Advertise on podcast: ZoukNerds: A New Experience in Learning for Dancers 🧠

Community leaders tell Gui and me they can't grow their Brazilian Zouk scene because they're busy pleasing the people with power, some bosses, some mafia people. I don't think you need to. I think you need to please the dancers. This one's for anyone trying to start Brazilian Zouk in a city where nobody dances it yet, and getting told what they're allowed to do. I learned it twice. Around 2003, as a Bolsista in Brazil, the owners of my school called me in for going to other people's socials, "Hey, are you not happy here?" Years later in Australia, as a teacher, another owner tried to cut my wings, "Why are you friends with this person?" What we get into: → Don't count your hours: Gui told an organizer, "Don't do that, man." The numbers will make you say, "Why am I doing this with my life?" → My night, my people: the Friday Bachata organizer who doesn't want your Zouk social on their night, and the founder of a tiny scene who starts saying, "my community, my people, my, my, my." → Abundance or scarcity: Gui's teachers in Rio ran socials elsewhere while teaching at the Jaime Arôxa Dance Studio. After the pandemic, he hears, "Oh, but this person opened a social the same day that I did." So what would I do in a city with no Zouk? Be a fly on the wall, then teach a free intro class before the Salsa social and say, "Hello, nice to meet you." Twenty-plus years of dancing, and I still don't expect a red carpet. The big takeaway: "I'm gonna do what's right for the growth of the community and for the happiness of my students. I'm not here to please the lords above." Chapters: 00:00 Opening highlights 01:34 Starting Brazilian Zouk where nobody dances it yet 03:40 Why building a scene takes longer than you think 06:14 When other dance socials protect their night 08:08 The founder who says "my community, my people" 11:58 Called in by my own school as a Bolsista 16:36 The same story again as a teacher in Australia 19:22 Don't let the overlords clip your wings 22:18 Abundance vs scarcity, Rio before and after the pandemic 25:35 Cities of millions fighting over the same 30 dancers 28:08 What is actually best for a dance community? 31:18 Be a fly on the wall before you build anything 32:46 What I'd do in a city with no Brazilian Zouk at all 35:48 Why you don't get a red carpet in a new scene 37:34 Melbourne, DC, Taipei: agree on everything up front 39:10 If you're not a seasoned teacher yet, don't do it alone 43:49 Find a mentor who has done what you want 45:47 What's coming in part two Co-hosts: Alisson Sandi and Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep26 | ZoukNerds Podcast

I apologised at the top of this one, because I know what the word does to people. "Fix your frame, your frame doesn't work, your frame is this, your frame is that." Nobody tells you which part of your body they mean. In Brazilian Zouk we use frame as an umbrella word for a pile of separate things, and then we correct people with it. This one is for anybody who has been told to fix their frame and walked away with no idea what to actually change. Gui asks the leaders who come to him to show him what they mean, and they tense their whole body and push harder into his. What we get into: → A student at BraZouky asked Gui how to keep their lats engaged in close embrace, and he said, "You don't. You don't do that." Your frame there is your whole torso. → The Wi-Fi test. If we can do the movement with no connection, just body leads, why do you need that much tension the second your hands land? → The gap at the wrist. A leader's right hand never fully arrives on the body, so they frame up and squeeze, and the shape was never the problem. → The Ruler of Intensity, or Régua da Intensidade, from Gui's own training. A one to ten on the tension in your own body, another on the compression into your partner. → Why I start every dance from my quietest voice, and why the five you dance at is one you build together. The big takeaway: the frame is the shape you take, the distance from your partner, the tension you hold to keep it, and the connection points where the touch happens. At least four things, Gui says, probably more. Chapters: 00:00 Opening highlights 01:42 What frame means, and why the word triggers people 04:31 What leaders do when you say "use more frame" 06:24 Frame is a million things, not one thing 09:27 How do you keep your frame in close embrace? 12:36 The Wi-Fi test, and the hand that never arrives 15:47 Don't take frame advice that can't tell you where 17:57 "I can't feel their frame" and how to diagnose it 21:19 Frame as a communication tool, with or without touch 25:17 Three places to connect: arms, chest, hips 28:08 How to ask a better question about your connection 30:30 The Ruler of Intensity, from one to ten 33:12 A vest with prosthetic arms, and where the lead comes from 35:42 Why people quit when holding their frame hurts 37:12 Guess your partner's number on the tension scale 38:57 Starting a dance from the lowest voice you have 41:50 Why your three is your partner's six 43:41 Light and heavy frame are really light and heavy touch 47:29 The four elements hiding inside the word frame 49:59 When it is not your frame at all Co-hosts: Alisson Sandi and Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep25 | ZoukNerds Podcast

