of mine.
NB:	How long was it between the time you first started learning Zouk-Lamabada and you started teaching here in the States?
SM:	Well, maybe 3 months. What had happened was that I went to Israel for a workshop with Mari Hodges, I told her I could not go back without this and I needed to bring it to Los Angeles. We found out we were flying back to the U.S. on the same dates and she agreed to come teach workshops in L.A. and train me at the same time. She trained me for about a month on and off. Then Leon Gordin from Israel came to visit L.A. He also stayed for about a month and gave workshops and trained me. Then Rich Davis from Buenos Aires came as well. After that, I taught using the tools I had from them. Teaching was actually my best learning experience.
NB:	What was your primary motivation in starting a Zouk-lambada community in Los Angeles?
SM:	I could not imagine being unable to dance this dance that I love.
NB:	Starting a new dance community, especially one centered around a dance most people have never heard of, is never easy. I wonder if you could relate some of the challenges you ‘ve faced and how you overcame them.
SM:	The biggest challenge is keeping you energy up and motivated for your students, no matter what, no matter how many people come and how long it’s been since you yourself have danced or how big the scene is. Also, of course, is getting the word out there, it takes time and you cannot give up.
NB:	How have you been able to “get the word out?”
SM:	We try to keep connected to the Brazillian community and promote it that way through shows and promotion flyers. It’s also the same with the salsa and bachata community. The rest is just word of mouth.
NB:	What are some of the ways in which you’ve gone about promoting the class and attracting new students? Which methods have you found to be the most effective?
SM:	The most effective has been shows and teaching at congresses. The more people are exposed, the more people will want to learn this dance.
NB:	Do you use any social media tools, such as Facebook or Twitter?
SM:	Yes, we use Facebook, Twitter and Meetup to keep our crowed informed and to advertise. The most effective has been Facebook. A great way to connect with dancers in the immediate area and all over the world.
NB:	How long did it take you to build up the number of students to where you now have a fair sized community?
SM:	I can’t really say, but maybe a year.
NB:	Eventually you began moving beyond the immediate area of Los Angeles and began teaching workshops up in San Francisco. How did that originally come about?
SM:	After Bergs congress last January, two of the girls that went from San Francisco, Monica Heidelberg and Annie Tran. called me and said that they were very sad they could not dance in San Francisco and asked if I would come teach some workshops. For me hearing them was like hearing myself when I didnt have zouk in L.A. So of course I went and slowly it became bigger and bigger up there. They didnt have a teacher so they asked me to come once a month and I agreed.
NB:	What are some other areas on the West Coast in which Zouk communities beginning to emerge?
SM:	There is a little comminity in San Diego, they come up to L.A. for the parties once in a while. Also there is an emerging community in Seattle, I will be teaching at the Bachata congress in February there, and a nice community in Sacramento led by Joel Beall.
NB:	Do you have a particular philosophy when it comes to teaching?
SM:	I believe passing your love and passion for the dance is as important as passing the technique. I like to teach my student not just technicality but also musicality, use of space and style.
NB:	How do you approach planning for a class?
SM:	I usually like to pick on one theme I would like them to focus on. I teach that throughout the week using different combinations, to show that point and put it across to them, so it stays solid with them.
NB:	What is the hardest thing to teach a beginning student?
SM:	To keep the pause in most cases.
NB:	I’m not sure what you mean by “keep the pause.” Could you please elaborate?
SM:	To keep the “pause ” is a hard concept for many people to grasp. We dont count the four and eight counts in the music and we dont step on those counts, so that creates a pause. In the beginning usually the student can not hear this pause in the music and that makes them go off rhythm. It is a little easier for salsa dancers since they use the same count system.
NB:	In your opinion what separates a great student from a student that is just average?
SM:	For me it’s going beyond what is taught in class. Whether it is looking at videos and music, going to congresses or practicing outside of class or by taking the initiative to help with party’s or organizing something by themselves or doing promotion. That to me is a student that is beyond average, and usually you can see that in their dance as well.
NB:	A few months back, there was a conversation that took place on Facebook. A Zouk dancer, from the Czech Republic I believe, had posted a comment asking why there is so much conflict in the Zouk community between various instructors. It was a simple question that seemed to set off a firestorm. Within a few hours there were about 60 comments, some of them quite long. It’s obviously a real problem that bothers a lot of people, and yet, I know very few people who seem willing to talk about it openly, almost as if it were taboo. Why do you suppose that is?
SM:	I dont know, but I do know this happens in all forms of dance, especially social dances.
NB:	As an organizer/instructor have you ever experienced any of these kinds of problems? If so, how have you dealt with them?
SM:	In the beginning we had some tensions, but we communicated and now we work together toward one goal.
NB:	In your opinion, what is the best approach in dealing with these kinds of situations?
SM:	Communication. Dont assume anything. Don’t listen to rumors.
NB:	Sound advice. In the last few years, we’ve seen a lot more interest in Zouk within the United States. In your opinion, what will it take for Zouk to really take off here?
SM:	I think we need a stronger bridge between the East and West Coast. We need to come to each other’s events, support each other, as people travel to each other’s events in Europe. We have a Zouk Bachata Congress in L.A. in February and I would love people from the East Coast to come as well.
NB:	And we’d love to have people from the West Coast to join us for next year’s Dance Parade in New York City on May 19, 2012. Do you have any plans for the new year?
SM:	Yes , I will be teaching and performing at the Berg Summer Festival in Brazil. Its a great location and event and I’m happy I can participate and represent the US.
NB:	Is there anything else that you’d like to talk about?
SM:	Yes, me and Kenneth Mayfield will be teaching and performing at the LA Bachata festival (http://www.ilovebachatafestival.com/) from February 8th-13th. There will be a Zouk room every night, as well as Zouk performances and classes . Also, at Flirt, Seattle’s 1st Sexiest Dance Weekend, on Thursday, February 23, 2012 at 8:00 pm, I will be teaching and performing that weekend in Seattle. I hope to see some East Coasters and people from all over the U.S. there. This will make all our community’s stronger and better.
NB:	On behalf of Zouk dancers everywhere I want to thank you for all amazing work you are doing out on the West Coast, and wish you good luck with all your future efforts.
SM:	Thank you. I want to thank my amazing students for the light and energy they bring to class and the support from the Zouk community around the world.