Kizomba Went Global… But Did Angola Benefit? Africa Speaks

TAKEAWAYS

• Kizomba is a sanctuary for personal expression and connection.

• The evolution of Kizomba in Kenya has transformed it from a niche to a thriving community.

• Cultural roots and authenticity are crucial for the sustainability of Kizomba.

• The Nairobi Dance Project aims to develop local talent into world-class artists.

• Kizomba festivals should honour the source culture of Angola.

• Allan Tai believes in the importance of cultural partnerships over cultural extraction.

• The Sensacao festival offers a unique and immersive Kizomba experience.

• Kizomba serves as a reminder of shared humanity and connection.

• The future of Kizomba in Africa involves collaboration across countries.

• Allan hopes to leave a legacy of agency and authenticity for future generations.

SOUNDBITES

• "We want to create a local hub for high-level training."

• "We are not just custodians of this culture."

• "The time for Africa is now."

• "We need to honour the culture and the tradition."

• "Kizomba for me is a sanctuary."

• "Kizomba is my language of peace."

• "Kizomba is about connection and flow."

• "We are building a culture that respects its source."

TRANSCRIPT

speaker-0 (00:00)

Hello, Kizomba friends and welcome back to the Kizomba Conversations podcast. If you're listening on Spotify or another podcast app, don't forget, you can also watch our guest in action on our YouTube channel at Kizomba Conversations. We hope you enjoy the episode. 

Hi Kizomba friends and welcome back to another episode of Kizomba Conversations. As always, I'm your host, Victor. Today's episode, we have with us a gentleman who is a DJ, an instructor, a performer.

event organizer, lots of different things based in Nairobi, Kenya. He is the creative force behind one of Africa's most respected Kizomba festivals. His name is Allan Tai and welcome to the podcast. How are doing?

speaker-1 (00:48)

Very well, thank you. Thank you so much, Victor, for having me on this lovely podcast. I really appreciate what you're doing with the podcast. Exactly what we are all trying to protect and cultivate at the very grassroots level. So, thank you so much and kudos to the good job that you're doing.

speaker-0 (01:04)

Thank you very much, sir. And it's an honor to have you on our podcast. We know the wonderful work you're doing over there in Kenya, in Nairobi, just some amazing things that you're doing. And we really want to get that, well, get into that with you today. Let's talk about that. And obviously your your love for Kizomba. So thank you and welcome. And Allan, so, you know, as always, we want to find out about our guests. So give us a little bit of background about who you are, first of all, please.

speaker-1 (01:33)

Okay, so my name is Allan Tai from Nairobi, Kenya. As you clearly stated, I'm an event organizer, dance instructor, DJ, choreographer, performer. At my core, I believe I'm a storyteller. I just happen to use movement, music, and community as my language. Born and raised in Nairobi, Kenya, my journey is really about connecting the dots. It's between cultures, it's between people.

and between art and its purpose. So that's who Allan Tai is for you.

speaker-0 (02:05)

Fantastic. So lots of things going on there. So I'm guessing all the stuff that you do Allan keeps you very, very busy, right?

speaker-1 (02:12)

Yes, very, very busy over and above that my day job. I'm an investment banker. So I'm juggle all that.

speaker-0 (02:20)

You're a very busy individual. You know what I would say about that is the investment banking must be quite a busy, intense kind of job. just, I'm just thinking that. So I guess dance is a way for you to release that sometimes, right?

speaker-1 (02:33)

No, correctly, as you have stated, my job is very demanding, time-wise and even mentally. So, dance is my safe space. It's my safe escape.

speaker-0 (02:43)

Yes, absolutely. Absolutely. Well, let's talk about dance then. Okay, Allan, let's get straight to that then. What first drew you to the world of dance? know, Kizomba, Kizomba, how did Kizomba find its place in your journey? Where did that all start?

speaker-1 (02:59)

Okay, thank you. I have always been fascinated by rhythm and human connection. I first started, of course, with Salsa and Bachata. So I moved from Latin to African dances, which is Kizomba. Started Salsa and Bachata in 2002. I had the opportunity to actually do it in uni during my university days. And then I had the opportunity of representing

the country in, ⁓ world salsa championships. This was in 2009. so I participated in salsa, bachata. And, of course it was a group, performance, which was the rueda. So this was, ⁓ international dance organization. in bachata, came fourth, salsa I came sixth, and we were world champions in the salsa rueda competition. Wow. That was really my backstory.