We put two people on the floor at a Brazilian Zouk teacher training and asked the room one question. These two are complete beginners, what do you fix first? Somebody said the timing, somebody said the posture, and then somebody said the torsion, so I had to stop everyone. "Hold on, slow down, torsion, who is that?" Like, is it food? At that point that word does not exist yet. If you've ever been told to fix your posture with no idea what that meant, this one is for teachers and for dancers who feel stuck. So Gui and I went through the two frameworks we use. The Correction Ladder is the order we fix things in, the Foundational Stack is the bare minimum you build a dance on. What we get into: → Gui's ladder, from the ground up: rhythm, then the feet and ankles, then the knees, then the hips, then the posture. And it is a chain event. If you hold the beat standing still and lose it going front and back, you do not have a timing problem. → Posture, defined so you can test it. Gui calls it whatever arrangement lets your forward step and your back step be the same length and the same stability. A Lambadeiro, a Tangueiro and a Forró dancer all stand differently, and all are stable. → The part I know is controversial. At the very beginning we barely talk about frame, connection, leading and following at all. The big takeaway: Gui's words, not mine. The other person is there for guidance, for the connection, for the playfulness. For the dance to exist, it does exist in your body on your own. Chapters: 00:00 Opening highlights 01:10 The Correction Ladder and the Foundational Stack 02:30 The teacher-training test: what do you fix first? 04:28 Gui's ladder: rhythm, feet, ankles, knees, hips 06:47 Why a timing problem is usually not a timing problem 09:05 Say it in words a beginner already has 10:37 Neutral body alignment, and why posture is too vague 12:00 Most dancers arrive with no body awareness at all 15:33 Make a correction stick: teach it back, then film it 19:10 Four Brazilian dances, four postures, all stable 21:00 Travel, control, ground, and where the balance goes 23:35 Why we don't teach leading and following first 26:54 Develop the dancer's autonomy 28:34 Sliding feet or silent steps? Awareness and choice 32:10 Head movement, and the foundation that sells itself 33:50 What is frame, man? 36:26 The second stack: building the Brazilian Zouk body 38:30 Two months on the calendar, eleven hours in the room 40:59 Soltinho, and what makes a step a basic loop 45:50 Be a beginner in a beginner class, and the driving test Co-hosts: Alisson Sandi and Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep24 | ZoukNerds Podcast

