Gui Prada’s Close Embrace

I recently met Guilherme (Gui) Prada at a Brazilian zouk marathon in Portland. I recognized Gui from YouTube videos where he shares videos of his ‘close embrace’ technique which integrates organic connection into a dance that can otherwise be quite energetic. Being new to Brazilian zouk, I spent much of my time at the marathon watching fellow dancers, and Gui’s movements were captivating in that they were conscious and deeply connected regardless of which follow he was dancing with. I had the opportunity to interview him about his philosophy on dance.

He has been dancing various Latin dance styles since 2007 and when I asked him about his journey toward Brazilian zouk he explained how its distinct movement and sound attracted him,

It looked very exotic, very different from all the other Brazilian dances and zouk music from the Caribbean and from Africa had a French creole vibe which was so different from what I was used to with the other dance styles. I also saw myself being able to express my masculinity in a different way than the other dance styles and its hard to explain but Zouk would access part of my personality that other dances didn’t. I was shy, very shy, and Brazilian Zouk had an element that gave me an awareness over my masculine energy that the other dances didn’t. The motivation behind my dance has changed over time. The motivation that I have now is really about creating an environment that is stimulating to be in because it feels good and it’s a safe place to be.

While discussing the concept of safety within dance, Gui shared a bit about how dance was literally a safe haven for him,

I was living in Rio when I was learning Zouk and parts of the city are violent. I was robbed nine times while living there and I remember the dance studio being a place that felt completely safe. I could set my cellphone down and not have to worry that it would be stolen and that was mind blowing for me, so dance really became a safe environment for me and that is what I try to create within my dance. My close embrace technique really started from watching my favorite dancers doing just the fundamentals and discovering that what I enjoyed so much about their style was the way that they were holding each other. So I then started creating an embrace that was similar to theirs— an embrace that was comforting, safe and stable. Interestingly, the main audience was older women in their sixties and above and when I would dance with them I would have to adjust my body to ensure that they were stable despite some of the limitations that can come as the body ages, and though their bodies were older I wanted to ensure that they could move in a way that didn’t make them feel those limitations. So I would have to be mindful of the length of my step, range of motion, and flexibility. Some of the women would lose balance if they took steps beyond what was comfortable for them. Adapting to dance with them and creating a comfortable dance for them was one of the foundation’s of my close embrace technique. My mindset was to surround this person with my arms and provide a stable, safe and comfortable place and I realized that those principles could be applied to anybody I danced with. It has also stuck with me because that was actually where a lot of my foundational learning came from because I was able to receive free lessons in exchange for my time dancing with these women.

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Gui’s approach to Brazilian zouk looks and feels almost spiritual so naturally, I asked him what spirituality or interconnection means for him when it comes to his dance style,

I really try to focus on points of contact. It takes me out of my mind and puts me in my body. There is also a curiosity about my dance partners and their movements. Having a curiosity about their movement, without judgment about whether it is wrong or right, creates an opportunity for a wonderful connection. It creates a space to mirror their movements and flow with them. There is something beautiful about meeting my partner where they are and being present without interpreting anything about their movements— not interpreting stiffness as nerves or as rejection and not expecting anything from my partner but rather just finding joy in being present with them. I bring this love for people into the dance and get out of the mechanical aspects and really try to step more into the human aspects of it. That is another human being over there with their entire universe. I really like that idea of just being with another person in this art where you don’t have to say anything. Apart from the emotional aspects of connection, there are chemical benefits. Dance can often tap into something you need in your physical chemistry.

Like hugging, the close embrace technique can release chemicals such as oxytocin and dopamine, which soothe the nervous system and further increase the feeling of safe contact.

On the topic of interconnection, Gui related an experience he once had in Brazil,

I was a dance for hire for many years. In Brazil you can hire somebody to dance with you for an entire social, so basically I was a contract boy and I danced with one woman for six years. While dancing with her one time, I noticed that she kept her arm locked low below her shoulder line and wouldn’t lift it. I decided to respect that restriction of movement and at the end of the social she said, ‘my son, I want to thank you for not trying to lift my arm. All the other boys tried to lift my arm but you didn’t and I have been having horrible pain in my shoulder. It was a gamble coming out here tonight, but you made it nice.’ So while I noticed that her arm was down, I didn’t create stories around it or try to adjust her movement to suit mine and that is what happens when you find joy in being present with your dance partner rather than focusing on the mere mechanics.

When asked if there is a motto he lives by,

There is no obvious. I have seen how much the idea of ‘obvious’ within human relationships can be harmful because when we filter things through our minds, we create stories and we believe those stories and then we treat people according to those stories. So when somebody says something, I don’t read between the lines. I don’t assume or interpret and I don’t project any ‘shoulds’ onto others. Since I live by this concept it really helps me to connect with people more deeply and authentically.

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Photo credit: tiffany-malnar