⁓ so my first encounter with Kizomba wasn't really a meeting. I believe it was ⁓ a collision. ⁓ this was around 2009 where I first stumbled on the music. ⁓ so it was, was Kizomba and for me was different. It was the sound, it was the feeling. think watching a couple dance for me, what I saw was the intimacy, the groundedness of the dance and the music and just the movement was deeply soulful. The funny thing is that it felt familiar.

like a rhythm that my body already knew, but my mind was just discovering. So while everyone else was chasing the fast-paced Salsa and Bachata, for me, Kizomba felt like coming back home. So it was a conversation, not a performance. And for me, it became more than just a dance. It was now that this is a cultural ⁓ experience. So the initial collision sparked a passion that has now become my life's work.

I have become an ambassador for Kizomba Ensemble.

speaker-0 (04:55)

It's interesting, isn't it? Because, know, we speak to so many people and most people all start off with salsa. Not many people can say they've done as many competitions as you and come, you know, I mean, the places that you did. So congratulations on those. But yeah, we tend to start from that space and there's something about Kizomba. It gets us. So for instance, I'm doing a podcast about it because it's captivated me. And obviously you're doing all these things around Kizomba as well. So I guess, I mean, this is the question is why do you think we haven't done anything?

Listen, we love salsa by the way, but why do you think we haven't done anything for salsa? But it's because I'm with the drawing us. I just want to ask you that question. What was your thoughts on that?

speaker-1 (05:34)

To be very honest, think, first of all, because what I even realized back home here in Kenya is people, first of all, relate to the music. I think a lot of us growing up, we listen to a lot of Afro-Zouk and that is really part of our social fabric. So the music, first of all, draws us. And then I think also with the dance itself is we keep saying, yes, Kizomba, you can learn the basic steps on day one.

Yes, of course it takes years to master the basic steps, but just because you can be able to dance on your first try, then it really sticks with people. And I think the technicality that comes with salsa and bachata, I think it takes almost three months to be able to even dance one song. But with Kizomba, for many Africans or back home here, it just feels like home. So for me, when the bag bit, I didn't go back.

speaker-0 (06:27)

Yeah, same story. But you do Salsa every now and then I'm sure? not at all?

speaker-1 (06:32)

I've

been now and then, but when I go for other socials that I'm not organizing because I have focused on Kizomba Semba as my...

speaker-0 (06:43)

Yeah, it's just an interesting story, but no, okay. Thanks for sharing. then, you know, that's great. So you have been part of the Afro Latin scene in East Africa since around 2009. Is that correct? Yep. So looking back to then, how would you describe the evolution? You know, how has it been the evolution of Kizomba, the world, the Kizomba community in Kenya?

speaker-1 (06:54)

That is correct.

Okay. So it's, it's, it's really been a journey from a curious subculture to a legitimate and really thriving community. So in the beginning, we were just a handful of people cramped up in a dance studio, trying to decipher all of this internet tutorials. So I keep saying, well, at the beginning we were all YouTube babies. So it was a niche. I, I, I want to even say it was almost an underground secret movement. I think. ⁓

in three ways can be described as those, discovery where we were basically just sharing this gem that we'd found. And then it grew organically where we stopped being just dancers and we grew into a family and a support system. And then I think the defining moment was when we realized, okay, we aren't just consuming a dance. are literally building a culture and a community.

So for us, that's those were really the three stages I would say for how Kisomba in Kenya has evolved in East Africa.

speaker-0 (08:10)

So you talk about the defining moment there, but what was it specifically that made it a defining moment at that time?

speaker-1 (08:17)

At that time, there's a gentleman, I think I want to even credit him right now. His name is Brian Owango, a Kapurista. He traveled to Angola and he stumbled by Kizomba. And when he came back, which is that 2009 is when he shared, that's when I really saw with my own eyes, someone dancing by and I was like, wow, this, this is really amazing. And from, I think the history of Kizomba in Kenya, we can all draw back to when Brian.

