To explore archival videos featuring many of the early dancers, instructors, and events that shaped the development of this style, click HERE.
For additional Urban Kiz resources, interviews, and historical references, click HERE.
(All underlined names throughout this article link directly to the artists’ or events’ official social media pages).

1. Cultural Foundations and Early Expansion (1990s–2010)

Kizomba grew out of Semba, a traditional Angolan music and partner dance known for its playfulness, rhythm, and close connection between partners. People danced at neighborhood celebrations and backyard parties called kizombadas. The word kizomba itself means “party” in Kimbundu, reflecting its origins as a community, not a performance.

During the 1990s, Kizomba spread throughout Angola and other Portuguese-speaking African countries. As people migrated to Portugal, they carried their music and dance with them. Immigrant communities in Lisbon opened clubs and social spaces that became the first European homes for Kizomba, establishing the dance’s earliest foothold outside of Africa.
By the mid-2000s, classes began appearing in Spain, France, the UK, and parts of Eastern Europe. A major turning point came in 2008 with the first Africadancar festival in Lisbon. The event brought together instructors and dancers from multiple countries and served as an early launchpad for the international careers of several pioneers, including Albir & Sarah, Tony Pirata & Cherazad, Morenasso & Anise, Bruno & Mafalda, Nuno & Nagyla, and others. Other notable emerging instructors included Victor & Coralie, Cymeone Mopao & Tabara Tabs, Iris De Brito & Kwenda Lima. Among the earliest teachers actively shaping the Lisbon scene were Mestre Petchú, Avelino Chantre, Ze Barbosa, and Tomas Keita. Petchú introduced what he called the “Geometry of Kizomba,” an effort to organize the dance into a more structured system. By breaking movements into clear patterns and naming them, he created a teaching framework that made the dance more accessible to new learners, encountering Kizomba in classroom settings.

At the same time, YouTube and early social media accelerated the spread. Videos reached millions of viewers, and for many people, these clips were their first introduction to the word Kizomba. Kizomba started spreading to countries like Spain, France, Hungary, the UK, Poland, and Slovakia and soon became popular across Europe. After 2010, many festivals like the Kizomba Swimming Festival near Paris were organized, and more and more people began to enjoy dancing Kizomba.

2. Evolution and European Interpretation (2010–2013)
As Kizomba traveled, it naturally changed.

Every region interpreted the dance slightly differently based on local music tastes and the backgrounds of the dancers learning it. Many newcomers came from salsa, bachata, tango, or hip-hop, and they carried elements of those styles into their movement. Electronic and pop-influenced music often labeled Ghetto Zouk became increasingly popular at parties and festivals, encouraging sharper accents, syncopations, and more linear traveling steps.

Because there were still relatively few teachers traveling internationally at the time, many dancers learned primarily through online videos rather than direct cultural immersion. Without consistent exposure to Angolan social traditions, the dance began evolving in ways that felt stylistically different from its original form.

This period sparked important conversations within the community about cultural preservation, respect, and cultural ownership. While experimentation brought creativity, it also created tension around how to honor Kizomba’s African roots while acknowledging that the dance was transforming abroad. By the early 2010s, multiple interpretations of the dance existed side by side, and the line between “traditional Kizomba” and newer variations was becoming increasingly blurred.

3. The Paris Scene and the Birth of a New Direction (2013–2014)
Around 2013, Paris became one of the most influential hubs for the next phase of Kizomba’s evolution. As the dance spread rapidly across Europe, different communities began interpreting the movement through their own musical tastes, cultural influences, and teaching approaches. Rather than one unified change, multiple styles were developing at the same time.

In Paris, dancers such as Curtis Sheldon and Cherazad, Enah and Céline (Bella), Moun and Karole became closely associated with a distinctly modern aesthetic shaped by electronic and urban-influenced music. Their dancing emphasized a more open embrace, stronger arm connection, and an emphasized use of linear pathways rather than the circular, grounded flow traditionally seen in Kizomba. They incorporated syncopations, accelerations, decelerations, and directional changes to match the music's complexity and speed. Visually and rhythmically, it was different from traditional Kizomba.

At the same time, other groups were developing their own interpretations. Organizations such as Afro-Latin Connection, led by Ricardo and Paula, also played an important role in spreading a Kizomba-fusion-based approach through classes, workshops, and festivals. Their influence reached instructors like Isabelle and Felicien, and later Jojo, helping circulate another evolving branch of the dance across Europe.

