{"id":47211,"date":"2025-12-22T23:56:06","date_gmt":"2025-12-22T15:56:06","guid":{"rendered":"https:\/\/flowtaipei.com\/?p=47211"},"modified":"2025-12-23T15:31:27","modified_gmt":"2025-12-23T07:31:27","slug":"thoughts-from-taiwan-on-growing-a-brazilian-zouk-dance-community","status":"publish","type":"post","link":"https:\/\/flowtaipei.com\/en\/thoughts-from-taiwan-on-growing-a-brazilian-zouk-dance-community\/","title":{"rendered":"Thoughts on Growing a Brazilian Zouk Dance Community"},"content":{"rendered":"

2025-12-22
\n<\/span>Thoughts on Growing a Brazilian Zouk Dance Community
\n<\/span>By Glenn Sloat<\/span><\/p>\n

* Most of this article applies to other social dances like salsa, bachata, kizomba, west coast swing, etc, but I will focus on Brazilian Zouk as it is what I have had the most experience and success in.<\/span>
\n<\/span>
\n<\/span>Growing a Brazilian Zouk community is not easy.\u00a0 Many people in the general population have an idea of what salsa and bachata and swing are, but relatively few have even heard of Brazilian Zouk.\u00a0 It\u2019s a very technical dance and intimidating to start especially compared to bachata.\u00a0 It can take many months to get new zouk dancers to come to a party, and leaders in particular usually take a long time to actually start enjoying the dance socially.\u00a0 I\u2019ve danced salsa, bachata, kizomba, and zouk and by far the most intimidating to start has been zouk.<\/span><\/p>\n

Zouk is my favorite dance and the one I\u2019ve focused most of my energy on, and in the past few years our community in Taipei, Taiwan has grown remarkably in quantity and quality.\u00a0 When I visit other scenes, people often ask me how this happened in Taiwan, and so I\u2019d like to share a bit about what I think has been important in our development.\u00a0 Hopefully this can help people looking to start or grow their own scene \ud83d\ude42<\/span><\/p>\n

What\u2019s important<\/span>
\n<\/span>
\n<\/span>1) Regular (weekly) classes by local teachers<\/strong><\/p>\n

Scenes are built and maintained primarily by local teachers teaching regular classes, not traveling artists that come for a weekend or a few weeks.\u00a0 Local teachers bring in and educate new dancers and chart a path for them.\u00a0 Weekly classes with dedicated teachers establish a sense of stability and ideally build a habit of regular learning and practice for students.\u00a0\u00a0<\/span><\/p>\n

In Taipei, Flow and Bailalo have continually hosted regular classes in 2019 and various independent teachers have maintained regular classes at various times.<\/span><\/p>\n

Events cannot replace regular classes!\u00a0 Believe me, I know.\u00a0 For the first couple of years of learning zouk, I could only go to events outside Taiwan to learn, and that progress was slow because I was lacking all the fundamentals.\u00a0 Our regular students in Taipei now learn so much faster than I did!<\/span><\/p>\n

When I started teaching, I was super beginner compared to teachers in most other scenes.\u00a0 If we had experienced zouk teachers already I would not have started then.\u00a0 But I wanted to grow the scene, and we had to start somewhere!\u00a0 If there are experienced teachers already doing a good job, and you don\u2019t have much experience or expertise, maybe you don\u2019t need to be a teacher.\u00a0 But if you are starting a scene from scratch or nobody is filling the role of teacher competently, get a solid grasp of the fundamentals and some good reference material to keep yourself on track and get to work.\u00a0 Teach fundamentals and simple variations and build good foundations.\u00a0 Teach students (and yourself) to put a huge value on good basics and improving quality of movement rather than flashy patterns.\u00a0 This is a key for sustained long-term growth.\u00a0 Avoid teaching things you can\u2019t do or explain well- work on yourself to get to that point.\u00a0 Bringing other people up with you will also help you improve yourself.\u00a0\u00a0<\/span><\/p>\n