Wango started teaching Kizomba in Kenya and when he shared his passion with us. So he lit the fire and the rest of us just ran with it.

speaker-0 (08:53)

Fantastic, fantastic. ⁓ That is great. And it's great to see the obviously the spread of Kizomba across the world and especially somewhere in Kenya as well. So that's great in terms of what you're doing and how it's been being influenced over there. And the thing ⁓ with you, Allan, all right, is that you have many different hats, right? So like I said, at beginning, dancer, DJ, instructor, chairperson of the Kizomba Kenyan Association, investment banker, lots going on, right?

So how have all these different perspectives, you how have all these things help you to understand and also professionalize a Kizomba culture in Kenya? How have all your skills come together to do that?

speaker-1 (09:36)

Each role gives me a very different lens and together they give me a complete picture, to be very honest, because as a dancer, I understand the raw emotion, the connection, the pure joy and even the frustrations just on the dance floor. So it keeps me humble and connected to the why we do this from a dancer's perspective. As a DJ as well, I understand the narrative power of music.

I see how a playlist can basically take a room on a journey, learn what moves people, literally and emotionally. So that as well shows me from the lens of what a DJ needs to be and how a DJ needs to really influence a scene and drive a crowd. As an instructor, which I believe is one of the heaviest responsibilities of actually passing on knowledge correctly, not just in steps, but the culture, the history.

And the respect of the source code, is Angola. And again, as the chairperson of the Kizomba Kenya Association, I see the ecosystem, which is the business, the politics, the community, what the needs for standard and sustainability are. So the Kizomba Kenya Association, of course, is very timely because even Kenya and Angola signed 11 bilateral agreements last year. part of that is what is also helping.

grow Kizomba, TAG airlines as well, which is also part of business and politics. They started September 1st of this year. They started direct flights from Luanda to Nairobi and part of the bilateral agreements, culture, agriculture, mining, yeah, to name a few. Yes. So I think that 360 degree view is very crucial for professionalization of Kizomba because you can't really build.

a sustainable scene if you only see it from one angle. So you need to balance the artist's heart with, of course, a leader's mind.

speaker-0 (11:40)

Fantastic. Great. Great. And you mentioned the, you mentioned the tag airlines. So I'm guessing you're going to be going quite a lot to Angola now, correct? Yeah.

speaker-1 (11:50)

To be very honest with you, the fares with TAG, which is also a direct flight is almost half what we were spending before. So it's just next door. So I hope away.

speaker-0 (12:01)

Yeah, and you can always go to the source. That is great. That's wonderful. That's wonderful. All right, let's talk about something that you do as well. the Nairobi Dance Project. So Nairobi Dance Project is, I believe, widely recognized as a benchmark for artistic excellence and also instructor development. So really big things and great things happening there. So are you able to just tell us a little bit more about what the Nairobi Dance Project is?

and what inspired its creation.

speaker-1 (12:32)

Okay, thank you. ⁓ The Nairobi Dance Project was born from a very simple but powerful idea. So African excellence for an African art form really. So we saw a gap there. We saw incredible raw talent in Kenya and also across East Africa, but there was a lack for the structured pathway on how do we develop that talent into world-class artists and world-class instructors. So we were tired of the narrative and forgive me that

great teachers only come from abroad is that we needed to hone local talents. We wanted to create a local hub for high level training, focusing not just on technique, but also on musicality, teaching methodology and cultural context. So we were very keen on empowering our dancers, not just to be good followers or leaders, but to be creative leaders and articulate teachers of the culture. So that's really how the Nairobi Dance Project was born.

speaker-0 (13:32)

Yeah, no. And that's interesting. And when you're talking about encouraging your dancers to have their own kind of, well, be creative, how does that come about? Do you just tell them to be themselves or use what you know and be yourselves and create new moves or whatever it might be? But how does that come about so it's kind of different and pure, if that makes sense?

speaker-1 (13:52)