Because multiple developments were happening simultaneously, there wasn’t yet one clearly defined “new style.” Instead, multiple interpretations emerged side by side each adapting to different music, communities, and aesthetics. Like most social dances, this evolution was collective. DJs, teachers, organizers, and countless social dancers were all contributing to the changes simply by responding to what they heard and felt on the dance floor.

At the same time, certain dancers began to give their approaches a more formal structure. Similar to how Kizomba itself grew organically from Angolan/PALOP social spaces but was later organized for classroom learning by figures like Mestre Petchú, these artists refined movement vocabularies, clarified technique, and created teachable frameworks that others could follow. Their contributions were not about ownership of the culture, but about codifying (arranging rules, laws, or information into an organized system) and transmitting what had already begun to emerge within the community.

Still, everything was labeled under the same umbrella: “Kizomba.” Whether traditional, fusion-based, or experimental, it was all called the same name. This created growing confusion and, for many, concern about preserving Kizomba's cultural and historical identity as an African dance. As the dance gained popularity with festivals, workshops, and socials happening nearly every weekend across Europe, the differences between styles became increasingly visible, yet the language to describe them had not caught up.

By the end of 2014, it was clear that something new had formed. What remained unresolved was how to define it and what to call it.

4. A New Style of Kizomba: Searching for Identity (2012-2014)
As these new interpretations of Kizomba continued developing across Europe, one challenge became increasingly clear: the dance did not yet have a shared identity.

Between 2012 and 2014, several informal labels began circulating. In France, some people referred to it simply as “French Style.” Others experimented with names like “New Style Kizomba,” while instructors such as Ennuel and Hakima proposed “Kizomba 2.0.” Although well-intentioned, many teachers and community members pushed back on that term. Calling it “2.0” unintentionally suggested that traditional Kizomba was outdated or inferior as if the new style were an upgrade rather than something different.

That distinction mattered.

For many dancers, especially those connected to the Angolan roots of the culture, it was important to protect the integrity and history of Kizomba. The dance carries deep cultural meaning tied to community, migration, and liberation, and reducing it to an earlier “version” risked erasing that legacy. At the same time, it was equally clear that something new had formed a movement vocabulary and musical relationship that no longer fit neatly under the Kizomba umbrella.

This tension showed up at festivals and events. Workshops labeled “Kizomba” often featured DJs playing electronic or urban-influenced music and instructors teaching fusion-based techniques. Traditional and newer styles were being mixed together without distinction, which created confusion for students and blurred the cultural lines between them.

Gradually, the conversation shifted from whether the dance was different to how to name it responsibly. The goal was not separation for the sake of division, but clarity honoring Kizomba’s Angolan origins while giving space for this emerging style to stand on its own.

By the end of 2014, it was increasingly clear that the dance needed its own identity. The community knew a new name would be necessary. They just hadn’t found the right one yet.

5. Global Recognition (2014-2015)

Throughout 2014, Enah and his dance partner played a visible role in this global dissemination. They traveled extensively, teaching workshops and performing in multiple countries, bringing their interpretation of the dance to increasingly diverse audiences. During the year, they taught in the United States and Russia, and in July 2014 they visited Mauritius and Spain. The following month, in August 2014, they continued on to Guyana, the United Kingdom, and Poland. Their travels expanded even further to include China, Russia, Canada, Italy, Germany, and Poland, allowing dancers across several continents to experience this evolving style firsthand.

As these workshops and performances accumulated, videos circulated widely on social media, accelerating exposure beyond those physically present in classes. Dancers began sharing clips online, and the visual differences in movement and musical interpretation, linear pathways, syncopations, and dynamic changes in speed quickly captured attention. Students who had previously only known traditional Kizomba were suddenly encountering something that felt related yet distinctly different.

This momentum carried into the United States at the beginning of 2015. From January 2nd to 4th, 2015, the new movements that had developed in Paris appeared prominently at the 2nd Annual Afro Latin Festival in Las Vegas. The event introduced a large American audience to the style through workshops and performances, and in the months that followed, interest spread rapidly across the country. More instructors began teaching the approach, and demand for the style grew within local communities. For historical reference, a flyer from the 2016 edition of the Afro Latin Festival can be viewed HERE.

Despite this international recognition, the dance still lacked a clear name. Most events continued advertising it simply as “Kizomba,” even though the music, technique, and overall aesthetic were noticeably different from the traditional Angolan form. Students often attended expecting one experience and encountered another, which further highlighted the growing gap between the dance’s identity and its label. By 2015, it was evident that this was no longer just a regional variation or temporary fusion. It had developed into a distinct global movement with its own structure, pedagogy, and musical culture.