I danced with someone I'd followed online for years, walked off the floor, and went to a dark corner to question every decision I'd ever made in my life. They're one of the best Brazilian Zouk dancers in the world, the dance was terrible, and like most of us do, I blamed myself. If you've ever come off a dance with somebody you admire and quietly decided the problem was you, this one's for you. Gui's version is a follower in his D.C. scene who tries to sit down and can't, because the leaders keep coming. She's intermediate, and the teachers in that room are the ones sitting. What we get into: → What "technical" even means. I go to the Olympics and the Ballroom World Championships, and then the question that matters: is that who you want to ask for a dance? → Gui ending a dance before the first song was over, with the follower a friend promised him explosions with. "We came to an agreement that it was not working." → What Jaime Arôxa's studio actually graded us on. Not only technical knowledge, but how comfortable we were, how we used the space, how musical we were, how we switched rhythms. → How many ways do people say water? That's the practice I'd put you on, flavours of the same Basic, Lateral, Viradinha and Soltinho, not another endless list of moves. The big takeaway: What people want is to connect with everybody, and they are chasing that through things that are not in alignment with connecting with everybody. Who's the dancer in your scene everybody wants to dance with, and what do they do? Tell us in the comments. Chapters: 00:00 Opening highlights 01:22 What do we mean by a technical dancer? 03:51 The follower everyone asks to dance 07:07 Textbook technique vs social technique 10:08 What happens when you finally dance with your idol 12:33 The dance that ended before the first song 15:32 Why the same partner feels different two years later 18:29 The night I decided to forget what I saw 22:43 What Jaime Arôxa's studio actually graded 26:04 The leader who stopped listening to followers 27:49 Why Gui gave up elegance to fit more bodies 30:56 Why people chase the wrong thing to dance with everyone 35:28 How many ways do people say water? 37:20 The 'should' in your head that blocks the dance 39:16 Echo chambers, and keeping them out of your dancing 41:30 Your preferences are allowed, and they nurture you 43:00 The private lessons that came from one social dance 45:09 A mindset for life, not a six-month project Co-hosts: Alisson Sandi and Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep23 | ZoukNerds Podcast

"I don't know what to do. My students don't wanna learn the foundations. Please help me." An organizer said that to me years ago, and it is the most common thing I hear in Brazilian Zouk. This one is for teachers and organizers who have said out loud that their students do not want the basics. That night I went to the social. Acrobatics everywhere, every head movement, not one Viradinha. Then he started dancing, because he was the local teacher, leading crazy moves to people who could barely do a basic step. So Gui and I sort this into three buckets, a me problem, a them problem, or a design problem, and the one everybody reaches for first is almost never the right one. What we get into: → Gui on why a curriculum gap only shows up a year later, in the warm-up, months after you built it. → "Move, move, move more." His class moved their bodies and stayed where they were, until a co-teacher said the word he meant was travel. → What he told an organizer mid-briefing: "I think it's the time for us to stop putting the blame into the students." → When it really is them. Someone read the format, said "This is not for me," came anyway, and left after day one. → A month of classes where I never went past Soltinho, and the room grew every single week. The big takeaway: Whoever is at the top of a community takes credit for the good and the bad in it, because a community identifies with what its leadership values. Think about the last class or event that did not work for you. Me, them, or design? Tell us in the comments. Chapters: 00:00 Opening highlights 01:41 Me problem, them problem, or design problem 03:08 Why a curriculum gap only shows up a year later 06:41 Over-preparing a class and losing the room 09:20 When 'too slow' is really a design problem 11:54 "My students won't take a basics class" 16:44 The one word that changed the whole class 18:42 When is it genuinely a them problem? 22:06 Learning who your course is not for 23:49 Festival passes and what nobody reads 28:00 The scene with acrobatics and no basics 31:21 A month of classes that never passed Soltinho 33:41 Not every teacher belongs in a beginner class 35:03 Your social dancing teaches more than your class 37:44 Why you become the reference point 42:09 Stop saying 'them' and ask yourself why 46:02 A festival with no breaks: bad design or good value? 48:14 Taking accountability for your own experience 52:40 Open mind versus strong expectations ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep22 | ZoukNerds Podcast