It’s a big responsibility to handle regular classes\/practicas\/events for years on end by yourself.\u00a0 Ideally you can build out a team over time that can teach together and support each other.\u00a0 You may have different styles, and it can be useful to learn from the strengths of others.\u00a0 Find people that align with your values and your vision and that you feel you can realistically collaborate with.\u00a0 If you can bring up your students to assist and teach with you eventually, they will probably share a lot of your values for the dance.\u00a0 I’m very fortunate to have had Mandy and Vanessa from the very beginning and to now have Ting, Fan, and Cozyyi teaching regularly as well as Nana and Allen and Finn helping us out, plus regular collaborations with Gui and Matheus.\u00a0 Our studio and the community are much better off for having these amazing people involved.<\/p>\n

2) Regular practicas<\/strong><\/p>\n

Students need time to integrate what they have learned intellectually into their bodies and to start to feel comfortable with other dancers outside the structure of a class.\u00a0 Practicas are great for this.\u00a0 A practica is as simple as playing an appropriate playlist or set on a bluetooth speaker after class and letting students practice with each other and the teacher.\u00a0 Practicas are easier to organize and lower pressure for students than parties.\u00a0 I believe it\u2019s best to do them right after class, without an extra charge, to get maximum participation. A practica should be a safe space where students are primarily practicing the techniques they learned in class, so I suggest only allowing students of the class\/program and perhaps some trusted friends to join.\u00a0 People who don\u2019t have a good foundation and who are not invested in your class are not helpful.\u00a0 They can cause you problems and distract or drive away students.\u00a0 The party is the jungle; the practica is a controlled space, so don\u2019t give up that control.<\/span><\/p>\n

At Flow we\u2019ve done a practica after our regular classes since the beginning.<\/span><\/p>\n

3) Regular parties<\/strong><\/p>\n

Most students learn to dance so they can enjoy dancing in parties.\u00a0 Parties are where social dance magic happens- where we connect with our partners and the music and share an experience unique to that time and space.\u00a0 It\u2019s also where people from different classes\/studios\/generations mingle and create relationships and dynamics.\u00a0 Ideally parties inspire people to continue learning and dancing and being part of the community.\u00a0 The scene needs regular parties for the community to come together and thrive (and the parties need regular classes to continue the growth of students and replenish the dance pool with new dancers).<\/span><\/p>\n

Depending on the size and level of your scene, \u201cregular\u201d could be once a month, once a week, or somewhere in between.\u00a0 When you are starting out and your dancers are not very experienced, they are probably not willing to come out to a party very often and they won\u2019t dance for a long time.\u00a0 As they progress in the dance and enjoy it more, they will want to party more and dance more in the party.\u00a0 So do the party less frequently in the beginning, perhaps once per month, so you can get more people to turn up.\u00a0 It\u2019s better to have one decent party a month then two or four tiny parties.\u00a0 Later you can aim for a party twice a month and then perhaps weekly.\u00a0<\/span><\/p>\n

This can be split up amongst several organizers, and that can be beneficial in many ways.\u00a0 In Taipei, at present, we have three regular party organizers- two studios (Flow and Bailalo) and one independent party organizer (iZouk).\u00a0 Typically, each week has a party organized by one of the three of us, or two if we are doing a weekender.\u00a0 Because the parties rotate, dancers can go to different places, which keeps each party feeling fresh, and the community intermingles more than if every party was by the same organizer in the same place.\u00a0 Also, none of us get overwhelmed maintaining the party because we don\u2019t have to be in charge of it all the time.\u00a0 Sometimes that is difficult as studios often depend on the party income to survive.\u00a0 But in this case I think this has been beneficial for the community.\u00a0\u00a0<\/span><\/p>\n

In any case, having regular parties that dancers can expect and look forward to is a must.<\/span><\/p>\n

4) Good music\/DJs<\/strong><\/p>\n

I think this is something that is often overlooked in scene-building.\u00a0 Dancers need good music to enjoy dancing!\u00a0 When the music in the party is stale, boring, or not danceable by the majority of the dancers, the experience of the party and the dance suffers.\u00a0 If dancing in the party is not fun, most people are eventually going to stop learning and participating in the community.\u00a0 But when people connect to and enjoy the music, they experience positive emotions- they\u2019re uplifted, inspired, they express themselves, they play with others, they connect to themselves and others\u2026 and hopefully they leave the party wanting to dance more.\u00a0 So we need good music!<\/span><\/p>\n