What remained was to formally define it and to give it a name that honored both its Kizomba roots and its new direction.

6. Settling the Differences in Dance Styles (2015-2016)
By 2015, as the newer style continued spreading internationally, tensions began to surface within the community. Many Kizomba teachers and cultural advocates expressed concern that these evolving movements were still being labeled simply as “Kizomba,” despite significant differences in both form and musical foundation. For those connected to the Angolan roots of the dance, this overlap risked blurring the cultural and historical identity of Kizomba, a dance deeply tied to community, heritage, and the lived experiences of the Angolan people.

At the same time, dancers exploring the newer style were not trying to replace or redefine Kizomba. Rather, they were responding to different music, environments, and influences that had naturally shaped a separate movement language. What became clear was not that one dance was better or worse, but that they were no longer the same.

As a result, a shared understanding began to emerge across both communities: clearer distinctions were necessary. Proper naming, accurate representation at festivals, and respectful labeling of workshops would help protect the legacy of Kizomba while allowing space for this newer style to grow on its own terms. The conversation shifted from debate to definition.

The question was no longer whether the dances were different… it was what to call this new one.

7. Struggles and Establishment of Urban Kiz Identity (2015-2016)
By 2015, the need for a clear and separate identity had become unavoidable. The newer dance style had already spread across Europe, North America, and beyond, yet it was still commonly labeled “Kizomba,” creating confusion for students and ongoing concern among teachers seeking to protect the cultural lineage of traditional Angolan Kizomba. Conversations that had previously been informal were now becoming intentional and public, with organizers, instructors, and community leaders working to establish language that accurately reflected what dancers were actually doing.

During this period, Enah Lebon began experimenting with potential names for the emerging style. One early proposal was “RedKiz,” an acronym for Rapid Extremely Dangerous, meant to capture the sharper dynamics and faster musicality that characterized the dance. However, the term did not resonate widely within the community and failed to gain traction. As discussions continued between European dancers and Angolan dancers, the name was adjusted to “Urban Kiz,” a label chosen to reflect both the Urban-influenced music, including hip hop, R&B, and electronic sounds, and the dance’s roots in Kizomba partnerwork (we will discuss this more later on).

At the same time, Eddy Vents, an influential organizer and advocate for preserving the history and cultural integrity of Kizomba, played an active role in facilitating dialogue around the naming process. On May 4th, 2015, Eddy publicly shared (on YouTube) a conversation held during the Luxembourg Kizomba Congress that addressed the growing divide between traditional Kizomba and the newer style. According to his Eddy Vents, (you can view the original post HERE) the discussion recognized several individuals for their contributions to shaping and spreading the dance, stating that:

Curtis Seldon is the one who created this new type of dance and the one that made the meeting happen after me and him had a conversation.
Enah Lebon, is the one who made this dance become world popular with is "Attitude" and creativity.
Moun Kizomba Full, also is spreading it all around the world.
With all respect to all others teachers who dance it but this are the kings of that dance.

Also present during these discussions were Railey Gijsbertha, Mafalda Amado, Dasmara Dossantos and Donald Wilson alongside other teachers and leaders within the community.

These conversations emphasized that while many dancers had contributed to the evolution, the style had now reached a point where it required its own distinct name in order to respectfully coexist alongside Kizomba rather than remain conflated with it. Video-recorded dialogues between Eddy Vents and Moun (click HERE to see a video of a conversation between Eddy and Moun) further highlighted the importance of separating the identities of the two dances while maintaining mutual respect between their communities.

Shortly after, the decision became official. On May 10th, 2015, the name Urban Kiz was formally introduced by Eddy Vents, Moun, Enah, Curtis, and other influential dancers and organizers (the video is posted at the top of this page). Just five days later, on May 15th, 2015, Urban Kiz was publicly unveiled through workshops, events, and shared media, marking the first widespread adoption of the name. Throughout the remainder of that month, more festivals and instructors began using “Urban Kiz” in their programming to distinguish it from Kizomba, although some events still used the terms interchangeably during the transition period.

With that decision, what had once been an emerging interpretation finally had a recognized identity. Urban Kiz was no longer simply a variation of Kizomba; it had become its own named dance within the broader family of African partner dances.