To be very honest with you, it's also a learning process. believe, I keep saying in Africa is we build the plane as we fly. So it's what works and trying to just localize it. it's trusting the process really from the students, giving them the opportunity to be able to teach at a local level, but still also exposing them to very high

quality training. think I believe that I say this unapologetically that Kenya outside Angola is really a powerhouse in Kizomba.

speaker-0 (14:26)

You can say unapologetically, man, you can preach that. It's all good. That's cool. Then going back to, you know, the Nairobi dance project, just wanted to ask you, what do you think, you know, it's contributed to the wider East African dance ecosystem? Can you see, you know, has it had an impact on that?

speaker-1 (14:46)

Yes, I believe so because it's created somewhat of a ripple effect because firstly, it has raised the standards for teaching across the region. Some of our instructors are among the most sought after, that's firstly. Secondly, it's it's fostered a sense of regional pride and collaboration. I think we've collaborated with dancers from South Sudan, Uganda, Tanzania, Rwanda, though that's really the greater East Africa region, Ethiopia as well.

So we formed somewhat of a kizomba network. we've shown that we as a dance project can be a source of knowledge and innovation and not just a market for it, but again, as a production house for high quality instructors and instruction.

speaker-0 (15:31)

Yeah, okay. So it's like a, say ripple effect, but it goes all the way, all the way around, right? To create, to create good things basically. Yeah. Okay. In terms of Kenya, then Nairobi, you know, dancers coming over there, because obviously Kizomba is very, very big. Allan, do you, you know, are you getting people visiting Kenya a lot for just to come and do Kizomba? Are you seeing that? Is that increasing?

speaker-1 (15:56)

It's increasing because funny enough is I had a gentleman from Poland who came for a teaching training. And for me, I think that was a moment where I was like, okay, of all the countries he could have chosen is that he chose to just come to Kenya, not for any other business, but just to learn and take back the knowledge that he got from here. So we see a lot of people now coming for teaching training.

We see a lot of people who are passing through, it's for work or pleasure, but they're always asking. We have seen your social and I think it's also the power of social media. Yeah. So whether it's our flagship events from our weekly or monthly event to of course our festival, we are seeing a lot of people showing interest and actually coming to Kenya just for Kizomba. And funny enough is we have people from our neighbour, neighbouring country, Uganda, who

actually get on a bus, come to Nairobi for our Thursday event. And after the event, they get on the bus back home. And I don't know if I would do that, but yeah, it's, it's a power of people. ⁓

speaker-0 (17:02)

That's beautiful. That is beautiful. That is beautiful. Okay, good. I'm happy that people are, you know, coming to different places and seeking places out, but obviously go into a place ⁓ such as well known as yours. And I'm talking about in terms of Fred and dancers and the passion that you put to it. That's great to hear. That's very, very great to hear. All right. So, you know, again, you do lots of different things, right? And one of the themes that runs through your work is, you you're linking culture.

and obviously economics. Okay. So I think this is really about questioning why African, African art form, know, African art form, often achieved global fame. Yeah. So they achieve global fame, but then they get little return to their origins. Okay. So where I'm going with this is that obviously we know that Kizomba is from Angola. Great dancers in Angola. Just amazing. But again, there's diff, there's great dancers across the world as well. All right.

However, Kizomba is from Angola. That's where it is. That's where it was created. So what are your thoughts? You know, us, us really highlighting Kizomba's roots and ensuring that we do not forget the source as I like to call it. You know, what are your thoughts on that?

speaker-1 (18:22)

Honestly, this should really be the center, the central pillar of everything that we do. Because for me, it really is the central pillar of everything that I do. Because I personally have seen this story before with salsa, with bachata, with so many African rhythms that were commercialized, repackaged, and honestly divorced from their source with no value returning to the communities that created them. And with Kizomba, we cannot let this happen.

It's not just about giving credit. I believe it's about giving value and that's economically, culturally and socially. So for us in Kenya, and I believe also for the global community, it means being very intentional. It means inviting and fairly compensating Angolan artists, of course the instructors, the DJs. We begin with that, especially at our festivals. It means that also in our classes, we need to teach the history of SEMBA.

and tell the story of Angola. It means even for the DJs, it's that the Kizomba and Semba music that we play are not just the derivatives, but the actual Kizomba and Semba. we are also, we need to be about moving from cultural extraction to cultural partnerships so that as Africans, we should really have that special responsibility.