Lambada is like the sun, you know? It spreads the brightness and the energy to everyone around. And I'm sorry to say this, but sometimes, in some places, Brazilian Zouk can be like a black hole. Vanessa didn't even let me finish. "You just get in." Yeah. You get in, you get sucked in, and everything else disappears. It's my dance, and I say it with love. If you've danced Brazilian Zouk for years and still tell people you don't dance Lambada, this one is for you. I sat down with Vanessa Meirelles and Iago Hassuike in person, and these two are the nerds of Lambada. What we get into: → I already steal one of these. The follower is always looking for Soltinho, and Boneca when there's head movement. I taught it last week and my followers stopped waiting. → The 51/49. Leaders carry 51 percent, followers 49, "and we just have 49 because someone has to be the leader." → Vanessa asked what I should have asked years ago. Nobody fears Urban Zouk, everybody fears Lambada, and Zouk and Lambada are the closer pair. "Who builds their mindset are the teachers." → Then she gave away the secret. "First, we try to trick you all." They teach you a movement you like, wait for the wow, then tell you it was Lambada. Iago: "We set the trap." The big takeaway: Lambada came from the street, so there is no right or wrong body in it. Somebody asked Didi about a room dancing every which way. "I'm loving that." So which one are you, and what's stopping you trying the other? Tell us in the comments. Chapters: 00:00 Opening highlights 01:52 Zouk Nerds meets Lambada Nerds 03:38 How Iago fell for Lambada after hating it 05:06 Why a Lambada room feels different 07:06 Brazouka, and jumping into someone else's dance 09:04 Where Lambada and Brazilian Zouk actually split 12:20 Teaching Brazilian Zouk with more timing 15:18 Will Lambada get bigger than Brazilian Zouk? 17:04 One community, and letting the DJ decide 20:16 What Zouk dancers gain from Lambada rhythm 21:36 Why Forró students learn Portuguese 24:40 Opening or crossing: where each one came from 27:27 'Chorinho', and bringing Brazil into class 29:42 How they trick a Zouk room into dancing Lambada 33:57 How to actually learn Lambada, and where to go 38:41 The elastic and the hula hoop 40:55 Followers who attack, and the 51/49 rule 45:01 Soltinho Forever, Boneca, and the embrace rule 48:34 Why the Lambada head movement fits Brazilian Zouk 52:40 How Lambada became teachable 55:06 Who translated Lambada for other bodies 57:48 How far is too far before a dance changes 1:00:14 The three things Lambada has to keep 1:01:14 There is no right body in Lambada 1:02:55 Naming the masters who came before you 1:06:11 Why you should learn both dances 1:08:35 The teacher who nearly put me off Brazilian Zouk Guests: Vanessa Meirelles and Iago Hassuike, Lambada and Brazilian Zouk artists from São Paulo. Hosted by Alisson Sandi. ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep21 | ZoukNerds Podcast

"I don't believe this person, they can really follow what this guy wants. I think they are guessing." That's Vanessa on why she started Brazilian Zouk, after fifteen years of ballet, jazz and contemporary. If you have a job you like and a dance you love, and you keep running the numbers at two in the morning, this one is for you. Iago was teaching mathematics in Campinas when Nina told him, "If you wanna be with me, you gotta dance." The pandemic shut his school, and when it reopened he said, "Well, good luck for you guys. I'm not coming back." I sat with both of them in person, and this half is about who they were before the stage. What we get into: → Vanessa doing continuous turns with Philip Miha and hearing "You are not following me." She found out years later he was right, because her ballet was supplying the momentum. → Nobody jumped without a net. Daniel Darbello gave Iago a room with no rent, and Vanessa's dad said "if you can't, you have a home." Mine was kebab shops. → My advice on going full time is six to twelve months of savings, or build the dance income on the side until it matches what you already earn. → Iago on living together 24/7: "it's a marriage." They were never dating, which he calls a golden rule, and I've done that once and I don't recommend it. The big takeaway: The time of life is the most precious thing we have to offer, so when someone chooses to dance with you, receive them with all the care you can. What did you give up to keep dancing? Tell us in the comments. Chapters: 00:00 Opening highlights 01:48 Meeting Vanessa Meirelles and Iago Hassuike 03:08 Why a ballet dancer didn't believe in following 05:42 From a math classroom to quitting the school 08:16 How the partnership actually started 11:16 The five-year plan that happened in two 13:04 The safety net that made going full time possible 16:14 Why a dance career is a whole different monster 19:34 The circles of information in a dance scene 21:53 Living together 24/7, and the golden rule 23:54 Travelling the world and still being alone 26:56 Why their partnership worked when others don't 29:48 Dance first or structure first: two ways to learn 32:08 The rule that settles every disagreement 34:03 The class that keeps a teacher awake at night 36:45 How to actually let a compliment land 38:43 The math student who came back crying 41:11 Their advice, and what's coming in part two Guests: Vanessa Meirelles and Iago Hassuike, Lambada and Brazilian Zouk artists from São Paulo. Hosted by Alisson Sandi. ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep20 | ZoukNerds Podcast