What do I mean by good music?\u00a0 Music that for most of the dancers is:<\/span>
\n<\/span>
\n<\/span>-Enjoyable to listen to (very subjective)<\/span>
\n<\/span>-An appropriate genre (also can be subjective)<\/span>
\n<\/span>-Danceable (comfortable speed, suitable rhythm)<\/span>
\n<\/span>-A mix of familiar and fresh music<\/span>
\n<\/span>-An energy flow that keeps things interesting and doesn\u2019t bore or exhaust the dancers<\/span>
\n<\/span>-A good sonic experience (played from quality sound equipment set up correctly and at a comfortable volume)<\/span>
\n<\/span>-Transitioned comfortably between songs<\/span><\/p>\n

When starting a scene, you probably aren\u2019t ready to DJ, and it\u2019s not the most important thing for you to do.\u00a0 It\u2019s more important to dance and interact with students, to help them enjoy the party and meet other people.\u00a0 During this early time, it\u2019s better to use some appropriate mixes from experienced DJs.\u00a0 Many DJs post their sets to Mixcloud and allow people to use them.\u00a0 Find sets that are appropriate for your dancers and see if the DJ will give you permission to use them for your parties.\u00a0 I cannot recommend * DJ Eflosa * highly enough for this.<\/span><\/p>\n

If you are interested in DJing, you can start learning and record your sets, then use the recording for your party.\u00a0 As the community progresses to where people are enjoying dancing with each other and you don\u2019t need to dance continuously, you can start to DJ live if you are inclined.\u00a0<\/span><\/p>\n

If you have someone interested in DJing, or if you are ready to start DJing live yourself, then you can step up the level of the party.\u00a0 It\u2019s a different feeling to have a live DJ creating something for the dancers in the moment.\u00a0 But you need to ensure that the quality is good.\u00a0 Maintain standards.\u00a0 Encourage and support DJs that work on themselves and aim to create good party experiences for the local dancers.\u00a0 Don\u2019t hand your party off to a DJ that will kill it with music that is too loud\/too fast\/not attractive to your dancers\/undanceable\/transitioned badly!\u00a0\u00a0<\/span><\/p>\n

Ideally, you will eventually have multiple competent DJs in the scene.\u00a0 That takes a lot of time and effort because DJing for zouk is much harder than for salsa or bachata.\u00a0 It requires more technical skills and familiarity with more genres of music to play well.<\/span><\/p>\n

In Taipei, we have several active DJs.\u00a0 I first learned from DJ Siix (Galileo Flores) around 2020 and later I taught DJ Jane, DJ Claire, and DJ A Zhen who became my core group of DJs that I work with for my parties, and there are a few other active DJs as well.\u00a0 People can burn out on DJing, especially if the community leans too heavily on them or if they have too many other responsibilities, so it\u2019s really important to have more than one DJ and to keep encouraging promising new DJs.\u00a0<\/span><\/p>\n

5) Gatekeeping<\/strong><\/p>\n

Usually when I see the word gatekeeping, it’s in a negative context, but in my opinion, some gatekeeping is very necessary if you want to build a Zouk community.\u00a0 The dance is not without danger *especially* when the community is new.\u00a0 A few bad things that can happen which will stunt the growth of a scene:<\/p>\n

-Men (usually) that mainly want to get close to and grope women
\n-Leaders that lead unsafely, with bad technique or way too much power, that can hurt their followers
\n-Leaders (usually not great leaders) who annoy followers by talking down to them and trying to teach them in the social or a class they aren’t in charge of
\n-Relatively senior dancers that are unfriendly and unwelcoming to newer dancers<\/p>\n

When your scene is new and people don’t really know what is normal, what is acceptable, what is safe, etc, it’s really easy for a few people to warp the standards into something that most people will feel is undesirable- then most people will disengage.\u00a0 If you have creepy guys making the ladies feel uncomfortable in the social and messaging them afterward, those ladies are probably not coming back.\u00a0 Same if the leaders are throwing the ladies around on the dance floor or annoying them in some other way.\u00a0 And if the more senior dancers don’t engage with and make newer dancers welcome, there won’t be any growth.<\/p>\n

All of these things can kill your scene and make all your hard work pointless.\u00a0 Make no mistake- if you start a zouk community, you will definitely come across people with bad intentions and people who will unintentionally harm through carelessness and ignorance.\u00a0 While you don’t want to turn into the Zouk police, you do need to be a gatekeeper for your own classes and socials.\u00a0 If you see behavior that’s harmful to individuals or to the community, you’ve got to address it and get it to stop one way or another- by getting that person to modify their behavior or removing them from your classes\/events.<\/p>\n

