Maya Breeze

What my show actually looks like

I do not work dark clubs. I work in the sun: go-go on white platforms beside a pool, yacht shows with the sea behind me, beach parties in the afternoon. It is a completely different style, open and energetic, without the tension of a closed room.

I have actually surfed since I was sixteen and my body is built from it. That sounds like a small detail and it shows: there is a difference between a real tan and a sprayed one, and between someone used to moving on an unstable surface and someone who learned movement in a mirror.

My show is built to be watched with a drink in hand. There is no single dramatic peak, there is forty minutes of flow you can step in and out of. On a yacht or beside a pool that is exactly right.

Who I suit

Pool parties, yachts, villas with a garden. A cabin with a pool in summer is my home ground.

A daytime stag party, the kind that starts at two in the afternoon next to water. Far more common than people think, and nobody offers it.

In a closed flat in the evening I still work, just know you are getting eighty per cent of me. My style needs light and space.

Where it works

Anywhere with water or an outside. Villas in Herzliya, rooftops in Jaffa, yachts out of the marina. Seafront hotels with a big window work well too.

In winter I move indoors and ask for good light. A hotel room with a large window is fine, a dark loft much less so.

What I do not do

I do not go into the water during the show, and that is the question I get most. The reason is simple: after the water the show is over and there is no continuing. Once I have finished, if I have been invited to stay as a guest and feel like it, that is a different thing, and most of the time I simply go home.

No touching unless I invite it, no filming. The show ends when it ends, with no afterwards.

How I got into this

Surfing since sixteen, and at nineteen I worked a beach cafe in Tel Aviv. That is where I first saw a go-go set beside a pool and understood you could work in the sun rather than in a basement.

I trained go-go for two years, but most of what I do came from the sea. Surfing teaches you to move on something that moves under you, and on a yacht deck that is exactly what is needed. Dancers who came from a studio struggle there.

Five years in the work, mostly in season. In winter I surf and coach, in summer I am barely home.

What I bring and what I need from you

Two or three beach outfits, a wrap, sunglasses and my music, deep house and afro. A small bag, I am used to travelling light.

From you: a stable surface two metres across. On a yacht that matters most, because a wet deck in heels does not work and I will go barefoot. And a speaker that carries outdoors — outside the sound disappears, and what is loud enough in a living room is not enough beside a pool.

And sunscreen if the show is at midday. It sounds funny and it is the thing I forget most.

Mistakes people make when they book me

Booking me late. I am a daytime act. At ten at night in a closed flat I still work, but you get eighty per cent of me. Book me for two in the afternoon and you will see the difference.

Forgetting a home speaker does not carry outdoors. The most common one. Beside a pool without a proper speaker the show loses half.

Asking me into the water mid-show. After water there is no continuing, the show simply ends. If you want water, it is the ending and not the middle.

Not checking who lives above. A rooftop once ended with the police. Not for me, for a colleague, and I have asked ever since.

Booking me

Tell me where it is — pool, yacht, rooftop, living room — and what time. The hour matters more with me than with the others, because daylight is half the show.

Standard price, no deposit. Closest to me are Karina Voronskaya on the yacht side and Yonit Dror if you want latin energy. The full gallery is here.