"Hell yes, hell yes." That's my answer every time someone in the group asks whether teachers hit plateaus too, and I teach Brazilian Zouk for a living. Ours just hides better. I can teach all week, feel completely fulfilled, and then meet Christina after three months apart and find that the things we could do together suddenly need thinking about again. Gui said it cleaner than I did. He'd been dancing mostly with his beginner students, having the time of his life, and then he went to do something explosive: "there was a wall. I couldn't do the thing." What we get into: → A student feels stuck and knows it. We feel great, right up until someone challenges us socially, and that's when I go "hang on, I have not been training that division of my dancing." → Gui's pizza chart. Almost every hour you teach goes into basics and everything vertical, so the sharp explosive layer gets a sliver of the pie and quietly rots. → Why I can't train with my own students. It's never their level, it's the hierarchy, and you hear it in the disclaimer: "I don't know, I'm probably wrong, but I feel like this." → What we actually do about it: the student seat at somebody else's weekender, a private lesson where you tell the teacher to hold nothing back, and cross-training in styles that have nothing to do with Zouk. The big takeaway: The plateau exists because we have a certain expectation, and the moment we remove that expectation, the plateau is not there anymore. When did you last catch yourself plateaued without noticing? Tell us in the comments. Chapters: 00:00 Opening highlights 01:32 Do dance teachers plateau too? 05:00 Why a teacher's plateau looks different 07:22 Festival anxiety and the inner saboteur 09:13 Making time to train when you teach all week 13:12 Why you can't train with your own students 15:26 Finding a body that moves like yours 18:51 Why students hold back their feedback 21:07 Five years of choreography, no social growth 22:43 The pizza chart of what teachers actually train 25:04 Which layer of Brazilian Zouk do you own? 27:38 Private lessons and cross-training that wake you up 31:44 Consistency, and how fast the flow comes back 33:28 Jack and Jill as a fitness test 36:26 When the DJ and the room take over 38:34 The vault of knowledge in a dancer's body 40:34 Learn from every class, even the ones you dislike 44:18 The happy plateau and the comparison trap Co-hosts: Alisson Sandi and Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep19 | ZoukNerds Podcast

For years the DJ would put on traditional old school Brazilian Zouk and I'd walk off the floor. "Ah, I don't like that type of music, I'm gonna take a break." That was a lie. I didn't have the skills to enjoy it yet, and the day I learned them I loved it. So when Gui tells me he got so picky only two or three followers could give him a good dance, down to where their head sat against his, I know that feeling. He worked it out on the bus home from a social in Rio, where he realised he'd danced all night without being present once, because he spent the whole thing hunting those two or three people. And whose fault was it, right? What we get into: → Gui trained slow songs for years, then walked into a real Forró where Xote is five percent of the night. "Lack of exposure, for sure lack of exposure." → You start in flip-flops, any song, anyone. Years later it's two kinds of socks in your backpack and one follower who "knows how to dance with me." → "Because Gui is a gelato snob." "I am such a bitch. I'm such a gelato snob, yes. And without shame." → The unpaid dance escort. Friday nights in Rio, one friend, met at the door, forty five minutes, nobody else, home. → "But Alisson, I'm a customer. I'm paying to be here." Yeah, I don't argue with that. It still doesn't make your taste the DJ's problem. The big takeaway: I'll be picky as long as it doesn't affect other people, and if it may affect other people, I'm going to find a way to reduce that effect. Chapters: 00:00 Opening highlights 1:22 What the pickiness curve is 3:03 "I don't like this music" is usually a skill gap 4:46 Gui's Xote and Bolero problem 6:58 How pickiness climbs: shoes, floors, partners 8:47 Ignorance is bliss, and the gelato snob 10:35 When your checklist gets too long 12:18 The bus ride home, and what he asked next 17:21 Preferences versus pickiness 21:16 The unpaid dance escort 22:32 Reading your social battery in one night 25:43 "I'm a paying customer", and where the line is 29:47 Pandemic pods and the people who stopped coming 34:12 The teacher's pickiness curve 37:06 Your dance teacher is a business owner 40:44 Knowing your preferences without being picky 45:20 Festivals, and growing the community Co-host: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep18 | ZoukNerds Podcast