We are not just custodians of, we should really be the custodians of this culture on the continent, just to ensure that it grows, that it remains connected to the roots and that, ⁓ that success also is a success to Angola. I believe if we honor the source code, if we honour the culture and the tradition, a success for wherever you're pushing for this, it's a success for Angola as well.

speaker-0 (20:12)

Yeah, no, 100%. And I just wanted to ask you, have you traveled to many festivals outside of Nairobi, Kenya, yourself?

speaker-1 (20:21)

Yes, I have both as an artist and both just as an enthusiast. And I believe that there's a lot that Africa has to offer. I'm just from Kenya, believe, especially in Europe. think everyone in Europe is used to the same festivals, the same artists. I think the time for Africa is now. You've seen with the influx of the trips to Angola and after Angola,

There is other African countries that also have a lot to offer. So the time for Africa is now and we really need to take advantage of that so that we are also ensuring that the level is high and the kind of offerings that we are, we have in terms of culture, in terms of a tourist destination, Africa is really the next frontier, not just in business circles, but also in dance, I believe that. Yeah.

speaker-0 (21:15)

No, a hundred percent. you're right about the influx of trips to Angola, which is great to see, really great to see for people to learn that knowledge, know, learn about Kizomba, Semba, just see where it's from and all this, all this kind of stuff. So that's, that's all great. And I wanted to ask you then, so just on that point, you know, because obviously that's fine. And there are some people who are very into that and they want to do all that. And that's great travel, learn about it very much into that. And they're happy to do that.

But then obviously we're in a community, right? And obviously it's different from being in Africa and being in Europe sometimes. So my question is really around, what do you, what do you think about people who aren't so much interested in that? Because there's going to be people, you know, yes, they like Kizomba, they love the music, whatever, but they're not really interested in ⁓ learning about that. They just want to go out and have a good time. So it's just a question. I just wanted to see what you, what your thoughts are on that as well, because you do so much in this kind of space and promoting it and making sure Africa is great.

But what do you think about that? Because there will be people like that who would say that as well. And they're thinking that as well.

speaker-1 (22:20)

I think there's really so much more to Africa than, than even over and above just culture. The people can probably, it's not Kizomba for you. It's just the, for example, let me give my country Kenya. Nairobi is the only country or rather it's the safari capital of the world. It's the only country in the world with a national park. And just from your hotel 15 minutes away, and I keep saying this or other people who've experienced this.

is that you could be dancing Kizomba tonight and the next morning you're deep in the safari. know, so you're experiencing all that. And Kenya is also a tourist destination where you can experience four climates. So from actually the beach to the highlands, from the Savannahs to the forests, you can experience all this. And over and above that, of course, if you're in business, there is tech. Nairobi is the Silicon Valley of Africa. So there's so much more.

When we say Africa is really the frontier, it's not just really about dance. It's an ecosystem that anyone just looking for something different. There's something for everyone. I keep saying there's something for everyone in Africa and in Kenya. Of course, I'm going to sell my country. There's something for everyone. Yes.

speaker-0 (23:33)

Fantastic. Okay. Great. Great. Great. All right. So let's focus on your flagship event then. All right. So you have an event that you've been running for a number of years now. I'm going to let you tell us the number of years that's been running for. All right. But Senso-Sao, hope I'm saying the name correctly. Your flagship event in Nairobi, Kenya, which is doing fantastic. Well, it has been doing fantastic. I know a number of people who've been there.

speaker-1 (23:53)

Yes.

speaker-0 (24:02)

Okay, some of the people who have been on the podcast as well have been talking about it and they've been there as well. So, Allan, with your event and your festival, what was the initial spark that inspired you to create it?

speaker-1 (24:19)

Thank you. So the spark was really a desire to create a deeply immersive cultural experience, not just another dance festival. We felt the market was filled with events, of course, focused on big names, not that there's anything wrong with that, and partying, but lacked the soul and context. So for us, we wanted to create a space where you didn't just dance kizomba, you actually lived it.

