Billy’s Humble Thoughts on Kizomba: A New Instructor’s Perspective

I’m sitting in a plane flying to Miami to teach Kizomba/Semba with my partner Monica Kay and Kizomba Harmony at the Aventura Dance Cruise (pretty exciting!), and it occurred to me that I’ve officially been dancing Kizomba for about two years now, and I now have a couple months under my belt as a Kizomba Harmony instructor, and in this time I’ve seen and heard quite a bit. I was thinking about my journey as a dancer and instructor, and I felt it’d be constructive to lay out a few ideas, suggestions and opinions that might be worth reading for those who love, like, or are merely curious about Kizomba. It’s a long read, but I think it’s worth it. Enjoy!

1. Kizomba is NOT a sexual dance. It is true that Kizomba can be a sensual dance, particularly when Tarraxinha elements are mixed in (more on that later), but the dance itself is not sexual when danced properly. Kizomba does emphasize RESPECTFUL connection, with your partner as well as the music. It can be difficult for people, particularly in our hypersexed society here in America, to separate intimacy or physical touch with sexuality, and yet it is necessary to truly appreciate this dance. A panther is beautiful, or even sexy, in its graceful feline movements, but it is not trying to be sexy, it just moves naturally. Similarly, when dancers are graceful and musical and move with seeming effortlessness, when two people become atuned and move as one, it can be very sensual, but it isn’t sexual. Kizomba has been marketed as a “sexy” dance by some, taking the sensual beauty of the natural hip movements (“ginga”) associated with Kizomba, Semba, and Tarraxinha and oversexualizing them in an effort to commercialize the dance, but I believe this is a misguided disservice.

2. Kizomba is NOT an easy dance. Often, folks, usually folks with a background in Salsa, Bachata, etc., see the seemingly simple nature of Kizomba and assume it’s “boring” or “easy”. And it is true that it is easier to get started dancing kizomba with the basics because you don’t need tricks to have a fun dance. However, developing proper technique takes much work, and I have seen many a dancer (even elite dancers in other styles) humbled by how much effort it takes to perfect even the most basic movements, like the Kizomba walk. Kizomba is like an iceberg, what you see is only the smallest part of the dance. Rather than learning tricks, it’s getting the “feel” right that is the hallmark and challenge of learning to be a great Kizomba dancer. So don’t sleep on Kizomba my people, it is very challenging, but at the same time it’s easy to get started and having fun on the dance floor. So don’t knock it until you try it!

3. It is important to learn to distinguish Kizomba from Tarraxinha and Semba and learn the different styles of music that are played. Kizomba is an Angolan dance and style of music that is a derivative of Semba and Carribean Zouk. Tarraxinha is also an Angolan music and dance, but it emphasizes body isolations and hip movements over walking or steps. The seemingly “grinding” or “rolling” (though it’s not grinding) movements that people sometimes will see kizomba dancers do are Tarraxinha movements. Semba is the parent of Kizomba and is a derivative of Massemba as well as Zouk. Semba has a more playful, upbeat intention than Kizomba, which is generally more relaxed, but most Kizomba/Semba steps are interchangeable. However, Tarraxinha movements generally should not be danced when a semba song is playing. Some think of Semba as “fast Kizomba”, but this isn’t always the case, as the tempo can be faster or slower depending on the song. Ghetto Zouk, a more R&B sounding style of music that is very popular with Kizomba dancers, is another genre that is often played, and much of what folks think of as Kizomba music is a mixture of Ghetto Zouk and Tarraxinha music. It’s important to do what you can to learn about the different genres of music, as the type of music will dictate the dance. Tarraxinha movements are acceptable when Ghetto Zouk/Tarraxinha/remixes are playing, but are generally not used as much with Kizomba (what some call “traditional” Kizomba), and and even less so when Semba is playing. Which brings me to my next point.