"I know, I've done this already." Every Brazilian Zouk teacher hears that in privates, and I ask the same thing back. "Okay, you've done it. But do you know it?" "Oh no, yeah, I know." "Do you know? Because if you knew, we wouldn't be correcting this." Then Gui told me the one that stuck. Hours of privates on Lambada, learned so much, never practised any of it. "Couple months went by, it's almost like I didn't do the private lesson at all. I forgot everything." What we get into: → Don't book me to buy a move. Someone points at a video and Gui usually just says, "this is a Ioiô," you already know it. → Three missed classes at District Zouk is four and a half hours, warm-ups, rotations, everybody's input. Gui asks it straight, "you wanna substitute that for one hour?" → My students book me like a physio, "Alisson, I need a health checkup." Once a month is my floor, and weekly only works if we're integrating. → "I wanna get better." Better how? Gui asks that every time, and it turns a drifting hour into a working one. → A follower came to him losing her balance, told her ankles were weak. It was never her ankles, she was moving her weight forward too fast. This one I keep chewing on, because I've done it as a student. Gui says people ask for what they think you want to hear, not what they actually want. Nowhere to hide in there, you know? The big takeaway: we know everything that we know, but we don't know what we don't know, and you are the one who can tell us. Chapters: 00:00 Opening highlights 01:14 Intro: what a private lesson is actually for 03:44 When someone asks you to teach a move 10:11 The Q&A before the first dance 12:54 Why the problem is rarely mechanical 15:09 I forgot everything I learned 20:34 How often to book: the health checkup 23:19 One hour can't replace three missed classes 26:40 "In Salsa we do it like this" 28:28 What to keep from your old dance style 31:19 Empty cup or full cup 36:05 "Tell me what only you do" 40:21 When a private goes wrong, say something 44:04 What does better mean to you? 47:14 It wasn't her weak ankles 50:04 Choosing the teacher who fits you Co-host: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep17 | ZoukNerds Podcast

Why do you dance like you're competing? Because Brazilian Zouk is one dance living as five: the social dance, the performance, the competition, the after-class demo, and the teaching dance. In this ZoukNerds episode, Gui Prada and I name all five, and what happens when you train one while wanting another. Gui saw it in a private lesson in Australia. A follower past 65 told him, "I am dancing not to go crazy. I do this as a mental health tool." Her balance diagnosis from other teachers: engage your core, point your feet. Competition tools. The real fix was weight distribution. She almost got emotional, because she thought something was wrong with her. I put my hands up here too. In my Australia years, everybody trained for Jack and Jill. My classes taught the cleanest, most precise execution, and we called it social dancing. What manifestation of the dance are you training? → The body: when I competed, my body was ready for a show any minute. A relaxed embrace? My body could not process it. → The feed: we don't have social media anymore. We have attention media. It decides which version of the dance looks like THE dance. → The diet: people want comfort, but 99% of their training and Instagram watching is Jack and Jill. I wanna be healthy, but I go to McDonald's every day. If you ever left a social feeling like your partner was performing at you, this is why. The order is improvised. The execution is not. That's choreography. The big takeaway: training for Jack and Jill is not the bad thing. It's how you're training for Jack and Jill. Know which dance you're training, and change the chip between them. Chapters: 00:00 Intro: one dance, three dances 05:41 "I am dancing not to go crazy" 07:00 Weight distribution fixed her balance 12:55 My competition body couldn't relax 15:14 The 99% Jack and Jill diet 17:45 Train a concept and a feeling 19:36 João Lambadeiro: stage moves went social 21:00 My Australia confession 26:27 Attention media, not social media 29:26 How Brazil studios kept paths separate 36:44 Improvised order, not improvised execution 37:29 The fifth manifestation: the teaching dance 39:36 Change the chip 42:55 Don't let others create your reality Co-host: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep16 | ZoukNerds Podcast