We wanted to fill the gap of substance and authenticity. So for us, we asked ourselves the question, what if a festival felt like a journey to Luanda? What if it was a holistic experience in terms of music, in terms of dance and conversations that really honored the source? So for us, that was really the gap. So a festival that was philosophically deep as it was fun. So that is really...

the epitome of the Nairobi Kizomba Sensacao.

speaker-0 (25:18)

So you really try to make it different to other festivals out there by bringing people deep into the culture and making them almost feel like they're in Angola, but not if that makes sense. Is that correct?

speaker-1 (25:31)

Yes, of course, honouring Angola, we can never be Angola, but we do honour the culture and the tradition of Angola. So we needed to give homage to that, but give people an experience that is unique to East Africa, that is unique to this part of the world. So for us, we also took a very big risk because in Africa, we have a lot of SBK festivals. So we made the decision to do.

and only Kizomba and a pure Kizomba, not urban Kiz, a purely Kizomba Semba festival. It was a risk and to be honest, years later, so we've done the festival for five years, of course, taking a break because of the COVID situation, but we've done five, five editions and it's been growing year on year and the risk is paying off. It really is paying off, to be honest with

speaker-0 (26:25)

And it just keeps on growing and growing. So yes, I hear, I hear great things. So, you know, I say, congratulations, keep it up. Definitely. I will definitely be looking at a time where I can come out and, ⁓ and join you. Absolutely. But the name, okay. So the name sensor cell, it feels intentional, almost poetic. So what's the meaning behind the name? ⁓ yeah, what's the meaning behind the name?

speaker-1 (26:52)

And so, Sensacao is Portuguese for sensation. ⁓ So basically, it's that feeling, it's that state of being. It's that sudden rush that you feel. So for us, the name was very critical in what is that sensation that you feel when dancing. And where do you have it? You have it in Nairobi, Safaree capital of the world.

So for us, we were really looking to giving people that authentic Kizomba sensation. ⁓ Even Sensacao itself is a very beautifully layered name. So translates loosely to, so if you look at the name Sao, meaning holy or saint, so it captures the philosophy of, we're about that essence of feeling, we're about that holy, sacred connection that only music and dance can create. And for us, our vehicle is Kizomba.

speaker-0 (27:48)

Beautiful, beautiful, beautiful. And you know, we talk about festivals, so many across the world, you know, we know that. But if somebody comes to your festival, sends us out, I know you kind of talked about it already. Okay. When they leave and they go back and they're speaking to their friends or their family or just people in general. And they said, you know, I had a great time in Nairobi, Kenya at this festival.

What are some of, what do you want them to be feeling and what are some of the words that you want them to say? Because you've talked about the importance of how, you want them to experience the culture and everything, but what do you hope as an event organizer and someone who's passionate about Kizomba and what you do, what do want them to be feeling and saying when they leave your event?

speaker-1 (28:37)

I want people to feel a sense of homecoming. And I think we have been able to achieve that. We take it for granted when we hear statements like Kenyans are very friendly people. And it's only after we hear this statements from festival attendees that we actually realize that Kenyans are actually very hospitable. And even it's the warmth of the people, the rhythm and the soul of the culture.

And we pride ourselves in that. We want when people come here that they actually feel that human connection, just not from the music and the partners, but really to the community and then to the history. So for us, we want people to come here, feel that sense of homecoming and go back home with a piece of Kenya. ⁓

speaker-0 (29:28)

Beautiful, beautiful, beautiful. And I'm sure they do. I'm sure, I'm sure they do. I'm sure they do. So Allan, what does, you know, if we step back a little bit, you know, you talked about your journey from salsa, got to Kizomba. You haven't necessarily gone back to that and Kizomba has become a major part of your life and everything. So what does Kizomba mean to you personally then? You know, when, you know, think about it, when you dance it, when you do it, what does it really mean for you as an individual?

speaker-1 (29:57)

Kizomba for me is a sanctuary. I think it's Nelson Mandela who said, when you find your garden, make sure you lose yourself in your garden. So I believe that I found my garden in Kizomba in a world that is often loud, fast and disconnected. Kizomba became my space for quiet connection. Within that dance, I keep saying it's my three minute meditation where...