8. Global Spread and Recognition (2016-2018)
Following the official introduction of the name Urban Kiz in May 2015, efforts to clearly define and promote the dance accelerated rapidly. By August 2015, Moun and Enah had created the new Facebook page "Urban Kiz Project Worldwide" as a centralized space to share information about the emerging style, its history, and its global activities. The page served as an educational and organizational hub, helping dancers around the world better understand the distinction between Kizomba and Urban Kiz while documenting the growth of the community.

Travel quickly became one of the primary drivers of the dance’s international recognition. In September 2015, Enah and his dance partner began teaching abroad, first in Dublin, and later in Réunion Island and Paris, continuing to introduce new audiences to the style through workshops and performances. Around the same time, Enah and Carolina were featured in multiple countries and cities, further spreading awareness of the new dance approach.

Also in September 2015, Enah and Moun, along with their dance partners, traveled to Moscow and then to Korea to promote Urban Kiz internationally. The following month, in October 2015, Curtis Seldon and Moun taught together in Valencia, continuing the expansion into Southern Europe. Shortly after, in November 2015, Moun partnered with Marta Mignone to host an Urban Kiz Boot Camp in Rotterdam, offering more intensive training opportunities for dancers seeking deeper technical understanding.

As these workshops, boot camps, and international tours accumulated, Urban Kiz began spreading at an increasingly rapid pace. More dancers were exposed to its distinct musical choices, often danced to ghetto zouk and electronic-influenced tracks, and its recognizable movement vocabulary, including linear travel, syncopations, and dynamic changes in speed. Gradually, communities began to better understand the differences between Kizomba and Urban Kiz, allowing both dances to be practiced and taught with clearer distinctions.

By the end of this period, Urban Kiz was no longer confined to Paris or a small circle of instructors. It had established an active presence across multiple continents, supported by organized teaching, online platforms, and an expanding international network of dancers.

9. Educational Initiatives and Innovations (2017-2018)

As Urban Kiz continued gaining visibility across continents, the next phase of its development focused not only on spreading the dance but on organizing it. Between 2017 and 2018, instructors and organizers began creating formal educational systems, festivals, and training programs designed to standardize teaching methods and support the growing international community.

On August 16, 2016, Moun shared a Facebook post celebrating one year of travel with Marta Mignone, noting that they had visited 21 countries together. Their extensive touring from 2015 to 2016 illustrated just how quickly Urban Kiz had moved beyond its European origins and established a global footprint. These travels helped seed local communities in multiple regions, creating demand not only for workshops, but for deeper, more structured learning.

By March 2017, this growth became visible at the first Urban Kiz World Open, where Kizomba, Afro House, and Tarraxa were presented and taught as separate styles, each with its own instructors and identity. This distinction marked an important cultural shift. Rather than blending everything under the “Kizomba” label, events began clearly recognizing Urban Kiz as its own category within the broader family of African partner dances.

Two months later, in May 2017, the first Urban Kiz Festival was held in France, further solidifying the dance’s independence as a standalone style with dedicated programming. That same summer, in June 2017, Curtis Seldon announced the launch of his Urban Kiz Teachers Training Certification, during which 25 couples participated in structured instruction focused specifically on how to teach the dance. This marked one of the earliest formal efforts to codify pedagogy and establish consistent technical standards for instructors.

The competitive and performance side of the culture also evolved. In August 2017, the Urban Kiz Battle concept was introduced during the second edition of the “I Am Your DJ” Festival. The format encouraged couples to showcase their favorite combinations, musicality, and creativity while interacting dynamically with each other in front of an audience. This event reflected a growing emphasis on artistry, showmanship, and community engagement within the style.

Later that year, on December 5, 2017, Moun and Enah Lebon announced another Urban Kiz Teacher Certification program scheduled to take place across four countries in 2018: Germany, Italy, Portugal, and the United States. Expanding certification across multiple nations demonstrated how quickly the dance had transitioned from a regional movement into a coordinated international network.

By 2018, the growth extended beyond classes and events into branding and cultural identity. Urban Kiz clothing was created, further signaling that the dance had developed its own recognizable presence and community. What began as experimentation just a few years earlier had now matured into an organized ecosystem of festivals, training systems, competitions, and global representation.

At this point, Urban Kiz was no longer simply an emerging variation it had become an established international dance culture.

10. Continued Evolution and Future Prospects (2018 and Beyond)

Even after establishing a formal identity and global presence, Urban Kiz has continued to evolve. Like the dances that came before it, the style remains shaped by the creativity of the people practicing it. Rather than staying fixed, the movement vocabulary has expanded year after year through experimentation, travel, and cross-pollination with other dance forms.