A very big component of this is getting your community to do the gatekeeping themselves- teach them early on about setting and respecting boundaries, about their rights to end a dance at anytime and how to do it, their prerogative to say No to anyone they don’t want to dance with, etc.\u00a0 Teach your people to protect themselves and maintain high standards for the dance.\u00a0 That’s culture building.\u00a0 When you have a strong culture, that will influence who is attracted to the dance and how they behave.\u00a0 This will make your work as a gatekeeper much easier.<\/p>\n

Keep your community safe and build the culture you want.\u00a0 Don’t let it be ruined through the bad intentions or carelessness of others.<\/p>\n

6) Peace between schools\/organizers<\/strong><\/p>\n

This is so important and also one of the most difficult things.\u00a0 We should avoid getting tunnel vision and focusing only on the current group of dancers in our scene.\u00a0 We should continually look outward to connect to more people that can join our community.\u00a0 We have to understand that social dance is not a zero sum game.\u00a0 A healthy sense of competition can be good in terms of raising the quality of our dance, teaching, parties, events, etc.\u00a0 But we should realize that our main competition is not really other organizers- it\u2019s other leisure activities.\u00a0 In most scenes, at least in larger cities, there are many, many potential dancers.\u00a0 Fighting over a small group of people and trying to control them and ensure they only come to your studio is counterproductive and frustrating for everyone.\u00a0\u00a0<\/span><\/p>\n

If people are constantly leaving my classes\/studio to join others, of course I should see what is driving them to do and figure out how I can improve their experience.\u00a0 But them going somewhere else to dance is not the worst thing- the worst thing is them giving up on the dance and becoming inactive in the community.\u00a0\u00a0<\/span><\/p>\n

If students go to more classes in multiple places, they are getting more practice and different viewpoints and will probably progress faster to the point where they enjoy social dancing.\u00a0 They interact with more people.\u00a0 They\u2019re more likely to be engaged in the community, to join parties,\u00a0 and commit more to the dance.\u00a0 That\u2019s good for the scene!<\/span><\/p>\n

If you have another organizer in your scene that you respect and who is interested in the community as a whole, rejoice!\u00a0 Do your best to maintain a positive relationship with them.\u00a0 Having synergy between organizers is a powerful tool for growth.<\/span><\/p>\n

I\u2019m very fortunate that the other main organizer in Taipei is Magda Zieba, someone that I respect and personally like.\u00a0 We communicate to try to avoid conflicts, we join each other\u2019s events, and we often travel to the same events and hang out together. Everyone in our scene can see us enjoying and respecting each other and I think that has been an important source of stability and peace for the community.\u00a0 When there is tension between organizers, it can permeate the whole community and people can become more closed, more guarded.\u00a0 When there is peace, people feel more free and can be more open and welcoming.<\/span><\/p>\n

We don\u2019t get to choose who else is interested in zouk in our area.\u00a0 Sometimes there are people we can\u2019t stand on a personal level or who we think teach in an irresponsible way.\u00a0 Maybe there is a real problem with this person or maybe they just rub us the wrong way somehow.\u00a0 In any case, it\u2019s toxic and usually not productive to fight with other organizers.\u00a0 You might not be able to work with them or support them, but at least try to avoid needless conflicts that divert your energy.<\/span><\/p>\n

7) Inspiring events (but not too many!)<\/strong><\/p>\n

By events, I am talking about weekenders, intensives\/ festivals, etc.\u00a0 These are like the cherry on top.<\/span><\/p>\n

Events can be transformative experiences for individuals and the community collectively.\u00a0 Many people will remember the first time they saw professional artists in person.\u00a0 It can be hugely inspiring to see their demo live and to dance with them.\u00a0 Good artists bring in fresh ideas that reinvigorate the community and keep us up to date with the evolution of the dance.\u00a0 Sometimes their ideas have a huge impact on a scene (I believe Gui Prada had a big effect on the focus on comfort for Taiwan dancers)\u00a0 These experiences are important for the community.<\/span><\/p>\n

Having said that, it\u2019s easy to put too much focus on events to the detriment of the community!\u00a0<\/span><\/p>\n