The only thing that exists is music, it's a connection and the flow. So, it's also a reminder of our shared humanity. For me, it's my language of peace, it's my language of therapy, creative expression really all rolled into one. So, for me that is what Kizomba is. Kizomba is my sanctuary.

speaker-0 (30:45)

I love it. I love the part about the garden there. was that? your, what was it? Create the garden and.

speaker-1 (30:51)

Find your gut and lose yourself in the gut.

speaker-0 (30:53)

your garden and lose yourself? Wow. Anyway, that's the one. ⁓ What a fantastic answer. Okay, cool. And then look into the future. Okay. In terms of your, festival, Sensacao, what do you envision for it? And also the Kenyan Association and the your movement African and Kizomba movement over there. What's your plan for the future?

speaker-1 (31:18)

I see Kizomba, Sensacao becoming a very definitive cultural experience on the continent. So it should be a pilgrimage for those seeking authenticity. That's what I envision for Nairobi Kizomba Senso-Sao. I also want to expand it to more art forms, visual arts, film, fashion, gastronomy, all telling the story of Lusophone Africa. So that's my vision for Nairobi Kizomba Sensacao.

For Kizomba Kenya Association, our vision is to solidify Kenya as a leader in the professionalization of Kizomba and Semba dance in Africa. So we are looking at developing certification standards, supporting our artists to tour, of course, regionally and internationally, and to ensure that the community remains a safe, inclusive, and very vibrant space. ⁓

So for the wider African Kizomba movement, we, I personally envision a strong collaborative network. I see a future where, be it Lagos, be it Accra, be it Dar es Salaam, be it Nairobi and Luanda, is that our all key nodes in the Pan-African Kizomba circuit, where we share resources, talent, and a unified vision, um, to steward this culture correctly. That, that is really my vision for.

and the Kizomba Kenya Association and Africa at large in matters Kizomba same.

speaker-0 (32:55)

Yeah, and that's a great aspiration to have. And I think that's a great, great thing to look forward and to work forward to because, ⁓ you know, Africa, it's a big place, a big place. But, you know what I mean? It's, ⁓ it's just a great source. And I think that the more that we can get there, ⁓ the greater is going to be as well, ⁓ worldwide. And then finally, Allan, you know, what legacy do you hope your work will leave, ⁓ you know, generations? So

dancers, artists, cultural leaders, people that do things that you do. Maybe it's not as many hats, but I guess the question is, you know, what's the legacy that you're trying to, to create from everything that you're doing.

speaker-1 (33:36)

I hope my legacy is one of agency and authenticity. I want the next generation to know that they don't have to look outside the continent for validation. That they are enough, that their stories matter. I want the next generation to inherit a scene that is professionally run, one that is culturally rich and above all, course, economically sustainable. Most importantly, I would hope that they remember that

We dance not just for ourselves, but with a deep sense of responsibility to the source, building a culture that respects, that returns value to its source. And then the source is Angola. Yeah.

speaker-0 (34:20)

Well, what a way to end that in terms of the statement that you made. Yeah. Return it back to the source and the source is Angola. And that's just a very beautiful way to end the conversation there. So Allan, just want to say thank you very much for joining us, telling us about your journey, sharing, you know, what you do and just talking to us about the great work that you're doing and trying to, you know,

motivate and elevate Kizomba in Africa in particular. So we really appreciate you for being here. Thank you very much, sir. Thank you very much indeed.

speaker-1 (34:54)

Thank you so much for inviting me to the show. It's been an honor and we look forward to, of course, such collaborations and partnerships.

speaker-0 (35:02)

100%. Where can people find out more about you, your events or your socials or whatever? know, where could we find out more Allan?

speaker-1 (35:13)

Okay, so in terms of the festival, the name is Nairobi Kizomba Sensasau. So we are on Instagram, we are on Facebook, you can find us on YouTube as well. And you can also find our website, kizombasensacao.com. So we, for next year, as we mentioned, we've done five editions and next year, it only makes sense that we take it back to the source. So we have a Kizomba Sensacao Angola edition and we are doing this for Africans by Africans.