Why did you leave that amazing Brazilian Zouk class confused? Because the teacher was serving three meals at once. Every dance class teaches one of three things: mechanics, concepts, or feeling. When nobody names the main one, you learn a nice move and walk out not knowing what the class was about. In this ZoukNerds episode, Gui Prada and I talk about how teachers build classes, why most of us default to mechanics, and how to decode what your class is actually teaching you. People ask me, "Can you teach spins? We have one hour on the Friday." Nope. Do you want them to feel like a spinner? Okay, I need three hours. There are things that need time. You cannot cheat that. What your class is teaching you: → Mechanics: how to execute. The Bônus = traveling turn, rock step, Patinha. → Concept: what it is for. The same Bônus becomes dancing on a track, or a circle. → Feeling: what it is like. The turning, the momentum. This one needs time and a reference point. Gui's line is, "it's almost like a ladder. You study the mechanic and you get the concept and then you have the feeling." The part most teachers skip: naming it. If you ever left a workshop thinking "I suck at this", that was probably a class built to show you what you don't know yet. That class exists. Somebody just forgot to tell you. The big takeaway: The move is just a move. What you learn through the move is the class. Chapters: 00:00 Intro 00:58 Mechanics, concepts, or feeling 06:06 The students choose how I teach 11:45 Gui's confession: all mechanics 13:36 Why I refuse one-hour spin workshops 17:16 The ladder 20:59 The teaching autopilot hot take 23:03 The move is just a move 26:16 One move, three classes: the Bônus 28:36 Two kinds of classes 33:50 What one hour of spins buys 35:52 How to watch a demo 38:10 Feelings need a reference point Co-hosts: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep15 | ZoukNerds Podcast

How does a dance school become your safe space? Before Brazilian Zouk, before teaching, Gui Prada and I were two shy kids who found one safe room. In this ZoukNerds episode, we thank the first teachers who built us, and I tell a story nobody has ever heard. Not even my family. Brazil, 1999. I was around 10. A community center near my house had dance classes, and my parents couldn't afford them. "Look, I'm sorry. We cannot afford that." So I would hide before class, join when the warm-up started, and run before it finished. For months. One day the teachers came to me: "Hey, before you go, can we have a chat?" I never went back. Years later it hit me: they were probably offering me my first Bolsista position. What did our first teachers actually give us? → The ethos: Dan and Lily ran my first school on one rule. Make people happy, everybody has fun, you're doing a great job. The rest comes with time. → The standard: Gui trained at Jaime Arôxa in Rio. Jaime had this thing in class: "Normal person, special person." Two postures, two people. The older ladies and widows walked out special again. → The seeing: Val gave me my first chance to assist when nobody else would. "You have something that they don't, and I see it." We didn't dance because we were dancers. It was shyness: cold sweats, hiding in corners. Dance was the only room where we could connect without talking. Keep the body moving. Don't speak. The big takeaway: a dance school is a permission space, the place where you become someone who connects. I slept at mine between the Saturday 4 AM party and the Sunday 8 AM training. That school raised me. Chapters: 00:00 Intro: thank you, first teachers 02:05 "Make people happy": the ethos 04:59 "What is Jaime Arôxa?" 07:44 Elegance with an edge of arrogance 11:40 Val: the teacher who saw me 16:00 The story I never told anyone 23:13 Too shy to talk, so I danced 25:02 Normal person, special person 26:55 I never left the dance school 31:55 Paulinho, the Chacha man Co-host: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep14 | ZoukNerds Podcast