\n<\/span>A few tips for events<\/span>
\n<\/span>
\n<\/span>Do:<\/span><\/p>\n

– Join events in established scenes before planning your own so you are familiar with standard practices<\/span><\/p>\n

-Find mentors who are willing to share their experience and advice about organizing<\/span><\/p>\n

– Choose artists that have something valuable for your community and that you think your community will respond to positively<\/span><\/p>\n

– Select from artists you\u2019ve experienced personally (taken their class, seen personally how they engage with people, ideally at least had a conversation with them)<\/span><\/p>\n

– Communicate clearly with the artists about the level of the participants and discuss your expectations.
\n<\/span>
\n<\/span>– Agree on your conditions clearly and in advance<\/span>
\n<\/span>
\n<\/span>– Plan an itinerary that is realistic and practical and that respects the artists as human beings and the terms of your agreement<\/span><\/p>\n

– Invite other organizers\/teachers to join<\/span>
\n<\/span>
\n<\/span>– Tell your students\/the community about the event early and often<\/span><\/p>\n

 <\/p>\n

Don\u2019t<\/span>
\n<\/span><\/p>\n

– Accept everyone who asks to come and teach; some will not be the right fit and some may not be competent.\u00a0 Either will damage your reputation and the trust people have in you as an organizer.<\/span><\/p>\n

– Hire artists that can\u2019t competently teach your community something useful, just because they are popular or because you are friends with them (or want to be)<\/span>
\n<\/span><\/p>\n

– Save money on expenses by not feeding\/housing\/transporting\/paying your artists humanely\/according to your agreement<\/span><\/p>\n

– Plan an event without having the money to pay for it regardless of how many people turn up (No no no!)<\/span><\/p>\n

– Schedule your event too close to another event that will draw the same participants\u00a0<\/span><\/p>\n

*Too close is very relative according to the size of the scene, and the participants\u2019 disposable income, free time and their willingness to join events.\u00a0 In the beginning, one event per year may be enough.\u00a0 Later it might be once per quarter, every two months, even once a month.\u00a0 The point is, you want to avoid scheduling events that make other events smaller because people don\u2019t have enough time\/money to keep up.\u00a0 People are usually excited in the beginning but they will run out of money and time and energy.\u00a0 With too many events, you can easily burn people out.\u00a0 They may also stop joining regular classes if they see artist workshops as a substitute, but that can be very bad if the dancers don\u2019t already have a very good foundation.\u00a0\u00a0<\/span><\/p>\n

You can do events more frequently with a larger community and\/or people that are willing and can afford to join more often (and if you yourself have the time\/energy\/finances).\u00a0 Eventually, once you\u2019ve gotten the hang of weekenders, you can consider running a marathon or even a festival, if the community is ready.<\/span><\/p>\n

The first weekender I ever ran was with Bruno and Raiza in 2019.\u00a0 They were a perfect fit for a very beginner community and amazing to work with.\u00a0 Since then I\u2019ve run many weekenders as well as Taiwan Zouk Festival.<\/span><\/p>\n

Fortunately for me, only one other organizer does zouk events (Magda from Bailalo), and we coordinate with each other to *try* not to overload the schedule.<\/span><\/p>\n

8) Trips to events outside your scene<\/strong><\/p>\n

This could come before or after organizing events in your own scene.\u00a0<\/span><\/p>\n

Going together with students\/other dancers from your community to a weekender\/festival in another scene is a special experience.\u00a0 It\u2019s a chance for everyone to experience dancing with new people who may have learned in a different way and have different habits, preferences, and styles.\u00a0 It\u2019s the time where people make new friendships with people from other cities, states, or even countries.\u00a0 This unlocks a whole new level in dance which can be hugely transformational in life- international relationships.\u00a0\u00a0<\/span><\/p>\n

I have traveled to many countries because of people I have met there, and I\u2019ve visited others not knowing anyone because I know now that I can make friends in new places.\u00a0 Because of dance, I\u2019m far more connected to the world than before.\u00a0 This is an amazing gift and has made my life so much richer.<\/span><\/p>\n

Traveling to an event, whether in another city or to a faraway country, can be a powerful experience and one that creates amazing memories and bonds (or it can just be expensive and a big hassle and not very much fun- your mileage may vary \ud83d\ude05.\u00a0 It\u2019s an opportunity for your people to bond as a group and to be seen and recognized by people in other scenes so you feel more connected to the larger zouk family.\u00a0 It\u2019s also a way that dancers find new challenges and inspiration to stay in the dance.<\/span><\/p>\n