And we want to give the people in Africa an opportunity to travel to the source and how we continue to learn and respect and pay homage, of course, to Angola and just see how we also add value to the people from Africa who are trying to also build events. So you can find us on the Nairobi Kizomba Sensacao's channel. You can find us on the Nairobi Dance Project. That is of course our

our initiative, then our dance project and then under that is our flagship events, which is the Nairobi Kizomba Sensacao. So you can find us on social media, which is Facebook, Instagram and YouTube and our website.

speaker-0 (36:25)

Fantastic. Thank you very much, Allan. So anybody, if you're interested, please do check out Allan on all those networks there and get yourselves to Africa if you can support this. All right. I'm having a little bit trouble with my earpiece here. Please forgive me. But Allan, before we let you go, we always like to have a little bit of fun on the podcast. We like to end it with a few fun questions. All right. So we have a couple here, one for you to answer, one for me.

And then we can see how we go. you got a choice. Can you see this here? You have red and well, yeah, maybe orange or and green. And which one would you like to pick?

speaker-1 (37:04)

Let's go with orange. Yes.

speaker-0 (37:06)

Orange

Okay. All right. So this is your question then. So the question reads, says, would you rather have one unforgettable dance that lasts forever in your memory? Yeah. Or 10 great dances that fade out over time.

speaker-1 (37:27)

and forget the world ends.

speaker-0 (37:29)

Why

is that? Why is that?

speaker-1 (37:32)

Well, man, I wouldn't want to have just 10 and the memory is fit. think I want to have that one. Yes. Yes. That's just right. Yeah. So I get you.

speaker-0 (37:39)

It's that one. Yeah.

I'm sure you've probably got a few of those already. ⁓

speaker-1 (37:47)

Yeah. Yes. Those unforgettable dances.

speaker-0 (37:51)

Yes,

I know I have. Anyway, let's go to green. All right. So this was for me. So the one he didn't get. it says here, would you rather, okay. So would you rather never miss a beat, but have stiff movements or move fluidly, but occasionally miss the music. So for me on that one, I think I would rather like to move fluidly because I don't move fluidly already. So, ⁓ I think I'm quite stiff. I think, ⁓

Yeah, fluid movements would be, would be good for me.

speaker-1 (38:25)

I think I would have answered the same.

speaker-0 (38:27)

Same thing? Yeah. No problem. But no, thanks for playing that.

speaker-1 (38:31)

Well, on the orange one, what would you have chosen? The one dance or the ten?

speaker-0 (38:36)

Yeah, no, I'm the same as you, my friend. Same thing. You know, because they, because I think you, you know what it's like, you, I'm sure you've had it right. There's some dancers that you just love dancing with, right? You, you know, even now I'm thinking, yes, God, you know, that was, that was amazing. And because you, don't, just don't forget them and you don't want to forget them. And sometimes you, don't know about you, try to go back and create it maybe with somebody else or something that doesn't quite happen.

You always look for that one person that it was before, but no, the same, the same question as you, but yeah, no, but thanks for playing that bit of fun, Allan. And like I said, you know, before, thank you very much for joining us. Great to have you on the podcast. And you know what? It's always great if we can come back and have you back just to see how things have grown in the future. Maybe talk about some different projects as well, or different topics in general. But I'm keeping a keen eye on what's happening with you and what's happening with Africa in general.

because we have so many festivals over here in Europe and all that, which is all great, all great. But if we can take it to Angola, honour Angola and have those countries around it as well, I think it just helps Kizomba in general and what we're doing here. So 100 %

speaker-1 (39:49)

I actually see myself next to you on that in the studio. Okay.

speaker-0 (39:54)

No problem. Absolutely. Okay, ⁓ Allan. So we will see you very, very soon. And everybody just want to say thank you very much for tuning in for this episode. If you like the episode, let us know. Or if you'd like to subscribe, please do. And like I always say, keep dancing and we will see you soon. Peace.