Several artists have played visible roles in pushing the boundaries of what Urban Kiz can look and feel like. Enah Lebonand Pocahontas incorporated tricks and influences from Hip-Hop and Zouk, introducing more dynamic performance elements. JoJo, Mickaela, and Princess Jenny became known for integrating acrobatics and aerial-style movements into their dancing. JP and Stephy emphasized smoothness and control through Tango influences, while Fred Nelson and Morgane also explored Tango-based techniques within partnerwork.

Other dancers continued expanding the technical vocabulary in different directions. Heneco and Adelina experimented with frequent positional changes, including face-to-face, shadow position, and perpendicular alignments, adding new visual and spatial dynamics. As early as 2016, Mike Evans and Macarena Paton incorporated additional spins and elongated lines. Azzedine and Andrea, along with Sarah and PY, introduced rhythmic variations and syncopations, while Karl and Nima integrated head rolls and detailed arm styling. Laurent and Adeline brought a distinct approach to leading through the body, blending fluid Hip-Hop concepts and multi-point body leads to increase sensitivity, creativity, and musical interpretation between partners. Together, these contributions broadened the dance’s technical vocabulary while remaining grounded in its partnerwork foundation.

Following the global disruption of COVID-19 (2020–2022), newer generations of dancers continued building on this foundation. Dwe and Gaby have documented early milestones since May 2016; after earning multiple wins and recognition at the Olympiads of Kizomba in 2024, their presence helped influence a broader shift in how performance and dance battles in Urban Kiz spaces were approached, with increased emphasis on originality, staged moments, musical interpretation, and creative combinations designed for audience engagement. Around the same period, Audi and Laura, whose first video as a partnered couple appeared on March 10, 2022, became recognized for a highly precise, detail-oriented approach to execution. Their fine-tuned understanding of Urban Kiz fundamentals allowed them to develop increasingly complex and technically demanding patterns that remained structurally grounded in core mechanics. Rather than separating advanced movement from foundational technique, they elevated the fundamentals themselves, demonstrating how clarity, control, and connection could support high-level intricacy. Over time, they became known internationally as a global partnership, frequently teaching, doing demos, and serving as judges at festivals, and their layered, intricate sequencing helped raise expectations for what advanced and professional-level Urban Kiz could look like. Their work contributed to a broader shift toward deeper technical training and inspired many experienced dancers.

The process of innovation remains ongoing. On March 11, 2025, Val’R and Sarah announced “Tetris Style,” another variation within the Urban Kiz family. According to them, the concept focuses on precise, interlocking movements (like the game of Tetris), strong core engagement, and footwork-driven patterns that create contrast and surprise. This development reflects how new ideas continue to emerge while still building upon established foundations.

Across all eras, Urban Kiz has remained a collaborative dance shaped by many contributors rather than any single individual or generation. From its early pioneers to its current practitioners, each wave of dancers has added perspective, technique, and creativity to the form.

Today, Urban Kiz is practiced worldwide through festivals, socials, competitions, and training programs. As a living social dance with a relatively young history, it continues to adapt to new music, new communities, and new ideas.

Urban Kiz is still young in its history, and its story is still being written.

Acknowledgments

I would like to extend my sincere thanks to the individuals who shared resources, conversations, and historical materials that helped inform and preserve the accuracy of this timeline. Your contributions played an important role in documenting the development of this dance and honoring the community that shaped it.

Special thanks to:
-Shika Jay

-Charles Neokiz Ogarocious

-Johan aka DjMojo

-Amber Nsofor aka DJ Afrodeshiak

-Eugene 'Tin Man' Cleveland

References:

Cristea, A. E., & Badiu, I. M. (2021). Urban Kiz: History, Concept, Steps (392 pages). Independently published. ISBN-13: 979-8792510340.

Jacobsen, H. (2024, January 8). Classic, Sensual & Urban Kiz! ~ All About Kizomba. Retrieved December 9, 2023, from https://theworldbyhege.com/kizomba-dance-classes/

Kabir, A. (2015, December 27). War and Peace and Kizomba. Modern Moves. Retrieved from https://www.modernmoves.org.uk/tag/urban-kiz/

Mencák, K. (2020, October 14). About Kizomba, Urban Kiz & Kizomba Fusion. KizombaClasses. Retrieved from https://www.kizombaclasses.com/blog/about-kizomba-urban-kiz-kizomba-fusion

Urban Kiz. (n.d.). Urban Kiz. In Wikipedia. Retrieved April 20, 2023, from https://en.wikipedia.org/wiki/Urban_Kiz