Bonus<\/strong><\/p>\n

9) Cross-pollination with other dance scenes<\/strong><\/p>\n

This isn\u2019t strictly necessary, but it can be really helpful.\u00a0 If you can dance other dances like salsa and bachata competently, go to those socials at least occasionally and maintain some connection to those dancers.\u00a0 Do this because it supports the social dance ecosystem as a whole and so more people are aware of you.\u00a0 If more people are aware of you, they may come to learn zouk with you someday.\u00a0 But don\u2019t go to a party just to recruit people to your own dance, and don\u2019t talk a lot about your own classes in other people\u2019s events. \u00a0 And don\u2019t go if you can\u2019t dance the dance style there reasonably well or it will be counterproductive because you will look bad.\u00a0 Participate in the social respectfully- don\u2019t try to hijack it and dance zouk when it\u2019s not appropriate to try to draw attention to yourself.\u00a0 This is annoying and even if you do get some people to notice you, you will probably piss off the organizer and other dancers.<\/span><\/p>\n

If you do this well, you\u2019ll make it easier for people to find out about zouk and find you.\u00a0 Sometimes people start with one dance and then join or switch to another that they find out they like.\u00a0 It will also happen to you- people will give up on zouk and choose something else they think suits them more.\u00a0 That\u2019s normal and OK!\u00a0 But it\u2019s better if you can make that a two-way street.<\/span><\/p>\n

Flow and Bailalo both have Salsa, Bachata, and Zouk, and at least some of our teachers social dance in all three styles, so both studios have connection to all those dancers.\u00a0 I don’t dance West Coast Swing or Hustle, but I’m close to the community leaders in both- Wan Yu organizes Taiwan Zouk Festival with me and Janis has been a big supporter for years, and we do things. Cozyyi and Ting also teach Zouk at Flow, Ching is one of my practice partners.\u00a0 We’ve all supported each other in different ways and learned from each other over the last few years, and it’s a benefit to all of our communities.\u00a0 If other dance styles in your area grow bigger, that’s a *good* thing because there is more awareness of partner dance. Maybe some of those dancers will join zouk later or their friends will.\u00a0 Maybe you can collaborate and do things together that are better or different in a good way than what either could do separately.\u00a0 You can learn a lot from the culture of other dances, so if you are an organizer, keep your mind open to other communities as well!<\/p>\n

Summary<\/strong><\/p>\n

Building a community for Brazilian Zouk (or any other social dance) requires a lot of time and effort, consistently applied for years.\u00a0 It\u2019s not always necessary for it to always be the same person putting in the work, but someone has to always be carrying the torch or it goes out.\u00a0 It\u2019s difficult and even harder if you are trying to scratch out a profit, but it can be really rewarding to plant a zouk garden and watch it blossom.\u00a0\u00a0<\/span><\/p>\n

My main advice is<\/span><\/p>\n

-Be realistic about what you are willing and capable of putting into the community as far as time and money.\u00a0 Set boundaries and don\u2019t allow yourself to be pushed into situations that are not healthy for you mentally or financially.<\/span><\/p>\n

-Don\u2019t try to do everything yourself.\u00a0 Find kindred souls that you can connect with and share the load.\u00a0 But be choosy about who you work with because a mismatched partner is often worse than going alone.<\/span><\/p>\n

-Try to control your ego and emotions and co-exist harmoniously or at least without conflict with other organizers and teachers.<\/span><\/p>\n

-Fill your own cup periodically by taking trips where you can dance with people that reignite your passion, or by taking a break entirely from dance<\/span><\/p>\n

-Remember that the dance is the thing the community is built around, but actually it\u2019s just a way to connect with people.\u00a0 Value the relationships you make in the dance.<\/span><\/p>\n

* I wanted to reference and give credit to a great article I read years ago about how the zouk scene in Warsaw started, but I couldn\u2019t find it when I wrote this.\u00a0 If anyone knows the article I’m talking about, send me a message and I’ll link to it here.<\/span><\/p>\n

Thanks for reading, and good luck!<\/p>\n","protected":false},"excerpt":{"rendered":"

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