What's the difference between a Brazilian Zouk retreat and a Zouk festival? In this ZoukNerds episode, Gui Prada and I go down memory lane to the events that marked us, and they could not be more opposite. Gui's first Brazilian Zouk event ever was Xandy Liberato's first retreat, in Valencia, 2016. Invitation only. On arrival day, the exercise was simple: look your partner in the eye, one touch on the shoulder, one on the arm. Gui started sobbing in front of a stranger. The stranger cried too. Eight months later he flew to the Warsaw Zouk Festival and danced with four people in four days. My version: Brazil Central in Brisbane, an old museum building, all the masters from Brazil. That event is the reason I made a rule when I created BraZouky: "This event will never be in a ballroom or in a community center that has no personality." Why did the same dance feel like two opposite worlds? → The retreat: everything organic, everything subtle, fire day, water day, air day. Solid basics in the room, so "the only way were to go deeper." → The festival: a vodka stand, a club room, songs Gui had never heard. He sent a friend an audio message: "Look what they're listening to. How do I dance to that?" → The etiquette: in Australia it was one song, high-five, change partners. Third song is a marriage. If your first big festival disappointed you, Gui found the answer years later. The retreat was a very specific container. A very intentional container. The festival was never trying to be one. The big takeaway: a festival is not a broken retreat. They are different kinds of events, and intention is what made one of them feel like another world. Chapters: 00:00 Intro: the events that stay in our heart 01:06 Gui's first: the Valencia retreat (2016) 05:09 Brazil Central: an arts festival, not a ballroom 07:36 Prague: the social that never stopped 12:00 Day zero: the sobbing exercise 15:18 Time, immersion, and the able body 18:03 All styles, all good 21:00 Third song is a marriage 23:27 Studio socials vs the fish market 28:38 Let's spill the tea: Warsaw 30:12 Four days, four dances 32:40 A very intentional container 36:10 Like going to the opera 37:24 What's new is what we remember Co-host: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep13 | ZoukNerds Podcast

Is Brazilian Zouk a spiritual dance? Do you have to be spiritual to dance it? In this ZoukNerds episode, Gui Prada and I take the "too hippie" stereotype apart. The complaint: too spiritual, too much eye contact, whale music. So I asked the Buddha himself, Gui Prada, to define it. His definition: anything you do that connects you to meaning, to purpose, to something larger than yourself. Not a belief, a practice. Yoga counts. Journaling counts. In an old German monastery, brewing beer counted, and the monks drank from three-liter mugs. By that definition I am in it already: weight transfer drills, feeling the floor. Yeah, we all hippies, okay? Does the stereotype survive the episode? → The wardrobe: linen from Bali, organic and vegan, and less depth than someone in jeans in a big city. "It's not what people wear. It's not what they eat. It's not where they live." → The competition: I asked Gui, "Could I be a Jack and Jill hardcore, fanatic point chaser and still be a spiritual dancer?" "100%. 1,000%." → The retreats: journaling connects you to yourself, yoga to your body, meditation to your thoughts, and the dance to each other. That is why retreats use Brazilian Zouk as a connection tool. Then I remembered Beijing. The Chinese Olympic ice dancers saw a video of me dancing Zouk and said, "We don't want to learn the dance itself. Teach us how to become one like you guys do." I could relate. When I competed, my training was for the outside, for the judges, for the show. The big takeaway: spirituality in dance is depth of practice, not wardrobe. The Tuesday-night dancer doing footwork drills may hold a deeper spiritual practice than the professional in yoga pants who lost the why. Chapters: 00:00 Intro: is Zouk too hippie? 02:05 The definition: it's a practice 07:00 Weight transfer drills: we're all hippies 08:08 It's not what people wear 11:23 Can a point chaser be spiritual? 14:50 A tool for connection 15:45 Is the name itself appropriation? 22:25 The Chinese Olympic ice dancers 27:21 The Tuesday-night spiritual practice 30:00 Same class, two names 30:51 The things are what we are Co-host: Gui Prada ZoukNerds: https://www.zouknerds.com/ Alisson Sandi: https://www.alissonsandi.com Instagram: https://www.instagram.com/zouk.nerds/ Episode: S06 Ep12 | ZoukNerds Podcast