IN CONVERSATION WITH SOLANGE DIAS - Published The London Miscellany

Q: You’re from a slightly younger generation than Lula, growing up in Brazil at a time when Lambada had already won its struggle for acceptance under the eyes of the Catholic Church. Were you familiar at all with the name ‘The Forbidden Dance?’

A: People still called it ‘The Forbidden Dance’ although I never knew where the term came from. When I was growing up every-one loved it.

Q: Am I right in saying that you began dancing and competing when you were just fourteen?

A: My brother Berg trained me for a competition when I was fourteen, fifteen maybe. At first I didn’t want to do it. I enjoyed the dancing but I didn’t want to be tied to it. I was, you know, a teenager, a bit of a hippy, I went through my phases. But then I became addicted to the dance.

Q: How was Lambada danced back then, at the height of its popularity?

A: Lots of energy and acrobatics. Really flashy. Cheesy sometimes, but not always. That’s the kind of image people are trying to move away from now. Today the dance is concentrated more on sensuality, and it’s lighter, more subtle.

Q: What’s your opinion on the extent to which Lambada has developed since it began being danced to Zouk, as opposed to Lambada music? Do you think the change warrants dropping the name ‘Lambada’ entirely for Zouk/Lambada, or simply Zouk?

A: Both Berg and I believe there is still the dance Lambada, and it should still be called Lambada – the dance has simply developed. Zouk is another dance completely, from French and Caribbean roots. In fact they had a meeting at our last Congress, some arguing for Lambada, some for Zouk, and Zouk/Lambada was a compromise. In Brazil, there are people who hate the name Lambada – it’s not fashionable anymore, people think it’s a dance of the 80s and 90s and it puts people off learning. But if you look at the performers of what is now being called ‘Zouk’ in Brazil they’re all the old Lambada dancers!

Q: The way in which individuals like Berg and yourself approach the dance has been enormously influential on how Lambada is perceived and performed in the UK. Being as the Lambada teaching community is relatively small, is it possible to trace the influence of different teachers in the style of Lambada being developed in this country?

A: Yes, it’s amazing! People take up the individual styles of their dance teachers. You can especially notice this in London. Some people will dance with Marisa’s style, for example, or with mine, or with Lula’s. Some people are a mixture. Others will decide they’re in love with one teacher’s style and they’ll simply stick with that.

Q: Have you found it difficult teaching such a sensual, expressive dance to us British, notorious for our reserve?

A: (Laughing) It’s sometimes not easy for British people, but I give my blood and soul to teaching. I don’t care about age, weight - if people really want to dance I’m there to show my passion. And actually it’s hard for anyone, British or not. There’s a lot of technicality involved. After about three years of really hard work you can then express your sensuality through the dance. But you can’t push people too far. I’ve got a dancing couple at the moment who are really good but they’re too insecure to dance in the shows or competitions. I think they’ve been watching Berg and me and thinking ‘I’m not as good at that, they’ll laugh me off the stage.’ Of course I know that’s not true but you can’t persuade some people.
What I really want is for my advanced students to start teaching. That’s what we need to promote Lambada in the UK: teachers. Four have come out of my classes already. Gary was a student of ours, and now he and Marisa are doing wonders for promoting the dance – they’ve got so much energy. I couldn’t do without Gary and Marisa, they’re like my right arm.

Q: As family, you and Berg have been dancing together all your lives. Do you think people’s choice of partner should be a personal one? It must be tempting as a teacher to bring your best pupils together.

A: Sometimes I’ve brought my best pupils together, but not often. It’s very important to find your right partner. There has to be exactly the right chemistry. And romance can happen. Lambada is such a social thing, except better, because it’s without the drinking. Maybe a glass of wine, two, but then you just want to dance, dance, dance. You’ll see people will come to the club and hardly speak a word, they’ll just dance for three hours, no stopping. When you see the foundation of the dance, it’s beautiful. And you get addicted to it. It’s like a good addiction.

Q: Perhaps the relationship is with the dance then, as much as with your partner?

A: Definitely. It’s the connection between you and the dance. Lambada makes people transparent. I mean that you can see who people are - whether they’re shy, frustrated, insecure, or very happy. There are not many ways to express yourself in this world, and dance is one of them. I feel amazing when I dance; Lambada makes you feel amazing. It gives you free expression.