4. If you’re going to do Tarraxinha learn to do it properly. Tarraxinha can be fun, and adding elements to your dancing can be a great mix. In fact, most of what is referred to as “new styles” or “modern evolutions” of Kizomba is mainly a mixture of Kizomba/Semba steps and Tarraxinha movements. But overdoing it, or doing it with improper etiquette or technique, is part of why Kizomba is seen by some as a sexual dance, and can turn off some who would otherwise enjoy Kizomba. I don’t claim to be an expert, so I’ll just leave a few thoughts/tips. First, generally Tarraxinha movements don’t mix with Semba songs. A sprinkle of a slow weight transfer here and there can be nice depending the song, but you should not be doing Tarraxinha body rolls, for instance, to a Semba song. I’ve seen it, and it’s bad business. Secondly, be careful of your technique. You don’t need to ram your fists into a woman’s back to do the movements, in fact, done with excellent technique, you rarely will need to use your hands at all. Also, grinding is not a part of this dance. If you find yourself grinding your pelvic area on someone, or being ground upon, that is not Kizomba or Tarraxinha so cut it out! (Unless of course it’s wanted, in which case go for it, but that’s not the dance, that’s you lol) I’ve had to personally intervene because someone was being violated with unsolicited ridiculous pelvic thrusts. Not a good look! And lastly, don’t overdo it. If it’s not an actual Tarraxinha song, try not to spend the entire song doing Tarraxinha . Instead try switching it up and actually moving around a bit. In my experience most ladies like to move around and not just roll roll roll in place all night. But some do though, in which case enjoy!

5. Kizomba is a WALKING CIRCULAR dance. Similar to Semba, Kizomba was meant to be a dance in which you move around the floor. The “zen” like feeling that folks sometimes get when they dance comes from continuous smooth movement. Because most Kizomba classes are pattern-based (and I understand why) often students get used to stopping and starting every few steps and/or doing a linear sequence of moves or tricks, rather than actually moving around in a continuous manner. I have found that ladies have enjoyed dancing with me the most when I move and rotate around the dance floor smoothly. Some have mentioned that it gave them a “merry go round” feeling. Space is sometimes an issue, but even in small spaces you can walk and turn, and I think more of this would increase the enjoyment of the dance.

6. Learning Semba is essential to mastering Kizomba. Since Kizomba is a derivative of Semba, learning Semba is a must if you want to fully appreciate the feeling and history of Kizomba. The playful, upbeat vibe of Semba translates well to Kizomba, as do the tricks and moves associated with Semba (especially “show” Semba as opposed to “social” Semba, in which there is less emphasis on tricks). In fact, the way Kizomba is traditionally danced looks alot like social Semba. So as you might imagine, pretty much every elite world-class Kizomba dancer I know of is a good Semba dancer, so take that as you will. In addition, as the intention of Semba is more playful than sensual, and the hold doesn’t have to be as close as the Kizomba hold, Semba is great for folks who might feel awkward with the slower more sensual side of Kizomba. Semba isn’t really danced as much here in the States yet, and there are very few Semba instructors here (my partner Monica and I are some of those few), but I believe Semba will explode in popularity as more people become familiar with it. I can personally attest that at first I was hesitant about the high energy of the dance (I’m a slow and smooth type by nature), but learning Semba has seriously leveled up my dancing, and I am excited to continue to learn more and more. Which brings me to my last thought…

7. STAY HUMBLE AND NEVER STOP LEARNING. I am now an instructor, but truthfully I didn’t want to teach until I felt I could offer a quality product to students. And even after two years of dancing, I don’t consider myself to be a Kizomba master at all. I’m fact, I know I have much more to learn. The Kizomba scene in the US is still in its early stages, and so I don’t think there is anyone here who could legitimately be considered an expert, even the better dancers stateside. But one thing I can say for myself and for my partner Monica is that we are dedicated to learning and leveling up so as to provide value to our students and the scene in general. Because our scene is in the beginning stages, often folks will take a workshop or two, label themselves as instructors, and then stop making a legitimate effort to learn more about the dance, music, and culture, instead taking the lazy way out and thereby, intentionally or not, doing their students and the scene a disservice. I believe that if you’re going to teach something, you a have a duty to provide quality teaching, and the only way to do that is to continue learning and improving yourself. I’m proud to say that I try to attend every workshop I can, and take as many privates as possible with more expert talent in order to level up, as what I know, I can then teach pretty well. For me, that includes learning how to follow as well as lead (though I’m not the best follow in the world lol). No one knows everything about Kizomba, as it is an ever growing artform. But in order to help build a quality scene with dancers who have great attitudes, technique, and respect for the culture associated with this dance, it is imperative that instructors invest the time and effort needed actually know what they’re talking about. Not taking shots here, this goes for myself first and foremost.

To everyone who read this whole thing, I appreciate you. You get a fist bump next time I see you. I look forward to seeing you all on the dance floor!

Originally written as a Facebook Note (embedded below)